In Contention


BERLIN: 3D comes to the arthouse

Posted by Guy Lodge · 12:17 pm · February 14th, 2011

Determined to make up for my rather  feeble start to the Berlinale, I made it to five films on Sunday – and in a shock twist that defied the law of both averages and film festivals, I liked all of them to some extent, and two of them rather more than that. How appropriate that I get to put my poison pen away on Valentine’s Day of all days.

I’ll get to writing about “The Guard” (a scuzzily hilarious Irish cop comedy from John Michael McDonagh, brother of Martin) and Competition entry “Sleeping Sickness” (by some measure the best thing I’ve seen, or am likely to see, here) in a later roundup. The other three, however, demand to be grouped in a single post, just as Berlin programmers were making a point by scheduling them back-to-back: all of them were specialist niche films in 3D, marking the moment at which the technology formally stepped outside the multiplex and into the arthouse.

When Werner Herzog announced his intention to make his latest documentary in 3D, the howls of anguish from stern cinephiles could only have increased in volume if he’d added that it was actually going to be a Miley Cyrus concert movie. When his compatriot and contemporary Wim Wenders revealed similar plans for his non-narrative tribute to the late choreographer Pina Bausch, there were fewer protests, if only because after his last few features, nobody’s been paying much attention to anything Wenders does these days.

So it’s poetically perverse that, in the 3D battle of German New Wave Auteurs, it’s Wenders who has – in my slightly aching eyes, at least – emerged the resounding winner. “Pina” (***1/2), a loosely constructed series of filmed interpretations of Bausch’s performance pieces peppered with verbal tributes from her protégés, may not promise much to either 3D sceptics or non-aficionados of modern dance, but cinephiles of any persuasion would be advised to check it out. For in applying the technology to spontaneous physical performance, capturing the sharp, unpredictable thrust of bodies in motion, Wenders has made perhaps the most convincing case yet for 3D as an enduring cinematic tool.

The film’s first of many wows is a comparatively simple one – as the camera crisply skims across a line of dancers hoofing one of Bausch’s typically eccentric routines on stage, we glide seamlessly with it through a diaphanous scrim curtain. It’s less an ostentatious show-off trick than a gesture of intimacy: we’re being invited to share the performers’ space in a way that even the immediate theatrical experience doesn’t quite allow.

Wenders extends this emphasis on accessibility by staging several numbers in public spaces: the 3D again swings into spectacular effect during an impromptu performance on an overhead train, while a swoony pas de deux at a highway intersection is the film’s single most gorgeous sequence. None of this would engage if Bausch’s work – taking equal inspiration from ballet, dramatic realism and absurdist comedy – weren’t itself so compelling cinematic; 3D notwithstanding, Wenders’ visual approach is sensibly simple, letting the dancers, rather than the camera, do the work.

It’s unfortunate, then, that the spoken testimonies (curiously, coming only from the female members of Bausch’s healthily co-ed company) are so much less illuminating  than the actual dancing; all too often, the film follows a particularly exhilarating synthesis of music and choreography with a banal interlude of talking-head musing about vague concepts of strength and fragility. They’re dancers, not speakers, so I hardly blame the participants for these dull stretches, but Wenders should have been content to let his muse’s work speak for itself. That, however, is a minor caveat in a rapturous testimony to one essential artist from another – if it took 3D to revive Wenders’ creative mojo like this, I can suffer through any number of Hollywood’s misuses of the medium.

Coming after “Pina,” Werner Herzog’s appealingly low-key archaeological documentary “Cave of Forgotten Dreams” (**1/2) can’t help but feel a little crusty in comparison. The maverick director’s excitement over the possibilities of 3D is equally in evidence, but registers a little too enthusiastic, naïve even: he’s still at the point where hurling spears straight into the audience seems like a neat idea.

When he reins in these impulses, however, the technology instils an appropriate sense of wonder in his subject: the extraordinary paintings inside the Chauvet caves of southern France, the earliest known human artworks in existence. The paintings themselves are a pleasure to ponder, and Herzog (who serves, with a hint of self-parody, as his own irrepressibly dour narrator) is infectiously jazzed at his notion that they stand as an early ancestor to the medium of cinema, but 30 minutes in he rather runs out of observations on this niche area of interest, inviting a string of increasingly dotty scientists to amusing rephrase largely similar theories.

It’d make a delightful short, but at 90 minutes, it’s hard to escape the sense that he’s playing for time – and that’s before his lovably off-message coda about (of course) albino alligators in a nearby nuclear power plant. “Vaht vill zey make of ze paintings?” he intones solemnly, tongue barely remaining in cheek. I’d be equally interested to know what they make of this enjoyably boyish film.

If “Cave of Forgotten Dreams” revelled in its gosh-wow-look-at-me use of 3D technology, it couldn’t have been applied much more ascetically than in “Tales of the Night” (***), the latest feature from veteran French animator Michel Ocelot, perhaps best-known for his lovely African-inflected children’s tale “Kirikou and the Sorceress.” His trademark animation style — highly stylized flat imagery with block coloring in a limited palette — is still in extreme evidence here: all characters and locations are rendered in spare, all-black silhouettes against iridescent, sometimes luridly patterned backgrounds. This visual system may seem a curious candidate for 3D treatment, but it works with remarkable subtlety: the third dimension identifies layer upon sliding layer of blackness, giving the film the shadow-box appearance of a live diorama.

But if the animation is typically bewitching from Ocelot, his storytelling rather lets him down on this occasion. The film is essentially a one-director portmanteau piece, linking simple fairytale narratives — a werewolf is saved by the love of a princess, an African villager fights off an opposing tribe with a magical drum, and so on — with a half-cocked meta framing device involving a group of animators brainstorming for ideas. The stories are short and sweet enough, but also decidedly samey, and the whole rather begins to evaporate as the parts go by. Visually, it’s quite some treat, but the arthouse is no less susceptible than Hollywood to letting story slide amid the rich tangle of technology.




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→ 9 Comments Tags: , , , , , , , | Filed in: Daily · Reviews

9 responses so far

  • 1 2-14-2011 at 12:34 pm

    Maxim said...

    “if only because after the recurring disappointment of his last few features, nobody much cares what Wenders does with himself these days.”

    I’d take a new Wim Wenders film over… the entire Herzog filmography any day of the week. At least Wenders made good films and actually cares (or tries to care) for the quality of his work.

    Tom Tykwer is probably the most interesting German director (among those few that I know) working right now though.

  • 2 2-14-2011 at 2:16 pm

    Michael said...

    Thanks for the update Guy! I’ve enjoyed reading your tweets as well, and look forward to more reviews. I really loved Michel Ocelot’s video he did for Bjork’s Earth Intruders and am very curious to catch an entire film in his unique style of animation. The other two 3D films you described sound pretty cool, but I seriously doubt they would receive any type of distribution anywhere near me :,^(

  • 3 2-14-2011 at 2:49 pm

    Mike C said...

    Guy – off topic, but are you planning an article breaking down the foreign language film nominee chances (realizing you probably have yet to see them all)? This is most interesting to me and I believe you’ve done this in the past. Thanks.

  • 4 2-14-2011 at 3:39 pm

    Guy Lodge said...

    Mike C: I have yet to see In a Better World and Incendies — if/when I do, I’ll certainly write something on the category. Of course, Kris (who has now seen them all) will also be covering the category in an Oscar Guide column.

  • 5 2-14-2011 at 5:11 pm

    James D. said...

    For what it is worth, I would be at the opening day premiere of a Herzog Miley Cyrus film.

  • 6 2-14-2011 at 7:05 pm

    Guy Lodge said...

    So would I. Miley Cyrus rocks.

  • 7 2-19-2011 at 4:36 pm

    Chris P. said...

    I saw “Cave of Forgotten Dreams” at the Glasgow Film Festival yesterday, and I actually fell asleep for about five minutes halfway through the film.

    It was nice enough, and I though that the 3D was an inspired choice given the subject matter. But as you say in your review, it would have made a lovely short, and there just was not enough substance to it.