Tag: SLIFF 2010

The 32nd Annual Whitaker St. Louis International Film Festival To Honor Director Alexander Payne With The Lifetime Achievement Award

HO_00837_R (l-r.) Director Alexander Payne and actors Paul Giamatti and Da’Vine Joy Randolph on the set of their film THE HOLDOVERS, a Focus Features release. Credit: Seacia Pavao / © 2023 FOCUS FEATURES LLC

Cinema St. Louis (CSL) is thrilled to unveil the 32nd Annual Whitaker St. Louis International Film Festival (SLIFF), set to captivate audiences from November 9th to 19th at the historic Hi-Pointe Theatre, CSL’s new forever home, as well as at multiple venues across the city including the Alamo Drafthouse, Webster University, Washington University and more.

Highlights of this year’s fest include:

  • SLIFF’s Opening Night Party on 11/9 at the Hi-Pointe, where the fest will celebrate 50 Years of Hip-Hop in St. Louis, as explored through both film and music
  • Signe Baumane on hand to accept this year’s Women in Film Award at a showing of her newest film, “My Love Affair with Marriage” on 11/11
  • La Passion de Dodin Bouffant” (Taste of Things), Cannes award winner for director Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024 and will screen on 11/12 at the Hi-Pointe Theatre

HO_01648_R Director Alexander Payne and actor Dan Aid on the set of their film THE HOLDOVERS, a Focus Features release. Credit: Seacia Pavao / © 2023 FOCUS FEATURES LLC

  • Director Alexander Payne to receive the Lifetime Achievement Award, while showcasing not only his newest film on 11/14, “The Holdovers,” but also his modern classic, “The Descendants,” on 11/15
  • A screening of The TIFF 2023 People’s Choice Award winner, “American Fiction,” on 11/17, directed and written by Cord Jefferson, co-starring St. Louis’s favorite son, Sterling K. Brown.
  • Highlighting the lives of the LGBTQ+ community, SLIFF’s QFest Spotlight Film, “All of Us Strangers,” from Searchlight Pictures, the critically acclaimed romantic drama written and directed by Andrew Haigh, starring Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy, will close the festival on 11/19
  • The festival will culminate on Sunday, November 19th, with the much-anticipated Awards Party, featuring an insightful conversation with Reginald Hudlin, during which he will be bestowed with a Lifetime Achievement Award.

The festival kicks off on Thursday, November 9th, celebrating 50 Years of Hip-Hop with a tribute to the Hi-Pointe Cafe’s pivotal role in shaping hip-hop’s history, showcasing the city’s significant influence in its evolution. Attendees will be treated to a cocktail reception, engaging conversations, and a special screening of the 1990 film, “House Party,” directed by East St. Louis’ own, Reginald Hudlin.

CSL’s Executive Director, Bree Maniscalco, shared, “As we celebrate our first festival at the Hi-Pointe Theatre, we wanted to pay tribute to the Hi-Pointe neighborhood and honor those who made Hip-Hop what it is today. Mondays at the Hi-Pointe Cafe holds a special place in many people’s hearts, and we’re looking to bring it back to kick things off in style for this year’s Fest.”

This year’s festival promises a variety of exclusive events, screenings, enlightening post-film Q&A sessions, and illuminating masterclasses dedicated to addressing industry-relevant topics. SLIFF received an impressive 2,419 submissions, marking the festival’s 32nd anniversary with record-breaking enthusiasm. SLIFF’s dedicated team of programmers, hailing from diverse backgrounds, meticulously curated a selection of 278 remarkable films that underscore the transformative power of cinema.

The lineup includes 54 captivating narrative features, 52 thought-provoking documentary features, and an astounding 172 short films, all part of its prestigious Oscar-qualifying annual Shorts Competition. These films delve deep into a spectrum of compelling themes, ranging from art, the environment, human rights, and racial equity, to name just a few. What’s more, they authentically represent perspectives from 32 countries, encompassing an astounding 39 native languages, ensuring that SLIFF remains a truly international celebration of storytelling through film.

FILM SPOTLIGHTS

SLIFF serves as a cinematic beacon, illuminating the big screen with a diverse array of films that might otherwise remain hidden gems, waiting to be discovered by local audiences. As the festival unfolds, St. Louis becomes a vibrant hub for filmmakers from far and wide, with many making their inaugural visit to the city. In this dynamic atmosphere, the city buzzes with the infectious energy and passion that only the power of film can generate.

  • Documentary Spotlight: Sponsored by Mary and Leon Strauss, this spotlight will screen 130 films, including ​​“Sorry/Not Sorry,” an examination of Louis C.K.’s, comeback and the unseen effects of this on the women who spoke publicly about the sexual harassment accusations in 2017; “Chasing Chasing Amy,” the complex legacy of Kevin Smith’s Chasing Amy (1997, also screening at SLIFF) on LGBTQ+ people and its life-saving impact on director Sav Rodgers; “We Dare to Dream,” follows athletes on their journey to become part of the refugee Olympic team; “Nathan-ism,” a tender portrayal of an artist’s distinctive viewpoint on his war assignment, coupled with his impassioned yearning for self-expression.;and “Omoiyari,” follows Kishi Bashi when a media interview links the Muslim ban and the immigration crisis at the USA-Mexico border with the incarceration of Japanese-Americans during WWII.
  • French Language Spotlight: Sponsored by the Jane M. and Bruce P. Robert Charitable Foundation, this spotlight will feature 16 feature and short films celebrating St. Louis’ Gallic heritage and France’s cinematic legacy. Leading the spotlight is “La Passion de Dodin Bouffant” (Taste of Things), Cannes award winner for director Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024.
  • New Filmmakers Forum: SLIFF’s longest-running juried award, highlighting first-time narrative feature filmmakers whose works truly stand out.
  • Oscar-Qualifying Shorts Competition: SLIFF is one of 63 Oscar-accredited short film competitions worldwide, making filmmakers who win a “Best of” at SLIFF, eligible for an Academy Award nomination.
    • Across 11 documentary shorts programs, audiences will witness the global impact of art, the nuances of the Black experience, the damage done by society’s broken systems, the power of indigenous lands, the thrill of high-stakes sports, the state of the average workday, the importance of sustainability, the plight of immigrants worldwide, the spectrum of sexuality, the reality of living with disabilities, and the untold stories of remarkable St. Louisans.
  • This year’s selection of narrative short films strives to highlight the vast array of global voices in contemporary cinema. Twenty languages are represented, and over half come from female filmmakers. Three highlights of the fifteen total programs are “Beyond Pedro,” a slate of shorts from emergent Spanish filmmakers, “Pan-Asia Stories,” and “Joy in Latinx Representation.” Elsewhere, adventurous genre fans will find new kinds of horror with “A New Kind of Blood” and eye-popping, mind-bending animation from around the world with “Transmission.” Of course, area films and filmmakers are well represented in the narrative shorts selections, with two programs featuring the best of the 2023 St. Louis Filmmakers Showcase, held by Cinema St. Louis this past summer.
  • QFest Spotlight: A collection of films that spotlight the lives of LGBTQ people while celebrating queer culture. Films include  “All of Us Strangers,” from Searchlight Pictures, the critically acclaimed romantic drama written and directed by Andrew Haigh, loosely based on the 1987 novel Strangers by Taichi Yamada. The film stars Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy; “Glitter & Doom,” a fantastical summer romance musical told with the iconic tunes of legendary American Folk music duo the Indigo Girls; and “Housekeeping for Beginners,” the Official submission of North Macedonia for the Best International Feature Film category of the 96th Academy Awards in 2024.
  • Race in America Spotlight: For the last 10 years, SLIFF’s Race In America programming has reflected the frustrations of African Americans in response to the events in Ferguson. While this mission continues, the Spotlight will also draw attention to building community, fostering dialogue, and creating a platform for real societal change. To maximize these objectives, all of the 14 programs are offered for free thanks to support from the Trio Foundation of St. Louis. Films include “The Space Race,” whichexplores the experiences of the first Black astronauts through decades of archive film and interviews in a reflective illumination on the burden of breaking barriers; “Razing Liberty Square,” chroniclingresidents who fight to save their community from climate gentrification; “Ellis,” the first feature-length documentary about Ellis Marsalis Jr. and the Marsalis Music Family. This screening will pay tribute to the late St. Louis Post-Dispatch Theater Critic (former film critic), Calvin Wilson, with a portion of ticket proceeds donated to his alma mater, Northwest High School’s Performing Arts department; “Black Barbie,” the story behind the first Black Barbie; and “Kenyatta Do Not Wait Your Turn,” from Al Roker, an inspiring film that follows a self-described “poor, gay, Black man from North Philly” on his historic run for the U.S. Senate.
  • Studio Spotlight: Star-filled highlights include “All Dirt Roads Taste of Salt,” anAmerican drama film, written and directed by Raven Jackson, starring Charleen McClure, Moses Ingram, Reginald Helms Jr., Zainab Jah, Sheila Atim, and Chris Chalk; “American Fiction,” an American satirical comedy-drama film directed and written by Cord Jefferson based on the 2001 novel Erasure by Percival Everett, starring Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Leslie Uggams, Sterling K. Brown, Myra Lucretia Taylor, John Ortiz, Issa Rae, and Adam Brody;  “The Holdovers,” an American comedy-drama film directed by Alexander Payne, starring Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa; “Maxine’s Baby,” a documentary about Tyler Perry; and “Taste of Things,” (La Passion de Dodin Bouffant), directed by Trần Anh Hùng, starring Juliette Binoche, Pierre Gagnaire, Jan Hammenecker, and Benoît Magimel, is sure to leave audiences hungry for more and serves as France’s official submission for Best International Feature for the 96th Academy Awards in 2024.

AWARDS

SLIFF is pleased to honor the following for their incredible contributions to film:

  • Reginald Hudlin, a distinguished American film screenwriter, director, producer, and accomplished comic-book writer, hails from the vibrant cultural tapestry of East St. Louis. His cinematic repertoire boasts an impressive array of works, including notable titles such as “Marshall,” “The Black Godfather,” and “Sydney,” each contributing to his renowned status in the industry. On the closing night of the SLIFF, which falls on Sunday, November 19th, Hudlin will engage in an enlightening interview, offering audiences a captivating insight into his illustrious career, and he will be bestowed with a highly deserved Lifetime Achievement Award, an accolade reflecting his enduring influence.
  • Alexander Payne, a luminary in American cinema, is a prominent film director, screenwriter, and producer celebrated for his illustrious career, including directorial gems such as “Sideways,” “Election,” and “Nebraska,” each a testament to his mastery of the craft. On Tuesday, November 14th, at the Hi-Pointe Theatre, audiences will have the rare opportunity to delve into the creative genius of Paynewith his latest cinematic creation, “The Holdovers.” This screening is an occasion to honor Payne with a well-deserved Lifetime Achievement Award. On Wednesday, November 15th, at the Hi-Pointe Theatre following a screening of his 2011 cinematic masterpiece, “The Descendants,” Payne will engage in an enlightening conversation, led by former CSL Executive Director Cliff Froehlich. In a poignant gesture of solidarity, a portion of the ticket sales from this screening will be donated to the Hawaii People’s Fund, an organization dedicated to offering direct aid in the aftermath of Maui’s wildfire devastation.
  • Signe Baumane, an extraordinary talent from Latvia now rooted in the creative hub of Brooklyn, Baumane emerges as a multifaceted powerhouse in independent filmmaking, artistry, writing, and animation. With an illustrious career, she has crafted 16 acclaimed animated shorts that have earned her numerous awards and accolades, solidifying her place as a luminary in the field. Her groundbreaking animated feature debut, “Rocks in My Pockets,” impressed SLIFF audiences in the past, and audiences this year will be entertained by her latest cinematic offering, “My Love Affair with Marriage.” Her film will screen at the Hi-Pointe Theatre on Saturday, November 11th, where she will be honored with the prestigious Women In Film Award, a testament to her unwavering dedication and the inspiring stories she brings to life through her craft.

TICKETS & PASSES

Tickets will go on sale by mid-October, with CSL annual members receiving advance opportunities to purchase tickets.

  • VIP Pass (admits one): $350 / CSL Members $300

Not a CSL Annual Member? In addition to discounts at SLIFF, members receive year-round benefits, sure to please every type of movie lover. Learn more and become a member here: https://cinemastlouis.org/membership.

VENUES

The festival will showcase films and special events across multiple centrally-located venues throughout the St. Louis area:

Alamo Drafthouse Cinema, located at 3700 Forest Park Ave, Saint Louis, MO 63108

Arkadin Cinema & Bar, located at 5228 Gravois Ave, St. Louis, MO 63116

Contemporary Art Museum, located at 3750 Washington Blvd., St. Louis, MO 63108

The Foundry Art Center, located at 520 N Main Center, St Charles, MO 63301

Hi-Pointe Theatre, located at 1005 McCausland Ave., St. Louis, MO 63117

Hi-Pointe Backlot Theatre, located at 1002 Hi-Pointe Pl., St. Louis, MO 63117

St. Louis Public Central Library, located at 1301 Olive St., St. Louis, MO 63103

Washington University, Brown Hall Auditorium, located at Centennial Greenway, St. Louis, MO 63105

Webster University, Moore Auditorium, located at 470 East Lockwood Ave., Webster Groves, MO 63119

SPONSORS

Title Sponsor: Whitaker Foundation

Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Coolfire Studios, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, Missouri Film Office, National Endowment for the Arts, Regional Arts Commission, Mary Strauss, Trio Foundation of St. Louis, William A. Kerr Foundation

Presenting Partners: Alamo Drafthouse Cinema, Arkadin Cinema & Bar, Contemporary Art Museum St. Louis, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Foundry Art Centre, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series

More information about SLIFF can be found at https://cinemastlouis.org/sliff/festival-home

SLIFF 2010 Review: PUTTY HILL

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.

SLIFF 2010 Review: THE SHOCK DOCTRINE

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.

SLIFF 2010 Review: ENEMIES OF THE PEOPLE

On the surface, ENEMIES OF THE PEOPLE of the people may not feel like a terribly emotional film, given its gruesome subject matter, but it doesn’t take long for the undercurrent of guilt, regret and loss sets in. This is a film about the common people of Cambodia, the farmers and peasants, made to become both killers and victims.

In the 1970’s, The Khmer Rouge was responsible for the killing of approximately two million people in Cambodia. The reasoning of Pol Pot, the party leader infamously known as Brother Number One, was that these innocent people resisted change and therefore were dangerous enemies of the state; spies for Vietnam. Pol Pot saw them as a problem that had to be “solved.”

ENEMIES OF THE PEOPLE, co-directed by Rob Lemkin and Thet Sambat, combines three elements of documentary storytelling. The film begins with Thet’s ongoing effort to get close to Brother Number Two, Pol Pot’s second in command. The process of gaining his trust is slow, but Thet perseveres and does eventually earn the truth from him, spoken on camera. In this vein, ENEMIES OF THE PEOPLE has a hauntingly similar feel to the Errol Morris’ concept with THE FOG OF WAR, which pulled the truth from Robert McNamara, the mind behind the United States’ involvement in the Vietnam War.

More significant to the success of ENEMIES OF THE PEOPLE is Thet’s ability to relate with the surviving Khmer Rouge killers. The farmers who were ordered, often against their will, to murder the enemy still carry the grief and pain of the experience with them. Many resist speaking out, but Thet is able to convince them that coming forward with is necessary for history; for future generations to know the truth. Those who were killers, were at once also victims.

Finally, Thet’s documents his personal experience and feelings about making the film, which he refers to as his “project.” His parents’ deaths were a result of the Khmer Rouge, so the film is a means for the filmmaker to cope and gain closure as well. The lack of outward emotion from the people interviewed in the film is heavily overshadowed by their silently devastating emotions, internalized. Watching these people attempt to address what Thet confronts them with speaks so much more than strong words and tears.

ENEMIES OF THE PEOPLE is hauntingly honest, capturing the Cambodian people as they struggle with this horrible tragedy. For a nation of people (that being the U.S.) used to the extremes of nonfiction storytelling, this film offers a more somber and elemental exploration of the torn human psyche.

On a final note, squeamish viewers beware. ENEMIES OF THE PEOPLE is not terribly graphic, except for a brief montage of graphic archival footage from the killing fields where innocent people were slaughtered, followed by Thet’s decision to take time away from focusing on the past and a juxtaposing montage of peaceful serenity.

ENEMIES OF THE STATE will play during the 19th Annual Stella Artois St. Louis International Film Festival on Wednesday, November 17th at 9:30 pm at the Tivoli Theatre.

SLIFF 2010 Review: A SOMEWHAT GENTLE MAN

Stellan Skarsgård stars as Ulrik, a man who is recently released from prison after serving a 12 year (!) sentence for murder. While he seems like he just wants to live the rest of his life in peace, his past connections have abandoned him.  Ulrik’s wife has left him and his son, who is now an adult who is married, has pretty much wiped all existence because of the 12 year absense in prison.  The only person that seems to still care about him is his small-time mob boss, Rune, who is trying to give some drive to Ulrik and find the person that ratted him out to the cops which resulted in Ulrik’s imprisonment.

That first paragraph might make you think this is a action packed film, but let me assure you it is not.  It is a very quiet and subdued film that plays off as a dark comedy of a man who is trying to establish an honest, normal life.  He gets a job at a garage and gets a roof over his head, yet because of Skarsgård’s superb acting, we all know that something is bound to interrupt this plan.  The audience is treated to some hilariously uncomfortable scenes between his landlord who brings down dinner for him and continues to sit on a crickety bed and watches tv with Ulrik.

Ulrik is trying to turn over a new leaf and wants to try and rekindle a relationship with his son.  While his son doesn’t initially take an interest, it becomes to blossom in a way a dirty secret would as Ulrik’s son, Geir, doesn’t want to tell his wife about his father’s history and has previously told his wife that Ulrik was dead.  Instead of owning up to the false story, Geir tells his wife that Ulrik is his uncle.  While Ulrik is a little hurt by this, he understands why and appreciates that there is at least some attempt in trying to get to know each other.

All the performers are spot on and with some subtle yet effective direction by Hans Petter Moland (ABERDEEN from 2000), we know that no matter how funny some of the situations Ulrik is getting himself into that the final result may result in violence.  The whole film can be looked at as simply a tale or yarn, but I saw it as asking the question of if someone who spends time behind bars for over 10 years, are they really better off released into a world that has moved forward without said person?

A SOMEWHAT GENTLE MAN is a touching look at one man who tries his hardest to return to normalcy. Yet, due to preconceived notions from his society, is pigeonholed into someone who can be used and or should be feared.  It is a must see for foreign film lovers for Skarsgård’s performance alone.

A SOMEWHAT GENTLE MAN will play during the 19th Annual Stella Artois St. Louis International Film Festival on Monday, November 15th at 7:00 pm and Tuesday, November 16th at 4:15 pm at Plaza Frontenac.

SLIFF 2010 Review: THE BATTLE OF PUSSY WILLOW CREEK

Ever since Rob Reiner unleashed THIS IS SPINAL TAP on the masses in 1984, the mockumentary has become a trendy and growing genre for filmmakers, especially those of the independent persuasion. The idea of making a documentary that’s a complete and utter lie,  while taking itself seriously with the intent of drawing laughter… well, it’s perhaps the best thing to happen to comedy in recent history.

THE BATTLE OF PUSSY WILLOW CREEK is a faux documentary written and directed by Wendy Jo Cohen. The film recounts the fictional lives of four forgotten Civil War heroes; an opium-addicted gay colonel, an elderly Chinese immigrant, a nerdy escaped slave, and a one-armed teenaged prostitute.

Constructed in the style of Ken Burns’ [enter title here] documentary, THE BATTLE OF PUSSY WILLOW CREEK nails the trademarks of the traditional non-fiction film, and in this way, succeeds as a parody of the cinematic genre. However, as a comedy driven by the need to summon laughter, it failed to deliver even a single chuckle.

While my opinion of the film thus far may sound terribly devastating, I offer this…

THE BATTLE OF PUSSY WILLOW CREEK is not a failure. While I can’t imagine many people laughing out loud, the film does serve as a socio-political satire that conjures up an uncomfortable experience. The filmmaker takes the respectable documentary form, mocks it completely and asks us to laugh, but does so in a way that delivers it’s own message, making laughter seem inappropriate. On some minor level, it plays like an episode of IN LIVING COLOR.

The details, stories and characters are far to absurd to be taken seriously. However, without these characters being given any cinematic life on screen, limited to photographs and voice over narrations, the humor is lost in monotony. The occasional staged interviews with experts and historians serves mostly to break up the monotony of the still images, but offers little in the way of effective humor.

I really, really wanted to love THE BATTLE OF PUSSY WILLOW CREEK. I tried, but I couldn’t quite bring myself to appreciate the film for what it meant to be, or at least what I interpreted it to have meant to be. If nothing else, this is a valiant and bold experiment in mockumentary filmmaking, so I give the filmmakers due credit for stepping out and taking a chance.

THE BATTLE OF PUSSY WILLOW CREEK will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 2:00 pm at the Tivoli Theatre.

SLIFF 2010 Review: JIM

It’s a screwed up world out there. The economy, environment and society itself are all falling apart, but what can be done? We increasingly turn to technology as the answer, which has its role, but is there a point where technology goes to far?

JIM is a dramatic science-fiction film directed by Jeremy Morris-Burke, a native of Saint Louis, where the film was mostly shot. JIM dwells on the pessimistic perspective of our future dominated by technology, following two stories from different eras, connected by the common theme technology’s effects on humanity. The film begins with a faux commercial — a la Verhoeven’s Starship Troopers or Total Recall — for Gene4, a company that custom designs human genetics. This is an interesting element, but sets the expectation for a tone less dark and somber than we actually experience.

One story follows Jim — played by Dan Illian — a middle-class professional who struggles with his recently destroyed life. He’s lost his job and can’t find employment, his wife gets cancer and dies, his bills rack up and creditors won’t leave him alone. Jim tries really hard to make things right, but society and the economy are keeping him down. Eventually, Jim faces an existential dilemma, making a decision that will affect both his and his unborn child’s life.

The other story takes us into the future, where our technology and corporate aspirations have led to planetary destruction of life and devastation from a war between humans and the clones they’ve created to serve their needs. The story follows a Maintenance Clone 3774 — played by Abigail Savage — as she discovers she is different from the other clones. This dim future Earth is run by a disenfranchised corporate executive named Niskaa, played by Michael Strelow.

Jim is a mess, getting worse, developing the tell-tale signs of someone ready to snap under the pressure of societal demands and lack of basic compassion. In the future, 3774 begins to develop human characteristics like emotion and curiosity. JIM implies a psychic connection between the contemporary man and the clone from the future, but it’s a difficult connection for the audience to make out clearly as its presented. With that said, the individual stories are interesting on their own merits.

Aside from being slightly distracted by Dan Illian’s appearance — he looks a little like Data from Star Trek: Next Generation — its easy to empathize with Jim, suffering much the same way many of us are right now. Jim externalizes many of the feelings we have, but would dare not to act upon.

The story of the future plays a little like a darker-than-normal episode of Doctor Who. 3774 is a compelling character, assisted by Nicodemus — played by Atticus Cain — one of the last “actuals” (or, humans) remaining on Earth, as she attempts to make sense of these new feelings. This story line suffers a bit from an excess of dialogue used to explain what, where and when of the future and not enough of the how and why.

Dan Illian and Abigail Savage both deliver satisfying performances while Jeremy Morris-Burke presents an intriguing vision of the future fallen apart. The special effects for the future are an impressive accomplishment for what was certainly a limited budget. Jeremy Morris-Burke deserves praise for taking on the multiple roles of writer, director, cinematographer, editor and producer on JIM. His eye for the camera and talent for staging shots is evident throughout.

JIM will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 9:45 pm and on Sunday, November 14th at 6:00 pm at the Tivoli Theatre.

SLIFF 2010 Review: IMBUED

im·bue (m-by) tr.v.
1. To inspire or influence thoroughly

From the moment Stacy Keach walks through the door, IMBUED had me strangely curious. Donatello (Keach) is a sports bookie of questionable legitimacy, as is illustrated by his arrival in the high rise space, cluttered with large abstract paintings, ladders and an unmade mattress. Donatello is a complicated man, wrought with acrophobia, but he’s good at what he does.

A knock at Donatello’s door reveals Lydia (Liza Sklar), an attractive young call girl who believes she is meeting a man named Brent, but finds Donatello instead. Lydia is invited inside, which begins a slowly unraveling and often awkward intimacy between the two, whom have their own deeply withheld feelings they will ultimately pull from each other.

IMBUED was written and directed by Rob Nilsson, a veteran of indie filmmaking with an impressive resume of award-winning films. This film takes two very opposite characters and puts them in a room together, where they expose themselves for who they really are, revelations that prove more surprising to themselves than each other.

Lydia knocking on the wrong door leads to Donatello making an unexpected gesture of kindness. Lydia mistakenly misreads this gesture, triggering an inquiry into his motives. Donatello is closed off, unwillingly to submit to Lydia’s attempt to seduce him, while also willingly engaged in a cat-and-mouse conversation about what they want from each other.

IMBUED is one part psychological exploration and one part intellectual foreplay. The dialogue maintains an improvised authenticity, only occasionally feeling forced, but the actors’ body language is often more telling than their words. Both characters are professionals in taboo, but are inherently good people beneath the surface of their immoral exteriors.

This is a raw cinematic project. Simplicity is the key, with a single locations, primarily two characters and a simple approach to a complex story. Donatello and Lydia spend one long night together, challenging each others’ comfort zone. IMBUED in turn challenges the audience with intelligent, dialogue-driven atypical filmmaking.

IMBUED will play during the 19th Annual Stella Artois St. Louis International Film Festival on Friday, November 12th at 7:15 pm at the Tivoli Theatre.

SLIFF 2010: STROKE (2000) with Director Rob Nilsson

Director Rob Nilsson made STROKE, an intriguing, character-driven story in 2000. STROKE is a curious blending and blurring of the documentary and the fictional narrative, featuring Ron Perlam among the various actors that appear in this collaborative experiment. For those familiar with the work of independent filmmaker Jim Jarmusch (NIGHT ON EARTH, COFFEE AND CIGARETTES), this film should be a welcome experience.

Rob Nilsson has been making truly independent films since NORTHERN LIGHTS, his first film from 1978, which won the Camera d’Or at Cannes. Nilsson’s 1987 film HEAT AND SUNLIGHT also earned him the Grand Jury Prize at the Sundance Film Festival. I encourage you to take this rare opportunity to attend the screening of STROKE with director Rob Nilsson, and be sure to see his new film IMBUED, which is also playing the Saint Louis International Film Festival.

Rob Nilsson Seminar

Saturday, November 13th at 10:30 am
in the Sverdrup building, Room 123
on the Webster University campus

— Free —

American-indie pioneer Rob Nilsson — winner of a Grand Jury Prize at Sundance (for “Heat and Sunlight”) and a Camera d’Or at Cannes (for “Northern Lights”) – will offer practical advice on independent filmmaking. Nilsson, a SLIFF Lifetime Achievement Award winner, will also accompany his films “Imbued,” which plays on Nov. 12, and “Stroke,””which screens after the seminar.

Synopsis for STROKE, from Cinema St. Louis:

Veteran indie filmmaker Rob Nilsson, who receives a SLIFF Lifetime Achievement Award at the fest, offers this strong, representative sample of his ambitious nine-film cycle, “9@Night.” Akin to Kieslowski’s “Decalogue,” the “9@Night” films share characters and narrative threads, but each film also functions as a stand-alone work. Like all of the films in the series, “Stroke” is largely improvised and was created in collaboration with its stars, the real-life residents of San Francisco’s Tenderloin district. In this film, 55-year-old poet Phil is cared for by longtime friend Johnny after suffering a debilitating stroke. Johnny, however, has troubles of his own – in particular, the unwelcome attention of strip-club owner Modisco, a neighborhood scumbag who also preys on Svetlana, a one-time adult-entertainment worker whom he pressures to resume her previous occupation. When Johnny and Svetlana become trapped in a convoluted blackmailing scheme, the thuggish businessman relentlessly tightens his grip.

Scene from STROKE and the Trailer:

STROKE will play during the 19th Annual Stella Artois St. Louis International Film Festival on Saturday, November 13th at 1:00 pm at the Winifred Moore Auditorium on the Webster University campus. Director Rob Nilsson will be in attendance at the screening.

Cinema St. Louis Announces Lineup for 19th Annual Stella Artois St. Louis International Film Festival (Nov. 11-21, 2010)

The stars are getting ready to shine at the 19th Annual Stella Artois St. Louis International Film Festival (SLIFF) next month – November 11th throught the 21st. SLIFF will screen nearly 340 films: 200 shorts, 90 features and 48 documentaries. This year’s festival features a record 162 programs, with 44 countries represented. The fest will host more than 100 filmmakers and related guests.

The festival opens with the St. Louis premiere of CASINO JACK, directed by native son George Hickenlooper, a former Cinema St. Louis Award winner. Featuring a buzz-generating performance by two-time Oscar winner Kevin Spacey, the film chronicles the rise and fall of disgraced super-lobbyist Jack Abramoff.

 

Other prominent films featured in the festival include:

BLUE VALENTINE

 

THE BLACK SWAN

THE ILLUSIONIST

RABBIT HOLE

ANOTHER YEAR

THE DEBT

MADE IN DAGENHAM

127 HOURS

WINTER’S BONE

The fest schedule and a complete list of films (with descriptions) is now available at the Cinema St. Louis Web site (www.cinemastlouis.org).

Major awards to significant filmmakers:

  • Lifetime Achievement Award: Stacy Keach (star of “Fat City,” “The Long Riders,” “Imbued,” “Mike Hammer”). Sun, Nov 14th at 1:00 PM – Lindenwood U./Young Hall Auditorium AND Sun, Nov 14th at 4:30 PM – Lindenwood U./Young Hall Auditorium
  • Lifetime Achievement Award: Rob Nilsson (director of “Imbued,” “Stroke,” “Northern Lights,” “Heat and Sunlight”). Sat, Nov 13th at 10:30 AM – Webster U./Sverdrup Room 123
  • Lifetime Achievement Award in Comedy: Harry Shearer (director of “The Big Uneasy” and star of “This Is Spinal Tap,” “Saturday Night Live,” “The Simpsons”). Fri., Nov. 12 at 9:30pm – Hi Pointe
  • Contemporary Cinema Award: Stanley Nelson (director of “Freedom Riders,” “Wounded Knee”).
  • Charles Guggenheim Cinema St. Louis Award: Jenna Fischer (star of “A Little Help,” “The Office,” “Walk Hard”).

SLIFF’s primary venues are the following theaters:

  • Hi-Pointe Theatre, 1005 McCausland Ave.
  • Tivoli Theatre, 6350 Delmar Blvd.
  • Plaza Frontenac Cinema, Plaza Frontenac, Lindbergh Boulevard and Clayton Road
  • Webster University, Winifred Moore Auditorium, 470 East Lockwood Ave.
  • Washington University, Brown Hall Auditorium, Forsyth and Skinker boulevards

For ticket information click here or visit www.cinemastlouis.org or call 314-289-4150. Follow them on Facebook here.