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)

London to Brighton

London to Brighton begins as Kelly (Lorraine Stanley) and Joanne (Georgia Groome) are fleeing London by train. We quickly learn that Kelly, sporting a major bruise to her face, is a prostitute and 11-year old Joanne has had a serious run-in with an authority. This authority, it turns out, is Kelly's pimp, Derek (Johnny Harris), who has his own issues with a gangster-esque character, Stuart (Sam Spruell). The film follows the developing relationship between Joanne, as she explores life on the run, and Kelly, as her maternal instincts get a good working over while she works the streets. This is intense drama and for the most part, it works. Stanley and Groome give stunning performances - it feels as if they've been working together for years - and Paul Andrew Williams directs with originality and a true sense of suspense and real-life horror. Some of the male performances border on excessive but given the direction of the film, it becomes forgivable; their work in no way detracts from the powerhouse performances of the ladies who carry the film. The cinematography is also captivating. Christopher Ross uses the full frame with flair. An excellent but gruelling film.

8 on the DaveScale.

(dir. Paul Andrew Williams, UK, 86 mins)

Animated Shorts

A surprisingly dark assembly of animated shorts. I will keep reviews here brief.

The Lost Bag

Using a combination of stop-motion and computer animation, this film tells a classic fable of a man who finds a sack of gold, and wants to return it to the rightful owner. Incredibly imaginative, the curious perspectives (peoples heads are bigger than some of the houses) and wonderful design are a delight.

8 on the DaveScale.

(dir. Jean-Luc Greco & Catherine Buffat, France, 14 mins)

The Puppetmaker

















This Australian short is quite magnificent. The animation is frequently stunning and the sad tale of a marionette wanting to explore life away from his strings is captured with a great deal of beauty.

8.5 on the DaveScale.

(dir. Timothy Gaul, Australia, 4 mins)

My Happy End
















This brilliant piece explores life for a dog once it has caught its own tail. Simply drawn, and reminiscent of the great Warner-Bros cartoons, the film is hilarious but also very touching. The music score is also sensational. A great animated short.

9 on the DaveScale.

(dir. Milen Vitanov, Germany/Bulgaria, 6 mins)

also played:

The Farm






6.5 on the DaveScale.
(dir. Georgina Adams, UK, 5 mins)

The Memories of Dogs
6.5 on the DaveScale.
(dir. Simone Massi, Italy/France, 8 mins)

My Life at 40







6.5 on the DaveScale.
(dir. Laurie Hill, UK, 8 mins)

Pinch








6 on the DaveScale.
(dir. Jody Kramer, Canada, 5 mins)

The White Wolf







7.5 on the DaveScale.
(dir. Pierre-Luc Granjon, France, 9 mins)

Who I Am and What I Want
8 on the DaveScale.
(dir. Chris Shepherd, UK, 8 mins)

La Vie En Rose

La Vie En Rose is sure to make serious money at the Australian box office - it is incredibly entertaining and of course, French. Olivier Dahan's biopic explores the life of Edith Piaf, the extraordinarily talented French singer who began on the streets, and ended as an international icon. Although a French film, it could easily be mistaken as a Hollywood biopic not that dissimilar to Ray, Taylor Hackford's 2004 birth-to-earth film on Ray Charles, though La Vie En Rose isn't always sequential. We see the ending first, and throughout the film it flashes backwards and forwards to, I image, contextualise events and keep the viewer engaged. This technique bothered me, not because it seemed unnecessary but because it would have been equally powerful as a more straight-forward retelling; there are enough ups and downs in Piaf's life to engage without the tricks. Marion Cotillard is absolutely stunning in this role. It is one of the great recent performances - every part of her is Edith Piaf from her exceptional stage work to the more subtle, sometimes more theatrical home life. Everything that makes this film fantastic is because of her revelatory, career-defining performance. She will surely be a front-runner for the Academy Award, and certainly, she will be nominated. The music in the film is superbly mixed - it will give you goosebumps. Overall, this is a pretty wonderful film.

8.5 on the DaveScale.

(dir. Olivier Dahan, France, 140 mins)

The Treasure of the Sierra Madre

John Huston's 1948 classic, The Treasure of the Sierra Madre, sees Humphrey Bogart, Tim Holt and Walter Huston (John Huston's father) unite in their search for gold. For them, finding gold would be the start of a better life, and a ticket to exit Mexico. The film features some superb performances. Huston is magnificent, Holt is wonderfully understated and Bogart, in an unusual role, is also at the top of his game. In true Huston style, the performances work wonderfully together - no-one steals scenes nor detracts from the direction of the film. Having said that, Walter Huston's work here is an absolute joy to watch - his laugh is nothing short of infectious. He went on to win the Academy Award for Best Supporting Actor in 1948. Beautifully shot and directed, the themes of the film - the dark side of greed, the pressures of wealth and the evil in deception - still resonate today. A mid-movie slump causes the film to stall for a short while, it may be a little long, but this is still a remarkable film which has certainly passed the test of time.

8.5 on the DaveScale.

(dir. John Huston, USA, 126 mins)

note: It's widely acknowledged that Bogart owes a lot to Huston for his career taking off. Prior to working with Huston on The Maltese Falcon in 1941, Bogart was type-cast as the bad guy who always dies before the end of the film. Obviously, he went on to become something of a Hollywood icon. John Huston has a cameo in Sierra Madre playing an American who keeps giving his pesos to the poor Bogart beggar. A great moment in film history sees Bogart beg for some money after already having hit up the Huston character a few times prior. Huston obliges but notes, "But from now on, you'll have to make your way through life without my assistance."

Isn't that just great.

Comrades in Dreams

A German-funded documentary, Comrades in Dreams offers a taste of cinema in North Korea, India, Burkina Faso and the mid-west of the US through the eyes of four local cinema owners. As you would expect, there are obvious differences - North Korea plays only inspired 'propaganda' type films with a strong sense of nationalism, where the other cinemas can play what they like, although those from India proudly prefer local home-grown films. Director Uli Gaulke directs with subtlety; he allows time for his subjects to have their say and his observational style works well. The film has suffered in the editing room, though. It lacks a clear narrative structure resulting in a series of scenes that don't seem to follow on naturally from one another. The placement of the four stories amongst each other is uneven - the Indian film is dropped too early. Gaulke's subjects could have been fleshed out a great deal more (they are definitely interesting enough) which suggests that this material would have been better suited to a four-part television series where there is more time to fully explore the intricacies of each story.

6.5 on the DaveScale.

(dir. Uli Gaulke, Germany, 100 mins)

Shut Up and Sing

Told during a whirlwind of constantly changing media hype, Shut Up and Sing follows the Dixie Chicks from the top of the charts to their all-time lowest after Natalie Maines, their lead singer, condemns the Bush administration and Bush himself during a performance in London. Rather awkwardly, this occurred immediately prior to the US invasion of Iraq in 2002. The republican fans (who make up the majority of their audience) heavily criticised and took offence to their lack of patriotism and subsequently, they were banned by most local radio stations in the South. This prompts the girls, Maines along with Emily Robison and Martie Maguire, to unite and stick up for their right to speech. The peak of this drama comes in the form of a death threat, prompting the girls to take a break and return in 2005 to write a new album. This album is clearly inspired by the turbulent events of the previous years and it shows. The new album is a triumph, a remarkable change in direction for the group, and certainly, far more satisfying musically. Watching them write and sing with such honesty is a real joy. This is a terrific documentary. The moments that have been captured on film, I'm sure it's no fluke, are priceless; there are some wonderfully candid moments. The film has a great pace, is wonderfully edited and aside from a few stumbles exploring the home life of the Chicks, amounts to an excellent film regardless of whether you're a fan of their music or not. It's hard not to have increased respect for them by the time the credits role.

8.5 on the DaveScale.

(dir. Barbara Kopple and Cecilia Peck, USA, 99 mins)

Note: Unfortunately the documentary was completed before this:
Record of the Year - Grammy Awards 2007
Album of the Year - Grammy Awards 2007

Good on them. Also, here's a great clip of the talented ladies singing the award winning song from the award winning album:
Dixie Chicks - Grammy Awards Performance, "Not Ready to Make Nice"

Away from Her

Sarah Polley's directorial feature, Away from Her, certainly shows that she is more than just an actress. Clearly influenced by Atom Egoyan's style (she worked with him on The Sweet Hereafter) her film has a smooth, deliberate pace that suits the material. Fiona (Julie Christie) and her husband, Grant (Gordon Pinsent), together decide that it is time for Fiona to move into an aged-care facility. Her onset of Alzheimer's arrives quickly, but Gordon is torn between wanting to give her a dignified home situation and not wanting to let her go - they have had a marvellous life together. Julie Christie is very fine as Fiona, but it is Gordon Pinsent's performance that is remarkable. He shows great depth as Gordon, always understated and gracious. It is a difficult character, one we don't see often, yet he plays Gordon with ease. Also, despite her limited screen time, it is worth noting Olympia Dukakis' lovely performance as Marian . She should work more. While Sarah Polley's direction is assured, her screenplay, adapted from a short story 'The Bear Came Over the Mountain', lacks a power to match the performances. The dialogue is, at times, stiff and some scenes don't flow well together. Perhaps this is a stylistic decision but even so, it felt inconsistent. This weak writing lessened the impact of the couple's relationship early on, diminishing the compassion we should feel for them later on. Having said that, there is still a lot to enjoy in this ultimately touching film.

7.5 on the DaveScale.

(dir. Sarah Polley, Canada, 110 mins)

Climates

Nuri Bilge Ceylan's Turkish film, Climates, follows the journey of Isa (played by Ceylan himself) after the end of his relationship with his wife (played by real-life wife, Ebru Ceylan). Over three seasons - the summer break-up, the autumnal affair and the winter re-uniting - we come to feel Isa's emotional poverty and his uncertain longing for times past. Ceylan's portrayal of Isa is appropriately muted but cold and the pace of the film is contemplative, at times bordering on arduous. His film requires a great deal of patience; he is asking a lot of the audience and at times, giving little in return. The ending is rudely abrupt and elusive. Ebru Ceylan brings a mystery and warmth to her character that is mostly interesting and the cinematography is frequently arresting but despite this and some terrific moments, the film is too slow for its content. It was difficult to stay focused and interested in these characters and situations for what felt like a lot longer than 101 minutes.

6.5 on the DaveScale.

(dir. Nuri Bilge Ceylan, Turkey, 101 mins)

Out of the Blue

David Gray went on a shooting spree in 1990 murdering thirteen residents in Aramoana, a coastal town south of Dunedin. Robert Sarkies' exceptional film, Out of the Blue, follows the journey of the gunman over this 24 hour period while capturing the quietness of the town and the impact of such a tragedy on a small community. The event unfolds slowly, with discipline, and not a frame is wasted. Australia cinematographer Greig Fraser's work is remarkable. The large, mostly unknown ensemble is superb, as are all aspects of the film - editing, score etc. Sarkies has created a brilliant film; the horror and tension of the massacre is superbly juxtapositioned alongside the inexperience of the local police officers, their lack of resources and the colours of the local characters. The film is void of cliche and unfolds naturally - Sarkies obviously respects the emotional gravity of the event and doesn't pull cheap tricks for thrills, instead he opts for subtlety. The characters are instilled with a quiet, unassuming dignity; they are all incredibly brave, and this film, no doubt, does the real residents of Aramoana justice. This is a stunning, yet tragic film and one of the finest films to come out of New Zealand. It is certainly one of the best films of the year.

9.5 on the DaveScale.

(dir. Robert Sarkies, New Zealand, 100 mins)

In the Company of Actors

Ian Darling's documentary follows the Sydney Theatre Company production of Hedda Gabler as it re-rehearses following a successful 2004 Sydney season, before opening at the Brooklyn Academy of Music in 2006. It is a wonderfully captured insight into theatre - what makes it work, how the actors approach their roles, the technical demands and the creative processes in general. Interviews with Andrew Upton, Cate Blanchett, Robyn Nevin and others are fascinating - it is easy to see why they are considered to be some of the finest craftspeople in Australia. Observing the rehearsal process in the lead up to opening night in New York is compelling. These people are remarkable talents; it is a pleasure to be in their company for a brief 75 minutes. They are articulate and inspiring. The narrative arc of the documentary is excellent thanks to the masterful editing of Sally Fryer. In the Company of Actors is a fitting homage to Australian theatre and its contemporary artists.

9 on the DaveScale.

(dir. Ian Darling, Australia, 75 mins)

Bella

Bella won the audience award at the Toronto Film Festival but I'm not exactly sure why. Told over a day, Jose (Eduardo Verástegui) and Nina (Tammy Blanchard) leave the restaurant where they work. She is fired for being late, and as a result, he walks off the job in protest. They spend the rest of the day contemplating life and sharing stories of themselves with one another. This is a flawed film. Verástegui, hiding behind a blatantly symbolic beard, gives a thin and incredibly unconvincing performance; Manny Perez (as Manny) is worse - his performance is bad. Tammy Blanchard is by far the most accomplished performer here, and it shows; she is much better than this material. Aiming for a style not dissimilar to Richard Linklater's Before Sunrise/Before Sunset films, but much less successful, Alejandro Gomez Monteverde and Patrick Million's screenplay touches on a number of significant issues - abortion, manslaughter, grief - but fails to say anything meaningful about them. Two-thirds of the way through the film, Jose shares a dark secret with Nina and following this revelation, the characters and drama lack plausibility. This stalls the rest of the film; the manipulative ending falls flat, expectantly. Despite Blanchard's performance, some good ideas and solid technical work (the editing and soundtrack are very good) the film feels too much like a first draft - not yet ready for the screen.

6 on the DaveScale.

(dir. Alejandro Gomez Monteverde, USA, 91 mins)

The Killer Within

Bob Bechtel, a loving, caring family man and a lecturer at the University of Arizona, shot and killed a fellow college student 50 years ago. Director, Macky Alston, documents Bechtel's journey as he, after 50 years of secrecy, reveals this to his daughters, family, colleagues and students. Bechtel's motivation in doing so is to warn others about the ramifications of extreme bullying, something that Bechtel was afflicted to throughout his youth. The Killer Within is a compelling film. Alston doesn't judge Bechtel, instead he makes a careful effort to portray the conflicting opinions of those he has affected by his actions both 50 years ago and revealing his secret this decade. Bechtel's daughters are particularly shocked and distraught by his revelation prompting them to delve deeper into the specifics of the killing. This is a complex moral issue - Alston is clearly interested in the notion that we, as humans, are all the result of contingency. The resulting discussions are often profound. Some black-and-white dramatisations are unnecessary and distracting, the film is, at times, a little sluggish, and Bechtel's daughters emerge as pretty earnest, but this is still a fascinating portrait of a man who has made an incredible life for himself thanks to forgiveness and a second chance.

8 on the DaveScale.

(dir. Macky Alston, USA, 77 mins)

The Home Song Stories

Tony Ayres' follow-up to Walking on Water sees Rose (Joan Chen) marry an Australian and relocate to Melbourne with him and her children in the early 1970s. She leaves him almost immediately and begins to reinvent herself with little regard for her children and the people she meets along the way. Rose is a selfish and pretty unlikeable character and as a result, Ayres' film doesn't resonate. This biggest problem is with his screenplay which is far too episodic; the incredibly unsophisticated and clunky dialogue does nothing to improve matters. The story is told from Tom's (Joel Lok) perspective, but this causes confusion - as a young boy, how would he know what is mother is really doing when she is away from him? He often admits to not understanding what is going on around him. By the time Ayres redeems some of his characters, we are no longer interested in their journey; they seem erratic and often lack credibility. The film feels repetitive at times, too. Having said that, the art direction, costuming, music score and cinematography are all excellent and even though some of the exterior characters border on over-the-top caricatures, the performances are mostly good. Joan Chen is regularly captivating and Yuwu Qi (as her lover, Joe) has a commanding, if slightly creepy, screen presence. As a whole film though, despite some surprising moments, it doesn't amount to much. Home Song Stories is a pretty disappointing Australian film.

6.5 on the DaveScale.

(dir. Tony Ayres, Australia, 103 mins)

All In This Tea

All In This Tea documents the passion of David Hoffman, a tea connoisseur, as he explores remote areas of China looking for great tea to export to America. The documentary also touches on the origins of tea, the workers and farmers of the tea fields, and more importantly, focuses on the frustrations that arise in Hoffman's dealings with Chinese authorities, specifically with regards to exporting. Taking a bag of tea from China to the US isn't easy and the aggravation this causes Hoffman is clear, thanks to a well directed film from 72-year old, Les Blank. Hoffman's enthusiasm for tea is contagious and you can certainly feel for the situations that arise. It's an interesting film - we see a lot of China and simple moments in the loves of the tea workers - and certainly a must-see for people who like a good cuppa.

7.5 on the DaveScale.

(dir. Les Blank, USA, 70 mins)

The Witnesses

The title, The Witnesses, refers to a group of observant friends keeping an eye on each other, and an eye on the AIDS epidemic as it break in Paris in the mid 80s. Manu, a young, gay man, contracts the virus and this spreads ripples through his relationships with an older friend, his lover and his lover's wife. Writer-Director, André Téchiné, presents a drama that is all too familiar and as a result, it lacks bite. Much of the film feels contrived; it's hard to believe the actions of the characters at times and the jumps in continuity don't add much to the tension, instead they interrupt the flow of the fairly straight-forward narrative. Rather annoyingly, the score feels too much like Philip Glass' work on The Hours, but here it's much less effective. Luckily, and surprisingly, some of the more melodramatic moments in the screenplay work nicely. The performers bring a credibility and commitment to their scenes making the material a lot better than it deserves to be.

7 on the DaveScale.

(dir. André Téchiné, France, 115 mins)

Blindsight

Braille without Borders is a school for blind children in Tibet and Blindsight, the film, follows several of these children, mentors and guides as they attempt to climb the second highest peak in Tibet. The journey is a triumph for the students who are ridiculed in the streets for their disability (it is believed that their disabilities in this life are due to sins in a previous life); the climb is designed to give them the courage to believe in themselves and their strengths. Blindsight is a tremendous achievement not only for the superb work of the crew - it is photographed, edited an directed with confidence - but for its incredible, inspired story. The tension that arises between the carers' concern for the welfare of the students and the American climbers' intention and desire to reach the peak makes for compelling drama. As a result, it is always fascinating. The students are magnificent; their courage and bravery are an absolute joy to watch. This is a great documentary - an essential film.

9 on the DaveScale.

(dir. Lucy Walker, UK, 104 mins)

Times and Winds

A meditation on self-discovery amongst youth in a small Turkish community, Times and Winds explores territory that we've seen many times before in 'coming of age' films - snapshots of youth playing games, disliking their parents, minor crushes etc. Surreal at times, director Reha Erdem meanders from one event to another often without purpose, the intention vague. The haunting yet rich orchestral score seems to contradict the subtle tone of the film, and the result is distracting. In contrast, the cinematography captures the mood of the film superbly. The performances are mostly effective, it at time a little under-directed. A confusing mixed bag with enough well observed moments to make it moderately worthwhile.

6 on the DaveScale.

(dir. Reha Erdem, Turkey, 111 mins)

The Flag

Filmed on Children's Day, April 23, The Flag is successful in capturing the strength of Nationalism amongst Turkish youth at a stadium celebration. It is fascinating to see the children's devotion to their country, but at the same time, it's a little frightening.

7 on the DaveScale.

(dir. Köken Ergun, Turkey, 8 mins)

Suely in the Sky

Karim Ainouz's Suely in the Sky centres on Hermila, an 'impoverished but full of life' character, determined to create a brighter future for herself. Her husband abandons her and their child in a small Brazilian community and in order to make ends meet, inspired by some of her friends, she decides to raffle herself off to the lucky winner for a night - "a night in paradise". Her journey is a fascinating one. Despite making a series of wrong choices, Hermilla is always warm and likeable thanks to a terrific central performance by Hermilla Guedes. She is full of a raw, natural energy that bursts from the screen. Her face is so expressive, even the tiniest moments ring true. In fact, thanks to a great screenplay, beautiful cinematography and wonderful performances from the entire cast, the whole film has an honesty that places you in this time and place convincingly. Full of terrific scenes and tender moments, Suely in the Sky is certainly a memorable film and a triumph for cinema in Brazil.

8.5 on the DaveScale.

(dir. Karim Ainouz, Brazil, 88 mins)

Corroboree

Finding a new voice in cinema is probably quite difficult. Ben Hackworth tries this in his new Australian feature, Corroboree. The film sees a young 'Adonis' male employed by a dying man to re-enact scenes from his life with the help of five actresses. These actresses are, for the most part, working from a script, where young Conor O'Hanlon is placed to react naturally to the drama around him. Hackworth is clearly interested in the process of performance, that of a theatrical style interacting with that of a more natural, improvised style. The problem though, is that the leading man, O'Hanlon, is particularly drab, uninteresting and thoroughly uninspired on screen. Hackworth's surrealist approach, borrowing heavily from Michael Haneke, Gus Van Sant and David Lynch, fails spectacularly because there are no characters to identify with and his film is technically bland. Hackworth admits to intervening in the original concept during the shoot to move the drama forward, but even then it becomes too obscure and certainly, uneven in tone. The highlight is a scene which is quite funny and awkward, but in retrospect, this doesn't fit with the rest of the character of the film at all. He aims for cathartic, but ends up with a flat mess. Let's hope that Hackworth's next film actually works. The 'cinema of ideas rather than a cinema of story' style just doesn't work for him.

3.5 on the DaveScale.

(dir. Ben Hackworth, Australia, 95 mins)

*edit - Ben Hackworth is the director of this film.

The Maltese Falcon

The Maltese Falcon has certainly passed the test of time. A 40s classic (it's easy to see why) that bubbles with wit, charm and an intriguing story. All performances are excellent, particularly Humphrey Bogart as Sam and Mary Astor as Brigid. They also have an odd, but magnificent, screen chemistry together. A great film.

9 on the DaveScale.

(dir. John Huston, USA, 1941)

Please Vote for Me

Please Vote for Me is a thoroughly enjoyable Chinese documentary that sees a teacher of Year 3 announce elections for Class Monitor as a tool to teach democracy to her students. Through simple observational techniques and completely natural, charming characters, the documentary is always engaging and interesting. The frightening comparisons to our own voting process make for a great deal of humour. I can't wait to see this film again - it's outstanding.

9 on the DaveScale.

(dir. Weijun Chen, China, 55 mins)

The Blood of Yingzhou District

This Oscar-winning short documentary tells the story of a set of children affected by an AIDS outbreak in China as a result of their parents donating blood and re-injecting it for money. The Blood of Yingzhou District is sad story, but underdeveloped - either through soft filmmaking, lack of funding or political difficulties associated with filming this controversial story in China. A longer, more in-depth documentary would have been a better approach to this material. Still, it's a good start an bringing an important issue to the surface through film.

7.5 on the DaveScale.

(dir. Ruby Yang, China, 39 mins)

Days of Glory

In 1943, France enlisted troops from nations in northern Africa to aide its fight against Nazi Germany. Days of Glory tells the story of a small group of these soldiers as they fight for France, their 'homeland'. Sadly, the French mistreat and discriminate against the mostly Muslim troops, denying them fruit, leave and even censoring their letters home to loved ones. These solders come to fight for more than freedom for France, they fight for acknowledgement, respect and cultural recognition. This fresh war film from Algeria tells an important story, but it's not without flaws. The intention of the solders is sometimes unclear, at one point hypocritical, and the drama becomes muddled at times. The third act, however, is magnificently handled by director Bouchareb as a small group of men fight against a seemingly insurmountable opposition. This lifts the film to a terrific climax. He captures the determination and diligence of the solders as well as the tension and horror of the war itself. Perhaps more horrifying though, is watching Bouchared stumble as he adds a thoroughly misplaced and pointless coda to the final moments of the film. This slapped-on finale is incredibly frustrating and ultimately lessens the impact of the film. The cast is excellent, photography is thoughtful, and although it teeters on repetitive, the message of the film - that of tolerance, respect and fairness - is an important one.

(dir. Rachid Bouchareb, Algeria, 120 mins)

7 on the DaveScale.

As a side note: How did Pedro Almodovar's warm, funny and touching Volver make it to the final round of Foreign Language Oscar voting, but miss out to this? Further proof that this category needs a serious reinvention.

Clash of Egos

This comedy from Denmark sees Tommy, an aggressive down-and-out father, stalk Klaus, a try-hard arthouse director, for making films too obscure for a night out with his kids. An unexpected injury while an extra on Klaus' new film sees Tommy, as compensation, land a co-directing/writing gig on his next film. Clash of Egos is surprisingly unpretentious, and certainly some of it is very clever and funny. Jabs at sentimental films like Ghost are particularly memorable. The two central performances (Ulrich Thomsen and Nikolaj Lie Kaas) are solid - they have good chemistry - but while it's enjoyable, it doesn't reach any great heights due to an annoying and unnecessary love-story subplot. A fun film regardless.

7.5 on the DaveScale.

(dir. Tomas Villum Jensen, Denmark, 91 mins)

My Mother Learns Cinema

My Mother Learns Cinema is essentially a minimalist short showing a young filmmaker sitting opposite his mother teaching her how to pronounce some of the more important names in world cinema. It's pretty funny, initially, and then it becomes tiresome. It wasn't hilarious because I couldn't get around the director's heavy Turkish/English accent - I kept missing the filmmakers' names. Renders the whole short a little pointless, doesn't it? I did catch Jim Jarmusch, though...

6 on the DaveScale.

(dir. Nesimi Yetik, Turkey, 4 mins)

Academy

After a 2 hr wait for the print to be located ("technical difficulties" - spare me), one fifth of the original audience returned for the premier screening of R. Luke DuBois' Academy. 1928-2002 (75 years) of Best Picture Oscar winners shrunk down to 1 minute each. 75 minutes total. New technology allows this to occur without distorting the picture - like and extreme fast-forward. It was a great deal of fun revisiting (albeit briefly) these classic films in ff, and certainly, observing the technological changes (esp. in directing/editing) as time has passed was fascinating. You can make sense of the older films (sort of) like Mutiny on the Bounty (1935) and Hamlet (1948) but more modern films like Titanic (1997) and Gladiator (2000) flash by in a blur. This experimental film is interesting and certainly quite an experience but just because it's not been done before, does that make it a worthwhile experiment? What's the point? Does there need to be a point? It entertained me, so I'm not sure.

7 on the DaveScale.

(dir. Luke DuBois, USA, 75 mins)

Andrew Jenks: Room 335

Clearly, Andrew Jenks is a talented young US filmmaker. Andrew Jenks: Room 335 initially appears to be an interesting vanity project (young man checks into a nursing home to learn something from the elderly) but actually turns out to be quite a beautiful film about growing old. Jenks himself, in a Q&A following the screening, said that it was a growing experience for himself, also. Roughly one third in, a frightening event occurs, and from this point on the film focuses on a number of specific characters (rather than the more broad scope prior) where it becomes quite strong and compassionate. Jenks doesn't mock these characters; the film shows affection towards them without ever becoming sappy. His film is honest, with wonderfully captured moments of joy and sadness - Jenks also has a warm screen presence. A joy to watch.

8.5 on the DaveScale.

(dir. Andrew Jenks, USA, 90 mins)

The Night Before Christmas

The Night Before Christmas sees the filmmakers' Grandmother recite the incredibly famous poem where one sentence equals one frame. The film very funny in parts, the idea is quite clever, but it's ultimately slight and a little under-cooked.

(dir. Sam Bassett, USA, 8 mins)

7.