In Contention

Tag: festivals

  • BERLIN: Béla Tarr and Golden Bear favorites

    The Berlinale competition drew to a close this morning, with Joshua Marston’s “The Forgiveness of Blood” — more on that in a final roundup this weekend — wrapping up a selection that’s been a typically mixed bag for the festival. Healthy critical argument has flared up over a number of titles — including lone Asian entry “Come Rain, Come Shine,” a bare-bones day in the life of a separating couple that struck some as delicately affecting and others merely as attractively vacant. (I’m one of the others, sad to say.)

    Meanwhile, films the critical majority has sided against include “Lipstikka,” a reportedly bananas Israeli melodrama that Telegraph critic Tim Robey warned me off with this choice dialogue sample: “You play games with me, like you used to do with your men, with your sex and boobs.” Part of me regrets missing this one.

    Amid the splinters of the Competition, however, a pair of critical favorites have moved comfortably ahead of the pack in terms of general approval and all-round buzz — they screened three days ago, eons in festival time, yet I’ve barely heard anyone talk about any other films since. I’m afraid to say that my own top film of the fest, Cameroon-set German drama “Sleeping Sickness” (reviewed here), isn’t one of them.

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  • BERLIN: ‘Sleeping Sickness,’ ‘The Future,’ ‘The Guard’

    Sorry there was no Berlinale dispatch yesterday. It was my birthday, and after “celebrating” it with a triple-bill of variously despairing Competition entries — finishing with “The Turin Horse,” Béla Tarr’s impressive 146-minute ode to blizzards, boiled potatoes and dying — more traditional festivities were in order, beginning with several stiff drinks. There’s nothing like a film festival to infuse a birthday with bleaker-than-usual ruminations on mortality.

    After a dawdling start, however, the Competition really kicked into gear yesterday with a pair of substantial auteur works that will likely remain the prime topic of critical conversation for the duration of the festival: the aforementioned Tarr opus and Iranian writer-director Asghar Farhadi’s “Nader and Simin, A Separation,” now the runaway favorite for the Golden Bear for reasons both artistic and political.

    I’ll discuss both these films in due course, but neither one has quite displaced an earlier (and more critically divisive) Competition title from the top of my personal best-of-the-fest list — and indeed, if anything does in the next three days, I’ll be a very happy (and surprised) man. That title would be German director Ulrich Köhler’s third feature “Sleeping Sickness” (****), an arrestingly structured and humidly atmospheric study of immigrant living and integration in west Africa that would make a valuable companion piece to Claire Denis’s more pristine “White Material,” but also warrants discussion on its own merits.

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  • BERLIN: ‘Coriolanus,’ Redgrave and an early Oscar bet

    The cavernous Berlinale Palast theatre was packed to the gills for today’s noontime press screening of “Coriolanus” (***), and small wonder — in a Competition lineup heavy on oatmeal fare boasting comparatively unfamiliar names, Ralph Fiennes’s directorial debut is one of the few entries that affords viewers a little star-gazing.

    Fiennes, of course, takes the title role in his revisionist take on Shakespeare’s under-filmed tragedy, with Gerard Butler, Brian Cox and the soon-to-be-ubiquitous Jessica Chastain adding further name appeal.

    As the crowd staggered out of the auditorium two hours later, the name being murmured most approvingly was that of the film’s oldest and most distinguished star. And with good reason. As Volumnia, the proud, politically-minded mother of the titular Roman general, Vanessa Redgrave gives one of “those” performances, an Olympian masterclass in classical acting that conjures spontaneous emotional fire upon a bed of immaculate technique.

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  • BERLIN: 3D comes to the arthouse

    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.

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  • BERLIN: Getting started, ‘Yelling to the Sky’

    Well, it didn’t take long for me to break my promise of daily festival reports. In the unlikely event that you were eagerly awaiting for my first Berlinale dispatch yesterday, I can only apologize: it’s hard to review films you haven’t seen.

    A domino-like series of misfortunes conspired to make my first day of planned festival action entirely: a last-minute train cancellation from London caused me to miss my flight, while the rescheduled flight landed me in Berlin too late to register with the press office. Add the fact that I’m still limping round the city on a single crutch, and I am the poster boy for the Twitter hashtag titled #festivalfail.

    On the plus side, I can inform you that the Competition title I missed yesterday — corporate thriller “Margin Call,” whose starry cast includes Kevin Spacey and Demi Moore — was at least one that has been roundly dismissed. Meanwhile, while I gained no film-related knowledge yesterday, I can at least share a culinary tip: the best burger you’ve ever eaten in your life is to be found at a pleasingly rowdy American bar called The Bird in Prenzlauerberg. Book a flight, and thank me later. (I understand there’s a second branch opening in Wyoming soon. I swear I’m not making this up.)

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  • Off to the Berlinale

    In a couple of hours, I’m jumping on a crack-of-dawn flight to one of the coolest cities on earth for a week at the Berlin International Film Festival — or, to use the name that rolls more luxuriously off the tongue, the Berlinale.

    I probably should have mentioned this earlier and posted some sort of festival preview. The truth, however, is that I’ve been so preoccupied with other business that I’ve barely read through the festival programme myself — the date rather snuck up on me. I’ve never done so little homework ahead of a festival — yet after my first Berlinale experience last year, that doesn’t feel like a bad approach.

    Berlin prides itself as being a festival of discovery, with more of an emphasis on rising talent than the lofty auteur names that tend to favor the sunnier festival climes of Cannes and Venice. True to form, my favorite finds of last year’s festival were ones I knew little about in advance (like Arvin Chen’s “Au Revoir, Taipei,” which wound up in my 2010 Top 10) or ones I wasn’t aware would show up until the last minute (like “The Illusionist,” buried so deep in last year’s programme many critics missed it altogether).

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  • So this happened

    I was previously engaged.

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  • SANTA BARBARA: Rush toasted with Montecito Award, ‘King’s Speech’ cast receives ensemble honor

    Last night saw Santa Barbara’s tribute to “The King’s Speech” star Geoffrey Rush.  Looking suave with a cleanly shaved head (for his current role on stage in “Diary of a Mad Man”), Rush held court with trademark affable humor and tales of his comparatively brief Hollywood career thus far.

    I Tweeted this and that from the tribute, but more than anything I was reminded again how much I loved the criminally underrated “The Tailor of Panama.” Discussion naturally flowed from “Shine” to “The King’s Speech” and all points in between, an engrossing reminder of just how rich Rush’s work is no matter the role.

    In a recent interview with The Race’s Tim Appelo (which is, consequently, a great place to start for those who continue to diminish the the directorial attributes of “The King’s Speech”), Tom Hooper had a wonderful take on directing the actor…

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  • SANTA BARBARA: Women in the biz

    I really should take the time to write up Saturday’s women’s panel here in Santa Barbara, not least of all because it seems to have been neglected in most outlets.  It’s an undervalued annual program, always moderated with class by Madelyn Hammond and featuring some of the most formidable female talents working in the industry.

    This year’s group consisted of “Toy Story 3” producer Darla K. Anderson, “Alice in Wonderland” costume designer Colleen Atwood, Skywalker Sound Vice President and general manager Gloria Borders, “Waiting for Superman” producer Lesley Chilcott and “Winter’s Bone” producer Alex Madigan.

    The immediate thing that sticks out is how so many of the panelists are producers, and Borders was quick to note as much.  “You don’t see that many women that are visual effects supervisors or editors or sound mixers,” she said.  “Women are really good producers.  We’re really good at getting people to get along and walk in the same direction.”

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  • SANTA BARBARA: Nolan crowned as Modern Master

    “He no longer challenges our ideas about film,” actor Leonardo DiCaprio said of Christopher Nolan tonight, before presenting him with the Modern Master Award.  “He has helped define them.”

    It was a great bow on a fine evening meant to celebrate the director’s work over the last decade.  The Modern Master designation is Santa Barbara’s highest honor and, despite an unexpected Oscar snub for Best Director from the Academy last Tuesday afternoon, this is certainly the year to single him out in such a light.

    Pete Hammond served as moderator for the evening as he queried Nolan on his brief if dense career to date.  It was shrewd to note that “Following” in 1998, a $6,000 movie that grossed $40,000 and “Inception” in 2010, a $160 million movie that grossed $800 million worldwide, only have 11 years separating them.  The director’s latest “has been successful on its own terms, not on Hollywood’s,” Hammond said by way of introduction.  It’s a good way to put it.

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  • SANTA BARBARA: Ladies love cool James

    Last night saw the presentation of the Outstanding Performance of the Year honor to “127 Hours” star James Franco at Santa Barbara fest, and it’s one of the best tributes I’ve seen here.  But it didn’t start out that way.

    Franco was late getting out of Los Angeles, where he was rehearsing for next month’s Oscar telecast.  The result was he was a half-hour late to the Arlington Theatre and the whole program was nearly an hour late getting started.  No biggie for me.  I was in the Chopin Lounge drinking, probably too much (as usual).  But I imagine there was some grumbling out in the audience.

    Nevertheless, when Franco showed up, he nailed it.  It turns out he expected to show up and accept an honor then split, failing to realize that it was a career retrospective of sorts.  So he was a bit caught off guard by things.  But Leonard Maltin, who served as moderator for the event, provided a great balance, and the lack of preparation on Franco’s part really added to the intrigue of the conversation.

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  • SANTA BARBARA: Writers on writing

    Today saw Santa Barbara’s annual “It Starts with the Script” writers panel, moderated by Anne Thompson.  Participating were Michael Arndt (“Toy Story 3”), Lisa Cholodenko (“The Kids Are All Right”), C. Gaby Mitchell (“Get Low”), David Seidler (“The King’s Speech”), Scott Silver (“The Fighter”) and Aaron Sorkin (“The Social Network”).

    I was a little late to the event but it was an, as always, spirited discussion about the nuts and bolts of the screenwriting process.

    Seidler, Silver and Sorkin were the three tasked with writing scripts (each of them original, interestingly enough, give or take a “book proposal”) detailing real individuals.  Thompson asked for their various experiences with that.  Silver recalled the first screening of the film for members of boxer Micky Ward’s family, and how he expected sparks might fly.

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  • SANTA BARBARA: Bening receives American Riviera Award

    The 26th annual Santa Barbara International Film Festival kicked off a week of tributes tonight with the presentation of the American Riviera Award to “The Kids Are All Right” and “Mother and Child” star Annette Bening (with hubby Warren Beatty in tow). The award is given annually to an American actor “who has had a strong influence on American Cinema,” as the literature states.

    Bening, it turns out, is a very good choice for such an honor. And in the year of an Oscar-nominated performance in Lisa Cholodenko’s “The Kids Are All Right,” it’s just the sort of stop along the circuit that could help steer the momentum away from a certain critically-favored young starlet.

    Festival director Roger Durling offered a lovely introduction to Bening, one of his most heart-felt to date, before turning it over to a package featuring her work over the last three decades. The reel was cut to Joni Mitchell’s “Both Sides Now” and Robert Palmer’s “Simply Irresistible,” with a pivotal scene from Cholodenko’s film dividing the two different assemblages. And it did a great job of reminding you just how versatile Bening is, but also how many of the characters she has portrayed on screen are cut from the same frail cloth.

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  • ‘King’s Speech’ cast to be honored in Santa Barbara

    Last SBIFF news before the fest.  I head up there Thursday.  The press release, in part:

    The 26th Annual Santa Barbara Film Festival will honor the cast of THE KING’S SPEECH as the best motion picture ensemble of the year, it was announced today by SBIFF Executive Director Roger Durling. The film, which features performances by an award-winning collection of actors including Colin Firth, Geoffrey Rush, Helena Bonham Carter, Guy Pearce, Derek Jacobi and Claire Bloom, has garnered critical and industry-wide acclaim, recently winning the Producer’s Guild of America’s Best Picture of the Year Award.

    The honor will be bestowed on Monday, January 31 at Santa Barbara’s historic Arlington Theatre, as part of the 11-day film festival. Firth, Bonham Carter and others are expected to attend the ceremony, along with the film’s director, Tom Hooper, joining Geoffrey Rush at his Montecito Award Tribute.

    [Photo: The Weinstein Company]

  • First Berlinale selections revealed, ‘True Grit’ to open fest

    Of all the festivals I attended this year, Berlin was perhaps the one with the most covert significance. At the time, it seemed critics were foraging for scraps amid a dismal competition lineup and a confusingly scattered selection of sidebars — and yet so many of the films I caught there (and some that I didn’t) are still with me at the year’s end.

    Prizewinners like “The Ghost Writer” and “How I Ended This Summer” continue to grow in stature in Europe, Sundance follow-ons like “Winter’s Bone,” “The Kids Are All Right” and “Exit Through the Gift Shop” are in the thick of the Oscar conversation, and you probably all know by now how I feel about the 2010 Berlinale’s most buried world premiere, “The Illusionist.”

    In other words, there’s little way of telling what treasure might be gleaned from the festival lineup until you’re actually there. That said, although that tantalizing, briefly-floated possibility of the Berlinale snagging “Tree of Life” didn’t pan out, this morning’s freshly unveiled list of the fest’s first eight official selections offers smaller notes of intrigue.

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  • Geoffrey Rush to receive Santa Barbara’s Montecito Award

    The press release, in part:

    The Santa Barbara International Film Festival will honor Academy Award® winning actor Geoffrey Rush with the Montecito Award at the 26th edition of the Festival, which runs January 27– February 6, 2011…The Tribute will take place Monday, January 31, 2011, at the historic Arlington Theatre.

    The Montecito Award was created in recognition of a performer who has given a series of classic and standout performances in his/her career, and has previously been presented to Julianne Moore, Kate Winslet, Javier Bardem, Naomi Watts and Annette Bening, who was the very first recipient in 2005. Geoffrey Rush stands tall within a rare and genuine class of actors, able to command the screen in each and every one of his roles. Ranging from the comedic to the dramatic, Rush’s vast and eclectic body of work illustrates him as one of Hollywood’s most versatile actors.

    “I feel like Royalty’s coming to SBIFF,” remarked [festival executive director Roger) Durling. “Having been an admirer of everything Geoffrey Rush has done (including his Tony-winning performance in Exit The King), we’re truly blessed to get to celebrate him this year where he once again reminds us in The King’s Speech that he’s one of our greatest actors.”

    [Photo: The Weinstein Company]

  • Kidman to receive Santa Barbara’s Cinema Vanguard Award

    The press release, in part:

    The Santa Barbara International Film Festival will honor Academy Award winner Nicole Kidman with the Cinema Vanguard Award at the 26th edition of the Fest, which runs January 27 -February 6, 2011, it was announced today by SBIFF Executive Director Roger Durling. The Tribute will take place on Saturday, February 5, 2011 at the historic Arlington Theatre.

    The Cinema Vanguard Award was created in recognition of an actor who has forged his/her own path – taking artistic risks and making a significant and unique contribution to film. The award has previously been awarded to Christoph Waltz, Vera Farmiga, Stanley Tucci, Peter Sarsgaard, Kristin Scott Thomas and Ryan Gosling.

    “Honoring Nicole Kidman is so exciting for us here at SBIFF,” comments Roger Durling. “Her work is immensely diverse and with this year’s heart-wrenching and brilliant performance in ‘Rabbit Hole’ – a project she helped develop as well – it is exactly who we should be celebrating with the 2011 Cinema Vanguard Award.”

    [Photo: Lionsgate]

  • OSCAR TALK: Ep. 40 — ‘The Fighter’ and ‘Black Swan’ hit AFI Fest, a riskless Hollywood and previewing the Governors Awards

    Oscar TalkWelcome to Oscar Talk.

    In case you’re new to the site and/or the podcast, Oscar Talk is a weekly kudocast, your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is weekly, every Friday throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar’s stage and we’re here to address it all as it unfolds.

    AFI Fest has concluded, the first Academy Award ceremony of the year hits this weekend and we find ourselves in the thick of things. Between Galas, premieres, parties and the usual, there’s plenty to chew on, so let’s see what’s on the docket today…

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