Archive for September, 2007

Secret Sunshine (Milyang)

Secret Sunshine (Milyang)

Secret Sunshine (Milyang) (Director: Lee Chang-dong): Jeon Do-yeon gives a breathtaking performance as Shin-ae, a recently widowed young mother who takes her son to live in her late husband’s hometown, hoping for a fresh start. Instead, a new tragedy plunges her further into grief. Although to some, this may sound like just the sort of “film festival” film to avoid, it was never less than compelling, despite its 142 minute run time.

Possible Spoiler Alert: Despite the fact that every review I’ve read discusses the plot points I’m about to reveal, I thought it would be fair to warn you.

It’s clear that Shin-ae is already an isolated figure even before she moves to a new town. Her husband’s death in a car accident doesn’t seem to be the only reason she wants a fresh start. She leaves without telling her own family, to whom she seems estranged. Her only joy is in her young son, Jun. As she establishes herself as a piano teacher in her new surroundings, we learn a bit more. She had married young, presumably to get out of her family’s household. Her husband had cheated on her. Her brother seems to want to stay in touch. And then there’s Jong-chan, the goofy local mechanic who’s developed a major crush on her. Despite his sincere attraction, she tries to keep him at arm’s length. He’s 39 and unmarried, which makes him a figure of fun to his friends. But touchingly, he continues to watch over Shin-ae, and when her son is kidnapped and later found dead, he’s there to offer support. But she doesn’t seem to notice.

The film is really a journey into the hell that is grief. Though the first loss seemed only to stagger her, the loss of her child threatens to sweep her away. In a desperate attempt to hold off the full force of her grief, and the pain that is physically weighing her down, she joins an evangelical church. God and the believers are offering her comfort, even healing, and she snatches at the chance. It seems to work for a little while, and she decides to visit her son’s killer in prison, to offer him her forgiveness. But when she arrives, she finds out that he too has found faith, that God has already forgiven his sins, and that jars her tenuous belief.

At this point, we begin to surmise that Shin-ae’s relationship with her father may have been one of abuse, and her anger at God seems to become entwined with her feelings for her own father. In her sudden disillusionment with Christianity, she lashes out in ways both funny (her sabotage of a prayer meeting’s sound system) and cruel (her seduction of a church elder). Several times during these desperate acts, she looks up to the heavens and asks, “Can you see me?”

All along, the comfort and love she’s longing for are under her nose. Jong-chan (played with wonderful gentleness by The Host’s Song Kang-ho) waits patiently, picking up the pieces at every turn. He even joins the church for her, which leads to several comic moments. It might be tempting to think that the film is criticizing Christianity, but in hindsight, the devotion and selflessness shown by Jong-chan is probably the closest thing to the ideal of Christian love in the entire film. Which is not to say he’s a saint. He’s lonely, too, but his determination that they are right for each other is touching and in the end, we hope, convincing.

The film could very well have been entitled “A New Life,” for that’s what Shin-ae is seeking all along. At the end, it’s not all resolved. She’s gone through hell, and might have to go through more, but there is a little bit of hope. The name of the town, we’re told early in the film, is derived from the Chinese for “secret sunshine.” By the closing frames, we’re hoping Shin-ae can see it.

Trailer
Official Site

8/10(8/10)

Persepolis

Persepolis
Persepolis (Directors: Marjane Satrapi and Vincent Paronnaud): Based upon the graphic novels which were blockbusters in France (and now published in one volume), Persepolis faithfully brings Marjane Satrapi’s story and images to the screen and then wonderfully surpasses them. Growing up in Iran under the repression of first the Shah’s dictatorship and then that of the Islamic Republic was not easy, even for someone like Satrapi whose family had money and connections. The film grabs our sympathy through several strongly-drawn (if you’ll forgive the pun) characters, from her saucy grandmother to her dashing political dissident uncle Anoush. But it’s ultimately the story of Marjane herself that carries us along. Her developing political awareness is connected to her personal history of displacement and the ordinary “feeling different” of adolescence.

What makes the story even more powerful is the superb animation. Two-dimensional and for the most part in black and white, it nonetheless never feels less than thrilling, and just when I was finished shaking my head at some gorgeous and poetic flourish, there was another one. I haven’t seen a film that was this consistently innovative for a long time. And yet it didn’t feel showy, as if it were the latest CGI technology trying to draw attention to itself. I had the feeling of looking over the shoulder of an intensely talented artist doodling in her notebook while telling me the most incredible story.

Best of all, at a time when many people are thinking of Iran as a potential enemy, it’s crucial to see a human story from a place where the civilization is thousands of years old. There isn’t much history in the film, but what’s there is presented simply. I was left wanting the film to continue both backwards and forwards in time, and desperately hoping along with Satrapi that the future is brighter for the long-suffering people of Iran.

Teaser
Trailer
Official Site

9/10(9/10)

Jar City (Mýrin)

Jar City (Mýrin)

Jar City (Mýrin) (Director: Baltasar Kormákur): I previewed this film a few weeks back and thought that it looked like a stylish thriller which had the added benefit of being set in Iceland, and that’s essentially what it is. The natural beauty of the Icelandic setting is played down, however, with Kormákur pointing his camera at the bleaker and less spectacular parts of the countryside, which helps to keep the focus on the characters. Ingvar Eggert Sigurðsson, as police inspector Erlendur, gives a particularly intense performance as a man trying to solve a murder that has its roots in the past. Issues of privacy arise when it turns out that someone has been using the country’s unique genetic database to search for a common thread among several victims. Iceland’s small size makes it a unique place for this sort of genetic research, not to mention the fact that violent crime is relatively rare and word travels fast when it does occur. Despite these unique touches, the film is too much like an episode of Cold Case, CSI, or other television fare to have lasting appeal.

As well, the timeline of events becomes a bit confusing in places, and the presence of three father-daughter pairings fails to resonate as intended. I suspect that these flaws are not present in the source novel, Tainted Blood, by Arnaldur Indriðason, which has now been republished under the title Jar City. As with most adaptations, it’s likely that a lot has been left out, and in the case of this film, what’s missing feels important.

The musical score (by Icelandic pop star Mugison, who also scored Kormákur’s last film, A Little Trip To Heaven) is made up entirely of choral pieces sung by the Icelandic Police Choir, and although the director claims to have been aiming for “ghostly” music, at times and places in the film it feels heavy-handed.

Overall, I found the film enjoyable but ultimately forgettable.

Here is the Q&A with director Baltasar Kormákur from after the screening:


Duration: 14:11

Trailer
Official Site

7/10(7/10)

Jason’s 2007 TIFF picks

Here are the films that I am seeing this year, in screening order:

1. Friday, Sept 7, 7:15pm
Le chansons d’amour (Love Songs) (France, Christophe Honoré)

2. Saturday, Sept 8, 9:00am
Control (UK/USA, Anton Corbijn)

3. Sunday, Sept 9:15am
Boy A (UK, John Crowley)

4. Monday, Sept 10, 2:00pm
Silent Resident (Weisse Lilien) (Austria/Germany/Luxembourg/Hungary, Christian Frosch)

5. Monday, Sept 10, 9:45pm
El Pasado (The Past) (Argentina, Hector Babenco)

6. Tuesday, Sept 11, noon
Vexille (Japan, Fumihiko Sori)

7. Tuesday, Sept 11, 11:59pm
Sukiyaki Western Django (Japan, Takashi Miike)

8. Wednesday, Sept 12, 9:45pm
Import/Export (Austria, Ulrich Seidl)

9. Thursday, Sept 13, midnight
Flash Point (Dao huo xian) (Hong Kong, Wilson Yip)

10. Friday, Sept 14, 12:15pm
Déficit (Mexico, Gael García Bernal)

11. Friday, Sept 14, 5:00pm
Hengbok (Happiness) (South Korea, Jin-ho Hur)

12. Friday, Sept 14, 9:30pm
Chrysalis (France, Matteo Botrugno, Daniele Coluccini, Julien Leclercq)

13. Saturday, Sept 15, 6:30pm
Shadows (Koski) (Republic of Macdeonia, Milcho Manchevski)

14. Saturday, Sept 15, 10:00pm
Ex Drummer (Belgium, Koen Mortier)

The only film that I didn’t get tickets for yet is Jar City (Mýrin). I’ll be checking the box office but may need to rush it on Thursday afternoon.

My boss is kind enough to allow me to make up time for daytime weekday screenings. I can’t see anything in the afternoon or evening of this weekend (Sept 8 and 9) because of my comp tickets to Virgin Fest. Regardless, I’m seeing at least 14 films this year and Seana and I are going to have a blast!

Deep Water

Deep Water

Deep Water (Directors: Louise Osmond and Jerry Rothwell): I’m not sure how I managed to miss this one until now. Ten years ago, the teacher responsible for any HTML knowledge I might possess shared a quirky and incredible story with our class. Donald Crowhurst was an inexperienced sailor from England who in 1968 entered, at the last minute, a race to sail around the world alone. Despite his lack of preparation and inexperience, his regular reports seemed to have him leading the race. And then suddenly his reports stopped. Some time later, his boat was found drifting in the North Atlantic, completely off course and on the other side of the world from his last reported position. Crowhurst wasn’t on board, but investigators discovered that he’d been keeping two sets of logbooks and trying to deceive the race organizers into thinking he was winning. As his true and reported courses diverged, Crowhurst seemed to lose his sanity and his last entries are heartbreaking in their confusion. At the time I heard the story, the only book written on the subject, The Strange Last Voyage of Donald Crowhurst, was long out of print, but I was able to find a copy a few years later through eBay. Happily, the book is now back in print along with another book called A Voyage for Madmen that covers the rest of the race participants in more depth. To make a long story short, the aspiring documentary filmmaker in me always thought this would be an amazing film, and I even toyed with the idea of trying to buy the rights. It seems someone has beaten me to the punch. And that’s a very good thing.

This is an incredible story and I absolutely cannot wait to see this film. It opened theatrically in Britain last December and is now in limited release in the US but there is no planned theatrical release in Canada at this point. Pity.

UPDATE (December 31, 2007): Alliance Atlantis will be releasing the film on DVD in Canada on January 8th. Here’s my review of the DVD:

After my disappointment at the film’s lack of a theatrical release in Canada, my elation at the DVD release could only have been expected. This unbelievable story needs to be known by more people, and I’m glad to report that Osmond and Rothwell’s film does a great job of telling it. Not only that, but for those with no background at all about the Crowhurst story, it builds the suspense carefully and doesn’t reveal the mystery right away. If you’ve read this far in my review, you’ll know that I’ve already spoiled that mystery by telling you all about it above, but you will want to see this film to try to understand what drove this decent and mild-mannered man over the edge to madness and suicide.

There is ample background material on the Sunday Times Golden Globe Round the World Race, a competition to become the first person to sail around the world alone and without stopping. This was something like the first reality television show, albeit broadcast in the pages of a newspaper, and it attracted an enormous amount of attention. In the end, nine men entered the race, and most had had much more sailing experience than Donald Crowhurst, who was a late entry and considered something of a dark horse. Of course, the media played up that angle and when it emerged that Crowhurst was setting sail in an innovative self-designed trimaran, the journalists portrayed him as something of a genius. In reality, he was the struggling proprietor of a business that sold navigational instruments for boats, and his real ambition was to pull himself out of some dire financial difficulties. In his desperation to get funding to build his boat, he signed a restrictive contract that would punish his early withdrawal from the race by making him liable for the costs. As the deadline to set sail approached, the boat was nowhere near ready to sail, but he found himself pressured into launching anyway. A short test journey didn’t augur well, though. At the ceremonial launch, the champagne bottle didn’t break when crashed against the hull (a bad omen) and the journey took two weeks instead of the expected three days, thus eating further into his scarce preparation time. In addition to mechanical problems with the boat, Crowhurst was also woefully inexperienced as a sailor, something he was keen to hide from his sponsor and the press.

The race offered two prizes. The Golden Globe trophy for the first boat to arrive back in England, and a £5,000 cash prize for the fastest time. These were separate things because the race rules allowed the sailors to leave anytime between the beginning of June and the end of October. Needless to say, Crowhurst was the last to launch, on October 31, 1968, and due to the boat’s unfinished condition, he quickly ran into trouble. After only a few weeks, he knew that the boat wouldn’t withstand the wild seas in the Southern Ocean. But because of the precarious financial situation he was in, he realized that dropping out would ruin him, even though continuing might kill him. It is with this dilemma in mind that he formulated what he thought was a way out. He began sending back reports in which he claimed to have covered much greater distances than he had in actuality. The problem became worse when his actual and reported positions grew further and further apart. In the end, he kept two separate logbooks and created a fictional voyage in which he was gaining on his competitors. His plan was simply to sail around the south Atlantic and wait for the rest of the field to actually circumnavigate and sail north from Cape Horn. By the time the other boats had caught up to his actual position, he hoped to join them again and slip in around fourth or fifth place, where no questions would be asked. He might not win the fame or fortune he was after, but he could save face.

Unfortunately for him, the race had claimed many of the other boats, and after Robin Knox-Johnston had claimed the first home prize on April 22, 1969, and his nearest competitor, Frenchman Bernard Moitessier had abandoned the finish line and decided to keep sailing, it looked like Donald Crowhurst might be in line to win the fastest time award. When the boat of Nigel Tetley, the only boat ahead of him, sank on May 21st, Crowhurst knew that if he finished the race at all, he would be welcomed as a hero and subjected to media scrutiny. In his mentally unbalanced state, he left the boat sailing very slowly north, writing increasingly unhinged reports in his logbooks. The last entry is from July 1st and is for all intents and purposes a suicide note. The boat was found drifting with no one on board on July 10th, and Crowhurst’s deception was quickly discovered and jumped on by the press. Knox-Johnston had received both prizes as the only sailor to complete the race, and he donated the cash to Crowhurst’s family.

The filmmakers were fortunate for several reasons. Because the race was such a media circus, lots of archival film and audio recordings exist, including film and audio Crowhurst made himself during the voyage. As well, most of the race participants (or their family members) contributed interviews, including Crowhurst’s widow Clare and several of his children. Perhaps the most moving of all the interviews was with his best friend Ron Winspear, who even now is quick to jump to his friend’s defence. After praising his courage for even attempting something so dangerous, he tearfully recalls, “In my mind, I gave him a hero’s burial.” Though the inexperienced Crowhurst seemed at the beginning to be very different from the rest of the sailors, by the end, we see that he possessed the same ambition, the same courage, and perhaps most heartbreakingly, the same determination not to give up.

I was reminded several times of another recent documentary about brave and single-minded men, a film about the Apollo astronauts called In The Shadow of the Moon (review). One of the journalists interviewed actually does compare the sailors to the astronauts, considering that they were newsworthy at the same period in time. Our relentless hunger for heroes, however, does lead to some casualties, and that in itself makes the film a must-see.

I have only one tiny criticism of the film, and that is that the titles/subtitles are in a font that is far too small and difficult to read. Since quite a bit of information is conveyed this way, it detracted just a bit from the experience.

The DVD includes some wonderful special features, including extra footage telling the stories of some of the other race competitors, as well as fuller interviews with Crowhurst’s family and the journalists who covered the race itself. As well, there is an interactive feature allowing the viewer to explore the cabin of Crowhurst’s boat, the Teignmouth Electron.

Buy Deep Water from Amazon.ca

Buy Deep Water from Amazon.com

Trailer
Official Site

9/10(9/10)