Posted by Roy Stafford on 8 April 2014
The two brothers in ‘Whale Valley’
Bradford prides itself on its programming of shorts. I’m not really a shorts fan and I do tend to neglect them, though I appreciate the importance of short filmmaking in the ecology of film production generally. BIFF 2014 featured short films in a variety of programming slots. The ‘Shine Short Film Competition’ comprised six films shown as a programme twice and individual entries shown before the main feature elsewhere in the programme. I saw only two of the six, one of which, Cadet (Belgium 2013) won the prize (report to follow). I didn’t see any of the Sydney Underground Shorts which screened before the late night horror films in the ‘Bradford After Dark’ programme. (I couldn’t watch the late-night films as there is no all-night public transport to get me the nine miles home.) I only saw one of the Charles Urban early scientific films – these too had a separate programme.
I did see most of the ‘Cinetrain: Russian Winter’ films that were dotted across the main programme. This funded production programme invited international filmmakers to make films about communities in Northern Russia during the ferocious Russian winter. It’s an interesting project with information available on its website. Bradford showed all seven films which attempted to explore “the most common stereotypes about Russia”. These include excessive drinking, open-air bathing in the depths of winter, traditional Russian crafts etc. I was most intrigued by the village dwellers in one community who complained about the disintegration of local community/collectivist spirit. They viewed the new capitalist Russia with mistrust and felt that today people steal from each other to get by when they used to help each other. That’s a side of the new Russia that doesn’t get as much media attention as it should.
Other than these separate programmes, each of the ‘official features’ was also accompanied by an appropriate short film. I confess that under pressure with several screenings on the same day I sometimes missed the short on purpose to give myself a few extra minutes of breathing space. I’ll just pick out one other short (some are mentioned alongside the feature screenings). The one that impressed me most (i.e. appealed to my interests) was Whale Valley (Iceland-Denmark 2013) directed by Arnar Gudmundsson. This tells a complete and satisfying story about two brothers – a genuine ‘Nordic noir’ – on their farm (see the still above) in 15 minutes of skilled narrative filmmaking. I wasn’t surprised to learn about its success at festivals worldwide.
Posted in Belgian Cinema, Danish Cinema, Festivals and Conferences, Icelandic Cinema, Nordic Cinema, Russian cinema, Short films | Tagged: BIFF 2014 | Leave a Comment »
Posted by Roy Stafford on 1 April 2014
A Joycean palimpsest – a text with textual amendments, notes, embellishments, a text upon a text.
I haven’t laughed so much in a cinema for a long time. This ‘mid-length’ documentary (52 mins) is extremely simple. It comprises a single camera roaming, mainly in close-up and shallow focus, around a room in Zurich in which the James Joyce Foundation offers the chance to discuss Finnegan’s Wake on a regular basis. The informative website gives all the background. The participants in the discussion in the film are mainly older people with just a couple younger, and presumably academics. We learn that for some of them this is their third time reading the book a few lines at a time and attempting to find all the possible meanings in this, Joyce’s richest book in terms of allusions.
The group comprises Europeans and at least one North American. The whole conversation is conducted in English and my only gripe about the film is that on the print we saw everything is also subtitled in English. It is certainly helpful to see Joyce’s words in print since so many of them are recondite and spelt in interesting ways. However, to have all the dialogue subtitled is unnecessary and a distraction. Everyone speaks English well enough and the subs aren’t needed. It’s revealing how easily the eye is drawn to read when there is no need. Having said that, Dora Garcia’s film isn’t particularly interested in the image as such, although the cinematographer tries to ring the changes. There are a couple of scenes outside the room in which one of the participants expands on the background to the group. Speakers are often framed in profile or are only seen partially, often out of focus. The words are the important elements.
I think that I laughed most at the naiveté and sensitivity of the participants concerning sex, death etc. – topics Joyce was gleeful about exploring. Mostly it’s like watching University Challenge and enjoying getting question right before the team. But I shouldn’t underestimate these guys and they do know a lot. It’s a pleasure to see people working together without being competitive.
I understand that the work is actually part of a larger project. That makes sense. As it stands I don’t think it fits into the European features competition. I tend to go by the French definition that requires a feature to be 65 mins or more. But if you do get the chance to see it, do take it.
Posted in Belgian Cinema, Documentary, Festivals and Conferences | Tagged: BIFF 2014, Finnegan's Wake, James Joyce | Leave a Comment »
Posted by Roy Stafford on 17 February 2014
Mike Verdrengh as Raymond Jonkhere, the owner of the private bank that is robbed – and the ‘face’ of ‘Salamander’?
For some reason that is beyond me, the British seem to be quite willing to mock Belgium. “Name 10 famous Belgians” is a tired old joke. I’m not sure how much of this prejudice is behind the generally negative reception of the Belgian drama series Salamander now airing on Saturday nights in BBC4’s ‘euro drama’ slot. I’ve watched the first four of 12 x 45 mins episodes and I’m not going to rush to judgment at this stage. I’m certainly going to ‘read’ the serial seriously over its full length but it is worth making a few initial observations.
‘Salamander’ is revealed to be some form of secret cabal operating within the Belgian establishment. In the opening episode a well-executed robbery at a private bank leads to potential exposure for the members of Salamander when their safety deposit boxes are opened and papers taken. A Brussels detective is tipped off that a bank robbery has occurred somewhere in the city. He begins to investigate but it soon becomes clear that the authorities want to hush up the crime and the detective finds himself isolated as a ‘wanted man’ when his informer is killed.
The main charge against the serial is that it isn’t The Killing or The Bridge. This is silly for several reasons. First it’s a different genre. I’m not quite sure yet which genres are important but the best bet seems to be the conspiracy/paranoia thriller with elements of political drama like House of Cards. Second this is 12 x 45 mins rather than 10 x 60 mins. I think that this is probably because Salamander was made by a Belgian independent (best known for animation as far as I can make out) for a commercial TV channel. 45 mins is a standard length for advertising-led television. The Danish version of this was Those Who Kill and in fact Salamander does follow similar thriller narrative lines.
The more serious charge against Salamander that I’ve noted is that the women in the serial seem too quiescent (and that the central character Inspector Gerardi is too ‘old school’, macho etc.). Again it’s a bit early to make this charge and anyway in Episode 3 we are introduced to a woman who looks like she will be ‘active’ and the Inspector’s own daughter looks like she too may become involved. I have to say that Filip Peeters seems well cast. The one thing that does intrigue me is that this a Flemish language serial, despite being set in Brussels (which I’ve always taken to be Francophone). Given the current state of Belgian politics re the language/culture division I wonder how this will be handled in terms of the conspiracy?
At this point I can’t quite imagine how the remaining eight episodes will work out – and that must be a good thing. I’ll be watching over the next four weekends.
Posted in Belgian Cinema, Global television | Tagged: conspiracy, Flemish language, paranoia thriller, political thriller | 5 Comments »