A Bunch of Take This Waltz Tribeca Q&A Snapshots - Michelle Williams, Sarah Silverman, Luke Kirby

The Tribeca Film Festival kicked off with two of my favorite things - drinks with @ninjaworrier, and high quality Israeli cinema.

Tribeca started today! That means my pal @ninjaworrier is in town, as evidenced below.

For a film festival that's in my backyard I tend to under-attend year after year.  A few screenings here or there, sure, but I am usually terribly distracted when it's Tribeca time.  This year I'm not fucking around, though.  I have 20 tickets, including two (one for me, one for John) for Take This Waltz. 

The first film of the festival for me was YOSSI which is the "10 years later" sequel to the Israeli groundbreaking gay army drama YOSSI & JAGGER which I liked.  I might have loved this one even more, though. 

It's a decade after the events that ended Yossi's tender two-year romance with his fellow officer in the Israeli army.  He's going through the motions of a life and medical career but past events have left him a lonely and scarred man, until one day a patient with a familiar face happens to come into his hospital, stirring up feelings he's forced to face.

So sweet, so moving, so intimate, heartbreaking, hopeful. Great music including Keren Ann (paging Shiri!) and some good classical stuff too.  I was totally lost in this guy's world for an hour and a half,

Full Frame Wrap Up Post

I made my third visit to Full Frame last week, meaning I've attended 20% of their festivals since it was their 15th year.

I dare say it was my favorite in terms of film quality though we know it just means I got lucky with my choices.

"After the jump" as they say, I will post snapshots, movie list and favorites, oh my.

Full Frame Documentary Film Festival starts THIS THURSDAY.

I am officially excited for this, the most intimate and relaxing festival of all the ones I go to.  It'll be my third year (though non-consecutive). 

Here is a list of the movies I plan to see, including shorts. 

Under African Skies
First Position
Must Read After My Death
How to Survive a Plague
Radio Unnameable
Jonestown
Translating Edwin Honig
Intimate Stranger
Needle Exchange
Jason Becker: Not Dead Yet
The Waiting Room
Beauty is Embarrassing
Marley
Jesse Owens
Kiss the Paper
Eating Alabama

Five movies in two countries in four days

I didn't realize I had Monday off, so I scheduled myself to return from my Toronto mini-vacation on Monday morning in time for a full work day.

When I learned my company granted us the day off, and then I remembered my apartment belongs to my subletters til 6 PM, I knew I'd be going straight to the movie theater from La Guardia following my 9 AM arrival.

In Toronto, during the first free moment I had after work on Friday, I made a beeline for the TIFF Bell Lightbox and saw whatever ended up working OK time-wise, which in fact was GERHARD RICHTER PAINTING, a film about an artist whose name I'm embarrassed to say I hadn't heard of til I saw it on the Film Forum's "coming soon." You might as well know now - I'm neither very intelligent nor cultured. What can I say.

I did however take note of one of his pieces, a small one, at the MoMA last week and then was like yeah I could see that movie.

GERHARD RICHTER PAINTING was not a formal introduction to the painter in any way. Were I inclined to learn more about his influence on art, his upbringing, anything of the sort, Wikipedia would teach me a great deal even after watching an hour and a half movie all about him. I can tell you in great detail, though, how he paints. And it is definitely a credit to the filmmakers that I was totally entranced while watching. I'm not sure if you can spoil a documentary like this, so I feel okay mentioning that there were some truly frustrating/heartbreaking parts of his process where as a viewer I'd become fairly attached to the painting we'd watched him painstakingly create, only to stand by while he white-washed it, unsatisfied with the final product. This surprised me. My reaction, that is.

Also in Toronto I went to the former TIFF venue the Cumberland to see FOOTNOTE. This has been on my list for some time since it's rare to see an Israeli film that is anything but delightful and engaging. I would use those both of those words to describe this quirky family dramedy about competing father/son scholars. Having seen the trailer no less than five thousand times I was pretty sure I had this movie pegged, but it still managed to surprise me with both its ending and a few of the devices used to tell the story. Charming, but certainly the weakest of the four (of five) Best Foreign Film nominees I've seen from the 2011 Oscars.

Back in NYC as I said I made today a nonstop film assault at my three favorite downtown theaters. The IFC center was first on my list (and in my heart) for WE HAVE A POPE which I missed at TIFF and again at its sneak preview a few weeks earlier, which I ditched to hang out with friends in town. Sometimes there must be more to life than movies. They say. Anyhow - fine movie, not going to change my life. Actually more eh than anything. The only thing I've seen of the director's work was his Palm D'Or winning THE SONS ROOM which packed a much deeper emotional punch than this lightish fare.

Next I popped over to the Film Forum to check out THE ISLAND PRESIDENT which has been receiving glowing recommendations, most recently from my dear friend @janisgilman whose opinion I trust when she says she loves something (but not when she hates something).

THE ISLAND PRESIDENT was my favorite of the day and worked really well as an underdog story (both of a man, a political party, a nation, maybe the world). This is one of the climate change movies that made the strongest case for "NO REALLY, DO SOMETHING RIGHT FUCKING NOW PEOPLE" out of the many looming nightmare "humanity is fucked" documentaries that have been made. And it was also the one that, for me, focused more on what someone is actually doing to solve the problem than on proving that there's a problem in the first place. I find that a much more compelling tale than spending 88 minutes of a 92 minute movie describing in detail the downward path we're on, and then spending four of the final minutes on a tacked-on epilogue with a hopefully score playing over a couple of plucky folks coming up with some very "duh" ideas to fix things.

This movie worked on so many levels - as a portrait of someone persevering against immense adversity, as a plea for help from a beautiful place suffering in ways most people far away could never imagine, and as a wake up call for those ignoring problems that will surely land in their backyards sooner rather than later. Charming, inspiring, entertaining. Educational without being preachy or condescending. Just about everything I hope for in a non-fiction film. See it if you haven't yet.

My last film of the day (that I know of, it's not even 7 PM) was THE BULLY PROJECT. Or is it just called BULLY? At any rate, I've been wanting to see this since it was the toast of Tribeca nearly one year ago. I should have seen it back then, before I was tainted by all the praise, before I was influenced by the annoying as hell, sanctimonious publicity around the MPAA ratings debacle. Not that I don't hate the MPAA with a flaming passion. But. Anyway.

I donno about this movie, guys. I'm a human being, so there were absolutely some moving parts. I mean, most of it was moving. You can't be a living breathing person and not feel something very strong for these families and these kids who have suffered so much. But, I had some problems with the film if I am evaluating it objectively, or trying.

First of all, I get it. I get it. I get it. Bullying is bad. I feel like I was asked to watch four or five hours of raw footage of kids and families just dealing with the effects of it, before the film even started offering any slant or commentary besides "this is happening." And maybe that only bothered me because it's been so well covered in the past year since this was made - and I know, I know, I know. It's happening. Maybe most people seeing this in bumfuck Kansas or Florida or whatever won't be able to make the connections I feel like most people could have made in 30 minutes of "bullying is happening and it is bad" type of footage. You know what I'd like? I'd like the entirety of BULLY to be condensed into 30 minutes, and then I'd like another hour and a half of actually exploring the incredibly complex issue. Not just saying "it's entirely complex" or putting people in corners, in very black or white "these are the good guys and these are the bad guys" distinctions. Because I feel like that's how we'll start to actually maybe make some headway on solving the problem. And maybe it's a different movie - but I would have liked the film to speak with some experts - ANY experts - on the topic. Way too many personal stories; way too much footage of the CLEARLY well-intentioned administrators being made out to look ineffective. I am not a teacher and I know hardly any teachers but I think they're a fairly easy target and I can't imagine they're anywhere near the root of the problem.

This subject deserves more, I guess, is what I am saying. That's not to say anything about the intentions of the film - because without a doubt, awareness is a solid step in the right direction. The last 10 minutes were strong and they took way too long to arrive.

Also I could write a paper on how the movie completely glossed over the fact that so many of these families owned guns, advocated hunting, and at least one child talked about violence against animals. I digress - that gets a bit too political for this here viewing blog.

I'm glad I saw it, and I will not begrudge the film any of its praise. I was incredibly moved by the story of the gay high school girl - both her own strength and that of her family. I think there was something very interesting to learn about a comment her dad made about how his entire world view changed the day his daughter came out. It's a cliche to say it, but if the attention the film is getting means it's shown to any families in a similar situation who can take anything valuable from that father's tale, then it has been a success. I just think it is too loaded of an issue for this to be considered in any way shape or form the definitive documentary on the topic. I hope very much that it opens up a dialogue for richer, more nuanced, less personal and more objective takes on the issue.

Folks: Please help me choose my films for Tribeca.

Here is the first draft of my choices.  Please tell me if I am missing something vital, or including something disastrous?

Yossi
Rubberneck
Downeast
Supporting Characters
Jack & Diane
Baby Girl
A Better Life
Mansome
Nancy Please
Freaky Deaky
Fame High
Sleepless Night
Take This Waltz
Off Label
The Giant Mechanical Man
Russian Winter
Resolution
Side by Side
Any Day Now
Queen: Days of our Lives
The Avengers
The Flat
Downeast

So I might have just emailed everyone I know in NYC...

To encourage them to see Take This Waltz when it plays the Tribeca Film Festival on April 21st.

This was my favorite film at the Toronto Film Festival in 2011. I was completely intoxicated by it, from the first scene.  I love. This. Movie.

You might be interested in seeing this movie if you enjoy quality cinema, starting Michelle Williams, Seth Rogen, Luke Kirby and Sarah Silverman,and directed by Sarah Polley who made AWAY FROM HER. Please watch the trailer, and get excited.

Here are some production stills to admire. YAY I CANNOT WAIT TO SEE IT AGAIN!

THE DEEP BLUE SEA and #NDNF standout HEMEL punctuated my 6-movie weekend

I love this New Directors New Films festival happening now at MoMA and Film Society Lincoln Center!

On top of the two movies I caught yesterday, I was scheduled to go to one more today (HEMEL) which I was tempted to turn into two when I showed up impulsively for GIMME THE LOOT which I missed at SXSW.

Well, the darn thing was sold out, so I joined the standby line and was 20-minutes later denied entry, just barely, as I watched the guy in front of me (who had cut in front of me in line, no less) be the last person to get in.  No matter - I don't like getting let into movies 10 minutes after they've started, anyhow. I'm not a wait lister, at my core.

I did have my heart set on a six-movie weekend, though, which meant squeezing in THE DEEP BLUE SEA at the Paris theater around the corner instead.  I missed it at TIFF '11 and since I have a general fondness for Rachel Weisz, figured why not.

Well, I'll tell you why not.  Because that audience was full of useless good-for-nothing chatterboxes who had clearly not left their house in months if not years.  That's the only reason I can think of for their atrocious behavior in a public arena.    Conversations.  At full volume.  During the trailers. During the opening scenes.  I figured these 80 year olds just needed to get their yayas out and they'd quiet down once they got into the story. Not so, my friends.  I was surrounded by a chorus of conversationalists.  It's something out of a nightmare.  I switched seats multiple times, unable to talk (or glare) any sense into the offenders.   It's more than just being spoiled by the Drafthouse.  It's unacceptable and I almost walked out.

It's fair to stay that slightly informed my mood during the movie, but even so - it wasn't for me.  A beautiful, dramatic period piece with every shot framed and lit to perfection.  Yes, gorgeous. Nice job. But.  I didn't care too much.  The story dropped me in the middle of something without telling me who or why, and didn't get me there fast enough.  Eh.

I dashed out of the theater and ran back to MoMa for a 5:30 screening of HEMEL which I actually had a ticket for -- in other words, no need to hope and pray no d-bags cut me off in the standby line.

I'm not sure what stood out to me about the description of HEMEL or why I chose it in particular but I'm sure glad I did.  This is a compelling and at times uncomfortable Dutch drama whose main character could be compared to Michael Fassbender's sex addict in SHAME.    Except she's a young woman - at times defiant and unflinching in her conquests, other times wounded and unpredictable. She has a lot of sex - and she needs to.  A strong, focused, bold young woman with everything going for her - but nobody nobody who genuinely cares for her, except perhaps her art director father, with whom she shares a skin-crawlingly curious close relationship.

I really loved this!  It was totally one of those movies where I catch myself halfway through leaning forward in my seat, elbows on my knees, biting off what little fingernails I have left.  A performance like this is not one with Oscar clips but one that sneaks up on you in the way that you can't imagine this woman as anything but this character. If I were to by chance pass her on the streets of NY some day following the screening, I'd expect her to blurt out the c-word or give my (non-existent) boyfriend an inappropriately-flirtations once-over.

And the depth of her character! I got the feeling they could have taken this woman's story and made 20 different films about her.  There were so many sides to here to which the screenplay only alluded, that could have been compelling films in and of themselves.

I am not sure about the distribution plan of the film but I hope more of my movie-lover friends get the chance to check it out one way or another.

LAS ACACIAS at New Directors New Films (#NDNF @momafilm)

#NDNF Has Started!

My faithful readers (all two of you - hi @lousypictures, Hi @soOus) will recall that one of my movie goals this year was to visit the theater at MoMa. I HAS DONE THIS!

Even if I hadn't joined the MoMa this week for $70, I would have had my first visit this week to the movie theater at the Metropolitan Museum of Art anyway, because this week, the city is playing host to the New Directors New Films series at Lincoln Center and MoMa.

So, this Saturday, March 24th, marked my very first visit to the movie theater at the MoMA.  It similarly recommended my first screening at #NDNF.

I've bought a few tickets and I plan to add to my slate as I go along, @kenjfuj style.

My first film was one called LAS ACACIAS  I likely chose this one because it is Argentinian, and I like Argentina.

This movie took place over the course of two or three days. I would not call it a gripping and edge-of-your-seat shoot-em-up sweat-inducing story.  This one was about as subtle as it gets.  And by subtle, I mean slow as fuck but ultimately with the depth of character that you look for out of a little movie like this.

A truck driver begrudgingly transports a rural young mom and her infant child from Paraguay to Buenos Aires.  Now you know the beginning, middle, and end of this movie. But you don't know how authentic, how "slow because that's kind of the pace at which life moves" the narrative was, how innocently at least half of the audience sighed at the sweetness of the infant featured on film.

The film is virtually free of dialogue, especially during the first 30-minutes. I was cross about this for a while, until I realized the rest of the story used this believable silence to build a relationship that peeks through the quiet, dances around the warranted awkwardness and annoyance, and ultimately pays off in a way that will leave you wanting nothing more than to move to South America and give birth to the cutest, sleepiest, sneeziest Argentinian babies.

Or maybe it's just me. Regardless - if you've had some coffee, this is a rich, sweet, deep little story that deserves to be told.

::: BRB pricing flights to BA:::

THE HUNGER GAMES - More Opinions.

The Hunger Games is destined for greatness, despite what you or I think of it. It made almost $70mm in one day.  I mean. The writing is on the wall, no matter the quality of the entertainment.

That somehow doesn't stop me from posting my thoughts.  Three days after I finished the novels (all three), the first installment of the blockbuster film adaptation was released.  Although my co-workers organized an outing on Wednesday of next week, I couldn't bear for so many of the people I follow on Twitter to have seen it so far before I.  So, when offered the opportunity to see it in the morning after release on the upper West Side? yes, I snapped it up.

The "best American Sci-Fi since the Matrix?" Sure - I don't know enough about American Sci-Fi to disagree.  Highly, highly enjoyable and true to the books.

What I Liked:

* The main character.  Just like the book, American teenagers (and general audiences) have a real and true hero I can vouch for. Someone complex, someone brave. Someone who is more than a pretty face.

* The Tracker-Jacker kill - TENSE!

*Stanley Tucci. Yes. Yes, yes, yes. 1,000 times, yes.

* The screenplay - I didn't miss much that they cut. I wasn't offended by the minor changes they made between book and movie.  There was no change that compromised the tone/purpose/etc. 

* Jennifer Lawrence - She brought it.  She has the acting chops to play up the shadows of this character.

What I'm not so sure about:

* Gale casting.  He' s a little too pretty and not woodsy enough.  I felt like I was watching a studio-head's decision of what one party in a love triangle should be played by. I admit he doesn't have the most important role in this film, and I will stand by and see how his contribution changes over the course of the next two movies.

* I'm not sure the movie emphasized enough the starvation and suffering - both in District 12 before the games, and of the tributes (mainly our heroine) during the games.

* Why did not all of the deaths lead to a gong noise? Sometimes it sounded, and sometimes it didn't. Odd...


I do plan to see the movie again on Wednesday, provided I don't get distracted by the tons of other film events happening at NYC this week.