BLACK SWAN is a tragic tale of a young woman’s quest for perfection, an endeavor complicated by her fractured self. Natalie Portman plays Nina, a promising young ballerina set upon earning the treasured role of the Swan Queen in Thomas Leroy’s new version of the classic production Swan lake. The primary obstacle for Nina is not in her portrayal of the White Swan, but proving she has in her what it takes to play the Black Swan as well.

Directed by Darren Aronofsky, the film is meticulously composed with a grainy spontaneous edge, much like that of his previous film THE WRESTLER. Nina is an innocent, seemingly fragile young woman, extremely talented but pressed upon and protected too much so at times by her overbearing mother, played perfectly by veteran Barbara Hershey. Nina fears she ruined her one chance at the coveted role, until Thoma Leroy (Vincent Cassel) notices quite by accident that she has the raw seedlings of what makes the Black Swan within.

Mila Kunis offers a fun and exhilarating supporting performance as the wild child Lilly, a ballerina who plays dirty while vying for Nina’s prized role. Winona Ryder’s supporting performance as the aging ballerina Beth may be brief, but not without merit. Beth’s mental state is crumbling under the weight of being a fallen star, something for which Nina feels guilt. Ryder’s performance is eerie and compelling, combined with Aronofsky’s chilling Dario Argento-inspired vision of a tortured soul.

BLACK SWAN is a dark, psychological thriller with the antagonist and protagonist rolled up into one mesmerizing performance from Natalie Portman, a stellar achievement deserving of unquestionable Oscar notoriety. She conveys Nina in such a virginal, incorruptibly innocent that, as her character unfolds upon herself to embrace the essence of the Black Swan, that the result is both shocking and intensely surreal. Portman’s performance was surely a formidable task, both creatively and emotionally.

Visually, Aronofsky’s film is far more intricate than it leads on at the surface. Nina’s personality is at the core of the story, an element reflected repeatedly throughout the film by his abundantly effective use of mirrors. So much is this an integral role in the film, that to consider the logistics of such a production is mind boggling in and of itself. While watching BLACK SWAN, be mindful of the mirrors and what they represent about Nina and her reality.

The classical music of Swan Lake, combined fluidly with original music from Clint Mansell (REQUIEM FOR A DREAM), provides a visceral sound-scape for Nina’s metamorphosis. I need not sell this film to fans of Darren Aronofsky, as they are already well aware of his talent and appeal. However, those who have not yet succumbed to the his cinematic prowess should not refrain from this gem due solely to it’s association to ballet. The classical dance is merely a vessel for a much more potent, terrifying tale.

BLACK SWAN played during the 19th Annual Stella Artois St. Louis International Film Festival and will open in theatres nationwide on December 3rd, 2010.

Losing someone you love, especially a young child, must be the most difficult thing to endure as a conscious human being. I believe we all can agree on that. However, how each and every one of us would cope with such a tragedy is the varied and unpredictable element that John Cameron Mitchell explores in his new film.

RABBIT HOLE is an intimately personal journey through one couple’s attempt to deal with the accidental death of their four-year old son. Becca and Howie Corbett, played by Nicole Kidman and Aaron Eckhart, travel the jagged path of recovery, torn between honoring and hiding the memory of their son. The film opens with the couple appearing relatively well adjusted, but what evolves is the dangerous undercurrent waiting to boil over and break though the fragile façade of stability in their relationship and themselves.

Mitchell paints a picturesque portrait of the New York suburbs, beautifully capturing the world of hope and joy around the Corbett’s while injecting just enough darkness into the visual interpretation as to suggest something less innocent hiding in the shadows, waiting to be unleashed. It’s this subtle element of uncertainty and fear that slowly seeps to the forefront until finally erupting in one of the most convincing, most painfully real depictions of emotional pain delivered by two actors at once on screen.

Nicole Kidman is beyond worthy of an Oscar nomination for her role as Becca. She is distance from her Howie, while rarely leaving the house. Combined with the uncomfortable experience of watching her bottle up her feelings, Becca is a frightening character to empathize with, but we do so out of instinct. Her cold disposition and uninviting demeanor keeps the audience at arm’s length as we struggle to embrace her and say “its gonna be ok.”

Howie, on the other hand, pursues a completely opposite approach to coping with the loss of his sun. He goes about life with a positive demeanor, while quietly honoring his son’s memory. This becomes a direct conflict as Becca subconsciously works to remove any evidence of their son from their daily lives. Eckhart also delivers a surprisingly deep and accomplished performance, sharing a side of him self no seen before. Kidman and Eckhart work brilliantly together. Dianne Wiest is a welcome face, portraying Becca’s mother, who also has had her share of loss to cope with, but her efforts to support Becca develop into an additional level of tension that adds depth to Becca’s world.

RABBIT HOLE is an extraordinary film, combining the sadness and hopelessness of grief with the darker humor and irony that comes with the Corbett’s participation in a support group and the family dynamics that occur parallel to their tragedy. The title of the film is derived from a creative project being pursued by another character connected to the Corbett’s – a wonderful surprise twist in the story I will not ruin.

RABBIT HOLE played during the 19th Annual Stella Artois St. Louis International Film Festival.

For many, VISIONARIES will feel like an incomprehensible documentary about a group of strange filmmakers who made incomprehensible films. For those who feel they may fit this description, this is your friendly “heads up’ to enter into the film with an open mind and uninhibited curiosity. Every film featured in VISIONARIES has some meaning or purpose.

Workman interviews several groundbreaking and influential filmmakers of the experimental and avant-garde “genre” including Jonas Mekas, who serves as the film’s tour guide into the minds of cinematic artists like Stan Brakhage, Man Ray, Su Friedrich and Kenneth Anger. David Lynch offers insights as well, one of the most interesting is when he explains how when sound and images are projected together, the viewer’s mind involuntarily begins to construct a narrative. With this concept, it may be assumed that the viewer is the storyteller and each film may ultimately have an infinite number of stories it tells.

VISIONARIES contains over 100 clips and excerpts from films with a variety of styles and executions. A significant portion of the film delves into the motion picture works of Andy Warhol, who cannot be dismissed as an influential force in the avant-garde. Mekas recalls memories and insights into Warhol’s films to accompany archival interviews with Warhol himself.

While some of the most recognizable films featured in VISIONARIES would include Andy Warhol’s SLEEP and EAT — both of which feature an uncut, unmoving shot of the title action – or, Salvador Dali’s UN CHIEN ANDALOU, infamously known for it’s image of an eye being sliced open with a straight razor. However, these films only break the surface of a vast and fascinating array of experimental works of cinematic art.

The avant-garde movement in film is an exploration of creativity and self-expression and deserves exposure to the general public. This is, more than anything else, what VISIONARIES offers… a chance for a greater audience to experience the typically hidden and unappreciated world of motion pictures outside of the traditional Hollywood narrative structure. Near the end of the film, a brief series of quick interviews with people standing in line for a film festival illustrates how having the courage and curiosity to seek out films outside our comfort zone is not only enjoyable, but necessary to fully understand the deeper possibilities of the cinematic arts.

VISIONARIES played during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 20th, followed by a free documentary filmmaking seminar with director Chuck Workman on Sunday, November 21st. While a release date has not been established, those who missed VISIONARIES during SLIFF can “save” the film into their Netflix queue and will be notified once the DVD is available.

Review by Dane Marti

Based on a novel by Florence Biros and directed by Edward D. McDougal, DOG JACK takes place during the tumultuous Civil War. You remember that, right? Not a lot of fun? It was the major turning point in American history and bringing to close the evil, inhumane practice of slavery. Of course, the war didn’t end racism in the south or anywhere, but it certainly started humanity on the right path, even if many consider States-Rights to have been violated.

While there are many great films based on history, including war films, the Civil War has only occasionally been the focus of a motion picture: Obviously, there are a few that stand out: the famous, epic and controversial, Birth of a Nation and Gone With the Wind are two big examples of important cinematic works. Director John Huston gave us Audie Murphy (the WWII War Hero) in The Red Badge of Courage. Filmed in black and white, it is well worth seeing.

In more recent times, Ken Burns gave us what I consider easily his most interesting and detailed work (although as a Jazz fan, I did like that as well.): The Civil War.There was also Gettysburg, a TV movie that deservedly received praise from critics and might have been released in some places theatrically. The scenes taking place during the battle of Little Round Top were particularly well staged.Then there was the outstanding Glory, with Denzel Washington, a work that rightly showed the contributions that African Americans made to the Union Army, important things like giving up their lives for a vitally important cause! War is helland the close, hand-to-hand, brother-to brother battles of the Civil War were among the most horrifically bloody chapters in History.

DOG JACK is a little different from some of the works made previously on this vital subject. 14-year-old Jed is a runaway slave. He’s got a loyal dog named, Jack, who has a patch over his left eye, resembling one of those wonderful canines that always seemed to be around the Our Gang kids in the thirties. This gives the film a shimmering, childlike element – it subconsciously reminds me of Mark Twain’s Huck Finn, but also gives the story humanity and compassion. Hey, who doesn’t like dogs? Now, I realize that some might consider the dog character to be a little overly cute, but this was written originally as children’s literature; an element of cuteness was needed to get children to learn about the Civil War and, in particular, the horrible nightmare of slavery; somewhat like ‘a spoon full of sugar makes the medicine go down’. Well, somewhat. It’s a nice introduction to this important subject.
Some of the dialogue introduces interesting concepts for younger people (of all ages) to think about after the film, and presumably the book preceding it.
“What price does man pay for freedom,the taking of a life?
Anyone who thinks war is a clear-cut thing, don’t believe it

Anyway, Jed has a tough time getting to the Union border and freedom. A tortured and conflicted Minister assists him on his journey: within the film, the partnership does not seem forced or phony. This is one of the most interesting aspects to the film – the conflict within the minister, a man who saves the young man from being forced to return to slavery, but also a man who still has a slight pallor of racism about it, as did many Northerners. One of the themes of the film is how there are double meanings within every aspect of life, nothing is cut and dried. Once he starts tagging along with the Union, but before he becomes a soldier/hero, he finds difficulty with white men and their prejudices. Still, he did want to rescue his mother and get revenge for the death of his father, a slave whipped viciously throughout his life. At one point, the confederates capture him and some of his small band of brigade, and a secret is revealed! Another interesting aspect that I liked, is the little moments of relaxation that the Union Forces, playing practical jokes, a trip to Pittsburgh with period dancing and celebration. And baseball.

The film is a judicious blending of historic Civil War detail, but with entertaining complications that are often contrived enough to resemble a fresh pretzel dipped in ancient frosting. Still, the overall film works. It will especially entertain young people whom I realize the book was patterned for to a certain respect. And, as far as the contrivance is concerned, I’m sure that the book probably went into more detail, explaining the surprises. After all, in this type of film, which deals with a seriously difficult subject, adding fun can help people enjoy something otherwise unpalatable. Even Gone With The Wind was filled with inexplicably strange coincidences. Back to DOG JACK: Then there is the attack at Fort Resolve and Jed’s mission to light a fuse to the explosives in the Fort’s underground bunker.

The low-budget photography is well done and atmospheric. Much, of the period architecture, buildings and trains looks authentic, but one of the principle buildings doesn’t quite seem to fit, but I could be wrong about that. I thought the direction kept everything reined in: Given the fact that this was an independent film; I thought all the actors did a good, serviceable job. Well, there definitely was a tinge, a patina of amateurishness throughout the film, whether it was the main actors or the supporting cast, but through the story, direction and dialogue, these rough patches were sanded over and didn’t ruin the overall design of the film. In fact, this made me like the film even more. While not bad, the fact that we were watching an historic, shadow play made everything take on a certain simplicity and truth. It was charming tale, not without flaws, but in a day when big-budgets and obnoxious special effects are often done to bring in the dunderhead masses who love spectacle of a freak show, it was nice to be reminded that it is possible to make a nice story without resorting to the typical Hollywood gloss and greed.

DOG JACK played during the 19th Annual Stella Artois St. Louis International Film Festival.

Review by Dane Marti

It seems to me that people can become easily trapped – trapped in bad relationships as well as shadowy problems within themselves. They can become isolated metaphorically and literally. In LEO’S ROOM, we are shown something that many of us are already aware of: We are not alone. Still, loneliness and isolation can wickedly warp anyone. Many folks are depressed. Whatever the country, or economic status, modern life can still leave a person feeling totally alone. Even with cell phones and computers in every color, application, doodad and size for every human’s interest, many people just are feeling alone psychologically and physically. In some cases it is a chemical imbalance.

In LEO’S ROOM after his girlfriend breaks up with him due to his lack of emotional or sexual attention, Leo is having a plethora of confusing and conflicting thoughts. He spends too much time On-Line, surfing the web searching for sexual relationships with men – or anyone, while he should be diligently working on his college Thesis. He shares a ratty apartment with a silent, pot-smoking bohemian. Well, he’s more your typical slacker than anything else. The film is filled with skill and clarity: what I really dig is how Leo procrastinates. Never dealing with his Thesis project, but searching for love, for sex, for some type of communication with other people—some form of precious contact. The film has many scenes that are quiet. Other moments use perfectly sedate and melodic folk music. Basically, like a lot of men and women in their twenties, it is hard to focus on the important, pragmatic problems and goals in life while they are obsessed with disquieting and sad emotions.

In the 21st Century, I believe loneliness is pretty damn common. It probably has always been a part of humanity, just one of the reasons for suicide or alcoholism and other dark disturbances in life. You would think with new medication, as well as a plethora of avenues of communication, we would be living with more contentment, understanding and mutual trust. People would help each other through all the exquisite arteries of technology. Unfortunately, some good folks seem to live in frustration, isolated and longing for something, which they often cannot put into concrete words. So many reasons out there for their isolation: depression, the economy or lack of ambition and unemployment are just three of the usual suspects. There’s probably a chemical, brain abnormality at the root of many terrible, tragic problems.

LEO’S ROOM is an unglamorous look at reality. The Story: The film starts with great underground rock music that highlights the pastoral landscape of Argentina. As the film starts, two couples discuss orgasm in a busy and drunken nightclub. The main actor mentions that he thinks a relationship must have something more, something more important. Everyone at the table is gorgeous, young and drunk out of their skull. Later, our hero cannot sexually perform with his beautiful girlfriend. While she kisses him, he tells her that he wants to go back to his apartment; exasperated, she wants him to consult a psychologist. All of this is extremely well acted. Our hero, who looks suspiciously like John Mayer, is obviously sexually conflicted in a way the viewer cannot completely understand although there are signs that point in certain directions. Then, after even more sexually futile attempts with his girlfriend to have intercourse, she ‘dump’ him. The film is suffused with honesty and yearning, beautifully paced, with good music. It is hard to tell if his problem is his sexuality or simply his desire to find a meaningful relationship.

Then he meets a petite, stone-faced brunette and – although their initial conversations are strained and uncomfortable, they walk to a coffeehouse where he reveals to her that, back in a grade school that they’d both attended, he’d had a crush on her. She listens, but hardly responds in any way. These people, while tortured, are still trying, with their remaining sliver of being, to survive.

Strangely, Leo’s a good-looking young man, making his failures within relationships seem even more poignant, painful and real, even if some people might wonder why a guy who looks like him would have troubles. He begins to furtively experiment with sexual encounters that are distinctly cold, sterile and impersonal. Often, he initiates and then backs away from these encounters. He visits his psychologist whom he can confide it.

It’s refreshing to see a well-photographed, low budget and naturalistic film about young people struggling with life and loneliness. It’s a common situation in life’s great panorama of happiness and tragedy, but the film is understated and real in handling it in a way that doesn’t seem like an abominable soap opera. For instance, the acting between the couple is extremely convincing, almost documentary style and I think it’s beguiling. It seems like our friend isn’t necessarily looking for sex, but a real friendship – something tangible and sincere. His dark-haired female friend reminds me of Jennifer Jason Leigh, but perhaps even more beaten down that that actress has appeared in the past. This girl is still cute, beautiful in a tarnished, melancholy way. The film deals with lies, secrets and deception, but also the deep impulse within tortured people to seek help and confess – often in the strangest places. Before long, Leo has a male lover. Suddenly, he must hide his male lover from his female friend – a woman who is deeply disturbed, suffering from either a mental illness or something tragic that previously occurred in her life.

All of this makes the film sound hopelessly desolate, but within the realistic pain and communication problems in the film, everything rings true. The cinematography is slick and professional, but also real; it is never overstated or overly cute. I could tell that the people in front and behind the camera believed in the film, a heartfelt creation, and an important tale to tell the world.
I was fascinated by the first-time direction by Enrique Buchichio. It is a self-assured debut. Frankly, the film appears to be the work of a more mature and intellectual filmmaker and, if there is a God in heaven, Enrique will have a future in the zany world of cinema production.

LEO’S ROOM will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 21st at 8:30 pm at the Tivoli Theatre.

SXSW Review originally published on March 19, 2010.

PUTTY HILL is a film that thrives on its authenticity, portraying a clutch of realistic characters in an impoverished area of Baltimore, all connected and affected by the death of a young man, taken by his addiction to heroine. The film, directed by Matthew Porterfield, explores these relationships and character interactions, all revolving around the recently deceased Cory, whom we never meet outside of impressions we glean from the characters in the film.

Constructed almost entirely in the moment, PUTTY HILL was filmed from a basic outline and premise and is cast entirely with local, non-actor residents of the area. This risky method pays off, creating an atmosphere rich with chemistry, conflict and a mixed urban culture. The filmmaker takes his camera around the neighborhood, casually interviewing family, friends and acquaintances of Cory, occasionally breaking the fourth wall. The audience never sees or is introduced to the filmmaker asking questions, but the sporadic inclusion of the off camera encouragements and inquiries adds to the realistic and spontaneous feel.

PUTTY HILL takes this hypothetical scenario and runs with the concept, giving the on screen participants fairly free reign over the material, allowing them to make their characters their own, perhaps even mirroring their own lives in ways that allow the audience an intimate, inside look at the heart of the people, unaffected by the filter of experienced actors. In many ways, the film is more of a social role-playing experiment than it is a traditional narrative film.

While the initial 15-20 minutes of PUTTY HILL can take some patience, once accustomed to the filmmaker’s underlying idea behind the movie the experience sinks in and takes hold over the viewer’s attention. The conversations that take place do not feel forced or staged, further giving evidence to the likelihood of these stories and characters are originated in these peoples’ real lives.

PUTTY HILL contains conflicts as well as reflections on the past. Family dynamics play a major role, much of it dysfunctional. Equally present and perhaps even more intriguing are the more touching and poignant moments. This is especially true of a lengthy scene depicting Cory’s wake, with many family and friends having turned out. The scene paints a lovely picture of people putting aside their differences and coming together to celebrate a loved one’s tragically short life. The occasion is celebrated with karaoke, surprisingly doing justice to the mood of the scene.

Overall, PUTTY HILL is a satisfying cinematic experience, a study of human nature, turning the tables on the topic of death. Instead of focusing on the deceased, the film focuses on those close to the deceased and how their lives are affected by their loss. PUTTY HILL is appropriately slow in pace, but not boring. It’s a film that doesn’t preach or judge, but does stick around long after the film ends and grows on the viewer in a positive way.

PUTTY HILL will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 21st at 1:30 pm at the Tivoli Theatre.

It’s rare when a film makes an unexpected turn a few minutes into viewing and sends you down another path. That’s the case of CIRCUS KIDS the new documentary from director Alexandra Lipsitz. The film begins as a profile of the St. Louis Arches, a group of young carnival performers based in the gateway city, who are a fixture of Circus Flora and St. Louis’s City Museum. We meet the group’s founder Jessica Hentoff, her own kids that are part of the troupe, and the the rest of Arches. Many of the kids come from tough, neighborhoods and relate that the Arches saved them from a life on the street. Okay,I see where this is headed. Or so I thought.

Turns out they’re headed to the Middle East. Israel to be exact. The Arches have been invited to tour there with the Gaililee Circus, a group of Jewish and Arab kids. After the Arches raise the travel funds, they arrive in Israel and meet the Gaililee kids. Their first meeting is awkward, but soon the coaches are helping the kids work together as they combine their talents. Now the Arches aren’t little angels. They tease, complain, and at one point they horrify the native kids when they hurl nasty racial epitaphs at each other at the pool. Things cool down soon enough and the kids begin to bond after the Arches stay with the families of the Gaililees. It’s great to see them observing and learning about new customs and cultures. After a couple of rough first shows, they take their act on the road, traveling to several cities and finally ending up at Jerusalem.

So what started as a profile of young midwest American circus performers turns into a great internatinal road trip adventure. Lipsitz gives equal time to the Arches and the Gaililee kids as they overcome their language and cultural barriers and learn that they’ve got many common hopes and dreams. CIRCUS KIDS presents an optimistic look at how we can work together and one day live together.

CIRCUS KIDS will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 21st at 1:30 pm at the Hi-Pointe Theatre.

Review by Stephen Jones

The main failing of A LITTLE HELP is, in some part, Jenna Fischer herself. Or, rather, it’s the role she is given. She plays the part well enough, but the character is written in such an inconsistent manner that there are times when she, through no fault of her own, seems to be playing it in a far too likeable manner. The opening shot is from the point of view of one of her patients as a dental hygienist. She’s pleasant and cheerful; when she starts to cry at the end, you feel for her. But after she leaves the job, argues with her kid, et cetera, she starts to be one drinking problem short of a pathetic character. Then when she gets home she starts drinking.

It’s a problem throughout the film, and it strikes me as odd considering none of the other characters have the same problem. Granted, it’s because most of them are fairly shallow to begin with, but her brother-in-law Paul (Rob Benedict of the show “Threshold”) has a decent amount of depth and consistency to him. Fischer’s character, Laura, is the only one with this problem. Once the film gets going it wouldn’t be as noticeable except for one of the story arcs involving her son. She allows, and even helps perpetuate, a lie he tells at school. In the context of when the movie was made it isn’t AS bad, but in the context of when it takes place it’s appalling, and kept me from really sympathizing with her for much of the film.

The scenes between Laura and Paul are the film’s highlights. They have really good chemistry together, and the way their story played out resonated a great deal with me. If the film were built around their relationship rather than Laura’s life as a whole, I think the film would have been much better. As it stands, it is still well made, and well acted, but with a central character that is too inconsistent to get behind.

A LITTLE HELP will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 21st at 4:00 pm  at the Hi-Pointe with actress Jenna Fischer in attendance. Ms Fischer will receive SLIFF’s Cinema St. Louis Award.

PRISONER OF HER PAST is a documentary about a son’s journey to discover the truth about his mother’s youth as a holocaust survivor.  Howard Reich, Chicago Tribune Jazz critic, knows that his mother survived the holocaust but not how and or why. Sonja Reich was a somewhat normal functioning person until she ran out of her house, suitcase in hand, one night insisting that someone was going to shoot her in the head. Sonja Reich ends up in a nursing home and she is reliving her days under the Nazis’ Regime. She is diagnosed with late onset Post Traumatic Stress Syndrome. Sonja is in denial about her life; she does not recognize photos of herself from a young age or remember anything about that time.  Howard Reich starts his journey to discover his mother’s past by seeking out relatives near and far.

Finally his journey takes him back to Dubno, Ukraine with his mom’s cousin, Leon.  Leon is also a survivor but he likes to speak about his experiences almost as if he is at peace with his memories. Her cousin’s family escaped as a unit but first the mother and then the father is murdered.  Leon and his older sister find help with a farmer and his wife who take them in, nurture them and send them to school. Howard and Leon visit the family home, the ghetto and the point of departure from where they escaped from the ghetto.  Sonja’s mother sent her out of a window to escape into a world alone; not knowing who she could trust or how to survive but she did.  Sonja has never spoken about her experiences with her children.  They only know that she would check and recheck the door locks multiple times before standing vigil at night while they slept.  Sonja speaks about the past because it is now her present.

PRISONER OF HER PAST is a fascinating story of the holocaust and how different people survived but also how the effects can be seen many years later.  Sonja blocked the entire experience and never learned to deal with it, while her cousin, Leon was able to find a family that took him in a re-established the family unit.  The documentary is both touching and yet so sad.  The effects of the Holocaust for some have never ended.

PRISONER OF HER PAST will play during the 19th Annual Stella Artois St. Louis International Film Festival on Sunday, November 21st at 1:30 pm at the Plaza Frontenac Cinema.

5 out of 5 stars.

Review by Dana Jung

Using a river as a metaphor for life is nothing new. Many books and films (think A RIVER RUNS THROUGH IT) have made use of this strong and compelling image. The winding path of water, sometimes running fast with rapids, other times eddying into quiet pools and lagoons, teaming with a variety of river life, and so on. The potential for symbolism is endless. The new film THE RIVER WHY can safely be added to this long list. Beginning as a slow and thoughtful hodgepodge of philosophical ideas, the movie ultimately becomes a sweet-natured love story.

Zach Gilford (TVs FRIDAY NIGHT LIGHTS) is Gus, a young man living under the double weight of his father’s minor but overbearing fame as a fisherman & author, and his mother’s constant bickering with his father. When they argue, he says, “it’s not who’s getting the last word, but who’s getting the next word. One day, he decides he’s had enough and leaves to live in his own place by the river, so he can do what he loves: fish. What starts out as an ode to angling, though, soon begins taking detours into the philosophy of religion and life, tossing off lines like, “The way that goes ahead often looks as if it went back.” But after meandering along in its first half like a slow current, this RIVER hits its stride in the second half as the banks narrow, and we even get some rapids (sorry, too much?) as the romance carries the movie to its emotionally satisfying conclusion.

Director Matthew Leutwyler (THE OH IN OHIO, another nice love story driven by offbeat characterization) effectively intercuts the lure and beauty of nature with the fine performances of his excellent cast. Gilford is funny and appealing as the awkward Gus. Veterans William Hurt and Kathleen Quinlan are simply wonderful as his parents, creating memorable characters from small parts that could have easily tipped into caricature. William Devane provides some much-needed humor as a grizzled journalist and fishing enthusiast who befriends Gus. And Amber Heard (literally miles away from her roles in ZOMBIELAND and PINEAPPLE EXPRESS) shines in perhaps the most pivotal role in the film, as the girl of Gus’s dreams. This talented young actress has shown such range in her performances, stardom has to be just around the corner.

Although it may take some patience on the part of the viewer, THE RIVER WHY, like a sunny afternoon spent fishing in a shady pool, will eventually yield its own small rewards.

THE RIVER WHY will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 20th at 4:15 pm at the Tivoli Theater.

Review originally published on January 28, 2010.

Directed by Matt Whitecross and Michael Winterbottom, THE SHOCK DOCTRINE is an attempt to shed light on similarities and connections between western “Disaster” Capitalism and the decline of financial stability and human rights throughout many parts of the world.

The documentary is based upon ideas presented in Naomi Klein’s book of the same titles and includes segments from Klein’s various lectures on the topics of her book. What begins as a fairly startling and revealing documentary of past events and their relationship to economic policies instilled by Milton Friedman, et al.

Spanning the globe from Chile and Argentina to Russia, THE SHOCK DOCTRINE compellingly demonstrates the devastating influence past strategies of economic and political intervention has had on the people of the countries. Two of the more powerful chapters of the film are that of Chile and the reign of Pinochet, and that of the Soviet Union and the unbelievable actions of Boris Yeltsin.

In the case of Pinochet’s Chile, the free market ideals implemented with the encouragement of the United States produced horrifying violations of human rights perpetrated under a regime of fear and violence, all the while supported by President Reagan and Prime Minister Margaret Thatcher. In the case of Yeltsin’s Russia, poverty rates of the common people skyrocketed under his rule to upwards of 80% as Moscow experienced the largest growth of individual billionaires of any city in the world.

THE SHOCK DOCTRINE succeeds in making an emotionally charged and hard-hitting case throughout the first two-thirds of its roughly 80-minute running time. However, the final third of the film begins to fall apart as it spirals ineffectively into a criticism of George W. Bush and his cabinet and policies.

It is not that the filmmakers were criticizing Bush that causes the sudden drop in effectiveness, but that the final third feels disconnected from the rest of the film, uneven in its approach and to a great extent rushed. It feels like a haphazardly piece-meal collage of last minute thoughts rubber cemented onto the screen.

Whitecross and Winterbottom had a fairly good thing going in the first two-thirds of THE SHOCK DOCTRINE. While heavily one-sided, the film does make significant and points with an array of shocking archival footage and facts of historical importance. Aside from the less than stellar finale, the film does suffer one other criticism.

THE SHOCK DOCTRINE utilizes a handful of key audio/visual tactics to convey its message. These tactics work well at first, but as the film progresses these tactics are repeated to the point of becoming redundant. Visually, the animated sequences are used minimally and effectively, but the old black and white archival footage of psychiatric patients being subjected to experimental shock treatment (as displayed above) are leaned upon a tad too much, connecting Naomi Klein’s use of the term “shock treatment: to points being made in the film.

Another less detrimental, but equally noticeable use of repetition is the music in THE SHOCK DOCTRINE. A singular piece of orchestral music (which I know I recognize but can’t seem to place) is used repeatedly throughout the film, inevitably resulting in the loss of its sensory emotional appeal. In essence, the audience is desensitized to its effect during the film, therefore risking that same desensitization to the subject matter. Personally, I found the subject matter compelling enough on its own as not to need the soundtrack.

Overall, THE SHOCK DOCTRINE is a valuable piece of documentary cinema, but I would like to see the filmmakers extend the roughly 80-minute running time to perhaps 100 minutes, allowing themselves enough canvas to more appropriately flesh out the bigger picture in the final third of the film, rather than allowing the momentum to subside into what could be construed as petty political propaganda.

THE SHOCK DOCTRINE will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 20th at 3:00 pm at the Winifred Moore Auditorium on the Webster University campus.

MY PERESTROIKA is a Russian documentary that follows five individuals who came of age at the time of the break-up of the Soviet Union.  The individuals reflect back on their school days and life under the Soviet regime and after the dissolution of the USSR.  Borya and his wife are school teachers in Moscow #57.  Their son attends this school and this is the school that Borya attended as a youth.  We meet up with other classmates of Borya’s; Ogla, Ruslan, and Andrei.   Olga is an unmarried mom who is a billiards table service technician.  Ruslan is a musician; he does not have a steady job but works on the sly for cash only jobs.  Andrei is a businessman who owns a western style clothing store; many of the jobs that he has held would not have been possible under the old Soviet system.  The documentary shows the individual’s reminiscences through home movies.  Each in their turn speaks about the differences in their life between the before and after of the Soviet Union.  Borya and his wife took part in the demonstrations held in front of the White House in Moscow.  It is very interesting to hear firsthand how the demonstrations actually were and how they impacted the outcome of the military coup and the subsequent break-up of the USSR.

MY PERESTROIKA is an interesting look into life of the Soviet Union verses Russia from the individual’s perspectives.  I found the documentary interesting and well balanced.  I thought that the use of old newsreels and home movies really illustrated the point that was being made throughout the narration.   I found the narration of Borya, his wife, Andrei and Ruslan very interesting.  Olga was a little less informative. .  The biggest revelation for me was just how much alike our childhoods were; being excited about the first day of school, playing with friends and hanging out with your parents.  I was also surprised by Borya’s wife explaining that the students did not mean to all be alike but that it just happened because that was what made a perfect Soviet Citizen.  I really enjoyed the home movies and how they played off of the official news reel.  Other than the home movies, the documentary is shot pretty straight forward.  If you are interested in the history, cultural or social environment of the Soviet Union and its dissolution, you will find this documentary interesting.

MY PERESTROIKA will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 20th at 3:30 pm at the Tivioli Theatre.

MADE IN INDIA is a joint US-India documentary directed by Rebecca Haimowita & Vaishali Sinha. The film is about an American couple who are dealing with their infertility and their subsequent journey to use an Indian surrogate. The documentary is told from the American couple’s point of view and of that of the Indian surrogate. The couple explains how long they have been trying to become pregnant and with the latest results find that they are unable to conceive.

They next investigate the cost of surrogacy in the United States, to discover about a world-wide surrogacy program. Interspersed is the story of the Indian woman, her husband is unable to earn enough money to support the family and how she would like to put money away for her children’s future. The documentary is well balanced in giving the views from many sides of the issue; genetic parent’s rights, surrogate’s rights, the rights of the newborn babies, the birth country’s rights, and the business side.

The documentary is a fantastic emotional and scientific journey of an infertile couple and the surrogate. It explored the issue from many different points of view and gave a balanced report. I found the documentary informative and interesting.

MADE IN INDIA will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 20th at 1:15 pm at the Plaza Frontenac Cinema.

5 out of 5 stars

* This review contains some spoilers. *

THE QUEEN OF HEARTS is a French film set in Paris.  The story revolves around Adele, a twenty-something women whose boyfriend has just dumped her.  She goes into a deep depression and her cousin, Rachel tries to help. Rachel gives Adele a place to live and finds her a job.  She meets Pierre, then Jacques, but Adele still cannot get over her depression, until she meets Paul – it is love at first sight.  Or, so Adele thinks.

The film has Adele having one misstep after another; she can’t pay her grocery bill, boys throw water balloons on her, and someone smashes her ice cream cone into her face.  Whenever Adele is speaking about her loves, she breaks into song.  Adele is a true romantic who gives up herself to her would be lovers to no success.  The ones that love are either married or too young and every one of her loves looks exactly the same (played by the same actor).  At last, Adele has made the biggest mistake ever and has a complete breakdown; her cousin decides to send her to NYC to get well.  There with the help of another French woman, Adele finds that it is her inability to admit that she is wrong that is the real problem.  She returns to Paris, to restart her life and finds Pierre changed.

THE QUEEN OF HEARTS is a stupid movie.  It is so completely unbelievable that it is hard to feel anything for the characters.  The film used many fade ins and outs from the silent movie era, almost as if you, the viewer, are too stupid to figure out which character is important.  I was waiting for it to end.

THE QUEEN OF HEARTS will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 19th at 7:00 pm and on Saturday, November 20 th at 3:30 pm at Plaza Frontenac Cinema.

Where is Eden, Iowa? The simple answer would be to visit zip code 52349, but the more interesting answer is more complicated. EDEN IOWA is not just a complex story about he lengths we’ll go out of desperation. It’s also a familiar story that revisits themes from Mary Shelley’s “Frankenstein” spliced with a few biblical undertones that enhance the mystery of this thriller.

EDEN IOWA is the third feature film directed by Saint Louis filmmaker Derek Elz. Stylistic, enigmatic and strange are the words that come to mind when describing a film that would make any David Lynch fan proud. Elz’s vision is rich with an atmospheric soundtrack and visually engaging cinematography.

Written by Patrick Pinkston, EDEN IOWA has geneticist Ed Dittmer (Rob Gold) struggling to find a cure for his wife’s (Leah Berry) rare cancer when he meets Joe, played by Todd Gillenardo, a mysterious loner who works at the bowling alley. Joe appears to be an average working man until he reveals to Ed an incredible secret that could change everything.

Ed chooses to travel head first down the rabbit hole, following his own misguided obsession to save his wife. EDEN IOWA plays a bit over the top at times, but this works because Joe is an extremely odd character with unnerving qualities. EDEN IOWA weaves a peculiar web of modernized fables with an old testament ending.

EDEN, IOWA will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 19th at 9:30 pm in the Winifred Moore Auditorium on the Webster University campus.

THE HARIMAYA BRIDGE is an emotional drama that focuses on Daniel Holder (Ben Guillory), an American who travels to rural Japan to claim some important items belonging to his late son, Mickey Holder (Victor Grant), from whom he was estranged at the time of his death. While there, he learns several secrets his son left behind as an African-American artist living and teaching in Japan. The story takes place in Kochi Prefecture, a deeply rural part of Japan where traditional customs remain strong.

While still so angry by the thought that his own father died in a Japanese prisoner of war camp, Holder travels there to pickup Mickey’s paintings. He’s so blinded by this pent up anger that he plans to lay claim to his son’s artwork even though they were given as gifts to friends and a school. Daniel hesistanly meets his son’s Japanese wife, Noriko Kubo (Saki Takaoka), and slowly Holder begins to understand his son’s life in Japan. The movie poignantly addresses the bond and conflict between parent and child and how prejudices can still exist between people of different cultures. There are so many unexpected turns in this powerful film, that to tell you anything further would do you a disservice. Suffice to say, the film has many delightful and solemn surprises as Holder travels throughout this beautiful country while paradoxically serving as a tour guide of his own soul and a country entrenched in long-held beliefs.

THE HARIMAYA BRIDGE is Aaron Woolfolk’s first feature film.The character driven screenplay was written by Woolfolk, a veteran of the Japan Exchange and Teaching (JET) Program who taught junior high school English in Kochi Prefecture and it certainly shows. He has such an endearing grasp on the people and culture of Japan. Woolfolk won a Directors Guild of America Best African-American Student Filmmaker award for his first movie, the short film RAGE! He then returned to Kochi to make the award winning short films BLACK SHEEP and THE STATION.

It’s really a well crafted movie, with many brilliant performances. Ben Guillory’s (THE COLOR PURPLE, DADDY’S LITTLE GIRLS) performance as a shattered father is extraordinary and intense. His portrayal of loss, rage and profound sadness permeates the screen. Someone needs to give this actor a big movie – stat. The Japanese actors Saki Takaoka, Misa Shimizu, Misono, Hajime Yamasaki, and Miho Shiraishi are all mesmerizing. Even actor Peter Coyote has an all too brief bit as a father who’s lost a child to illness. Danny Glover (LETHAL WEAPON) serves as an executive producer on the film and has a small part that doesn’t distract from the story or other actors.

Much needs to be lauded in the way of the film’s cinematography and score. The haunting music of Kazunori Maruyama and gorgeous photography of Masao Nakabori are lush, colorful and have a life of their own. The vivid scenes of Japan and its people are so rich. The intense score impacts all the scenes throughout the film in a positive way. As both accompany the film to its ultimate conclusion, THE HARIMAYA BRIDGE is a movie that gains real energy the more the viewer starts to realize what’s really happened. It unfolds with such clarity of mind that I must praise Woolfolk’s direction that left this reviewer overwhelmed by the touching tale of redemption and forgiveness.

THE HARIMAYA BRIDGE will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 20th and Sunday, November 21st at 1:00 pm at the Plaza Frontenac Theatre.

The film is sponsored by Japan America Society St. Louis, Consulate General of Japan at Chicago, and Japan America Society Women’s Association

Reviewed by Dane Marti

Throughout the history of moving images, there have been many films that have dealt with alienated, disaffected youth. Gosh, every decade has a new armada of weird teenagers to complement the incoming freshman of either High School or College: ZITS can be big business, baby. In reality, a person’s early years can be extremely dramatic, filled with hormonal conflict. Besides, filmmakers love to make movies that contain messages that appeal to the massive audiences who pay the large sums to see the latest weekend release. These days, that large crowd is in their teens and twenties. Anyway, I imagine that everyone has at least one horror story from his or her early years. I might have too many.

As far as this film goes, ‘The Graduate’ has nothing to worry about. Neither does good ol’ Holden Caulfield in the groundbreaking novel, A Catcher in the Rye.

HERPES BOY never really gets going past the obligatory vignettes of black humor that are loved by independent filmmakers everywhere. Shoot I love ‘um. There are moments that almost work and I look forward to what these artists do in the future. It’s just that my teenage years were so subjectively twisted that I have my subconscious radar ready to detect anything that appears false.

Whatever the era, there are older movies which transcend  a period in time, including clothing, slang and music: Some of the hippy/biker dialogue might sound silly to modern ears, but EASY RIDER is still a cogent document of its period.SUBURBIA an early- eighties Hardcore punk film, also has some authentic truth at its core that definitely transcends the limitations of that revolutionary, but limited musical era. HERPES BOY might have worked better as a short, quick film.

Another problem has to do with theatricality: some of the acting in Herpes Boy is extremely broad and self-satisfied with itself. Every once in a while, a director can provide the right shading which provides an actor the ammunition to overact: One example is Jack Nicholson in Kubrick’s THE SHINING

Herpes Boy has a few moments that people can relate to, in fact anyone who ever considered himself or she different (or was treated like dirt in high school) will relate to at least a fraction of it.

This is the universal story of a depressed, twisted young man who hates people, but he keeps repeating that statement or something similar.

(As dialogue that communicates a major character quality, the ‘hating people-dialogue’ originally sounded funny, but after repeated scenes containing similar dialogue, I think the statement becomes rather over-stated in a feature film, a film that must rely on conflicting characters, themes and intelligent dialogue.)

It isn’t that I don’t sympathize with the main dude’s plight, but ALL of the characters,not just the main one, are like Big Milk Jugs with primary colored faces glued onto them; basically, they are cartoon caricatures. I’m not talking about Batman here, either.  The classic cult film, HAROLD AND MAUDE directed by the outstanding Hal Ashby, was able to hit on all cylinders and, through its witty dialogue, but especially the droll performance of Bud Cort as odd, Harold. He brings that film’s strange person alive!

Unfortunately, this film never seems to develop, the plot never gains momentum, but…. It tries to be like WELCOME TO THE DOLLHOUSE with a tinge of AMERICAN BEAUTY , FERRIS BUEHLER’S DAY OFF, BREAKING AWAY, and, of course HAROLD AND MAUDE. These are all impressive, famous films. Shoot, even RISKY BUSINESS  had its moments.

The poor young man in this movie spends most of his time making self-consciously cruddy videos for the Internet. At least until his video site is sabotaged by his gorgeous and vapid cousin. Unfortunately, the main character isn’t likable to watch in any way, shape or form. I DID NOT WANT TO DISLIKE HIM OR LAUGH AT HIM. I relate and empathize with people with problems similar to this character and since the film was created with all the subtlety of a dinosaur in a dinky bakery, I don’t think the film worked on this level. I think even unlikeable characters in a book; play, TV or motion picture should have some type of interesting personality traits that makes them “watch- able.”

I’m trying to be charitable here: After all, I was a misfit in school– I even believe that the Creature, that aquatically-zany dude from the Black Lagoon (for instance, his taste in woman), is darn sympathetic, not to mention Frankenstein’s Monster or the hairy, romantic fella, King Kong.

In HERPES BOY the characters are very broad, insanely stuck in cynical, self-centered emotions. I’ve been there, but it needs to be a little more “fleshed-out” and believable, even in a comedy. Again, I think of Benjamin Braddock on THE GRADUATE.”He was a tortured, nervous guy, but Hoffman brought him to life with the right touch of integrity and honesty. The characters in this film just don’t have any redeeming qualities and when they do something charitable, it certainly doesn’t come off as intentionally absurd or surreal as much as jaggedly inappropriate. Strangely, even the main character does not to start to grow” he just repeats to his Internet followers, and his family, how much he hates people; it gets tiresome.

Now, the film is satirical in “cold spots,” the type that ghost chasers find in supposedly haunted houses, but overall the pacing seems to LAG. Judicious editing would help. I relate to the fact that he’s depressed. I relate to the mental pain that a birthmark on the face (resembling a moon landscape or a permanent grape stain!) must be to the person afflicted with it. Some of the comments in the film about being a dork, or the scenes containing America’s obsession with Fame and attractiveness, resonated with me, but not enough to make me completely enjoy the film. I guess if I looked at it as a modern satire, the flick does paint a comic book panel of modern America in decline, but it should be handled with more finesse. There’s a tinge of John Water’s within it, but that director is well- read and thoughtful in his atrocities, using high tech instruments to slice into the depths of degradation, making his film’s concept, themes and visual look all on the same level and painfully honest. He was working within “The Medium is the Message”.

Again, I repeat: there is a certain amount of over-acting in the film that ”to me” brings down the few, good, but halfhearted qualities that the film addresses. Sure, the original, overall concept is groovy, but it needs editing. “I’m sorry if people just like me better than you,” says his cousin, an attractive girl who wants to be a Video Lindsey Lohan.

The battle of the sexes (and the idiotic things that airhead-teenagers say to one another) is displayed in forced, over-the-top comic book terms. The poignant messages in the film seem to get lost, for instance: The message that everyone has faults, everyone had “metaphoric birthmarks” could have been written with more clarity and a lot more style. A viewer doesn’t feel that they really know these people, even within the context of the film. Therefore, when you get to the emotional ending, it doesn’t feel like it DELIVERS: It s a soggy, bland punch! PWWWAAAPF! Perhaps the filmmakers were overly impressed with their subject matter. They’re on the right track. And I imagine that they’ll get better in future work.

The film runs all over the place like an untamed Robert Altman film. The film is not cohesive, even in the much-maligned genre of Satire. I didn’t loathe this low-budget work, but I certainly wasn’t jumping up and down with unabashed excitement either.

HERPES BOY will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 19th at 9:30 pm at the Hi-Pointe Theatre.

Andy Warhol once remarked that everyone will get fifteen minutes of fame. But what happens when someone tries to extend that fifteen? And what if that fame is of the notorious  nature? These are questions raised by the Cameron Yates directed documentary THE CANAL STREET MADAM. The filmmakers follow Jeanette Maier has she tries to survive after landing in a scandal that dominated the national news just a few years ago.

Maier is first interviewed not long after the headline making FBI raid on her New Orleans brothel that employed not only her but her mother and daughter. Old home video footage is played slowly while we hear the FBI phone recordings of her business transactions. Aided by one of her girlfriends, Maier tries to launch several business ventures to cash in on her fame: raunchy CD recordings and lingerie. After a felony conviction she’s blocked from selling real estate and the nursing profession. Her relationship with most of her family is strained. Her daughter is determined to put the past behind her while one son is just getting released from jail as another son battles drug addiction. We observe Maier and her friends viewing the CBS TV docudrama based on her story. This puts her back on the news and on the road to advocate the legalization of prostitution. A NYC trip to appear on the Anthony and Opie radio show turns disastrous when the live audience’s cruel chants drown her out. She even flirts with a run at public office. Several times we see her on the phone pleading for help with her finances. When the DC madam scandals hits, Maier announces she will out her client list. The cameras follow her in the aftermath of Katrina, delivering food and water to her neighbors. Soon Maier has started another business: high priced scented candles with extra “personal” customer benefits. It seems she can’t escape “the life”.

The movie’s a fairly somber look at how the fates can conspire to keep women trapped in the world’s oldest profession. Maier reveals how being molested by an “uncle” may have set her on this path. Her work seems to have almost destroyed her family. The filmmakers don’t try to paint her as saint or victim, but as a  woman trying to escape her past and not quite succeeding. This a powerful, intimate portrait of a survivor trying to beat the odds.

THE CANAL STREET MADAM will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 19th at 7:15 pm at the Tivoli Theatre.

SUMMER IN GENOA starts out with a mother and her two daughters traveling down the highway playing a game guessing what color the next oncoming car will be. The younger daughter, Mary (Perla Haney-Jardin), is incorrect for every passing car but the older daughter, Kelly (Willa Holland), is correct every time. Mary then covers Kelly’s eyes to make sure that she is not peeking and Kelly continues to be correct. Mary becomes frustrated and covers the mother’s eyes while she is driving resulting in a deadly car crash. The film is about the different ways each member of this family deals with the mother’s death. The father, Joe (Colin Firth) decides to leave the confines of their home and country and take a teaching job in Genoa, Italy. Kelly resents her little sister for the changes in the family life; the mother’s death and the move. Mary retreats into a fantasy world in which she has encounters with her mother. The move seems on the surface to be a good one but Joe is unaware of Kelly’s behavior toward her sister and herself and Mary’s guilt over the mother’s death.

SUMMER IN GENOA is beautifully filmed. The vistas and streets of the old town are a good backdrop for the confusion and distraught that the family is experiencing. The tangled streets, the unsavory characters along the way, and the girls’ inability to take the same route home add to the sense of loss that they are experiencing; loss of home, mother, and life’s direction. The acting on the part of Perla Haney- Jardin and Willa Holland brought poignancy and angst to the film; light-hearted days spent at the beach but at night terrors in sleep.

Colin Firth is amazing in his ability to show the horror of the situation in which he finds himself and the drive to make everything seem okay, but also his denial of what actually is happening to himself and his daughters. When Joe’s longtime friend, Barbara (Catherine Keener), tries to talk to him about the need for the girls to have therapy, Joe becomes completely withdrawn and unwilling to discuss this with her. As far as he is concerned, they are just fine. It almost takes a tragedy for the family to pull together and rejoin forces to help each other survive. I enjoyed this film; it was very suspenseful and poignant. It had me on the edge of my seat worrying about the safety of the girls; one getting lost in a strange city and another careening down winding streets, drunk on the back of a motor scooter. Colin Firth, once again, does a stellar job acting in this film but then I haven’t seen a film of his that I didn’t like. I find him completely believable in the roles he chooses and never once think about him as the actor, as he becomes the character he is portraying.

SUMMER IN GENOA was nominated and won the Silver Seashell from the San Sebastian Film Festival 2008 for Best Director Michael Winterbottom. It also was nominated and won for Best Director Jury Prize at the Tallinn Black Nights Film Festival.

SUMMER IN GENOA will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 19th at 9:15 pm and on Sunday, November 21st at 4:00 pm at the Plaza Frontenac Cinema.

Review by Dana Jung

Obsession is a funny thing. In love, it can lead to heartbreak and despair. But in other ways, it can be a positive force, such as a country’s obsession with putting a man on the moon, or in finding a cure for cancer. In the French film QUEEN AT PLAY (JOUEUSE), one woman’s obsession results in a wonderfully rich character study.

Helene is a seemingly ordinary woman living an ordinary life. She works two jobs as a maid to support her modest home and family, a pleasant if somewhat dull husband and slightly spoiled teenage daughter. For Helene, every day is the same: monotonous and unexciting. Then, one day at work she enters a room to do her housekeeping chores and, to her surprise, finds the couple renting the room out on the balcony. At first, they are unaware of her, and she has a brief but glorious look at the heady heights of romance. The couple is seated at a small table, holding hands. He is handsome, dressed casually in shirt and slacks. The woman (Jennifer Beals in a great cameo) is still in her nightgown, a demure yet sexy cream-colored satin. They are gazing lovingly into each other’s eyes as a gentle breeze ruffles the woman’s dark hair. And they are playing a game of chess.

Against the backdrop of a beautiful French countryside, this image is an important one in the film, and to the character of Helene. When she returns to clean the room the next day, the couple is gone, but they have accidentally left behind the satin nightgown, and as she holds the exquisitely feminine article, she looks meaningfully at the chess set. Her brief encounter with the couple has awakened something in Helene, an obsession with the ideas of a romantic life different from her own, and of a game she knows nothing about.

Director and co-writer Caroline Bottaro has created a truly memorable character in Helene. As we follow her in her new passion, it becomes clear that the film isn’t interested in analyzing her actions or motivations, but in the effect her behavior has on those around her. And though a drama about the game of chess can be compelling (SEARCHING FOR BOBBY FISCHER and FRESH come to mind), QUEEN AT PLAY doesn’t waste much screen time on sacrificing pawns and castling kings.

As Helene, actress Sandrine Bonnaire is a triumph. With her large expressive features and quiet yet determined air, Bonnaire is in nearly every scene, and shines throughout. Also notable is Kevin Kline (who gives his performance almost entirely in French) as the reclusive widower Dr. Kroger, who sees a sort of kindred spirit in Helene, and nurtures her in part for his own personal reasons.

But, this is Bonnaire’s film all the way, and her journey as Helene is an enjoyably memorable one. Because ultimately, if you have an obsession about learning, growing, or experiencing new and amazing things, life can be full of lovely surprises.

QUEEN AT PLAY will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 19th at 7:00 pm and Saturday, November 2oth at 3:30 pm at the Plaza Frontenac Cinema.