MSPIFF 2010: Day 1

35 Shots of Rum - Highly Recommended
Feeling lukewarm about many of the first offerings at MSPIFF, I decided I would take advantage of the opportunity to see 35 Shots of Rum a second time. After loading up on Surly beer at Pracna with friends (cheers to everyone that showed up), I busted my way into a packed house. Despite the fact that it played in Minneapolis a little over a month ago at the Walker and is coming out on DVD next week and is largely last year's news, 35 Shots had no problem selling out. I had the opportunity to see 35 Shots last fall on a random trip to NYC, arriving on its last day at the Film Forum, and it was one of the best films I saw last year. A second viewing did nothing to tarnish those feelings, and instead reaffirmed every assertion that was was growing vague in my mind. 35 Shots is a masterpiece from the heart that skirts around the edges of social politics with subconscious sublimity. The narrative is driven by a visual osmosis, slowly and subtle revealing truths and discoveries about the transcendental characters. At the center of the film is the relationship between a young adult daughter and her single father—both at junctures in their lives. Claire Denis cites Late Spring in this dedication to her mother and grandfather, but I still see more Hong Sang-soo (albeit a more gentle Hong) than Yasujiro Ozu in 35 Shots of Rum. Beautifully edited and scored, 35 Shots is a must see on the big screen. Here's hoping we don't have to wait until next year to see Denis new film, White Material, in the Twin Cities.
Screens again today, Saturday, April 17 at 3:15

The Forbidden Door - Not Recommended
Just enough time for another Surly, and I was back in the theater for the first of MSPIFF's 'late night' series—four films from the edgier parts of the film world. I had read reviews of The Forbidden Door on Twitch (one positive and one not so positive) and was excited to make a determination of my own about this Indonesian thriller. All I have to say is: these are the risks you take at film festivals. The Forbidden Door is a mess. I originally thought that the beer had effected my deductive logic, but finally realized that logic was on the back burner for most of the film. Completely disjointed, The Forbidden Door feels like it was made by an ADD Eli Roth (and I'm pretty sure Eli Roth is already ADD, so that would be double ADD.) The story focuses on a successful artist, Gambir, who makes highly sought after sculptures of pregnant women. Gambir, however, has a few skeletons in his closet, not the least of which is his impotency and inability to get his beautiful wife pregnant, an irony that would make Freud stroke his beard. Random mysteries and random resolutions are propped up by overwrought genre stereotypes of the emasculated man and the abused child. The components of a good blood-squirting thriller are there, but the lack of overall focus renders this film as ineffective as Gambir. At the introduction, the programmer admitted that finding The Forbidden Door was a hard fought battle, working for two months to simply find a contact. The hard work it took to get this film to the festival is not lost on me, and I wish there was more of a pay off. Joko Anwar has generated a fair amount of low-level cyberspace buzz among horror fans, and although he probably has a genre masterpiece somewhere in him, The Forbidden Door is not it. Which is unfortunate, because I love that poster.
Screens again Wednesday, April 21 at 9:20

MSPIFF 2010: Opening Night MAX MANUS

It seems somewhat fitting and ironic that on the opening night of the 28th Annual Minneapolis St Paul International Film Festival the twit-blog-osphere would be all a-buzz with the 63rd Cannes lineup. Weerasethakul? Kiarostami? Oliveira? Hong? Godard? Who cares! We've got Joachim Rønning and some obscure WWII Norwegian film called Max Manus!

For the first time ever the MSPIFF opens, runs and ends in the same venue. Opening nights the past two years have commenced on the sterile grounds of the chain theater at Block E; the two years before that at the homey neighborhood one-screen giant the Riverview; and prior to that in the opulence of the Historic State Theater. Oh, those were the days! Hosting the 'opening gala' at the much more limited and humble setting of the St. Anthony Main Theaters (where the festival will run on five screens for the next two weeks) not only speaks to local organizational shifts, but also to a wider economic reality of film festivals. With access to films growing exponentially, creating a film event—like a film festival or a special repertory screening—seems both cutting edge and seriously old school. Thankfully, such screenings and festivals are able to draw crowds on both those characteristics. Year after year I am encouraged by the intrepid local audience, not only at MSPIFF, but also at the Trylon or the Heights or the Walker. These are people after my own heart, seeking out and reveling in unique film experiences.

Opening night at this year's MSPIFF was no different. St Anthony was buzzing with people excited to see a film that matters more to the local community, with strong Norwegian ties, than it does to industry hype, where Max Manus barely made a blip. Max Manus tells the story of the Norwegian resistance during Nazi occupation from 1940 to 1945. Max Manus, one of the leaders, is shuttled back and forth between Sweden, Norway and England to escape capture as his fellow soldiers are either killed or captured. Although my Norwegian WWII history is lacking, it is obvious that the film goes to great pains to be accurate. The set design is particularly impressive, especially those involving the bombing of the boats in Oslo Bay and the infamous bombing of the SS Donau. On par with the beach scene in Atonement, the physicality of the ships amongst a very specific setting is stunning. Although the production values are high in Max Manus, the story follows a very familiar trajectory that won't lead to any surprises. The Nazis are uncomplicated villains and our heroes are unequivocally self-sacrificing martyrs. Emotional bells and whistles perhaps work better on those more aware of the historical gravity of the narrative, but was overall bland despite engaging moments of battle or suspense. In attendance was Gunnar Sønsteby, part of the Norwegian resistance and portrayed in the film. He said a few words before the film and lended some credence to the film itself.

And so it begins. A crowd-pleasing opening to two weeks of film phantasmagoria that I have to figure out how to navigate. Stay tuned.

Twin Cities Film 4/9 - 4/15

Hitchcock at the Trylon and the Riverview
Take-Up's "Alfred Hitchcock: Across the Decades" continues this week with The Lady Vanishes Friday and Saturday at the Trylon and Notorious Monday at the Riverview. The Lady Vanishes (1938) is an early Hitchcock film that is one-thirds mystery and two-thirds witty, peculiar charm. Notorious (1946) is a totally different Hitchcock creature: stylish and refined with an edge of elegance that can only be brought to a film by the likes of Cary Grant and Ingrid Bergman. It's a lavish film experience.

Buy your tickets in advance, especially for The Lady Vanishes at the Trylon. (Three of the five shows last weekend sold out!) The Lady Vanishes screens five times at the Trylon: Friday 7 & 9pm, Saturday 5, 7 &9pm. Notorious screens Monday 7:30pm at the Riverview. I'll be projecting Saturday night at the Trylon, so stop by and say hi. (Click poster below for more information or tickets.)

Jewish Film Festival
The ambitious Jewish Film Festival kicked off last night and continues through March 18. With a rich selection of dramas and documentaries, you really can't go wrong. With the exception of the opening night, all films will be screened at the Sabes JCC. (Click below for more info and a full list of films.)

Views from Iran at the Walker
The Walker's "Views from Iran" starts today and runs over the next few weekends with some exciting screenings and events. In addition to the seven films included in the series, the Walker will host two visiting filmmakers, Shirin Neshat and Rakhshan Bani-Etemad, who will present their new films. In light the recent arrest of award winning filmmaker Jafar Panahi in his home country of Iran, the series offers a unique opportunity to understand the issues and constraints that many Iranian artists face. The premiere of Asghar Farhadi's About Elly plays tonight, Friday, at 7:30pm and there is a lecture with journalist Laura Secor Tuesday at 7pm.

Opening This Week in the Twin Cities

Three films open at the various Landmark Theaters this week and hoping to catch all three before hell breaks loose with the MSPIFF. The Most Dangerous Man in America and Vincere, both at the Lagoon, are first in line. The Most Dangerous Man in America is the story of Daniel Ellsberg, a high-level Pentagon official and Vietnam War strategist, who attempted to expose the lies told by the government about the Vietnam War. The trailer looks amazing and I expect there will be some relevance, even if it is indirect, regarding the lies of the previous administration on the Iraq War. The Most Dangerous Man was nominated for an Academy Award but lost out to The Cove. The Greatest opens at the Edina. (Click below for more info.)

Opening in wide release this week is an odd mix of films: Date Night with Steve Carell and Tina Fey, some obscure (and most likely awful) horror film called The Black Waters of Echo's Pond, and the let's-hope-it's-not-as-heavy-handed-as-the-title-but-I-bet-it is Letters to God. Although I probably won't get around to seeing Date Night, if that film isn't a slam dunk, I don't know what is. Titans, you are going down! (Click below for official websites.)

Also worth noting, MFA brings A Town Called Panic back at St Anthony Main. I heard nothing but good things about this strange French animation film but was unable to make it during its one-week run at the Lagoon. Now everyone has a second chance!

And last, but not least, I would be remiss if I didn't mention that the Minneapolis St Paul International Film Festival is just one week away. The online schedule is up and running and individual tickets are for sale online and at St Anthony Main Theater. Passes and programs should be available this weekend. I'm excited and can't wait to OD on films for two weeks. Will Getafilm and I resurrect the Film Goats? Either way, I'll see you there.

MFA moves to St Anthony Main

As the Minnesota Film Arts attempts to warm the cockles of our hearts for the holidays with its annual screening of Ronia, the Robber's Daughter, the real news is that it will more than likely be the last film screened at the Oak Street Cinema. As announced in an e-mail newsletter that went out to MFA members on Friday as well as an article in the Star Tribune, MFA is moving to St Anthony Main. They have relocated their offices to 125 SE Main Street (right next to the Theater) in anticipation that they will program at least one screen in the theater starting mid-January. No word on programming specifics at this point, but in the Star Tribune piece MFA board member Tim Grady implied that they intend on filling the gaps of first run features that don't get picked up by Landmark.

I, for one, sincerely hope that is the case. As much as I love repertory cinema, it is a crime how many high profile, mostly international, first run films never make it to the Twin Cities. If you need examples, two films that are sure to top many end of the year lists (including my own) that never had a chance in the Twin Cities were 35 Shots of Rum and The Headless Woman.(Coincidentally both female directors...?) In my very humble movie going opinion, this is the one area where our fair city truly lacks. Although the Walker fills in many of the important gaps, other than Landmark, no one else consistently covers the arthouse/international/independent film scene.

Ticket pricing and convenient parking at St Anthony Main Theater will apply to all shows and MFA members will still enjoy $5 ticket prices across the board. Until then, close out the year with Ronia and say goodbye to the Oak. Although no one is saying demolition in so many words, if you drive by (Lotus closed? Tsunami close?), it doesn't look good.