Blue Eyelids

Blue Eyelids, directed by Ernesto Contreras with an original screenplay by his brother, Carlos Contreras, is yet more evidence as to why Mexican auteurs are making critical tidal waves on the international film circuit. Beautifully and imaginatively photographed, like so many recent Mexican films, a lonely Marina has a chance encounter with an equally lonely Victor while she is desperately longing for someone to share in a trip for two that she won to an exotic Mexican beach resort. She doesn't remember him from school, and he feels that she isn't the fun girl she used to be. Their situation, getting to know each other, is filled with a stunning tension that is touching and surprising, but has a profound undercurrent of sadness. This affecting tone is so simple, yet it feels fresh and wonderful. Cecilia Suárez and Enrique Arreola embrace the journey and quirky characters they are given by the Contreras brothers with elegance and style, and their eventual romance is something to behold. There is an incredible sense of melancholy to the piece; Contreras directs with simultaneous flair, wit and subtlety while always keeping an eye on the unusual colour of the overall piece. Are these brothers the Mexican Coens, bringing a novel oddness to on-screen storytelling? We can only hope so.

9 on the DaveScale.

(dir. Ernesto Contreras, Mexico, 98 mins)

Hold Me Tight, Let Me Go

The Mulberry Bush school in Oxford caters for students aged 8-12 who need to be removed from regular schooling due to their harmful and unacceptable classroom behavior. This, as Kim Longinotto's documentary Hold Me Tight, Let Me Go carefully and tastefully reveals, is due to significant traumas in the lives of these young subjects. Longinotto has taken an observational approach to the material similar to Nicolas Philibert's 2002 film, Etre et Avoir, but unlike that film, the students are not charming. Philibert's documentary brings a one-teacher school to the screen, here in Longinotto's film, the staff:student ratio is 104:40 and it's no wonder; the teachers are physically abused, spat on, sworn at, but they stay working there. To its detriment, the majority of scenes take place in the classroom. It would have been beneficial to learn more about why the teachers and staff are at this particular school - how did they arrive there? Why not another school? At times, while engrossing and fascinating, her film becomes repetitive and had she moved away from the classroom or even included a girl in the mix (young girls have a very different educational experience to that of boys) it might have felt more complete and significant. It lacked a sense of the bigger picture and an extra twenty minutes of diversity would have been appreciated. Despite this flaw, for the most part it is a worthy piece. The arcs of the selected students are well shaped and many moments, while very sad, are quite moving.

7.5 on the DaveScale.

(dir. Kim Longinotto, UK, 100 mins)

Quiet Chaos

Coping with the death of a loved one is explored often in film, but Antonello Grimaldi's Quiet Chaos brings a gentle, new perspective to this process. Pietro, as played by Nanni Moretti, suddenly loses his wife, forcing him to find a way to step sideways from his corporate life into the more important role of being a single father. His daughter seems to accept her mothers death much quicker than he, and in an effort to be close and to understand her, he waits in an adjacent park while she is at school. This becomes habitual and he begins to relocate his life to this new, safe location. Grieving husbands can be overplayed, but Nanni Moretti brings a wonderful warmth and restraint to Pietro; it's a beautifully handled, complex performance. Indeed, all performances are very good. Grimaldi directs with confidence and there are some moments of magic, but at times the film becomes too melodramatic. The music score, winner of the David di Donatello award this year and composed by Paolo Buonvino, is obtrusive because it is too frequent and comments obviously on the drama, rather than providing a subtle undercurrent. The use of contemporary songs is jarring, also. Grimaldi makes up for a few slips with a wonderfully assured ending, closing a story that is engaging and, in many ways, satisfying.

7.5 on the DaveScale.

(dir. Antonello Grimaldi, Italy, 112 mins)

Choke

Choke is an odd film. Victor, as played with unusual charm by Sam Rockwell, is a sex addict. He goes to meetings (well, 'meet'ings) and is all consumed with women and his desperate quest for action. In addition, and for fun perhaps, he fakes choking in restaurants to benefit from the generosity of those who rescue him from his this fake circumstance. Her regularly visits his mentally unstable mother - yet another strange maternal performance from Angelica Huston - and eventually meets a doctor who might mean more to him than any other woman he has ever done/met. Chuck Palakniuk's darkly comic writing, he also wrote 1999's Fight Club, is so wrong and offensive, it is actually very clever and subversive. He has a way of giving us repulsive characters that are still irresistible and engaging. Victor is no exception; he's repellent but you want to like him. Sam Rockwell makes the most of his role, Joel Grey, in a minor role, is cleverly cast as a meeting member and Kelly MacDonald, after 2007's No Country for Old Men, proves that she is an actress to watch. Filled with sensational moments of bad taste and some hilarious situations, Choke is a memorable but curious comedy that leaves an interesting, infectious aftertaste.

8 on the DaveScale.

(dir. Clark Gregg, USA, 89 mins)

The Funk

Cris Jones' new animated short, The Funk, is an outstanding achievement. Filmed, and then animated like a serious of complex, moving photographs, the slick black-and-white style suits his story perfectly. The score and sound design is remarkably detailed but it Jones' surprisingly funny screenplay that becomes a revelation as it unfolds with with, purpose and importance. Proving that you can do a lot in seven minutes, The Funk is a superb piece which deserves to reap many festival and end-of-year accolades.

9 on the DaveScale.

(dir.Cris Jones, Australia, 7 mins)

The Visitor

Writer/Director Thomas McCarthy's second film following The Station Agent explores similar material. The Visitor finds Walter Vale (Richard Jenkins) empty, lost and a little lonely much like Peter Dinklage's Finbar in that previous film. However, The Visitor has more of a political agenda. It's not a particularly subtle one either, but thanks to Jenkins' extraordinarily restrained work as Walter, the film has a genuine warmth and honesty. McCarthy lets the audience watch Walter as he develops a necessary friendship with two African refugees he finds illegally living in his New York apartment. They, Tarak and Zainab, are beautifully played by Haaz Sleiman and Danai Jekesai Gurira; they present totally believable work. Also excellent is Hiam Addass as Tarak's mother. The way in which some directors are exploring New York post 9-11 is becoming cliche, but McCarthy shows us a different side - a city that is sadly losing its multicultural identity. The gentle touch that he brings to his directing rarely distracts and it if wasn't for the slightly obvious approach he has in the final moments of the film, overall would be a magnificent. Still, as the characters are so interesting and the performances so superb, The Visitor offers a great experience.

8 on the DaveScale.

(dir. Thomas McCarthy, USA, 103 mins)

Revanche

Anchored by a great screenplay with strong dialogue and narrative, Götz Speilmann's Revanche delivers. The fallout of a bank robbery gone wrong (of course) unfolds with excitement as a superb ensemble cast bring characters in integrated stories - a bored housewife, illegal Russian prostitutes, an empty police officer and a fresh out of gaol criminal - to life with great competence. All four leads shine, particularly Ursula Strauss as the policeman's wife. The shades of grey in her portrayal of Susanne are fascinating. Unlike most contemporary thrillers, Spielmann provides space for his cast to actually act and deliver the emotional punches in his screenplay. It's refreshing that none of his characters exist merely as 'plot devices'; they are all flawed and believable people in a very real environment. All technicals are superb with Martin Gschlacht's thoughtfully framed cinematography and Karina Ressler's simple, unobtrusive editing assisting greatly in the build up of tension. It is indeed a taut thriller and certainly, a must-see.

8.5 on the DaveScale.

(dir. Götz Speilmann, Austria, 121 mins)

Feeling Lonely

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With some good ideas and a length that doesn't out-do its subject matter, Rachel Turk's debut short, Feeling Lonely, feels quite fresh. Angus Robertson plays Rob, a young man enjoying the 'talents' of 45-year old "Mother Manchester" on an internet stream. It's all enjoyable at first, but things are not as they seem. Turk uses her film to comment on new media and communications in a land of voyeurism and it works for the most part. It has a slick look thanks to some good cinematography and sharp editing - unfortunately, Angus Robertson doesn't feel right as Tom; he overplays. All things considered, it's a solid debut from Turk.

6.5 on the DaveScale.

(dir. Rachael Turk, Australia, 10 mins)

Wonderful Town

Images of the tattered coastline in Taiwan following the devastating tsunami are still chilling and amongst this, Aditya Assarat sets his quiet and gentle film, Wonderful Town. Exploring ideas pertinent to the location and also his two central characters - loneliness, isolation and recovery - initially creates interest. This is an interesting concept. While the film takes some surprising turns, Assarat's deliberate pacing of the film creates a distance between the viewer and the film itself that doesn't always engage. This pace is intentional and appropriate given the content of the piece, but it makes for an unusually cold experience. Anchalee Saisootorm brings an understated charisma to Ton, a Bangkok architect escaping his dull city life, but Supphasit Kansen as Na, the owner of an always-empty hotel, is too removed from her own life to be engaging. Perhaps this character is underwritten. As a result, their chemistry sometimes feels stiff and unconvincing. The landscape is well captured and at times, the film is moving, but it feels to superficial to warrant recommendation or a repeat viewing. Perhaps the film needed some more characters and colours to justify its long 92 minute runtime.

6.5 on the DaveScale.

(dir. Aditya Assarat, Thailand, 92 mins)

Haze

Anthony Chen's short film, Haze, brings together two teenagers spending the day 'wagging school' on an unusually hazy day in Singapore. They channel surf, eat anything they can find that requires minimal preparation and have sex. It is possibly her first time. Chen captures the rawness of teen awkwardness and immaturity nicely but his film doesn't reach any great nor new heights. Directors have explored this idea before, and in my opinion, a lot more interestingly.

6 on the DaveScale.

(dir. Anthony Chen, Singapore, 15 mins)

Happy-Go-Lucky

Happy-Go-Lucky is Mike Leigh's 6th film to have its Australian premiere at the Sydney Film Festival. It's no surprise that he's been invited back so frequently either - his films are filled with wonderful, engaging characters and this is no exception. At the heart of this film is Poppy, an optimistic, vibrant primary school teacher working, learning how to drive and just generally getting-by in London. At first it's unclear whether her unflinching positivity is genuine, but as the film progresses, Leigh presents us with a beautifully layered character; full of charm and believability. It's a wonderful journey in no small part thanks to Sally Hawkins. She is fantastic as Poppy. Her thoughtful work soars off the screen while the chemistry generated between herself and other actors and characters - Eddie Marsan as her driving instructor and Alexis Zegerman as her flatmate/colleague are particularly impressive - always feels true. Hawkins' performance will be one of the most talked about or one of the most overlooked come year-end awards time. Certainly, she is worthy of numerous accolades. Leigh's screenplay sparkles with plenty of good laughs balanced by more tender moments and the score composed by Gary Yershon reflects the charm of Leigh's piece. Overall, it is exceptionally warm, an audience pleaser, and a terrific comedy. This is a marvellous film.

9 on the DaveScale.

(dir. Mike Leigh, UK, 118 mins)

Elegy of Life. Rostropovich. Vishnevskaya.

Alexander Sokurov's film allows the viewer to spend time with the most famous classical music couple in Russia, Mstislav Rostropovich and Galina Vishnevskaya. He is a most accomplished cellist, having inspired and premiered works by Shostakovich and Prokofiev; she, untrained, has the most incredible and surprisingly natural voice and has opened a school for the operatic arts after having achieved on the stage herself. These are incredible musicians, and would have made for a great film but sadly, Elegy of a Life isn't it. In two parts, thoroughly disconnected from one another, it lacks direction and it is also a little sexist. Rostropovich is engaged in wonderful discussions, though not contextualised for those without a classical music background, about performing, composing and life as a musician but Sokurov only seems to be interested in Vishnevskaya's family life, and life as a mother. At times, it seems as if he is unaware of her musical accomplishments. What is most frustrating and thoroughly irritating is Sokurov's narration. It is in first-person and the monotone delivery is mixed far too close to the foreground. It's grating. It really destroys the elegance of his subjects and makes for, frankly, painful viewing. Thankfully, when there is music making, he disappears. Sadly though, there are glimpses of the couples' performances but Sokurov denies us the opportunity to see them all the way through. They are either cut short or interlocked with other scenes and in some cases, jumbled amongst other performances. In the end, this documentary doesn't do these remarkable musicians justice. It's just not a good film.

5.5 on the DaveScale.

(dir. Alexander Sokurov, Russia, 110 mins)

Nocturne

The Sydney Film Festival programme tells me that Nocturne was 'created by contact-printing film by hand and informed by Mozart's Eine Kleine Nachmusik'. That sounds interesting enough, but this short is horrendous. Supposedly clever, people around me laughed and clapped, yet it does nothing but distort the images and the grossly over-played Mozart score for little impact. I feel sorry for Peter Tscherkassky having put all of this effort in for one minute of junk.

3 on the DaveScale.

(dir. Peter Tscherkassky, Austria, 1 minute)

The African Queen

In what was surely a major triumph in 1951, The African Queen is John Huston's first film in colour. Starring Humphrey Bogart and Katherine Hepburn, the pair sail down the Belgian Congo in his boat, 'The African Queen'. The title comes to mean a great deal more, of course. This is a wonderful film for which Humphrey Bogart won his only Academy Award (though, Marlon Brando in A Streetcar Named Desire would have been my choice) for his counter-type performance as a lost, poor man with a heart of gold. He is truly charming and surprisingly funny. Katherine Hepburn, in one of her many Oscar nominated performances, is brilliant also. She and Bogart have a wonderful chemistry that holds the film together - they are really the only characters in this film. James Agee & Huston's clever screenplay engages and, the mark of a great film, it has held up well over time. My only criticism would be of Allan Gray's music score - it doesn't fit the drama much at all. Don't let that detract, this is a marvelous film.

9 on the DaveScale.

(dir. John Huston, UK/USA, 105 mins)

Poison Friends

This film is up itself. Poison Friends is very smart, but it knows it. Why then is this incredibly French film so frequently engaging? Writer-Director Emmanuel Bourdieu's film centers on a group of elite literature-heads as they pursue writing, reading and general excelling. Andrè, Thibault Vinçon, appoints himself as the leader of this group and the others, surprisingly, accept this. At first, his confidence and arrogance is fresh and exciting to them, but the tides turn and as they begin to succeed themselves, they become disillusioned. All of the performances here are terrific. The sense of ensemble has obviously been nurtured throughout the shoot; the players seem to be enjoying their place in the story. The narrative twists about frequently and not being able to predict upcoming events adds to the enjoyment of this incredibly pretentious film. As Andrè believes, "Writers only write because they can't control themselves". Let's hope that Bourdieu pulls the reigns in on his next project, his word-heavy wank sessions could get tiresome.

7.5 on the DaveScale.

(dir. Emmanuel Bourdieu, France, 107 mins)