My final film in this year’s Cheltenham International Film Festival (still available online here) was proably the best; vying with Antigone and Rounds for the accolade. Narratively it’s a conventional ‘coming of age’ story however as it’s set on an Innu reservation in Quebec, the cultural difference is sufficient to make it stand out. Add to that the marvellous central performance of Sharon Fontaine Ishpatao as Mikuan and Myriam Verreault’s confident direction, we get a cracking film. The film’s based on Naomi Fontaine’s impressionistic novel and the ethnically white Verreault ensured that she would be sensitive in adapting the novel through getting to know the Innu community as well as recruiting Fontaine as co-writer.
I’m guessing that the narrative is autobiographical, in general if not in the detail. Orla Smith, at the start of her interview with Fontaine and Verreault, states:
Kuessipan is an Innu word meaning, “It’s your turn.” That sentiment inspired Noami Fontaine’s novel of the same name: living in Quebec, away from the Innu community she was born in, she was confused by white people’s notions that Indigenous Canadians were this strange ‘other’. Fontaine decided it was the Innu people’s turn to tell their own story, and so she wrote Kuessipan.
This Othering of difference that reduces the diversity of a cultural group into a homogenous, and often misunderstood, blob is, of course, a huge problem. One of the functions of art is to get us to understand others and the film does that superbly with its ‘warts and all’ portrayal of thepoverty-stricken reservation life. Ishpatao portrays the vulnerability and strength of her character who is pushing against the limitations of roots and against the way she is seen by white people; she’s in a limbo and so it seems, at times, that she belongs nowhere. Mikuan has a tough time personally, with added melodramatic family tragedies, but has the inner strength needed to combat adversity.
Verreault, in her feature film debut, brilliantly integrates actors and non-actors and so the film’s authenticity comes from more than the location shooting. When Mikuan joins a school writing group it feels the scene has been created through improv so convincing is the interaction; and her poetry is great.
An interview with the lead actors, Ishpatao and Yamie Grégoire who plays Shaniss Mikuan’s ‘friend for life’, states there is more indigenous filmmaking happening in the area and it would be great if we could get more of it on the festival circuit. Particularly if they’re as good as this.
According to IMDb the lead of Stitches, Snezana Bogdanovic who plays Ana, was a leading classical actor in Yugoslavia and her brilliant performance is crucial to the success of this delve into Serbia’s murky past. The narrative centres on the fact that hundreds of children were sold into adoption when their parents were told they were stillborn. Stitches is ‘inspired by true events’ and investigates the emotional fall-out of not being sure about a child’s fate. Ana’s child was taken from her at birth and though it’s 18 years later she is still seeking evidence about what happened, even if it’s only a grave at which to mourn. Even though she now has a daughter, Ivana (Jovana Stojiljkovic), Ana’s emotional lockdown means she’s alienated from both her and husband Jovan (Marko Bacovic).
Bogdanovic plays Ana as a dogged pursuer of truth and if, occasionally, a plot point seems to be missing (Ana’s sister, for example, seems to change her mind suddenly) it doesn’t detract from the powerful story. Everyone from the police to health authorities and her family have told her give up her search. It’s not until Ana makes progress that the emotional dam starts to break that we see how good Bogdanovic’s performance actually is. Ana has been almost a blank page throughout the film and Bogdanovic is careful to avoid histrionics as she nears her goal; indeed Ana’s desire is not one we might expect..
The film was directed by Miroslav Terzić (script by Elma Tataragić) and the camera follows the relentless Ana as she works her way through each day. In one rare scene where she isn’t present Jovan is urged by the police to curb his wife and so we see the misogynist hurdles she has also had to combat. Similarly, in Argentina the Mothers of the Plaza de Mayo still await justice – as dramatised in The Official Story.
Her husband is a security guard who has unsocial working hours and there is often some confusion about what time of day it is. This emphasises that, to Ana, nothing other than finding out about her child’s fate is important; she is just going through the motions of life to the detriment of Ivana, whose alienation from her mother is readily understandable. Ana’s existence is economically portrayed as almost dream world or, more accurately, a nightmare. It’s another good film available at the Cheltenham online festival here.
This title was also reviewed by Keith at the Berlin Film Festival in 2019: See Stitches (2019)
Based on Sophocles’ play, writer-director Sophie Deraspe has made a vital, ambitious film for today: the issue of protest, which is one of the film’s manifold threads, is especially vital at the moment and long may that continue. Nahéma Ricci, in a stand-out performance, plays the titular character who is a ‘good girl’ immigrant in Quebec whose brother gets into trouble with police because of his gang affiliations. As in the Greek play, Antigone puts herself in a position to sacrifice her future for her brother and, more widely, her family. If occasionally the film over-stretches credulity that matters little when the narrative has such ambition. Some of the subjects it tries to deal with are: social media campaigning; poorly trained youth offender staff; recalcitrant courts; politicians; citizenship rules and so on. Even if Deraspe bites off more than a film can chew readily it is an exhilarating watch.
By ‘good girl’ I mean Antigone is a model student who is determined to do well and she is an academic star. In a scene early in the film she makes a class presentation about how she arrived in Canada. At first the students are disinterested however when they wake up to the fact they are hearing about childhood trauma they, like the audience, are riveted by Antigone’s performance. The scene is typical of a superbly directed film that allows the audience’s understanding to grow as the action progresses and, right at its end, we see the teacher moving forward as she realises the trauma of what Antigone has said.
The film has the trajectory of a ‘youth picture’ except where, usually, the ‘growing up’ is done through sexual awakening, here it is Antigone’s growing realisation of the politics of being an immigrant. She starts as a ‘naive’ youth who believes that truth will lead to justice and learns a tough lesson and leaves us with an ambiguous ending.
On a negative note, the montage sequences illustrating how social media responded to Antigone’s campaign jar slightly with the aesthetics of the film. The habit most people have of using phones in ‘portrait’ position, thus severely restricting what can be seen, allows three phone screens to be shown across the film frame, with a hip hop soundtrack. Whilst this is meant to indicate the impact of her campaign it doesn’t work as it’s only Antigone’s boyfriend who we see involved in getting her message across. It’s a minor criticism for, as I’ve said, you can’t downgrade a film for ambition.
Ricci is superb at conveying the intensity of someone who has not yet been downtrodden by the system, unlike many of her fellow inmates whose rebellion consists of shouting and swearing. Deraspe even gets Tiresias into a particularly chilling scene. The film won best Canadian feature at the Toronto film festival and was Canada’s foreign language entry for the Oscars and it’s definitely one to catch at Cheltenham here.
Observational documentaries, where the the camera appears to observe what’s going on without intervention, can tell us much about the events recorded. However, they need to overcome the disadvantage of not being able to ‘tell’ us information; there’s no voiceover, for instance, to anchor the images. Andrey Paounov’s documentary starts and ends with intertitles, there’s also one use in the body of the text, otherwise the film just shows Cristo’s installation at Lake Iseo, Italy, being planned, constructed and displayed.
Cristo’s installations are relatively well-known; for example he and his then collaborator Jeanne-Claude (his late wife) wrapped the Reichstag in 1995. It wasn’t so long ago that contemporary art was ridiculed (at least in the UK) by mainstream media; now it is often a tourist attraction (such as London’s Tate Modern). Cristo’s floating pier was certainly popular and it would have been very interesting to learn of its genesis and production however all we get of this are scraps of uncontextualised conversation. I can’t summarise it better than Glenn Kenny:
‘Unfortunately, [Paounov] does not seem to aspire to the Maysles’ level of engagement. In 2006’s “The Gates,” [also by Cristo] for instance… the filmmakers found enormous drama in the negotiations/battles between artists and New York City’s bureaucrats, concerning miles of fabric gates snaked through Central Park…’
Maysles was an observational documentarist too so formal constraints don’t explain the limitations of Walking On Water. Occasionally it’s clear Paounov is making a point: in one scene Cristo is shaking hands at a garden party with (presumably) the ‘great and good’ which is suffixed with a large joint of meat on display. Such satire is welcome but questions about why the Italian administrators allowed too many tourists into the town (it’s suggested the major gets his money from the bus company) are not elaborated upon. I’d like to know why virtually no women are involved and what happened to the material used afterwards (Wikipedia tells me it was recycled). Cristo tells an audience that he paid for the anchors (at $5000 a pop) himself but was that true of the whole construct? A scene were we learn his artwork based on the project are selling for millions shows his business acumen: the installation as a ‘loss leader’?
On the plus side some of the cinematography is startlingly beautiful; 10 camera operators are credited. The pier itself is fabulous and, if it hadn’t been so crowded, would have been great to walk along. This yellow ‘brick’ road is ripe for a semiotic analysis but unfortunately this is not that sort of film though I do think it is worth seeing.
The festival’s available here.
The Cheltenham International Film Festival is underway online. It started on Monday 8th June and carries on until Sunday 13th June. Anyone can view the films selected each day, but there is a limit on the number of tickets. We have already seen some of the films selected from the best of the films on the festival circuit over the last twelve months. Nick particularly wants to recommend Lillian (Austria 2019) which is playing on Saturday at 20.00. Don’t worry if you’ve missed one of the screenings, you can still catch them online for a few more days after the first screening so we can also recommend Son-Mother (Iran-Czech Republic 2019) and Balloon (China 2019). All films have a ticket price of £5.99 except for White Riot at £9.99 (see below). There is a focus on Italian cinema with five films out of 36. many of the films in the festival are ‘F rated’.
This is a small festival showing just four or five films a day but there is a good mix of fiction features, shorts and documentaries from around the world. The last film on Sunday, White Riot at 20.00 will be a highlight. This documentary will appeal to political activists and music fans alike as it traces the rise of ‘Rock against Racism’ in 1976 and climaxes with the concert in Victoria Park in Hackney. Rubika Shah’s documentary is followed by a live Q&A like some of the other screenings in the festival. So if you are a young activist or someone who remembers the marches and the concerts in the parks, this is one to savour (it won the Grierson Award at the 2019 London Film Festival).
Festivals have had to go online during the pandemic and they need support to enable them to survive and thrive in the future. Well done to Cheltenham IFF for giving us all a chance to see films online not available anywhere else in the UK. Check out all the film details and booking/screening procedures on the CIFF website.