I very much enjoyed the four days I spent at the recent Glasgow Film Festival. I also enjoyed learning about the rest of the festival events I couldn’t attend via the entertaining Twitter feeds from other festivalgoers.
Looking back over the screenings I selected it’s clear that most of the ones I chose were from established directors and/or prizewinners at other international festivals. That wasn’t necessarily my intention, more the result of my preference for foreign language titles showing at Glasgow Film Theatre on my four selected days. I really like GFT as a venue and I chose a hotel less than 5 minutes walk away. But there was so much more to this festival and popular strands included horror, special events, videogaming/’Nerdvana’, music films, Australian films, Glasgow’s film history, documentaries etc. some showing in interesting venues around the city. It’s usually a good sign when so much is going on and you find it difficult to choose. I’d seen the wonderful Girlhood (France 2014) at the London Film Festival but if I’d known some of the young actors in the film were going to attend the screening I would certainly have watched it again. Other Q&As and festival guests looked promising as well.
Overall my impression is of an audience-friendly festival with a strong selection of some of the best festival films of the last year plus new titles and a good mix of other screenings. In terms of festivals I know reasonably well, I would say that Glasgow’s fest is most similar to Leeds in the number of screenings and the spread of different strands in non-traditional venues. GFT’s central position is a big advantage in this comparison. I heard at least one person suggest that Glasgow is now preferable to Edinburgh as a festival venue. That sounds like fighting talk but since I’ve not attended Edinburgh I can’t comment.
I’ll certainly be trying to return to Glasgow in the next few years and I heartily recommend the festival to anyone looking for a boost during February/March.
This was one of the first films on my booking list. Roy Andersson won the Golden Lion at Venice in 2014 for this, only his fifth feature in a career that began in 1970. I enjoyed his previous film You, the Living (2007) very much and hoped for something similar but also different. ‘Pigeon’ is referred to as the third in a loose trilogy so it is indeed similar and at first I was a little disappointed because the overall idea and the approach – several short comic scenes knitted together by a handful of characters – are identical to the earlier film (and I suspect to the first in the series, Songs From the Second Floor (2000) which I haven’t seen).
It wasn’t until a few days later when I studied Andersson’s excellent website for the film, watched the trailer and flicked through the stills that I began to remember more of the sketches and to understand more of what he was getting at. The strange title refers to the painting by Pieter Bruegel, ‘Hunters in the Snow’ (1565), and the three birds sat on branches in the tree in the foreground. This famous painting has been referenced by other filmmakers, including Andrei Tarkovsky. Andersson suggests that the birds take a panoramic view of human activities and the human condition – and that they are astonished that humans cannot see the coming apocalypse. Andersson shares their view and intends that we should be aware that we could change our behaviour and avert the tragedy for ourselves and the planet.
In order to present the pigeon’s view, Andersson selects a distinct aesthetic, moving away from realism and naturalism and drawing on ‘Neue Sachlichkeit’ – the ‘New Objectivity’ art movement of Weimar Germany in the 1920s. He’s referring to both fine art and photography and in his notes he refers to a particular photograph by August Sander, entitled ‘The Pastry Chef’ (1928) in which the subject looks “trapped, aggressive and dangerous”. So, in his vignettes looking at the lives of ‘ordinary people’ in Sweden, Andersson sets out to tell little stories, some tragic, some sad, some pathetic. His chosen approach involves using painted sets with reduced colour palettes and using his company of ‘ordinary-looking’ actors with pale make-up. His camera usually remains static and keeps its distance from the actors so the vignettes play out in tableaux – often with a great deal going on in the background.
Some of the vignettes are historical such as the one represented in the image above which refers to (I think) the young king Charles II in the Great Northern War of the early 18th century in which the Swedish Empire took on the Russians – please correct me if I’ve got this wrong. The bar is a popular location for Andersson since people go there to drown their sorrows and to seek solace with strangers.
The main linking device between the vignettes id the sad progress of the two travelling salesmen. If you look carefully you’ll see them in the image of the bar above – one of them is wearing the ‘Uncle One-Tooth Mask’, one of their ‘bestsellers’.
I remember some very darkly comic moments in Andersson’s previous film. One included a man eating from a large box of popcorn as he watched an execution in a prison. This new film has two very disturbing scenes featuring animal cruelty and the hideousness of (British) colonial barbarism. I confess to being puzzled as to exactly what Andersson intended these to say – but perhaps I’m expecting too much in terms of clarity.
Overall this is a wonderful film because of its use of film language as well as offering both comic relief and piercing commentary. Oh, and I mustn’t forget the music. I loved ‘Limping Lotte’s Bar’ in 1943.
The trailer from the Roy Andersson website:
GFT3 was packed for the second screening of this documentary at 10.45 in the morning. It all bodes well for a new film by Wim Wenders for whom documentary has been the most successful film mode in the UK in the last twenty years (i.e. Buena Vista Social Club, 1999 and Pina, 2011). He co-directs Salt of the Earth with Julian Ribeiro Sagado and it is his co-director’s father, the photographer Sebastião Salgado who is the subject of the film.
Going into the screening, the only thing I knew about Sebastião Salgado was that he was a great photographer as evidenced by an exhibition I had seen at what was then the National Museum of Photography, Film and Television in Bradford in the 1990s. A single B+W image of the thousands of workers toting loads up and down the steep sides of an open cast gold mine in Brazil has stayed with me ever since. That image (and associated film footage and stills – see the image above) is used early in the film to introduce us to Sebastião before we see him at work more recently and then flashback to his university days and the launching of his career.
Salgado was born in North-East Brazil on a farm/plantation and after degrees in economics he found himself working for agencies like the World Bank and making frequent trips to Africa. He was living in Paris with his wife Lélia when the couple made the brave decision to invest in a new joint career in photography. Sebastião became a social documentary photographer who spent months and then years away from home for long periods on ambitious projects like ‘Workers’ and Lélia worked with the agencies, catalogued the images and organised the project material.
My viewing companion is a photographer and he confirmed the talents and skills that Salgado employs. Working mainly in B+W in the earlier projects, he shows great technical mastery of exposure and light control, most evident in the extraordinary depth of field of massive landscape images. He also has a fabulous eye for composition and, presumably enormous patience and the social skills to persuade his subjects to ‘pose’ informally to make his compositions work.
The key moment in Salgado’s story came when he experienced the aftermath of the genocide in Rwanda. After coping with other disasters like drought in the Sahel and blazing oilfields in Kuwait, the massacres in Rwanda devastated him and he lost his faith in humanity. In the final stage of his life he has turned to wildlife, the environment and isolated communities who live off the land. We follow him shooting for new projects in Siberia, and the rainforests of South America and Indonesia. He and Lélia have also transformed his family farm, ravaged by deforestation, and replanted 2 million saplings as the basis for a new national park. Salgado’s life has been remarkable – and he is a good storyteller.
The documentary is expertly compiled from archive and new footage. France is the main production partner and Salgado speaks in French most of the time. Wenders provides an excellent introductory commentary in English (the language of international cinema) and there is some Portuguese. I found every moment of the 109 minutes compelling and I think this will be a big hit. Salgado’s images on a big screen are extremely powerful. I should add one note of caution. When I spoke to a friend who also remembered seeing the exhibition in Bradford, he said that he did worry that the images had been presented as primarily art objects and not in their proper political context. I understand this argument and I think that it is something to consider, but in terms of the film’s narrative I think that Wenders and Julian Salgado foreground this issue so that viewers are aware of it. Even so there are a handful of images from Africa in both famine and genocide sequences that are truly horrific and some audiences will find them upsetting.
Curzon have got the rights for the film in the UK but since it doesn’t have a BBFC certificate yet it may be some time before it hits cinemas. Here is the US official trailer. Feast your eyes on these images and I defy you not to plan to see the film if at all possible. You won’t be disappointed.
Writer-director Alice Rohrwacher made a strong début with her 2011 film Corpo celeste (Heavenly Body) which showed in Director’s Fortnight at Cannes, winning a prize. Although Artificial Eye released the film in the UK in 2012, it got little exposure and I missed it. I’ll certainly seek it out after seeing her new film The Wonders. I understand that both films have something of an autobiographical influence and the director’s sister Alba Rohrwacher, well-known on Italian screens, appears in The Wonders.
Alice Rohrwacher has an Italian mother and a German father who was a beekeeper. These are all part of the ‘narrative material’ of The Wonders. I find it difficult to categorise this film. There are strong elements of neo-realism, sometimes developed in surprising ways, and also moments of if not ‘magic realism’ at least something vaguely spiritual or fantastical. It’s also funny, dramatic and very moving. In genre terms I suppose it is a ‘coming of age’ narrative, but just as importantly it is a commentary on aspects of contemporary society – delivered with humour but also acuity. The Wonders won the Grand Prix at Cannes in 2014, but I’ve also seen reviews that describe it as ‘slight’. I couldn’t disagree more.
The family at the centre of the film comprises an Italian mother, Angelica (Alba Rohrwacher), a German father (Belgian actor Sam Louwick) who keeps bees in the organic/’natural’/’bio’ manner, their four young daughters and Coco a family friend (also German, I think). It isn’t clear if they are squatting on the land or renting it. Clearly they don’t have much money and the bulk of the work seems to be organised by Wolfgang, but actually carried out by the eldest daughter Gelsomina. I’m not sure how old she is meant to be – 12-13 perhaps? The ‘business’ has all kinds of problems, but the two ‘disruptions’ that drive the narrative are a reality TV show, ‘The Wonders’, and the arrival of a 14 year-old boy seemingly as cheap labour on some kind of rehabilitation/probation scheme (he’s German as well). The reality show is a brilliant satire of Italian TV in which Monica Bellucci in a long white wig is a kind of carnival queen looking for colourful locals who in this part of coastal Tuscany can represent the farming community and evoke the ancient Etruscan culture. Wolfgang ignores the show but Gelsomina is entranced and secretly registers the family for the show. The boy says very little but entrances the girls with his ability to whistle.
“Le meraviglie is a film about the countryside, about the somewhat peculiar love between a father and his daughters, about missing male sons, about animals and little people that live in the television. It is a film in the viterbese dialect, but when the characters are angry, they even respond sometimes in French and German. Le meraviglie is also a fable.” (Alice Rohrwacher in the Press Notes)
I think that the film can be enjoyed simply on the level of the coming of age/family story (which does have a slight ‘twist’ at the end) but its real strength is Rohrwacher’s commentary on being an outsider – or an outsider community. She stresses that her setting is a specific region of Italy, where Tuscany, Lazio and Umbria meet and where dialect is still important and mingles with the languages of migrants. She points out that though many think of rural areas as somehow more ‘pure’ and monocultural, they are in this region likely to include the mixed family groups of which this family is representative. (Alexandra Lungu who plays Gelsomina comes from a Romanian family.) But it is more than just a story of migrations. Rohrwacher also points to the marginal position of Wolfgang and Angelica in terms of politics and lifestyles:
“They are people that arrived in the country as a political choice because in the cities there were no more jobs and years of demonstrations had been stifled by violence and disillusionment. So they read books, learned to make a vegetable garden with handbooks, tried hard, and fought the seasons alone. They are all ex-somethings, with different languages, distant pasts, but with common ideals. I have met many families like this in Italy, but also in France, in Greece. Small communities untethered to the rest, with autonomous rules and a parallel life to that which we read about in the newspaper. But it is not a simple life: you have to work hard and it is difficulty to survive without the comfort of belonging to a movement. You are not a true farmer because you are not from the land, but you can also not be defined as a city person because you have severed ties to the city. You are not hippies because you break your back from sun-up to sundown, but you are also not agricultural entrepreneurs because you reject the use of more efficient agricultural technology in the name of a healthier life. Not having a movement, a definition which can be ascribed from the outside, all that remains is one word: family.”
I realised while watching the film that I’d seen another film about a struggling family living on the land. Will It Snow For Christmas? (France 1996, dir. Sandrine Veysset) is a much bleaker and more realist film but it would be interesting to compare them. I’m still thinking through my readings of The Wonders – there are further remarks from Alice Rohrwacher about the post-1968 generation and conflicting ideas about what the changes post-1968 might mean – but I think it is also worth exploring what the film means in terms of the large number of migrants from Africa now entering Italy as the access point to Europe. I’ll definitely be coming back to this film which has been acquired for a UK release by Soda Pictures.
This was the film I most wanted to see in Glasgow, simply because writer-director Naomi Kawase is one of the most frequent Cannes prize contenders never to have had a film released in the UK. No doubt some of her earlier films have been at festivals here, but if so I’ve missed them. Female Japanese auteurs are not easy to find so I’ve been on the lookout for a Kawase film for some time. Inevitably, the fact that this film is a French co-production will help its sales. France and other Francophone territories in Europe have been her only outlets so far but the catalogue suggests that Still the Water will be released by Soda Pictures in the UK.
Without any previous experience of the director’s films I’m struggling to find a way in to discuss the film and to respond to some of the reviews from Cannes where the film was in competition for the Palme d’Or (Kawase has previously won the Camera d’Or and the Jury Prize and in 2013 she was on the main jury panel). What, for instance, to make of Derek Elley’s Film Business Asia Review which is headed “More empty, pretentious ramblings from self-styled auteur Kawase Naomi” and scored as 2/10? By contrast, Indiewire thought the film had a chance of winning the Palme d’Or. I’ll try to work somewhere between these two.
Still the Water is an intriguing title (and as Elley points out, the Japanese title means something quite different which doesn’t match the plot either). The story is set on the island of Amami Ōshima, part of the archipelago that stretches between Kyushu, the southernmost of the four main Japanese islands, and Okinawa. Apparently Kawase, who grew up in the Nara region of Honshu, has discovered that her ancestors came from the Amami Islands. Apart from the beauty of the islands, two other elements of local Amami culture are significant. One is the presence of female Shinto priests or noro and the other is the importance of local folk/community song traditions. The waters are often not still because the region is subject to typhoons.
The narrative begins with the body of a tattooed man being found in the sea and a subsequent ban on sea bathing – ignored by Kyoko, the strong and very beautiful 16 year-old daughter of a family that owns a beach restaurant. The body had been found by Kyoko’s classmate Kaito and the young couple are in a relationship that hasn’t yet fully formed. While her father cooks the food and runs the restaurant, her mother Isa is seriously ill in hospital and will eventually come home to die. Isa is presumably a noro – though the subtitles call her a shaman. Kaito lives with his mother, a waitress in a local restaurant. She is separated from the boy’s father, a tattooist in Tokyo who Kaito visits one weekend. His mother is often out with new partners and this has an impact on Kaito. The narrative includes the mystery of the body in the sea as well as the romance between Kyoko and Kaito, but there isn’t really much plot. The main question seems to be how the different issues facing the couple’s parents will have an impact on their children. More important, perhaps, is the discourse about nature and spirituality, ecology and human psychology. One obvious point is about the juxtaposition of death – scenes of a goat being slaughtered by the old fisherman are presented in close-up detail and witnessed by Kyoto – and the blossoming of romance and sexual joy.
Those who don’t like the film seem to be most offended by the lack of narrative drive and what they see as Kawase’s pretentiousness. This view ignores the sheer beauty of the film and the sensitivity of the performances. The other stumbling block may be the ‘otherness’ of Japanese culture. It often seems to me that the importance of the sea in Japan’s ‘island culture’ isn’t properly recognised in the West – nor is the Shintoist belief in the spirits which inhabit specific locations. Perhaps the title refers to the oncoming typhoon and the possibility that the love between Kyoko (who is expected to inherit her mother’s powers?) and Kaito will ensure that ‘still water’ will be restored. Personally, I picked up echoes of Miyazaki’s Ponyo on the Cliff By the Sea (2008) – simply in terms of the spirits of the sea, the ecological questions and the triumphant young female figure. The look of the film, however, comes from a different kind of ‘magic image’ in the work of veteran cinematographer Yamazaki Yutaka, best known in recent years for his work with Kore-eda Hirokazu on his films about families and children. Still the Water benefits from his photography of the sea and landscapes as well as the characters. Equally important is the music, including the traditional songs sung in Isa’s last few hours on the beach. I like films in which the characters sing.
Now I’ve thought it through, I’m not sure that the film is a masterpiece but I certainly enjoyed it and I look forward to seeing it again. I’m also going to have to add this film to my list of movies with great cycling scenes. Here is the French trailer with English subs giving a good idea of the emotional intensity of the film.
Life in a Fishbowl is the kind of film this blog seeks to promote. It has been a major hit in its own territory and won in virtually every category of Iceland’s national film awards. Internationally it has been praised as well – but it has also been dismissed as formulaic and ‘routine’. The Hollywood Reporter review is a case in point. It compares the film unfavourably to two respected Hollywood films and never discusses it as an Icelandic film. This is the kind of thing that really pisses me off. Let me explain.
Life in a ‘fishbowl’ is in some ways an excellent metaphor for what it must be like to live in a nation of 350,000 people which has nevertheless produced international performers in a number of disciplines. It’s perhaps easier to be a big fish in a small pond, but it’s quite difficult to be ‘unknown’. The film has been described as a multi-strand narrative and an ‘ensemble piece’. I’m not sure it is either of these, but I did keep thinking about those Nordic Noir novels and long-form TV serials. The film runs to 130 mins but I could happily have watched it over four or five single one hour episodes. I’ve learned from Icelandic crime novels and a handful of films that there is plenty of darkness in Icelandic stories – but also possibilities of hope.
There are three central characters in Life in a Fishbowl with personal narratives which will eventually overlap. Eik (Hera Hilmar) is an attractive young woman who was a teenage single mother and now has an 8 year-old daughter at 24. She works in a nursery school and supplements her income by working occasional nights as a call girl for local businessmen – trying to reduce her overdraft. Sölvi (Thor Kristjansson) is a handsome young footballer who has had to give up the game because of injury and has been taken on as a banking executive, adding some glamour to the management team. Finally, Móri (Þorsteinn Bachmann) is a poet and novelist who has become a sad alcoholic – but one still capable of producing an important autobiographical novel. These three are indeed familiar characters, but in context they represent much more. While Eik is perhaps the familiar figure of the damaged young woman n Nordic Noir, the other two characters are Icelandic heroes – the artist/novelist and footballer who might be feted in Northern Europe capitals as well as at home, especially in the years immediately before the financial crash of 2008 devastates Iceland. So, we have Iceland on the edge of the precipice with two potential national heroes and stories that delve into a dark past. I won’t give away what happens except to say that all three characters have a link to small daughters. The direct link between the three is that Sölvi has a daughter at the school where Eik works and that he is charged with trying to buy Móri’s house as part of his bank’s redevelopment plans. Móri’s house is near to the school and he likes to watch the young girls playing in the school grounds. That sounds provocative but don’t jump to conclusions. I think this manipulation of what seems like three typical characters in familiar narratives is actually well-worked. The performances are all very good, the ‘Scope cinematography works as does the music. It’s a Nordic melodrama and I had tears in my eyes at the end. If you are a jaded soul who sees everything through Hollywood lenses you might not get too much from the film but for the rest of us, it works like a treat. This second feature by writer-director Baldvin Zophoníasson is one of the films competing for the audience award at Glasgow. It stands a good chance.
I don’t know if I’ve seen Colleen Moore in a movie before, but I’m certainly going to look out for her now. Why Be Good? directed by William A. Seiter is a recently restored First National picture in which a surviving Italian print has been ‘married’ to a Vitaphone disc recording. The restoration looked very good to me but I would need Keith to tell me if the speed was correct. In some of the dancing scenes the swift movements seemed just too quick to me. The soundtrack of music and ‘effects’ works well with a standout when two drunks sing and it is represented by muted brass instruments.
The story is very familiar, especially for the late 1920s early 1930s before the Hays Code came into force and the possibility of representing sexuality directly disappeared. Colleen Moore plays the shopgirl by day who is a ‘hot dancer’ by night and unwittingly becomes involved with the son of the department store’s owner. The young man’s father disapproves and fears she is a gold-digger – but she will prove him wrong. ‘Pert’ Kelly is a decent Irish girl from the Bronx. I looked up the unusual first name and discovered a reference to a Celtic name given to a baby boy – perhaps naming was different in 1900? The important element in the story is that Pert is a ‘good girl’ who has to pretend to be sexually aware to be accepted. She loves to dance (and the music and dance sequences are excellent) but recognises that her dancing in skimpy dresses with flashing legs is construed as a come-on. This portrayal works because Colleen Moore is such a lively actress with real personality. She was already 29 but could be younger the way she plays the role. The character is the genuine ‘modern’ young woman of the jazz age – smart and intelligent but also sensible.
I realise that my lack of knowledge about the stars of this period is a handicap. I think I read that the bob worn by Colleen Moore was copied by Louise Brooks whereas I had assumed that Brooks was the originator. Can any scholar confirm either way? What’s important is that while both women had the same hairstyle, Brooks became a femme fatale but Moore, in this picture at least, is the fun-loving ‘jazz baby’.
A second restoration of another Moore picture from 1929, Synthetic Sin, also directed by Seiter has also been seen in the US so I’lll look out for it appearing over here. Unfortunately some of her other successful films seem still to be lost.
The second Chinese film I saw in Glasgow offered both similarities of theme and great contrast in aesthetics. Dearest directed by the Hong Kong producer-director Peter Chan is more commercial and possibly more exploitative for some than Wang Xiaoshuai’s Red Amnesia – but it is also a much more popular film at the box office taking $54 million in Summer 2014. Peter Chan has a strong track record in various genres and I was very impressed by his 1990s melodrama Comrades, Almost a Love Story (HK 1996). Recently he made the timely mainland film about the new private schools in China, American Dreams in China (China-HK 2013).
This new mainland film is set in Southern China with Mandarin as the main language, but also some local dialects (the different status of the two languages is an element in the dialogue). The story is adapted from a news story in 2011 in the city of Shenzhen close to the border with Hong Kong. The social issue here is the criminal activity of child abduction – and the subsequent legal wrangling over the future of abducted children, which I take to be a partial outcome of the ‘one child’ policy which existed for several years in China. Tian Wenjun is divorced from Xiaojuan who has remarried. On the day that she brings their son Peng-Peng back to Wenjun’s computer parlour, the 3 year-old wanders off and disappears. Both parents feel guilty and they join a group of parents whose children have been abducted. Wenjun tirelessly searches for his son. One day all his advertising and offers of rewards finally pays off. Without wanting to spoil the narrative, I’d just like to report that the narrative then takes a sharp turn to focus on the seemingly unwitting ‘mother’ of the abducted boy. She is played by one of the leading stars of Chinese Cinema Zhao Wei (‘Vicky Zhao’) and the emotional levels are raised when she begins to seek legal help to keep her other child, also an abductee, who she will maintain was abandoned. This character is in some ways the traditional ‘suffering woman’ of the East Asian melodrama.
Dearest is a powerful emotional film and there are moments when it seems similar to the family melodrama scenes in Kore-eda Hirokazu’s Like Father, Like Son (Japan 2013) – especially in the family court scenes. However, while Kore-eda’s film negotiates the melodrama with some delicacy, Chan ramps up the emotion. Regular readers will know that we are not against full-blown melodrama and I found Dearest to be engaging throughout, offering just the kind of narrative I like. However, this kind of East Asian popular drama is a hard sell in the West and it is noticeable that whereas Red Amnesia has a UK distributor, Dearest has so far not been picked up for the UK. I think it’s our loss if we don’t get to see both films and are able to compare them. Having said that I worry about how Dearest would be received.