One MUST SEE at the Mill Valley Film Festival is Toni Erdmann, from writer-director Maren Ade. You might not expect an almost three-hour German comedy to break through, but I’ve seen it, and I think that it’s a lock to win the Oscar for Best Foreign Language Picture. Ade gives us a woman’s perspective of a father-daughter relationship, creating a totally original and unforgettable father who takes prankstering into performance art. This is a movie with the funniest nude brunch you’ll ever witness that still will leave you choked up at the end.
Toni Erdmann opens January 20 in the Bay Area, but you can see it at the MVFF today, October 8, and on October 13; both screenings are at the Rafael in San Rafael.
This year’s MVFF runs from October 6-16, mostly at the Sequoia in Mill Valley and the Rafael in San Rafael, but also at three other Marin venues. Check out the program and tickets for the MVFF. I’ll be adding more festival coverage, including both features and movie recommendations. Follow me on Twitter for the very latest coverage.
During World War II, Hollywood looked for cruel-visaged actors to play Nazi characters that were cruel-looking and who could accomplish evil with chilling efficiency. With his Aryan poster boy looks and German accent, Peter van Eyck became Hollywood’s favorite on-screen Nazi. The irony is that, in real life, the German-born van Eyck was a fervent anti-fascist who had fled just before Hitler took power.
Van Eyck bobbed around the world doing odd jobs until he landed in New York and befriended Aaron Copland, Irving Berlin and, finally, Billy Wilder. Van Eyck’s first attention-grabbing performance was in Wilder’s Five Graves to Cairo, which airs tomorrow night on Turner Classic Movies.
His role as Lt. Schwegler in Five Graves to Cairo is embedded in a sequence of nine straight German soldier movie roles during 1943-44. Sometimes his roles didn’t even have names – “German officer”, “SS Captain”, “Gestapo”.
Back to real life – van Eyck served as a film officer in the US Army’s occupation of post-Germany. Returning to Hollywood, his roles diversified to the point that he was only playing a German officer about half the time. He ended up with 94 screen credits on IMDb, including high-ranking Wehrmacht officers in The Longest Day (1962) and The Bridge at Remagen (his final film in 1969). One of Van Eyck’s most notable roles is as one of the drivers in Henri-Georges Clouzot’s hyper-suspenseful The Wages of Fear.
It is said that acting is pretending. Typecast by looks and accent, van Eyck was a refugee who happened into a prolific acting career – playing exactly what he wasn’t.
the young Peter van Eyck (center rear) in FIVE GRAVES TO CAIROa more mature van Eyck in THE LONGEST DAY
Victoria is worth watching as a thriller, but it has become notorious for a pretty important aspect of its filmmaking – the entire movie was filmed in a SINGLE SHOT. Its tagline is One girl. One city. One night. One take. (Actually, the successful take was on the third try.) Rope and Birdman are famously filmed to LOOK like they are one shot. But all of Victoria really IS just one shot.
That would be noteworthy enough if Victoria were a drawing-room story like Rope, but it is amazing for a story that zips between interior and exterior locations, runs from nighttime through daybreak and includes chase scenes through the streets of Berlin. It’s a stunning achievement for director Sebastian Shipper.
After a career disappointment, young Spanish woman (Laia Costa) has moved to Germany – where she knows no one – and has taken a service job while she licks her wounds. Out for a beer after work, she meets a bunch of drunk German guys. Partying with them leads to an entanglement with one of those low-level criminal enterprises that just isn’t going to turn out well. Things get life-or-death serious, and the characters are soon on the run for their lives.
The German characters don’t speak Spanish and the Spanish girl doesn’t speak German, so they speak to each other in broken English; the only English subtitles are when the German guys are talking to each other in German about the girl in her presence.
Costa is on-screen for the entire movie, and she’s very, very good. She nails the character, somebody who is basically good but who can impulsively make the wrong choice, too. Anyone who sees her as a mere adornment underestimates her at his own risk. She is full of moxie and is damn practical.
Frederick Lau is especially good as the guy who connects most personally with the girl. Franz Rogoski is also outstanding as the guy whose troubled past catches up to him and devours his friends, too.
Anyone who has watched a film noir will find Victoria’s ending is disappointingly predictable. Otherwise, this would have been one of the top ten films of 2015.
But Victoria is still a gripping 138-minute thrill ride. Director and co-writer Shipper acted in Run, Lola, Run which had previously set the standard for movie freneticism. Make sure that you watch it in one uninterrupted sitting. Victoria is available to stream from Amazon Video, iTunes, YouTube and Google Play.
In the German psychological drama Phoenix, Nina Hoss plays Nelly, an Auschwitz survivor whose face has been destroyed by a Nazi gunshot; her sister has arranged for plastic surgery to reconstruct her face. When Nelly gets her new face, we accompany her on an intense quest.
Writer-director Christian Petzhold is an economical story-teller, respectful of the audience’s intelligence. Watching a border guard’s reaction to her disfigurement and hearing snippets from the sister and the plastic surgeon, we gradually piece together her back story. The doctor asks what seems like a very good question – Why would a Jewish woman successfully rooted in London return to Germany in 1938? The answer to that question involves a Woman Loving Too Much.
The sister plans to re-settle both of them in Israel, but Nelly is obsessed with finding her husband. She does find her husband, who firmly believes that Nelly is dead. But he notes that the post-surgery Nelly resembles his pre-war wife, and he has a reason to have her impersonate the real Nelly. So he has the real Nelly (who he doesn’t think IS the real Nelly) pretending to be herself. It’s kind of a reverse version of The Return of Martin Guerre.
It’s the ultimate masquerade. How would you feel while listening to your spouse describe you in detail to a stranger?
Nina Hoss is an uncommonly gifted actress. Here she acts with her face fully bandaged for the first third of the film. We ache for her Nelly’s obsessive need for her husband – and when she finally finds him, she still doesn’t really have him.
As the husband, Ronald Zehfeld shows us the magnetism that attracts Nina, along with the brusque purposefulness that he thinks he needs to survive and flourish in the post-war Germany.
Christian Petzold and Nina Hoss collaborated on the recent film Barbara (he won the Berlin Film Festival’s Silver Bear for his work). About Barbara, I wrote
“Given that’s it difficult to imagine how anyone else could have improved Barbara, I’ll be looking for Petzold’s next movie.”
Well, here it is, and it’s gripping.
The ending of the film is both surprising and satisfying. Several people in my audience let out an audible “Wow!” at the same time.
Phoenix is one of my Best Movies of 2015. It is available to stream from Netflix Instant, Amazon Video, YouTube and Google Play.
In the German psychological drama Phoenix, Nina Hoss plays Nelly, an Auschwitz survivor whose face has been destroyed by a Nazi gunshot; her sister has arranged for plastic surgery to reconstruct her face. When Nelly gets her new face, we accompany her on an intense quest.
Writer-director Christian Petzhold is an economical story-teller, respectful of the audience’s intelligence. Watching a border guard’s reaction to her disfigurement and hearing snippets from the sister and the plastic surgeon, we gradually piece together her back story. The doctor asks what seems like a very good question – Why would a Jewish woman successfully rooted in London return to Germany in 1938? The answer to that question involves a Woman Loving Too Much.
The sister plans to re-settle both of them in Israel, but Nelly is obsessed with finding her husband. She does find her husband, who firmly believes that Nelly is dead. But he notes that the post-surgery Nelly resembles his pre-war wife, and he has a reason to have her impersonate the real Nelly. So he has the real Nelly (who he doesn’t think IS the real Nelly) pretending to be herself. It’s kind of a reverse version of The Return of Martin Guerre.
It’s the ultimate masquerade. How would you feel while listening to your spouse describe you in detail to a stranger?
Nina Hoss is an uncommonly gifted actress. Here she acts with her face fully bandaged for the first third of the film. We ache for her Nelly’s obsessive need for her husband – and when she finally finds him, but she still doesn’t really have him.
As the husband, Ronald Zehfeld shows us the magnetism that attracts Nina, along with the brusque purposefulness that he thinks he needs to survive and flourish in the post-war Germany.
Christian Petzold and Nina Hoss collaborated on the recent film Barbara (he won the Berlin Film Festival’s Silver Bear for his work). About Barbara, I wrote
“Given that’s it difficult to imagine how anyone else could have improved Barbara, I’ll be looking for Petzold’s next movie.”
Well, here it is, and it’s gripping.
The ending of the film is both surprising and satisfying. Several people in my audience let out an audible “Wow!” at the same time.
Ranging from wry to hilarious, the German dark comedy A Coffee in Berlin hits every note perfectly. It’s the debut feature for writer-director Jan Ole Gerster, a talented filmmaker we’ll be hearing from again.
Jan Ole Gerster
We see a slacker moving from encounter to encounter in a series of vignettes. Gerster has created a warm-hearted but lost character who needs to connect with others – but sabotages his every opportunity. He has no apparent long term goals, and even his short term goal of getting some coffee is frustrated.
As the main character (Tom Schilling) wanders through contemporary Berlin, A Coffee in Berlin demonstrates an outstanding sense of place, especially in a dawn montage near the end of the film. The soundtrack is also excellent – the understated music complements each scene remarkably well.
I saw A Coffee in Berlin (then titled Oh Boy) at Cinequest 2013 and singled it out as one of the three most wholly original films in the festival and as one of my favorite movie-going experiences of the year. A Coffee in Berlin was snagged for the festival by Cinequest’s film scout extraordinaire Charlie Cockey. A Coffee in Berlin is available on DVD from Netflix and streaming from Amazon, Vudu, YouTube and Google Play.
Ranging from wry to hilarious, the German dark comedy A Coffee in Berlin hits every note perfectly. Opening tomorrow, it’s the debut feature for writer-director Jan Ole Gerster, a talented filmmaker we’ll be hearing from again.
Jan Ole Gerster
We see a slacker moving from encounter to encounter in a series of vignettes. Gerster has created a warm-hearted but lost character who needs to connect with others – but sabotages his every opportunity. He has no apparent long term goals, and even his short term goal of getting some coffee is frustrated.
As the main character (Tom Schilling) wanders through contemporary Berlin, A Coffee in Berlin demonstrates an outstanding sense of place, especially in a dawn montage near the end of the film. The soundtrack is also excellent – the understated music complements each scene remarkably well.
I saw A Coffee in Berlin (then titled Oh Boy) at Cinequest 2013 and singled it out as one of the three most wholly original films in the festival and as one of my favorite movie-going experiences of the year. A Coffee in Berlin was snagged for the festival by Cinequest’s film scout extraordinaire Charlie Cockey.
OK, here’s a movie like none you’ve seen before – not that this is always a good thing…The offbeat German film Finsterworld peels back the orderly veneer of German society to reveal odd subcultures (they have Furries and foot fetishists in Germany, too). Finsterworld (the title presumably punned after its writer director Frauke Finsterwalder) begins and ends with Cat Stevens’ bubbly The Wind and perks along like a quirky comedy, until it descends into a scathing and pessimistic assessment of German society.
The story follows a pedicurist, a documentation, a traffic cop, a forest hermit, some high school kids, a rich couple and a teacher who are revealed to be interconnected – and all deeply troubled under the surface. Ranging from quirky to twisted to downright evil, the characters are cursed with collective guilt from You Know What (hint: 1933-1945).
I must point out that there is one unforgettable scene of (all things) cookie-baking – at once appalling, disgusting and very funny.
Finsterworld, which had its North American Premiere at Cinequest, has its moments and never drags. But engaging with the film depends on whether you’re ready for a cynical and hopeless assessment of today’s Germans.
Charlie Cockey (photo courtesy Around the World in 14 Films)
Charlie Cockey is at a film festival. (Actually, right now he’s probably traveling between the Berlin International Film Festival and Cinequest.) But, whenever you read this, the odds are that he’s sampling cinema at a film fest somewhere.
Cockey, the international film programmer for San Jose’s Cinequest, attends twelve or more international film festivals each year. He never misses the great Berlin and Venice fests, and also makes the rounds of the European national film showcases in Poland, the Czech Republic, Hungary, Romania and other countries.
Cockey is Cinequest’s film scout extraordinaire and responsible for the most singular films on Cinequest’s program, the movies unlike any you have seen before. In my recent Why Cinequest is essential, I highlighted three of his gems from last year’s Cinequest: the German dark comedy Oh Boy (the debut from talented writer-director Jan Ole Gerster), the absurdist Czech comedy Polski Film and the offbeat The Dead Man and Being Happy, with its gloriously wacky road trip through the backwaters of Argentina. (My favorite Charlie Cockey selection is the unsettling 2011 Slovak Visible World – which is creepy even for a voyeur film.) Cockey found 12 of the films in last year’s Cinequest, and has brought as many as 17.
Cockey, who lives in the Czech Republic’s second city Brno, speaks English, Czech, German, French, Italian and Romanian. That’s helpful, but the national film festivals usually have English-subtitled “festival version” screenings for distributors and festival programmers (plus non-subtitled screenings for the local public).
How did an American guy come to live in Brno? “A Czech woman tied my shoelaces together,” Cockey replies. Before he had acquired his Czech language fluency, he was sitting in a darkened Czech theater and was surprised to see no subtitles on the film. Needing to ask the woman next to him for help with the translation, he touched her hand and sparks flew, or at least one literal spark from static electricity. Fourteen years later, the two are still partners.
What are Charlie Cockey’s tips for sampling movies at a festival? Like any festival-goer, he chooses screenings based on the buzz, the director and sometimes a gut feeling. He doesn’t mind bad movies because “if a film’s not working, I leave”. He adds, “The mediocre ones are tough because you need to stick it out”.
First and foremost, Charlie Cockey is a man who devours culture in any form – books, music, cinema, food – with a voracious but discerning appetite. Cockey’s journey brought him from the East Coast and Idaho to 1960s San Francisco as a musician and as a road manager for a band. He opened San Francisco’s first science fiction bookstore (Fantasy, Etc) and ran it for the last quarter of the 20th Century. “There are no accidents,” he says. “Only surprises.”
Extremely generous with his knowledge and taste, Cockey loves to share the most precisely individual recommendations of books and movies. He relishes the memory of helping a boy – dragged into Fantasy, Etc by his parents – discover a genre of literature (in this case fantasy) that spawned a new love of reading. And he couldn’t resist quizzing me about my interests and then recommending an extremely obscure collection of letters from a German intelligence official in WWII – a book that I NEVER would have otherwise considered but which turned out to be a great read.
Here’s how to experience Cinequest the Charlie Cockey way: “Find films as you live life – by being open, prepared, ready, flexible and friendly”.
Follow The Movie Gourmet on Twitter for my continuing coverage of the 2014 Cinequest.
As Joseph Heller wrote in Catch-22, “Just because you’re paranoid doesn’t mean they aren’t after you”. Barbara’s suspenseful story is set in Cold War East Germany, so everyone is indeed being watched by the Stasi and informed on by their closest associates. Barbara is a doctor who has applied for an exit visa and has therefore been exiled to the hinterlands from a top Berlin hospital. Harassed by the Stasi, she is ever aware of everyone’s motives. She is played by Nina Hoss in a performance that is extraordinarily controlled, alert and suspicious.
Barbara herself is driven by two imperatives – to escape from East Germany and to provide expert and compassionate medical care. The story is a series of moments, some seemingly random, which tie together as the story builds to the climax, when the doctor must bet her life on a decision.
Barbara was co-written and directed by Christian Petzold (he won the Berlin Film Festival’s Silver Bear for his work). Given that’s it difficult to imagine how anyone else could have improved Barbara, I’ll be looking for Petzold’s next movie.
