TIFF 2013 Review - Ida

Director Pawel Pawlikowski has shown a knack for introducing young female talent. He cast Emily Blunt in her first major picture role as Tasmin in his 2004 film My Summer Love.  Pawlikowski may have done it again with his lead actress Agata Trzebuchowska in the title role of his new film Ida.

The film focuses on a novice nun in the days leading up to her taking her vows. As one of the last acts before she commits to the church Ida an orphan that has grown up in the monastery is sent to meet with her only living relative Wanda Gruz (Agata Kuleza). Ida travels to her Aunt's residence to discover at first glance they are complete opposites. Wanda is a much older, a drinker, promiscuous, and has a tendency to stay up late at night greeting the next morning in a hung-over haze.  At one point she was a judge after the War but the story is silent on what happened to her posting. Wanda also informs Ida that she is Jewish showing her pictures of herself as a baby with her mother, Wanda's sister Roza. The pair set out to find out about Ida's parents and to find their final resting place.

The film is shot in black and white. The choice is very effective for both the monastery and the scenes in the small countryside towns in 1962 Poland. Pawlikowski makes many compelling decisions framing shots. One particular shot of Ida in the lower right hand frame of the screen with the trunk of her Aunt's car open behind her and over her head is mesmerizing. The muted black and white tones suit the lonely stark roads that the pair travel as they pursue their goal.

Cinematographer Lukasz Zal does superior work with lighting and shadows to recreate the feel of the time. The colouring in the hotel bar where the duo spend a night and each separately check out the band in the bar is sharp, vibrant and warm despite the potential limitations of monochrome. At the monastery during the vow ceremony light coming in through the windows during the procession adds greatly to the significance of the moment and the act of the participants.

Music plays a significant role in the film. Ida and Wanda pick up a saxophone playing hitchhiker and bring him to his next gig. The bands jazz set is featured prominently for a segment of the film. Look for Joanna Kulig who Pawlikowski worked with on The Women in the Fifth as the bands singer.  The  standards of the time mostly played on upright phonographs are also featured prominently in the film.

The real strength of the piece is the writing and the story itself. Pawlikowski co wrote the script with Rebecca Lenkiewicz. The result is a very powerful narrative on religion, dispossession, wartime atrocities, and the lack of consequences for the perpetuators. The story starts out with a simple enough premise, hits with a major revelation early on, then continues to build and unravel complex segments of the narrative as the action progresses.

The two lead performances are outstanding. Agata Kulesza as Wanda is tough as she constantly pushing and tests Ida's religious devotion. She is loud and confrontational but determined to show Ida what she needs to see, know and experience before she takes her vows. Agata Trzebuchowska shines as the quiet, naive and understated Ida. She has little knowledge of the world outside of the convent but gets an impression thanks to her aunt to enable her to make an informed decision about her future.

Ida is a beautifully shot, marvelously written story centering on two female lead characters that I can highly recommend. It's a film destined form many top ten list by year's end.

**** out of 4.

 IDA | Pawel Pawlikowski | Poland / Denmark | 2013 | 80 Minutes.

Tags:  TIFF FIPRESCI Award Winner, Poland, Monastery, Novice, Vows, Religion, Catholicism , Judaism, Jazz.

TIFF 2013 - Final Words

The Toronto International Film Festival has wrapped for another year. This year I saw 47 films in total in 7 different venues; The Bell Lightbox, Scotiabank Theatre, Bloor Hot Docs, The Elgin, The Winter Garden Theatre, Ryerson Theatre and Princess of Wales.

Scotiabank was by far the worst venue.  They did not have the staff to handle the use of all 14 of their theatres for the festival. Scheduling was awful, the end of one film often almost ran into the start of the next. For one stretch 6 of 7 movies that I saw at the venue started late. Every inch of floor space upstairs and sidewalk space out front was used for lines. That aside it was an excellent year which was a pleasant surprise following a disappointing 2013 summer movie season and considering that 2012 was the best year for film since 1999.

Only 340 days until TIFF 2014!

Without further ado here is my top ten list for TIFF 2013 in reverse order:

No. 10  

No. 9                                                    The Wind Rises

No. 8                                                 We Are The Best

No. 7                                                  

No. 6                                                  

No. 5                                                    

No. 4                                                  

No. 3                                                    

No. 2                                                           IDA    

                                                                     

         




No. 1                                                

         
To contrast the worst three films that I saw at this years festival were Fading Gigolo a flat vanity piece written and directed by John Turturro, The Fifth Estate (see my review next article down) and Le- Weekend directed by Roger Michell featuring disappointing performances by Jim Broadbent and Lindsay Duncan.

TIFF 13 Final Words.

Tags: TIFF13, Top Ten Lists, TIFF Venues, Movie Posters, Film Festival Flops.


























                                                            

TIFF 2013 Review - The Fifth Estate

Julian Assange invented a computer program allowing whistleblowers to remain anonymous when they submit information about wrongdoing by their employers. The main goal of Wikileaks.org is to protect the identity of those that submit documents to the site.

Director Bill Condon starts the film at the moment where the Guardian, New York Times and Der Spiegel coordinate the release of confidential U.S. Military documents leaked by Private Bradley Manning to the site. The opening sequence is well crafted as the three publication jockey around the start time as the Times wants to go early while Der Spiegel want more time to publish.

Condon then heads back to 2007 when Assange and WikiLeaks were unknown and struggling to get a 15-minute spot at a Berlin tech event. Here we meet Daniel Berg (Daniel Bruhl) Assange's first hire and the point of view for the piece. Berg's first assignment for the Internet Start up is to gather information to verify a leak on an elaborate tax evasion scheme at Swiss Bank Julian Baer.

The key to the WikiLeaks is the platform where a poster submits a document.  The initial submission goes through multiple layers that renders attempts to find the location of the original point of entry into the system impossible. The site itself does not have or maintain the information. Their first shot at the U.S. government occurred when publishing the protocols for detailing with detainees at Guantanamo Bay.

The films two lead actors deliver strong performances.  Benedict Cumberbach is notable as Assange the troubled founder with zero social skills and issues that date back to his upbringing in a cult in Australia.  Daniel Bruel is credible as Berg the second in command and moral compass of the organization. Berg constantly pushes for one last fact check and a review of the consequence before they post.

Cinematographer Tobais Schliessler work is a highlight of the piece. Bright rich colours dominate the screen. The script contains several meeting scenes in nightclubs, bars, tech events and counterculture hot spots. Schliessler sets the tone for these scenes using different lighting techniques with an emphasis on vivid flashing images.

Where the movie falls short is its repeated use of the same devices. First among these is the constant use of dueling laptops amongst to demonstrate that the characters are doing very important programming quickly. The other main offense is the multiple uses of the virtual server room with rows and rows of desks showing nameplates of the main players. Perhaps the worse sequence in the movie combine the two when Daniel and fellow programmer Marcus (Moritz Bleibtreau) set up their laptops side by side to take down the site punctuated by Daniel flipping over desks in the virtual room to leave no doubt that the site has crashed.

Overall The Fifth Estate does not venture deeply into the subject matter. The film does not include any perspective from a whistle blowers point of view as they attempt to submit to the site. A secondary story featuring three state department employees and a Libyan contact serves as a distraction from the main story. The Fifth Estate is an uneven effort that I cannot recommend despite. good performances from the two lead actors. The material is weak and the script repetitive.

**  Out of 4.

The Fifth Estate | Bill Condon |  U.S.A. / Belgium | 124 Minutes.

Tags: Whistleblower, WikiLeaks.org, Internet start up, privacy, U.S. Government, Julius Baer Bank, Guantanamo Bay, U.S. Diplomatic Cables.

TIFF 2013 Review- Parkland

Dallas' Daley Plaza November 22nd 1963; Abraham Zapruder (Paul Giamatti) checks his Bell and Howell Zoomatic as he talks to his staff as his office.  The office is closing at lunchtime so everyone can head to the Plaza to see the President.  Dr. Jim Carrico ( Zac Efron) picks up the phone in the residence room at Parkland Memorial Hospital more asleep than awake as the Dallas F.B.I. office preps for a big day as the President will be in their care. Lastly, the head of the Dallas Secret Service Forrest Sorrels ( Billy Bob Thorton) and his team wait at the airport for the President's arrival.

In the opening sequence of the film first time writer director Peter Landesman lays out four main of the five main parts of the film.  Parkland Memorial, the hospital with it's Doctors and Nurses that will try to save President Kennedy then Lee Harvey Oslwald's life two days later.  The Dallas FBI office that were front and centre on the day but missed the watch listed Oswald when he was in their office 10 days earlier.  Abraham Zapruder who's name is globally known for the film he shot along with the Secret Service who had not lost "their man" before November 22, 1963 and have not done so since.

Director Landesman does an exemplary job with a notable cast. Each character has their moment to shine and no ones talents are underused or wasted. The scene in the operating room where they try to save Kennedy is choreographed chaos. Nurse Doris Nelson (Martha Gay Harden) is the first to take charge and get the team moving Resident Jim Carrico is stunned at first then begins procedures to find a pulse then get an airway open on the mortally wounded President until the senior doctor on staff Malcom Perry (Colin Hanks) can make it to the operating theatre.  The situation is not helped by the secret service men,  F.B.I. agents and government officials all in the room who don't leave until Nurse Nelson clears them out except for the First Lady and JFK's personal body guards.

The screenplay includes an unusual angle to explore as part of the narrative; the reaction and effect on Lee Harvey Oswald's family after the shooting. We meet his brother Robert ( James Badge Dale) at his office with the news first breaks of the apparent shooter they have in custody, first as a suspect for the murder of a Dallas police officer then untimely for the assassination of the President. Jacki Weaver continues her streak of strong performances as Marguerite Oswald speaking of potential book deals and how her son Lee was a government agent and a hero. A telling comment comes from a Dallas police office who advised Robert Oswald to leave the State with the rest of his family and change his name implying that the Oswald name is forever tarnished and they will not get any favours from the Dallas police department.

However the fastest recognition of the enormity of the event  comes from Abrahim Zupruder. He knows right away that he filmed the death of an American President.  He is instantly aware that his film will change the fortunes of his family forever. Zupruder would not relinquish the tape convincing F.B.I  head Sorrels that he was the person to maintain custody of the film. He would only give the stills to Life Magazine over the multitude of bidders after they promised that they would not publish the kill shot. Following a screening in his office he remarks that he wished that he had never shot the film.

Peter Landesman's production moves at a rapid clip. He explores areas of the shooting and aftermath that have been under represented on film. He introduces the audience to several main participants in a historical day in American history Landesman presents the hours before the event through the key activities over the next they three days that followed. At the heart of the film is two very different attempts save a life and two very different funerals. Parkland is a film that I can recommend.

***  out of 4.

Parkland| Peter Landesman| U.S.A.| 2013 | 93 Minutes|

Tags: Daley Plaza, Parkland Memorial Hospital, November 22nd 1963, President John F. Kennedy, Lee Harvey Oswald, the Zupruder Film, Dallas Secret Service, Dallas F.B.I.

Film Review- Fruitvale Station

Following a sparse amount of opening credits a grainy shaky image that is obviously from a camera phone appears on screen. In frame, the open doors of a transit train, the train platform with four black youths sitting against the concrete wall of the station with several cops standing in front of them. One attempts to stand, he is handcuffed then pushed back down on his stomach. A scuffle ensues followed by the sound of a gun shot, screams on the train car, yelling then train speeds out of the station.

Next we meet Oscar Grant (Michael B. Jordan) and his girlfriend Sophia (Melonie Diaz) it's the morning of New Year's Eve 2008. The couple is in a dispute about Oscar's fidelity. Their conversation turns to Oscar's mom Wanda (Octavia Spencer) birthday that evening and their four-year-old daughter Tatiana. The pair gets Tatiana off to school then Sophia to work.  The viewer is now alone with Oscar as he plans the rest of his day.

First time writer Director Ryan Coogler delivers an excellent script. The audience is along for the ride with Oscar as he makes his stops around Oakland. At each location we learn a little more about Oscar as his character significantly grows and develops.  We start at his job at the supermarket where he's picking up food for his mother's party. Oscar goes out of his way to help a young woman who is hopelessly lost as she tries to prepare a special meal for her boyfriend. He shows even more compassion helping a wounded animal while filling up at a gas station and the attention and care he takes with his  daughter Tatiana is admirable. We also see the other side of Oscar mainly through flashbacks. He has made some choices in the past that have not been positive. He can be stubborn, angry, has enemies and is often confrontational.

Eventually the Grant's make it to his mother's birthday party. As he's helping is mother with the post meal dishes she suggests that Oscar and his friends take the train to see the fireworks in order to be safe and avoid the possibility of drinking and driving. The group agrees to take the BART system into San Francisco later that night.  As midnight approaches the spirit on the train is jubilant as different segments of the Oakland community share laughs, drinks and songs as they head across the Bay to celebrate the start of 2009.

Coogler uses cell phone calls and texts to move the story along. Oscar's text messages often flash up on screen throughout the film. He has a funny exchange with his sister who has to work and can't make the party. She gives him specific instructions on the card she wants him to by for her mother which prompts Oscar to do the complete opposite. Another superb conversation occurs when his mother realizes that he is driving while talking to her on the phone. Oscar insists that he is using a hands free devise and proceeds to tuck the phone under his lid before he continues the call.

The soundtrack features several ay area hip-hop artists that provide the background as Oscar visits different venues throughout the day. The choice of music sets the tone for the gritty East Bay. Among the artist are The Jacka, Cellski & Pezzy and Mac Dre. The director's brother Noah Coogler is featured on another track Rubber Band.  

On the way back to Oakland Oscar charms a local restaurateur into allowing a bathroom break for the ladies in their group that leads to a chance encounter and a potential new job opportunity. Oscar runs into the woman he helped at the supermarket that morning on the train. An old rival hears their exchange sparking a beef that sets the events in motion towards the tragic event at that is at the core of the film.

Michael B. Jordan is outstanding in his first lead movie role. He is on screen for just about every frame of the feature and handles it with ease. Octavia Spencer, who has a producer credit for the film as his mother Wanda is particularly strong. Her work shines in two specific scenes in the film that are linked by a particular act. In the first she doesn't want to do it and in the second she's compelled to. Melonie Diaz is also strong Sophia the sometimes questioning but fiercely loyal girlfriend and young mother.

Coogler has crafted a well-paced drama that could have made an impressive documentary. The chapters fit and each scene is essential to the story. The cell phone video that opens the film is actual footage of the New Year's Day 2009 event. Be sure to stay for the entire credits as more real footage is presented to bookend the films opening. Fruitvale Station is a film that I can definitely recommend and is destined to be on many top ten lists at year's end.


**** out of 4.

Fruitvale Station | Ryan Coogler | U.S.A. | 2013 | 85 Minutes.

Tags: Oscar Grant, New Year's Eve , BART, East Bay, Oakland , Police Shooting, Court Case, Protest, Vigil, Anniversary,

KinoSmith Inc. Film Review - Call Me Kuchu

The Ugandan Anti- Homosexuality bill is the central focus of the documentary film by Malika Zouhali Worrall and Katherine Fairfax Wright. Some of the elements of the bill would make homosexuality punishable by death and if a Ugandan Citizen knew of a homosexual and did not report it to the government they could be subject to 3 years in prison. In other words if your child came out to you your option are:  a) report them to the government where they might be executed or b) not report them a risk a personal three years imprisonment.

The films protagonist is David Kato a native Ugandan farmer who was unsure about his sexual preference until his late twenties.  He was living in South Africa at the time and found acceptance into the country's gay community. He returned to Uganda 6 years later determined to obtain similar rights for LGBT people in Uganda.  Kato became the first openly gay person in Uganda working for SMUG Sexual Minorities Uganda and closely with other activists who keep their status more guarded.

The film starts at a celebration for a 9th anniversary for two community locals in Kampala which is a low key affair due to the current anti-gay climate in the city.  Inter-placed with the gathering are shots of preaches stating that Uganda will say no homosexuality declaring that the behaviour is against gods law and a sin of that nature against god should be punished by death. A haunting melodic instrumental tune plays throughout the opening scene ending with the meaning of Kuchu a synonym of the Queer is here.

Naome Ruzindana who has two children and was married at nineteen tells her story to the directors while comfortably alternating between sitting on and lying on a bed noting that she was never interested in sex with her husband. She described their relationship as more of a friendship. Naome stayed for five years and then left with her kids. Her group the African coalition of Lesbians started in 2004.

Rolling Stone newspaper is introduced into the piece with low slow instrumental tones and shots of the newspapers anti -gay headlines and articles. The editor Giles Muhame is interviewed sitting on a wooden chair and has a habit of laughing un comfortably and inappropriate when he describes his attitude towards gay people, what should be done to them and justifies his newspapers practice of infiltrating gay groups through a technique called disguise, publishing their names and addresses in the paper and declaring that gays are praying on the youth of the country.

The directors shoot most of accounts of the main players in a first person one camera shoot setting.  They tell their stories intermixed with their current activity, cooking, shopping, or in Muhame's case leafing through his newspaper pointing at headlines and pictures.

Stosh tells her story of how her picture was put in the Rolling Stone newspaper and her family turned against her but not till after a male childhood friend forced himself on her to try to show she is not gay. Her friends saw the photo in the newspapers and grabbed stones to throw at her. Naome provided support stating that Stosh knows who she is and has friends that will support her.

News reports are a tools used by the directors.  They show the details of a post world cup attack in Kampala that is at first blamed on terrorist then linked to the LGBT community.

A common shooting element is handled cameras used for walkabouts around town following the activities they walk through the community and markets. The handheld style is also used when we meet the activists at their home or out at strategy meetings.

Activist Long Jones tells his story as he walks through the food market purchasing groceries. A group of activities discuss the terrorist article and how they should respond. They also discuss the need to use and distribute condoms for health reasons.

Pastor Malee opposed to homosexually taking root and luring young people into the lifestyle appears during the court case against Rolling Stone newspaper.

The goal of the court case is to force Rolling Stone to cease their practice of publishing names and addresses of community members which could lead to firings, personal attacks and treats from friends and family members.  During the court scenes in and around the court house the shooting style consists of lots of hand held cameras moving amongst the activities, religious leaders and rolling stone representatives.

Celebrity preachers led by American Lou Engle came to visit in March 2009 whipping up a religious fervour against homosexuals declaring that Uganda is ground zero. On the heels of the Spring Celebrity preacher visits a bill sponsored by M.P. David Bahati in October 2009 attempted to strengthen the countries laws against homosexual activity.  The Anti- Homosexual Bill called for life imprisonment for gay activities, death for aggravated homosexuality, a catch all term for repeat offenders that included a 7 year sentence for aiding and abetting,  3 years for arranging and participating in HIV testing, lastly  potentially 3 years in prison if you know of and do not report a homosexual within 24 hours.  The details of the bill are presented through cuts to and from news medial, television reports and newspaper headlines rolling across the screen.

The international partners put pressure on the Ugandan president to move slow with the bill or risk international backlash. In an eerily foreshadowing of later tragic events David is alone at home with very little light watching the report on a flickering television that is part picture and part snow. Cheering for himself and fellow activities on the screen and jeering the opponents that are part of the report.  The camera then follows David around the farm at night as he moves by flashlight speaking to the residence and barley identifiable workers at his farm to see if they saw the report.

The movement win the court case against the RollingStone newspaper for invasion of privacy inciting violence and discrimination. The case against Rolling stone was successful but the Anti- Homosexual Bill remains a possibility. The post victory celebrations lead to a tragic event hinted at earlier that would have a lasting effect on the movement itself.

Call Me Kuchu is a powerful film that presents it material though several first hand accounts on both sides of the issue.  The directors give the viewer all of the information and leave it up to them to form their opinion on the issues presented. It's a film that I can definitely recommend.

*** 1/2  Out of 4.

Call Me Kuchu | Katherine Fairfax Wright, Malika Zouhali- Worrall | USA- Uganda| 2011|  87 Minutes.

KinoSmith  Productions.

Tags: LGBT, Activism, Sexual Rights, Uganda, Kampala, Anti- Homosexual Bill, David Kato, Ugandan Rolling Stone Newspaper,  Religion.

Film Review - Elysium

Director Neill Blomkamp makes his long anticipated return to the screen with his second feature Elysium. Sci-Fi fans have waited not so patiently for a follow up to his first feature the visually stunning  and unique District 9.

Blomkamp a graduate of Vancouver Film schools 3D Animation and Visual Effects program has a seamless method of combining special effects and live acting that continues in Elysium. Blomkamp eye for robot construction is unmatched. In 2154 robots are the police on earth, homeland security on Elysium, parole officers and conduct most of the manual labour tasks. They show no favouritism,  cannot be influenced or corrupted.  They follow the law to the letter. If a law or rule changes they follow that new rule regardless if that rule changes the status of someone from a target to a citizen in a matter of moments.

Dystopian earth in the year 2154 is overrun by population, disease and lawlessness. The rich build a space station in the sky and leave taking all of the top technological and scientific achievements with them to a paradise orbiting a 19 minute shuttle ride away above the earth. They have devices that are cross between a tanning bed and a MRI machine that if you have a citizen implant detects your disease then eliminate it within a couple of minutes.  The integration of the construction of the station the lush green fields, beautiful homes, ample lakes and rivers on Elysium are visually stunning.

The story centers around Max (Matt Damon) a former car their who is on parole and working on the line in a plant that makes robots. After an accident in the plant Max takes a job from his old underworld contacts in exchange for a ticket to Elysium to cure the malady he contracted at the plant.  Max is reunited with his childhood soulmate Frey (Alice Braga) who has a daughter in the last stages of leukemia and also requires treatment on Elysium. The job does not go as planned the strike team is intercepted by an earth based team of disavowed agents. Max does get information from the target that turns out to be more important than his sponsors could have expected.

The best part and worst part of the film are interrelated.  All scenes are essential to the plot.  A good example is the sequence that starts with Max confronting a police robot while lining up for a bus.  The confrontation ends with a broken wrist which leads to a reunion with Frey at the hospital, his job being threatened on the line and the decision to take a risk at work that causes his illness and nothing to loose attitude. The fact that the scenes work to move the film along takes something away from character development.  There are no arcs, the cast do not grow from the first time you see them on screen until the last act. This hurts the audience ability to develop a rooting interest for any of the actors  which is essential to making a memorable film that will stick with the viewer.

Visually dazzling in scope depth and detail quickly paced but suffering from a lack of character   advancement Elysium is a film that will appeal to Sci-fi fans that have a love for the ongoing integration between humans and robots in a future society. But if it's a strong story featuring participants that change, grow and fall as the story progresses it's not a film that I can recommend.


**1/2 out of 4.

Elysium | Neill Blomkamp | U.S.A. | 2013 | 109 Minutes.

Tags: Utopia, Dystopia, Los Angeles, Robots, Elite, Masses, Disease, Agents, 1% vs. 99%