Google translates the Italian title of this film as ‘Our Boys’ – which is confusing because it appears to refer to the original novel by the Dutch writer Herman Koch. For this Italian adaptation writer-director Ivano de Matteo and his co-writer Valentina Ferlan have changed aspects of the novel’s narrative including two of the central characters, making them a boy and girl rather than two boys. The various changes (there are more) are intended to make the moral question at the heart of the narrative even more compelling.
The ‘dinner’ is a regular event in which a wealthy lawyer and his second wife entertain the lawyer’s brother, a paediatrician, and his gallery ‘explainer’ wife. It is always the same expensive restaurant and the relationship between the brothers is testy at best. The doctor is critical of his brother who he thinks has too much money and has married a ‘bimbo’. This latter is rather unfair and the film is suffused with a sense of a critique about the haute bourgouisie in Rome. The central part of the narrative refers to a dangerous and reprehensible action involving the lawyer’s daughter and the doctor’s son who are on their way home from a party. I won’t spoil what they did. The fallout is that the two sets of parents have to decide what to do and in what follows most audiences are going to be surprised by the actions that the parents take – which is unexpected, not just in terms of what they do but also in terms of who does what. The denouement takes place at the next dinner when the two couples are together again. The actions they take are also compared to an incident which takes place at the start of the film. This sees a case of road rage in which an off-duty policeman pulls a gun when he is threatened with a jack and shoots the assailant dead, also wounding the man’s son. The lawyer brother then defends the policeman and the doctor looks after the injured child.
You probably get the impression that this is a contrived narrative and that is precisely right according to the director who answered questions in the Q & A alongside Jacopo Olmo Antinori, the young actor playing the lawyer’s son (who also played a disaffected teenager in Bertolucci’s Me and You which I saw at the Bradford Film Festival in 2013). One member of the audience said that he was profoundly shocked by the ending of the film. I’m not so sure. I certainly noticed the ending but I’d got a little irritable by then because the interplay between the brothers did indeed seem contrived – loaded one way so that it could be flipped. Ivano de Matteo was an engaging aggressive character in the Q & A and he is clearly a talented director. The film won the prize for ‘Best European Feature’ awarded by the Europa Cinemas Network after its Venice festival screening which means it will get support for distribution in Europe. It has also been acquired for North America. A Dutch adaptation has already been released and a Cate Blanchett adaptation is also expected.
I thought the film was well made and the performances were good. It is an interesting moral dilemma but I did feel I was being manipulated. That may not be a bad thing if my liberal views are being challenged, but I didn’t enjoy the film so much because of the approach the director takes. I’m grateful to the ‘Den of Geek’ review of the film which points out that What Richard Did and We Need to Talk About Kevin cover much of the same ground much more cogently and more effectively.
Although this is a film produced in Flanders, all the action is actually set in Romania – and although the film presents itself like a documentary, it is actually a carefully-scripted observational study of a real family (the 2.35:1 ‘Scope presentation also suggests a fiction film). Writer-director Teodora Ana Mihai is herself a Romanian migrant who left the country as a child, growing up in Belgium and then California before film school in New York and a return to Belgium to work in the film industry. This surprising film is her second production and has already won four international prizes, including best documentary feature at Karlovy Vary and the Toronto Hot Docs festival. New prizes are being picked up all the time.
Georgiana is a teenager as Christmas approaches in the Romanian city where she lives with her six siblings in an overcrowded flat. Although she has an older brother who is 18, it appears that Georgiana is the de facto head of household as her single parent mother is in Italy earning the money the family needs as a cook for an elderly Italian family. Georgiana is expected to look after everybody, organising shopping, cooking and cleaning – and trying to achieve the more usual teenage goals of academic success, having fun and possibly finding a boyfriend. Soon it is her fifteenth birthday and the film’s title begins to make sense when we realise that it will have been eight months of struggle when mother finally returns at the height of summer.
If this brief outline of the film’s plot suggests that this is going to be some form of ‘grim’ social realism, the reality is quite different. Somehow, Mihai manages to avoid jazzing up her story with dramatic incidents but still to make the everyday lives of the family members interesting. I confess that after the first twenty minutes or so – and feeling very tired – I thought that I might close my eyes and just let the film drift by. But that didn’t happen. Instead I gradually became more engaged with the characters and their daily struggles and minor triumphs. There are some moments of difficulty, e.g. when somebody tells Georgiana that the children should be in an orphanage, but these are faced and talked through with Mum on the phone or through a shaky video link on the computer. As the sun comes out in the spring, the children get to spend more time outside and Georgiana has more opportunity to talk to her schoolfriends about exams – and to catch the eyes of boys at the swimming pool.
The great strength of the film is seemingly down to three factors. The director clearly has a great rapport with these wonderful kids, the camerawork by Joachim Philippe is unobtrusive (and the sound is effective) and the seamless editing never draws attention to itself. This is the opposite of ciné vérité in which filmmakers provoke their subjects. Instead the camera seemingly just records the events as they unfold. The children are remarkably ‘ordinary’ – they don’t seem to play to the camera, but they do play and grouch like most children. This is a real family as explained in the director’s statement on the film’s excellent website:
. . . after many months of searching and numerous interviews, I finally met the Halmacs. Their story particularly touched me; fortunately, they agreed to share their everyday life with me and with the broader public. The Halmac kids literally claimed my empathy. Every single one of them is a real ‘character’, with a fascinating and well-defined personality that I just wanted to get to know better.
Having said that, I was of course also confronted with a crucial question: who was the main character in this story? Who was holding this family together in the mother´s absence? The answer came quite naturally: Georgiana, who was about to turn 15 when we started filming, had obviously taken over the parental responsibilities. She was the new point of reference for the rest of the siblings, despite her age.
As I started following Georgiana, I discovered an extremely strong, uninhibited teenager who accepted her new ‘head-of-the-family’ role with humility, without considering herself a victim. But she did possess the realisation that she — like the rest of her siblings — should have the right to a normal, more protected childhood.
I felt privileged to be allowed into their lives to tell their story of courage and resilience. After spending so much time together we all became like family, which gave this film its intimacy and, I believe, also its strength. Getting to know the Halmacs truly enriched my life.
At the end of the film when mother emerged from the airport to meet her children I had a tear in my eye. Waiting for August is already on screens in LA, San Francisco and New York and it is due to open in Belgium. I hope a UK distributor picks it up. At 88 minutes it’s a gem. Don’t miss it if you get a chance to see it.
The 58th BFI London Film Festival closed on Sunday after offering an enormous range of films over 12 days across 17 venues (and other one-offs). The festival screened 248 features and 148 shorts. I managed 10 in three days. Even if I’d kept that up for the whole twelve days I would only just have scraped a bit off the surface. The only way to see four films a day (given that screenings tend not to start until 12.00 at the earliest) is to choose one you want to see and then work out the other titles you can fit round it. Even so, I found myself dashing between venues more than 30 minutes apart by public transport.
All the films I saw were worthwhile. Most were very enjoyable and some were painful but still interesting. I think three of the ten will get a UK release soon and one of those is one of the best films I’ve seen this year. Four of the films were directed by women and six of the screenings included Q & As with the director. Overall then the festival can certainly be made to work as a celebration of film culture. I’ve no complaints about what I experienced on screen. I do think, however, that since I first attended it some forty years ago the London Film Festival has become too big and too commercial. There are now as many ‘Gala’ screenings (mainly of UK/US films that will soon be released anyway) as high profile screenings from other festivals. The programme with its sections on ‘Love’, ‘Dare’, ‘Laughter’ etc. is very difficult to navigate. Archive restorations are buried in these sections and there is no easy way to find say Indian or Chinese films. In some ways, the festival is like ‘BFI Southbank’ as we are now supposed to call the BFI’s HQ – efficient, modern, ‘popular’ but also for me a little soulless and missing the excitement of smaller festivals. Of the screening venues, I was in NFT2 for three screenings and I think it’s time it was replaced – it’s a rather cramped rectangular shape with a screen that’s too small. I was lucky that four of my films were showing in the largest of the screens at the Vue West End and I enjoyed the CinemaScope presentations on the big screen.
Reviews to follow over the next few days.
This year’s event runs from November 5th until the 20th. There is a set of WebPages (www.leedsfilm.com) and a printed brochure. I prefer the latter as it is easier to scan the programme for films that fit one’s interests. Note this year’s brochure has introductory briefs for the different sections of the Festival and then an A – Z listing of the films. I found the old format with the films divided into sections easier to browse. For the first time the Brochure also indicates films screening on 35mm – i.e. ‘reel’ film. I counted eleven of these. However, the Brochure does not distinguish between the various digital formats – DCP, Blu-Ray, DVD etc. There is usually a Catalogue available at the start of the Festival that provides this information. This year there are fourteen venues, though the core of the Festival will be the Hyde Park Picture House, Leeds Town Hall, Vue Cinema in the Light and the Everyman. Its Centenary Year, the widest range of formats and the beautiful ambience of the Hyde Park should make this the star attraction.
The Hyde Park’s Centenary falls on November 7th. Its Open House will see films screening all day and an evening event that includes films produced in 1914, [though the BFI has only made these available on digital]. These screenings are part of a larger festival innovation – Free Screenings. There is a special page on the Film Website – Eventbrite – where reservations can be made.
The Festival programme is organised more or less in the established manner. So there is a range of new and contemporary films from round the world. The Festival opens with an adaptation of Vera Britain’s ‘Testament of Youth’, one of a number of films referencing World War I. Previews also include the Cannes Award Winner Winter Sleep. A friend in Italy, where the film was released last week, tells me that it is very long but very fine. There are also prize-wining films from the Venice, Karlovy and Annecy Animation Festivals. Plus popular style films from Iceland, India and Mexico (among others).
The Leeds Festival has a tradition of quality retrospectives. This year we have a series of films by or about the Swedish master, Ingmar Bergman. The programme includes two of his finest – Persona (1966) and Through a Glass Darkly (Sâsom I en spegel, 1961). Two lesser-known bur very able Spanish directors are featured – Luis García Berlanga and Juan Antonio Bardem. Both worked during the Franco dictatorship, when censorship was extreme. Films like Welcome Mr Marshall (Bienvenido, Mr Marshall, Berlanga 1952) and Death of a Cyclist (Muerte de un Ciclista, Bardem 1955) offer intriguing possible subtexts. They are joined by Alex De La Iglesia, whose output is as little known in the UK. And there are two films by Soviet director Konstantin Lopushansky: that he worked as an assistant to Tarkovsky will give you some sense of his approach.
Unsurprisingly there is a section on War and Cinema. The key films in this programme are J’accuse (1918) directed by Abel Gance and La Grande Illusion (1937) directed by Jean Renoir. They are outstanding examples of the best in French cinema, though unfortunately the Gance seems likely to be on digital video. There is also a video installation with a range of film material from World War I at the Royal Armouries Museum – a welcome combination of a major event and a major exhibition centre.
Masters of Film Comedy offers sight of films from Buster Keaton, Stanley Kubrick and Jacques Tati. More intriguing is Hollywood Greats: European Origins, with directors like Fritz Lang, and Billy Wilder represented by the films they made before they quit Europe for Hollywood. And there is the Hollywood bred Josef Von Sternberg working in Europe – with his muse Marlene Dietrich.
There are the regular Underground Voices, Music on Film and Cinema Versa providing opportunities to see films that experiment in subject mater and form. There is a substantial number of titles from Fantasy Cinema and an Anime Day, Day of the Dead and Night of the Dead, always popular. And there is a selection of recent short films from around the World. Finally there are three films that dramatise The American Nightmare – possibly even more relevant given very recent events.
It looks like being a full, varied and exciting sixteen days. As usual the major problem will be the choices that have to be made. A number of the films get two screenings, so check the brochure carefully. One gripe though – the Brochure offers ‘four acclaimed British regional comedy dramas, one from each of the UK home nations’: there are only three ‘home nations’, and these only narrowly missed being reduced to two. Eire, including the six counties in the north, is a separate country if not yet a united state.