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.

Building the Best Film Fest: full disclosure

With the Minneapolis St Paul International Film Festival less than a week away, the Star Tribune's Colin Covert ponders, what makes a good film fest? Pooling opinions from a number of people, including myself, the article builds a comprehensive and thoughtful look at what a Midwest film festival is all about. The Twin Cities is not, and never will be, a so-called major market, which makes the two week, 100+ film MSPIFF all the more important to film fans who call the Twin Cities home.

Including a hang-about like me with a group of experts may be a stretch, but I guess if I'm going to be an expert at anything, it's going to be watching movies. Last year I caught 35 films at MSPIFF and I'll try to do the same this year. That's not bragging rights, but merely an admission of my commitment to see these films on the big screen before they disappear.

I'm just as excited this year as I am any other year to dive in and take in as many films as I possibly can without losing my job, my partner or my sanity. I'm going to do my best to report on what I see as often as I can. Until then, here are my answers to the full list of questions from which the Star Tribune article evolved from:

What makes a good film festival?

Organization and good films. Organization seems hit or miss for MSPIFF, but with the bulk of films and times already available online, this year seems to be right on track. What I mean by ‘good films’ is that someone is screening things with a critical eye and an open mind.

With the glut of films in the marketplace, what should the selection criteria be for a major urban film festival?

A film festival reflects the vision of the curators. This is pretty easy to see with various staff changes to the fest over the years. (Or if you look at the bigger festivals – each has a flavor all its own.) However, seeing that MSP is not LA or NYC, I think it is extremely important (when possible) for curators to be aware of the films that have distribution but are not likely to receive a release in the Twin Cities. Munyurangabo, Dry Season, Three Monkeys, Oblivion – just a few examples from last year.

To what degree should it serve and promote local filmmakers?

Including local filmmakers is extremely important. They are a vital part of the film community that should be involved in this event. I feel like the mix MSPIFF has is good.

What other events should be included besides film screenings? How important is it to host visiting filmmakers? What’s the ideal way to have them interact with audiences?

Having visiting directors makes a screening special. Even if the film does come to town later or come out on DVD, having the presence of someone involved with the film makes it unique. In my experience, audience Q&As are a disaster. Post-screening discussions should be prepared by a moderator, and, best possible scenario, arrange a meet and greet before or after the film at an local establishment. (Loads of options for places down there on St Anthony Main for this: Aster Cafe, the extra room Pracna has, Vic’s.) Someone dying to talk to the director should get this chance.

What about the size and scope? Is a program with 100+ offerings more exciting than with one offering less than 50?

Yeah, I wonder about that. I think it might be more like, why not do 100 really well and not 140. I think 50 would take away from the event it has become.

The Twin Cities is host to a growing number of ethnic film festivals: Italian, Jewish, Arab. Is that a good thing or does it bring on film fest burnout?

No way. Obviously each of these series/festivals mean different things to different people, but what they all mean is getting people out of their house to see a film. They all reinforce the social aspect of film going, and reassert a sense community.

How can moviegoers best navigate among dozens of films? Should the screenings be arranged into categories, so that documentary fans and French film buffs can easily find multiple films arranged under each heading?

I’ve always found the country indexes very useful. As far as choosing films, go with your impulse. I’m a sucker for a compelling photo or title. But I know that I am also dedicated to films from specific countries. Although going with my impulses has led to the greatest discoveries, it has also led to some real clunkers. Of course anyone willing to do some research, there are trailers and reviews out there for most of these films. You can also check the fab reviews in the Star Tribune!

Many fests charge entry fees and issue cash prizes to the best films. Does that add to the prestige of the event or is it a distraction from the main business of exhibiting films?

I’m not sure. The voting thing drives me batty though. It makes a cluster after the film; it’s a huge waste of paper; and it has nothing to do with the best of the fest. Let people vote online if they want.

Twin Cities Film 3/26 - 4/1

Find a pretty picture and click.

Special Screenings:

Opening: