The 35th Starz Denver Film Festival is in full swing, and, along with the majority of our population, quite happy to now be past the US Presidential election. This week we have some quick thoughts about a few notable films that have screened already, and one that we highly recommend catching this coming Sunday.
"Headshot" is the latest by Thailand director Pen-ek Ratanaruang, a director who has achieved notable acclaim over the last twenty years with breakout films like "Monrak Transistor" and "Last Life in the Universe" which had previously screened at the film festival. I accidentally typed in "Headshit" when making notes about this film, but it's every bit as appropriate considering the head-trip that the film takes you on throughout, commencing with the lead character being shot in the head during an operation in which he seeks to assassinate a mysterious crime-boss. He survives his near-death head-trauma but finds himself in an altered state in which his vision is literally turned upside down. It's a pretty wild premise, and one that we find our leading man embracing by films end, along with the crime-bosses daughter who materializes to save his life again. The festival programmed this as one of the late-night "Watching-hour" films, a move that makes some sense though it may have been more appropriate and appreciated by earlier timeslots and a general audience. Ratanaruang's pacing is definitely quite slow and thoughtful, while his imagery often slick and occasionally dipping into the strangely abstract. "Headshot" also has the distinction of delivering by far the most memorable line from the entire festival: "Where's the fried pork fat?"
You have to suspend almost all disbelief for the most part with the French film "Paris Under Watch," but that's a good thing as it quickly proves to be on the cutting edge of cinematic storytelling, perfectly discombobulating but rationally so as it utilizes the concept of mass-surveillance to weave a tale that keeps viewers engaged and guessing throughout. Mixing terrorism, public vigilantism, computer-system hacking and even, gasp, potential conspiracy relating to a presidential election (French, of course), this is a highly effective, fast paced, technology-obsessed fantasy. Ultimately the implausibility of the scenario tends to wear the premise down a bit, but director Cedric Jimenex has to be applauded in both his attempt and ability to pull this off. It could not have been easy and so deserves an audience for trying, particularly considering his limited experience directing, though he was the producer of previous Denver Festival visual mindbender "Eden Log." Another great festival selection and discovery for those who caught it, and one that should most likely be available on the market at a later time in some form.
It seems like it has been a few years since the Denver Film Festival presented selections from the Austrian Avant Garde, but the festival has a long history for doing so and one has to wonder why this kind of work comes primarily from Austria, certainly another program like this could be culled from a broader international base or even another country? But that's besides the point, Austria has a long and deep history of supporting pure art and particularly as it relates to film. As past festival chief and founder Ron Henderson put it during his introduction, "these are films that won't be found in theaters, but have shown primarily in museums and gallery settings" or something to that effect, which of course is what makes them worth going out of your way for. Mostly meditative and abstract, this year's selections are in perfect congruence with what one considers to be "avant-garde" in film throughout its history, defying both mainstream and even art-house categorization. And for anyone who likes this type of experience, the whole program was terrific and so welcome.
Two features that follow a more experimental and "avant-garde" approach proved to be extremely successful, though both categorically fall into the realm of "personal-history" cinema. The first, "Private Universe," is by way of the Czech Republic and filmmaker Helena Testikova. It essentially follows a handsome young couple through their initial years of child-rearing on throughout in their children's adult lives. It's a strange but effective choice, kind of like a condensed version of the Up documentary series by Michael Apted, with no real bearing on what distinguishes the family for this type of treatment outside of perhaps their own personal interest in keeping an annual family diary. But the project started within a socialist system, and the development of all members within has a lot to say about that system's transformation during a crucial time in its history, something that may not be easy for all audiences to relate to but is intriguing in how it plays out. Particularly telling is the observation upon the birth of the couples third child that "there was nothing to buy, nowhere to travel, life was quiet," which made the decision to have children very easy. The footage is well conceived and the portrait very, very honest. You realize how special and different this family unit must be to be a part of such an experiment at all, sifting through plenty of philosophy while leaving no great revelations other than "this is how life is" and we deal with it as a family. Of particular note, at least in light of the recent amendment passed in Colorado's state election, is the depiction of marijuana use by the oldest son Honza, the primary focus of the proceedings. At one point the family smokes a joint with him because its Christmas, their willingness to be part of the experiment going full tilt!
The second feature, and that can still be viewed this coming Sunday afternoon at the Pavilions, is the stunningly well crafted American meditation "City World" by Brent Chesanek. Admittedly, I would not have gone out of the way to view this based solely on the brief description printed in the film guide, the focus on Orlando as the setting and prospect of a boys ruminations on family are accurate yet struggle to vie for attention. But I'm glad to have gotten past that hurdle, this is really such a beautiful work of art, one that undoubtedly resonates most effectively on the big screen. As we slowly weave our way through the strange Florida landscape, at times listening to a boys thoughts on that land and his upbringing, the perfectly controlled pacing and rich compositions transcend all levels of narration to simply become exquisite visual art. The bridge between nature and the man-made is deeply considered, an unusual stillness hanging throughout every frame no matter how close or wide a view is captured as if people simply didn't exist up till the very end. This is also not easy cinema to pull off effectively, but "City World" manages to do so profoundly and gracefully and is perhaps one of the best films at this years festival.
"Headshot" is the latest by Thailand director Pen-ek Ratanaruang, a director who has achieved notable acclaim over the last twenty years with breakout films like "Monrak Transistor" and "Last Life in the Universe" which had previously screened at the film festival. I accidentally typed in "Headshit" when making notes about this film, but it's every bit as appropriate considering the head-trip that the film takes you on throughout, commencing with the lead character being shot in the head during an operation in which he seeks to assassinate a mysterious crime-boss. He survives his near-death head-trauma but finds himself in an altered state in which his vision is literally turned upside down. It's a pretty wild premise, and one that we find our leading man embracing by films end, along with the crime-bosses daughter who materializes to save his life again. The festival programmed this as one of the late-night "Watching-hour" films, a move that makes some sense though it may have been more appropriate and appreciated by earlier timeslots and a general audience. Ratanaruang's pacing is definitely quite slow and thoughtful, while his imagery often slick and occasionally dipping into the strangely abstract. "Headshot" also has the distinction of delivering by far the most memorable line from the entire festival: "Where's the fried pork fat?"
You have to suspend almost all disbelief for the most part with the French film "Paris Under Watch," but that's a good thing as it quickly proves to be on the cutting edge of cinematic storytelling, perfectly discombobulating but rationally so as it utilizes the concept of mass-surveillance to weave a tale that keeps viewers engaged and guessing throughout. Mixing terrorism, public vigilantism, computer-system hacking and even, gasp, potential conspiracy relating to a presidential election (French, of course), this is a highly effective, fast paced, technology-obsessed fantasy. Ultimately the implausibility of the scenario tends to wear the premise down a bit, but director Cedric Jimenex has to be applauded in both his attempt and ability to pull this off. It could not have been easy and so deserves an audience for trying, particularly considering his limited experience directing, though he was the producer of previous Denver Festival visual mindbender "Eden Log." Another great festival selection and discovery for those who caught it, and one that should most likely be available on the market at a later time in some form.
http://www.efp-online.com/en/films/8667/PARIS+UNDER+WATCH
It seems like it has been a few years since the Denver Film Festival presented selections from the Austrian Avant Garde, but the festival has a long history for doing so and one has to wonder why this kind of work comes primarily from Austria, certainly another program like this could be culled from a broader international base or even another country? But that's besides the point, Austria has a long and deep history of supporting pure art and particularly as it relates to film. As past festival chief and founder Ron Henderson put it during his introduction, "these are films that won't be found in theaters, but have shown primarily in museums and gallery settings" or something to that effect, which of course is what makes them worth going out of your way for. Mostly meditative and abstract, this year's selections are in perfect congruence with what one considers to be "avant-garde" in film throughout its history, defying both mainstream and even art-house categorization. And for anyone who likes this type of experience, the whole program was terrific and so welcome.
A to A by Johann Lurf
http://www.johannlurf.net/kreiswrneustadt/#bild
Two features that follow a more experimental and "avant-garde" approach proved to be extremely successful, though both categorically fall into the realm of "personal-history" cinema. The first, "Private Universe," is by way of the Czech Republic and filmmaker Helena Testikova. It essentially follows a handsome young couple through their initial years of child-rearing on throughout in their children's adult lives. It's a strange but effective choice, kind of like a condensed version of the Up documentary series by Michael Apted, with no real bearing on what distinguishes the family for this type of treatment outside of perhaps their own personal interest in keeping an annual family diary. But the project started within a socialist system, and the development of all members within has a lot to say about that system's transformation during a crucial time in its history, something that may not be easy for all audiences to relate to but is intriguing in how it plays out. Particularly telling is the observation upon the birth of the couples third child that "there was nothing to buy, nowhere to travel, life was quiet," which made the decision to have children very easy. The footage is well conceived and the portrait very, very honest. You realize how special and different this family unit must be to be a part of such an experiment at all, sifting through plenty of philosophy while leaving no great revelations other than "this is how life is" and we deal with it as a family. Of particular note, at least in light of the recent amendment passed in Colorado's state election, is the depiction of marijuana use by the oldest son Honza, the primary focus of the proceedings. At one point the family smokes a joint with him because its Christmas, their willingness to be part of the experiment going full tilt!
http://vimeo.com/41155691
http://www.taskovskifilms.com/tag/helena-trestikova/
The second feature, and that can still be viewed this coming Sunday afternoon at the Pavilions, is the stunningly well crafted American meditation "City World" by Brent Chesanek. Admittedly, I would not have gone out of the way to view this based solely on the brief description printed in the film guide, the focus on Orlando as the setting and prospect of a boys ruminations on family are accurate yet struggle to vie for attention. But I'm glad to have gotten past that hurdle, this is really such a beautiful work of art, one that undoubtedly resonates most effectively on the big screen. As we slowly weave our way through the strange Florida landscape, at times listening to a boys thoughts on that land and his upbringing, the perfectly controlled pacing and rich compositions transcend all levels of narration to simply become exquisite visual art. The bridge between nature and the man-made is deeply considered, an unusual stillness hanging throughout every frame no matter how close or wide a view is captured as if people simply didn't exist up till the very end. This is also not easy cinema to pull off effectively, but "City World" manages to do so profoundly and gracefully and is perhaps one of the best films at this years festival.
http://cityworldfilm.com/
