I am completely absorbed with Silicon Valley’s own film festival, Cinequest. Check out my up-to-the-moment coverage both on my Cinequest page and follow me on Twitter for the latest. I especially recommend tonight’s world premieres of Heaven’s Floor and Lost Solace. Both films will screen again Sunday night. You’ll also have a final chance to Lost Solace on Thursday and Heaven’s Floor on next Friday.
In theaters:
The Oscar-winning Best Picture Spotlight – a riveting, edge-of-your-seat drama with some especially compelling performances.
The movie that should have won Best Picture, The Revenant, an awesome and authentic survival tale that must be seen on the BIG SCREEN. I predict that The Revenant will be the biggest winner at the Oscars.
The movie that I admired more than either of those, the Irish romantic drama Brooklyn, an audience-pleaser with a superb performance by Saoirse Ronan.
The deserved Oscar winner for Screenplay, The Big Short – a supremely entertaining thriller – both funny and anger-provoking.
The Coen Brothers’ disappointingly empty comedy Hail, Caesar contains some cool Hollywood parodies.
In honor of the opening of this year’s Cinequest, this week’s DVD/Stream of the Week is the Danish drama The Hunt from the 2013 Cinequest. The Hunt is available to rent on DVD from Netflix and to stream from Netflix Instant, Amazon Video, iTunes, Vudu, YouTube, Google Play and PlayStation Video.
Here are two very contrasting recommendations for movies playing on Turner Classic Movies this week. First, 0n March 8, we have a time capsule comedy from the master of movie silliness Richard Lester (Help, The Three Musketeers). The Ritz is a farce set in a gay bathhouse – in 1976, when this was a remarkably novel setting. Look for the not-yet-famous F. Murray Abraham, Treat Williams and John Ratzenberger. Then on March 10, TCM screens M (scroll down for comments), a proto-noir and a most darkly compelling serial killer movie from 1931.
The title character in the Peruvian psychological drama Magallanes is a loser, but is he a lovable loser? Played by Damián Alcázar, Magallanes bounces around from odd job to odd job. He can’t break even driving a borrowed outlaw taxi around the squalid streets of Lima, he lives in a basement hovel and he has one friend. Magallanes glimpses a person from his past, and it rocks him into a series of life-changing events.
Magallanes starts out as a caper movie. But we learn that his one friendship is from his military service in a death squad unit, dispatched to repress the indigenous population with the harshest methods. What this unit did years ago has scarred all the characters (except two snarky cops), and Magallanes is revealed to be a study of PTSD.
What is driving Magallanes’ behavior in this story? We find that we is trying to right a past wrong. But what? And by whom? The revelation in Magallanes is that some wrongs cannot be righted.
Magallanes is a showcase for Mexican actor Alcázar, whom U.S. art house audiences saw in John Sayles’ Men with Guns and as the lead in Herod’s Law. Alcázar makes Magallanes so sympathetic that the movie’s climax is jarring and emotionally powerful.
I saw Magallanes at Cinequest, where it plays again on March 10 and 12.
Here’s what you want in a disaster movie: 1) a really impressive disaster and 2) lots of suspense about which of the main characters will survive. The Norwegian The Wave successfully delivers on both counts.
As a non-Norwegian, I didn’t know that, every few decades, an unstable mountainside somewhere in Norway breaks loose, plunging hundreds of tons of rock into a fjord; this triggers a tsunami, which rages down the fjord, destroying everything and every one that doesn’t reach high ground. Norwegian geologists are even perched above these fjords to trigger early warning systems. A siren goes off, and everyone downstream has TEN MINUTES to climb to safety. As disasters go, this is pretty novel – not your ordinary earthquake, fire, flood, shipwreck and not even your ordinary tsunami (Hereafter, The Impossible). In The Wave, the tidal wave itself is pretty impressive, and the special effects are believable.
But the best part about The Wave is the tension produced by, not one, but TWO ticking clock scenarios. The filmmakers build the tension as we wonder just when the upcoming disaster is going to hit and whether the characters will have time to escape. And then, there’s an excruciating race-against-time to save family members from a hopeless situation.
The main characters are sympathetic, the acting is very good and the dialogue is very witty for the genre. Ane Dahl Torp plays the mom, and her character’s off-the-charts take charge heroism and resilience is a big part of the fun. I’m not a real fan of disaster movies, but I still stayed with The Wave for its entire length.
I saw The Wave at Cinequest, where it gripped and exhausted the audience (in a good way). It will be released theatrically in the Bay Area on March 11.
Ah, those nutty Czechs. Here, we think we’re watching a political spoof. Then, a third of the way in, Lost in Munich becomes a mockumentary on the “making of” the movie we thought we were watching. The joke is on us and on the incompetent and unlucky fillmmaker characters and on the Czechs themselves.
There’s a particular dry deadpan in some Czech cinema, and the best example may be a Cinequest film from two years ago, Polski Film. The Czechs are happy to make fun of themselves and their European neighbors (in this case the French). The movie-within-a-movie centers on Czech hard feelings from French Prime Minister Edoaurd Daladier selling out the Czechs in the 1938 Munich Agreement with Hitler. A dim French diplomat tries to smooth things over by bringing Daladier’s 80-year-old pet parrot, but the parrot turns out to be counterproductively politically incorrect, the parrot is parrotnapped, and the comic absurdity of Lost in Munich goes on from there.
Lost in Munich is pretty successful when it mocks the making of a snake-bitten movie where everything that CAN go wrong…You’ll probably like this movie if you have a taste for absurdist cinema. Lost in Munich plays Cinequest again on March 11 and 12.
The Canadian psychological thriller Lost Solacetakes a highly original premise and turns it into a pedal-to-the-metal thriller. It’s an astonishingly successful debut for director and co-writer Chris Scheuerman.
Co-writer Andrew Jenkins stars as the psychopath Spence, whose life is devoted to exploiting women, stealing their stuff and emotionally devastating them to boot. Spence is remarkably skilled and seems unstoppable until he unwisely ingests a recreational drug – he starts suffering hallucinatory episodes that are intensely emotional. Here’s the brilliantly original core of Lost Solace – having the occasional fit of feelings and empathy really gets in the way of being a coolly cruel psychopath.
Spence targets the emotionally fragile rich girl Azaria (Melissa Roxburgh). Melissa is burdened both by the care for her violently psychotic brother Jory (Charlie Kerr) and by years of verbal evisceration by her prick of a father, Chuck (Michael Kopsa). Able to peg Spence as a scumbag, Jory offers Spence a share of his inheritance to kill Chuck. It’s a plan hatched by a psychotic – what could possibly go wrong? Add an ambitious physician (Leah Gibson) who is eager to cash in on a cure for psychopathy, and we’re off to the races.
Scheuerman is an economical story-teller who lets the audience connect the dots. Spence doesn’t even speak until well into the movie. But Scheuerman spins a great tale, and as he reveals his characters, we see that Chuck may be every bit as fiendish as Spence and that Betty the doctor, may be just as greedy. There’s plenty that can unravel Spence’s Perfect Crime, and that’s what keeps us on the edges of our seats.
Andrew Jenkins is completely believable as both the supremely confident Spence and, later, as the Spence determined to steel his way through his unexpected confusion. The rest of the cast is exceptional, too, especially Kopsa and Gibson.
So far my personal favorite at Cinequest 2016, Lost Solace will have its World Premiere on Friday, March 4, and screen again on March 6 and 10.
Restlessness, thy name is Woman. The absorbing and character-driven autobiographical drama Heaven’s Floor begins with photographer Julia (Clea Duvall) finishing a shoot, but then being reluctant to go home. Now Julia has built herself a comfortable West LA life – career, marriage, kid, friends, house. What is she missing?
Julia feeds her wanderlust by impulsively joining an arctic adventure led by Jack, a charming reprobate. This isn’t fair to Julia’s husband Ed, but he dutifully covers for her on the home front. The trip to the Canadian Arctic becomes more nightmare than adventure, and Julia is marooned in a small Inuit village where she meets an orphaned girl. Both Julia’s compassion and her impulsivity kick into high gear, and we are off on a journey that will indelibly change several lives.
Note that Heaven’s Floor is autobiographical. Indeed, what seem like the most improbable and extreme plot points in Heaven’s Floor really happened to writer-director Lori Stoll. Stoll’s real life background as a photographer also informed the film’s cinematography – and the scenes in the Arctic are particularly impressive.
There’s plenty of exciting, true life adventure in Heaven’s Floor. But, at its core, it is an evocatively crafted character study of Julia – her restlessness, impulsivity, compassion and emotional needs. Heaven’s Floor takes on a quest that may – or may not – satisfy those needs and complete the already complicated Julia.
Although it’s anything but a showy role, the part of Julia’s husband Ed is also remarkably written. Movies are not often kind to characters who resist someone’s “following their heart”, no matter how impractical or whatever the consequences to others. Yet Stoll’s depiction of the husband Ed is very sympathetic, as someone reacting with understandable resistance to impulsive, unilateral and life-changing commitments.
Clea DuVall has a knack for making small parts in good movies (21 Grams, Zodiac, Argo) memorable. Here, she gets her chance at a leading role and her Julia keeps us on the edge of our seats; we care about her, but have no idea what she’s going to jump into next. Toby Huss is very, very good as Julie’s loving but aggrieved husband Ed. Veteran Irish actor Timothy V. Murphy sparkles as the huckster adventurer Jack who could sell the proverbial ice to Eskimos.
Heaven’s Floor is one of the 129 Cinequest films directed by a woman. Heaven’s Floor’s World Premiere is at 6:45 PM on Friday, March 4 at Cinequest with more screenings on March 6 and 11.
Coming on Friday: an interview with Heaven’s Floor writer/director Lori Stoll.
It’s World Cinema day at Cinequest, as the fest rolls out its strongest foreign films. Here are my picks:
The Memory of Water: This Chilean drama explores grief, its process and its impact and might just be most masterful filmmaking achievement at Cinequest 2016. Exquisite.
Demimonde: Sex, intrigue and murder in this operatic Hungarian period drama. U.S. Premiere.
Fever at Dawn: Urgent period romance between Holocaust survivors, with an unexpected nugget at the end.
Parabellum: This absurdist and trippy Argentine drama is set in a pre-apocalyptic near future; clearly everyone should be panicking, but no one is.
Bookmark my Cinequest 2016 page, with links to all my coverage. Follow me on Twitter for the latest.
The Movie Gourmet asked the folks who pick the movies at Cinequest about this year’s program.
MIKE RABEHL is Cinequest’s Director of Programming/Associate Director.
What are your predictions for the biggest audience pleasers? Something like THE SAPPHIRES/THE GRAND SEDUCTION/WILD TALES from past festivals?
Rabehl: As the programming director, I simply do not pick favorites. But, I really think audiences are going to find complete enjoyment in films like REMEMBER ME, HELLO, MY NAME IS DORIS, BUDDY SOLITAIRE, THE COMEDY CLUB, CHUCK NORRIS VS. COMMUNISM, I LOVE YOU BOTH, and any of the BARCO ESCAPE screenings.
What might be the festival’s biggest surprise hit?
Rabehl: I think two films that are REALLY going to affect people are LOVE IS ALL YOU NEED? and UNTIL 20.
Is there any remarkable new filmmaking talent (like last year’s The Center)?
Rabehl: So much to answer here. You look at Simon Stone’s debut with THE DAUGHTER, or Michael Boroweic and Sam Marine’s MAN UNDERGROUND, and you have to be in awe of what they make you feel. Yet, I really think women director’s shine this year. You look at the French influence of Estelle Artus’ ACCORDING TO HER, the vibrancy of Alicia Slimmer’s CREEDMORIA, the purity of Jane Gull’s MY FERAL HEART, or the timeliness and importance of Kim Rocco Shields’ LOVE IS ALL YOU NEED?…It’s really tough to pick just one, So many great voices, and every single one I have mentioned is unique and, in the case of several, quite groundbreaking.
Is there anything that we haven’t seen before in a movie?
Rabehl: I think LOVE IS ALL YOU NEED? pushes the boundaries in a big way and takes of somewhere we haven’t gone before—into a world where homosexuality is the norm and heterosexuality is ridiculed. And, I think people are really going to be wowed by Chris Brown’s THE OTHER KIDS—a hybrid of fiction and non-fiction that really shines a light on the newest generation of youth. And, I have NEVER seen a film like PARABELLUM in all my years of watching cinema. Just something totally different and leaves you breathless at the end.
Last year there were some great single screenings – ’71 and Gemma Bovery kind of under the radar and Three Hearts at the California. Any Can’t Miss single screenings this year?
Rabehl: OPENING and CLOSING nights, definitely. And, I think people will be very sorry if they miss seeing THE WAVE, MA MA, and SUNSET SONG on the big screen. We have also ADDED a new film to the line-up on March 13th, with Paramount’s THE LITTLE PRINCE. I saw it in December, and it is going to be a strong contender for Best Animated Feature at the Oscars next year.
You have a good nose for films from Belgium and Norway. Any Must Sees this year from those national film programs?
Rabehl: I’ve already mentioned THE WAVE—which is from Norway. But, two more films from Norway: STAYING ALIVE and WOMEN IN OVERSIZED MEN’S SHIRTS are definites. And, from Belgium, BROTHER and PROBLEMSKI HOTEL would be my picks. Also, from Russia, don’t miss ORLEANS
Demimonde really looks like my kind of movie (noirish), and Charlie Cockey says that you liked it a lot. Anything you want to tell me about it?
Rabehl: Oh, this one is going to really going to be a sleeper. Hungarian cinema has always been one of our favorites. We have two features this year (the other is FEVER AT DAWN), but in DEMIMONDE, you have this sweeping, Gothic story that feels like a noir. It’s a combination of visual set pieces, costumes, and this incredible musical score that makes me wish to see it on the big screen, rather than the small one I saw it on.
DEMIMONDE
CHARLIE COCKEY is Cinequest’s International Film Programmer.
Some of Cinequest’s highlights always come from international cinema – IDA, of course, and THE HUNT, HEAVENLY SHIFT, IN THE SHADOW and last year’s exquisite CORN ISLAND. What should we be looking for at Cinequest 2016?
Cockey: Please don’t miss THE MEMORY OF WATER – it’s rough, emotionally, but it’s incredible filmmaking. Did you see the absolutely remarkable film THE LIFE OF FISH by Matias Bize? Same director – same quality.
My other picks are LOST IN MUNICH, MAGALLANES, PARABELLUM, SONG OF SONGS, WHY ME? and FEVER AT DAWN.
THE MEMORY OF WATER
SANDY WOLF is Cinequest Documentary Programmer.
Last year’s doc program was very strong, especially ASPIE SEEKS LOVE, MEET THE HITLERS, THERE WILL BE NO STAY and SWEDEN’S COOLEST NATIONAL TEAM. What do you see as the strongest 2-3 documentary features this year? What do you predict will be the biggest audience pleasing documentary?
Wolf: My favorite doc is CHUCK NORRIS VS. COMMUNISM, which I know you have seen. After that, my next two favorites are TRANSFIXED (which is about a transsexual trying to undergo a sex change, who also has Asperger’s) and UNDER 20 (sad but inspirational about a kid who has cancer but keeps on with his high achieving life) – I could see that being an audience favorite, too.
Three others which I favored more so than some of the others are COMEDY CLUB, DAN AND MARGO and GORDON GETTY: THERE WILL BE MUSIC.
Is there any remarkable new documentary filmmaking talent (first feature, etc.)?
Wolf: TRANSFIXED is a first feature.
Bookmark my Cinequest 2016 page, with links to all my coverage. Follow me on Twitter for the latest.
I’ve already seen over twenty offerings from Cinequest 2016, and here are my initial recommendations.
MUST SEE
The Memory of Water: This Chilean drama explores grief, its process and its impact and might just be most masterful filmmaking achievement at Cinequest 2016. Exquisite. March 2, 10, 11.
WORLD PREMIERES
Lost Solace: Highly original psychological thriller and a brilliant directorial debut. World Premiere March 4, 6, 10.
Heaven’s Floor: Absorbing and character-driven autobiographical drama about a most complicated woman and the choices that indelibly affect several lives.World Premiere March 4, 6, 11.
Cinequest hosts the world premiere of LOST SOLACE
DRAMA
Demimonde: Sex, intrigue and murder in this operatic Hungarian period drama. U.S. Premiere March 2, 3, 9, 10.
The Daughter: Based on an Ibsen play, this Australian drama is Cinequest’s Closing Night film and packs a powerfully emotional punch. March 13.
ROMANCE
Fever at Dawn: Urgent period romance between Holocaust survivors, with an unexpected nugget at the end.
DOCUMENTARIES
Chuck Norris vs. Communism: The subversive impact of movies (ANY movies) on a culture-starved society. March 4, 6 and 12
Dan and Margot: A very personal look at schizophrenia from the schizophrenic’s point of view. U.S. Premiere March 6, 7, 8.
The Promised Band: A group of Israeli and Palestinian women seek to fight through the cultural, legal, political, military and security barriers between them by forming a girl band. World Premiere March 4, 6, 10.
The Brainwashing of My Dad: Personalizes the effects of right-wing media on mood and personality as well as on the political culture. US Premiere March 5, 6, 9.
Gordon Getty: There Will Be Music: Insights into the quiet passion and creative process of a most unusual classical composer. March 6, 11, 12.
SOMETHING YOU HAVEN’T SEEN BEFORE
Parabellum: This absurdist and trippy Argentine drama is set in a pre-apocalyptic near future; clearly everyone should be panicking, but no one is. March 2. 10, 12.
COMEDY
A Beginner’s Guide to Snuff: Broad, dark and shamelessly low brow comedy with a sparkling performance by an actress as an actress. World Premiere March 4, 6, 11.
WOMEN FILMMAKERS
This year, Cinequest presents the world or US premieres of sixty features and sixty-nine shorts. And of these 129 debut films, 64 were directed by women! These include Heaven’s Floor, The Brainwashing of My Dad, Dan and Margot and The Promised Band.
HEAVEN’S FLOOR
PREVIEWS
Several Cinequest films already have U.S. distributors and are planned for theatrical release later this year. I haven’t seen them yet, but you can see them first at Cinequest:
The Helen Mirren thriller Eye in the Sky on Opening Night, March 1;
The Wave (Borgen) March 2;
Ma Ma (Penelope Cruz) March 6;
Colonia (Emma Watson) March 10;
February(Shipka Kiernan from Mad Men, Emma Roberts) March 12; and
The Adderall Diaries (James Franco, who will be making a personal appearance) March 12;
The Little Prince (already spoken of as a contender for the 2017 Animated Feature Oscar) March 13.
Take a look at the entire program, the schedule and the passes and tickets. (If you want to support Silicon Valley’s most important cinema event while skipping the lines, the tax-deductible $100 donation for Express Line Access is an awesome deal.)
As usual, I’ll be covering Cinequest rigorously with features and movie recommendations. I usually screen (and write about) over thirty films from around the world. Bookmark my Cinequest 2016 page, with links to all my coverage. Follow me on Twitter for the latest.
Tomorrow: Cinequest insiders look at the 2016 festival
