By Adrien Taylor, Daniel Rutledge, Dylan Moran, Kate Rodger, Kim Choe, Jono Hutchison and Steve Austin
The 2012 New Zealand International Film Festival is well underway and the Film3 team have been cramming in as many sessions as possible.
Listed below are mini reviews of the films we have seen during the first four days of the festival.
For more information about the film festival, visit the official NZIFF website.
Moonrise Kingdom
Reviewed by Kate Rodger
With the usual whimsical artistic aesthetic Anderson is so famed for, and set on a fictional island off the coast of New England populated by an eclectic assortment of locals and a large number of boy scouts, the film is almost a gorgeously illustrated postcard to the child in us all. It’s a love story, a coming of age story, and a heroic little tale which centres on two of the local kids, both who feel they don’t really fit in, and bond through those feelings. They run away, and the entire island, on the eve of one of the biggest storms ever to hit, heads out to look for them. An entirely guilt-free feel-good film fest outing I cannot imagine anyone would regret signing up for. Read full review
The Cabin In The Woods
Reviewed by Dylan Moran
Joss Whedon and Drew Goddard have created a true masterpiece. It's hard to be completely sure whether it's a tongue-in-cheek look at the horror genre or a wake-up call, but the comedic qualities of the film are done brilliantly. Admittedly, it's not hard to beat the horror/comedy competition when that mainly consists of the Scary Movie flicks. A number of people I know were put off by thinking Cabin was a straight horror when really it's a satire in a similar vein to the delightfully comedic Tucker and Dale vs Evil. It's unclear if Cabin will make it here as a DVD release, so make an effort to go and check it out or you may miss out on a film which somehow manages to rise to the top of the horror movie pile while casually mocking that same genre. Read full review
The Imposter
Reviewed by Steve
Austin
Going into this documentary about French con-man Frederic Bourdin, I was expecting something akin to the unreliability of the narrative of last year’s vastly entertaining Welcome to the Gift Shop. What I got was something more like a special edition of 20/20. Bourdin has had a rough life and goes from family to family, country to country, convincing his victims that he has found and sometime is the missing family member they have been searching for. His approach is general and convincing, playing on the emotions of the family to get himself integrated into their general lifestyle while still holding himself at arm's length. The particular case investigated in here was his undoing and landed him in prison for six years. The filmmakers get him to tell his story straight, but there is always the distinct feeling that it is all a lie. Even the stories from the family seem edited to elicit a sympathy that doesn’t quite seem genuine. There are slick recreations of the scenario, that seem like this may have been in development as a feature film project at some stage - indeed, there has been quite the backstory to the finished film getting to screens at all. I would have liked to have witnessed something a bit more balanced here, but it seems the subject may have got in the way of the truth of the story.
Sleepless Night
By Daniel Rutledge
Almost immediately, this French thriller pushes you to the edge of your seat and keeps you there for the entire running time. An armed cocaine heist goes drastically wrong and forces policeman Vincent on a desperate mission to recover his kidnapped son from a dangerous drug lord. The majority of the film takes place inside a huge nightclub with a bustling dance floor area, a large kitchen, a pool hall, multiple VIP areas and several passages connecting it all. Action scenes take place in all of these locations, as well as the streets and car parks surrounding them, with delicious scenes of tension building leading up to each. There are plot-twists mixing up which cop is dirtier than the next and juggling the character relationships and it is continuously impressive how well director Frederic Jardin handles everything so expertly, especially considering the logistical nightmare of shooting action in such a busy location. The breathless pace never lets up – for a taut action thriller, Sleepless Night really delivers.
Ai Weiwei: Never Sorry
Reviewed by Kim Choe
From behind The Great Firewall, Ai Weiwei has amassed an army of supporters at home and abroad, who share his desire to rescue the Chinese people from oppression - at whatever cost. This documentary is a revealing insight into the life and career of the man who designed the 'Bird's Nest' stadium for the 2008 Beijing Olympics - only to then distance himself from both the project and the event because he felt it legitimised the communist regime and ignored the locals. The film is a candid look at what is, at its heart, a very serious issue. It offers a sense of optimism for a place where some may see very little hope. Read full review.
Bernie
Reviewed by Dylan Moran
Bernie deals with the real-life case of Bernie Tiede, convicted in 1996 of the murder of Marjorie Nugent - a crime which rocked the small community of Catharge, Texas. Playing the role of Tiede is Jack Black, making a career move shared by many other comic actors who decide their IMDB page looks barren without a serious role or two tacked on. The performance he turns in is flawless considering the subject matter, and director Richard Linklater has done the film a great service in making it a dark comedy which still allows Black to instil a few giggles in the audience. Read full review
Where Do We Go Now?
Reviewed by Adrien Taylor
As the end credits began to play a girl sitting behind me - the same one who was alternating between crying her eyes out and laughing hysterically throughout the film – summed Where Do We Go Now? superbly with just three words: “That was wonderful”. This quasi-musical is the story of a clash of religions in a small Lebanese village. Christians and Muslims coexist peacefully, after surmounting a troubled past of conflict and violence. But when the old fault lines in the tense relationship of Cross versus Crescent resurface, the village’s women are left with no choice. They refuse to mourn the loss of any more men to the conflict and come up with some with very ingenious and entertaining methods to bridge the widening gap. Read full review
The Taste of Money
By Daniel Rutledge
The devilish and twisted private lives of the family enjoying life in Korea’s ‘one percent’ form the backbone of this sordid tale of sin. Each family member is plotting against the others, some are trying to evade jail for fraud, all are succumbing to their carnal desires which eventually evolve into murderous plans. Filmed largely in an opulent mansion, the film is extremely luscious to look at with almost every frame looking like it should be in the pages of Vogue. The mansion’s interior is ultra modern sumptuousness and the classical filmmaking style only increases the gorgeousness of it all. The story, however, was not as engaging as I had hoped. Director Im Sang-Hoo’s previous film The Housemaid was one of my favourites of the 2010 festival and while Taste of Money is similar and a well-made slice of entertainment, it isn’t nearly as enjoyable or memorable.
Neil Young Journeys
Reviewed by Adrien Taylor
The film is predominately live footage of Young performing songs from the album Le Noise in Toronto’s Massey Hall. Thrown in the mix are a few of older classics including ‘Ohio’, ‘Hey, Hey, My, My’, and a truly stand out rendition of ‘I Believe in You’. Between the live acts, director Jonathan Demme takes us to places which were important to Young in his childhood. Here we see an even more intimate side – more intimate than the micro-cameras show – of one of the more influential artists of recent history. Read full review
Beasts of the Southern Wild
Reviewed by Kate Rodger
Beasts of the Southern Wild is a magical, visionary tale, and with an extraordinary performance from a six year old girl anchoring it, this will easily be one of my watches of the festival. Hushpuppy lives with her father in a small primitive Delta community, living off the land, and in tune with all her natural surroundings. A storm approaches, meteorologically, metaphorically, and emotionally, and Hushpuppy’s world is turned upside down. The bond between her and her father, the bond between the often anarchic and almost filial friends and neighbours, and the bond they all have with their homeland joins them all in this heroic little tale, and it touched something very primal and very resonant inside this reviewers often impenetrably stone-cold heart. Read full review.
First Position
Reviewed by Kim Choe
This film festival has seen its fair share of “competition kid” documentaries over the years (Spellbound, Jig), but First Position has been my favourite so far. It follows a handful of talented ballerinas aged 9-18 – each from vastly different backgrounds, but all chasing the same accolades at the prestigious Youth America Grand Prix competition. What makes this film so compelling is not just the dancers’ obvious talents, but also each of their stories. One is an orphan from Sierra Leone fighting against the notion that African girls can’t do ballet, and another is a 16-year-old Colombian who moved to New York alone to try and secure a future for himself and his family. The maturity and all-consuming determination shown by these children is genuine and incredibly moving. But no ballet film would be complete without at least one pushy “ballet mum” – and this one does not disappoint. First Position is high on drama – but not in a tantrum-ravaged Toddlers and Tiaras kind of way. The producers have chosen their subjects well. They want you to back them, to desperately hope they will succeed. It is beautifully shot, shrewdly edited, and swept along by a gutsy score. Definitely good for the soul.
Searching for Sugar Man
Reviewed by Steve
Austin
To say too much about this intriguing wee puzzle box of a film would be to spoil its many twists and surprises. (If you’re the sort who doesn’t like even the remotest of spoilers, stop reading now and go buy a ticket.) Many a music documentary over the last decade has had their share of interesting characters, but none more so than this endearing tale of the mystery and cult status surrounding 70s folk singer Rodriguez and his huge unexpected rise to celebrity status in South Africa following the complete flop of his one-and-only album in the United States. Rodriguez’ music is an accessible cross between Cat Stevens and Jose Feliciano, his personality shining through the music throughout much of the film, since there are very few interviews with the man himself. First-time director and devoted music aficionado Malik Bendjelloul creates a loving tribute to the legend with a keen eye for interesting counter-culture cliques and a visual flair that feels refreshingly original. Well worth a punt, especially if you see it without too much prior knowledge of the story behind it all, although knowledgeable music enthusiasts will still get quite a kick out of it too.
Side by Side
By Daniel Rutledge
The move from using film cameras to digital is examined and discussed thoroughly in this documentary which will be enjoyed by anyone interested in filmmaking. Interviewing directors and cinematographers with a wide range of opinions on the transition to digital filming including the likes of James Cameron, Martin Scorcese, David Fincher and Christopher Nolan, director Chris Kenneally does well to avoid technical jargon and tell an interesting story. I should point out that the move from film projection to digital projection is only briefly glossed over in favour of emphasizing the filmmaking process itself. Side by Side strikes a great balance between being informative and entertaining with the added amusement of seeing interviewer Keanu Reeves' different hair / beard / hat combos jumping back and forth during the film. Unfortunately, there is a big problem with the Art Gallery venue. The image and sound quality is fine for documentaries and the space is actually really nice, especially as you walk past some amazing artworks on the way to the auditorium. However, the seating is on a very gentle incline, meaning it's difficult to see past the heads of people in front of you. I'm reasonably tall but was sitting near the back and was annoyed at having to constantly move around to see the screen.
The Law in these Parts
By Daniel Rutledge
Although it's one of the more restrained documentaries I've seen about Israeli injustices inflicted upon people living in the occupied territories, The Law in these Parts is certainly not lacking any power. Filmmaker Ra'anan Alexandrowicz interviews a group of men that put into place the laws that governed the lands Israel took over during the Six-Day War of 1967. While assertive in trying to get answers, Alexandrowicz is not confrontational during his interviews - until he talks about the torturing of prisoners during interrogations. Emotions come into play a little more then, to the film’s credit. Alexandrowicz comments frequently on the nature of documentaries and their limitations. This leads to a particularly powerful conclusion just before the credits roll that ensures viewers will walk out of the film feeling moved. After I saw Side by Side at the Art Gallery venue, I knew for this subtitled film I'd have to sit in the front two rows to avoid having heads obscure my view of the subtitles. Doing so was successful, but I did see a comment from someone on Facebook complaining about the same problem.
This Must Be The Place
Reviewed by Steve
Austin
Sean Penn is Cheyenne, an aging drug-addled former rock star, who has become disenfranchised from the world and those around him. Learning of his father’s persecution during wartime, he takes on the role of Nazi-Hunter and seeks some sort of vengeance, which takes him to various locations across the United States, making this essentially a rather strange road movie. Penn is extremely in the moment of the character, and looks like an aged Robert Smith wannabe, while sounding quite like Ozzie Ozbourne. Where he falls down is in the lack of connection with the history and backstory - of course, this could be put down to the character’s essential drug problems keeping him zoned-out from his life - but Penn seems to struggle to keep the implications credible. Both Judd Hirsch and Frances McDormand capably support and at times nearly steal the film, but this really is Penn’s film, sometimes to its detriment. A scene in a gun store has particularly uncomfortable connotation, in light of events in the United States the night before. The tone of the whole film, though, is rather uneven and seems a bit confused about what it is trying to achieve.
Farewell, My Queen
Reviewed by Jono Hutchison
Farewell, My Queen is of a film clothed in opulence – its lavish costumes and the grand location of the palace at Versailles, where many scenes were shot, work together beautifully. But that is not to say it is superficial, because the location and clothing also form important themes. The period drama steps its way though the days following the storming of the Bastille in 18th-century France, as members of the royal court fret about their uncertain future and Marie-Antoinette (Diane Kruger) unravels emotionally amid the turmoil. The idea of a ruling class trying to come to terms with domestic revolt brings to mind the present-day situations in countries such as Syria, not to mention unrest brought on by the financial mess in Europe. But Farewell, My Queen is less concerned with conflict between the highest and lowest classes – much of the story is told through the servants of the royal court, especially Sidonie Laborde (Léa Seydoux), the diligent and pensive reader to Marie-Antoinette. They occupy a sort of ambiguous middle ground; neither royal, nor part of the developing revolution. As the threat of revolution creeps into the consciousness of the whole court, relationship dynamics shift and characters change as they begin to conceive of a world without the established order. All the while, the setting and garments remain exquisite – but what is significant in the end is who is wearing what.
In Cuba
Reviewed by Kim Choe
An evocative, emotional documentary about the lengths one Cuban family goes to in order to improve their lives in the dysfunctional dystopia, where the country's untouched, old-word charm belies the struggle of its people. This is a film as perplexing as Cuba itself but it is none-the-less poignant and compassionately told - a revealing look beyond the glamorous facades of Old Havana. Unfortunately, its accompanying presentation, the observational With Fidel Whatever Happens, is much less engaging, plodding repetitively along for 47 minutes. According to the festival programme this is supposed to precede the main feature, but for some reason in this first screening it ran afterwards – a real letdown. The session I went to was in the new art gallery's auditorium which, though comfortable, is a poor substitute for the Academy Cinema - films are projected onto a blank wall, and the feel is more reminiscent of a lecture theatre than a cinema. It’s definitely lacking in charm. Read full review.
Le Tableau
Reviewed by Steve
Austin
Boldly styled and beautifully rendered, this remarkable France Belgium co-production would make a great introduction to the expressionist art movement for children (probably best if they’re heading towards their teens tho, as there’s a bit of nudity in here!) that also throws in a subtle history lesson and neatly condenses the beginnings of art criticism. A bunch of characters from various paintings realize their own existence and break into the real world of The Artist’s studio. They want to find him and ask him about their own emotions and experience and challenge him as to why they were created in the first place. It whirls along at an excellent pace through various genres, moods and styles, taking great glee in its central conceit. The 3D rendering of the Artist’s Studio is so convincing as to be almost real; a great feat when the eye has been so focussed on other water- and oil-colour styles throughout. The ending is uplifting and brings the wonderful character arcs to a satisfying conclusion, keeping with the idea that the art of this type can be hugely emotive and deeply satisfying. A perfect weekend morning big-screen treat for a wide audience - the half-capacity crowd in The Civic just lapped it up.
¡Vivan las Antipodas!
By Daniel Rutledge
A very slow, contemplative look at four of the world's antipodes - Spain & New Zealand, Argentina & China, Chile & Russia and Botswana & Hawaii. There is no narration and apart from location information, no messages on screen to guide you through what you're watching. Instead, the camera lovingly captures each location, taking its time and just sitting back and soaking in what's going on. The result is a beautiful, rewarding and unique look at eight different places on Earth. Unusual music and sound effect choices add to the delight of the film and overlap segments, emphasizing the link between each location along with some clever split-screen editing. Unfortunately, three or so of the eight segments were shot in a lower resolution than the rest of the film. The powerful new projector in the Civic is fairly unforgiving and compared to how incredible the (presumably) 4K sections of the film looked, the others were disappointing.
The Flight of the Airship 'Norge' over the Arctic Ocean
Reviewed by Steve
Austin
This could be considered to be one of the first attempts at a feature length documentary. This 1926 travelogue sees filmmakers Paul Berge and Emil Andreas Horgen following the journey of Roald Amundsen, Lincoln Ellsworth and Umberto Nobile as they pilot their airship “Norge” to the centre of the Arctic Circle. Being of the silent movie era, this strikingly fresh-looking restoration is accompanied with appropriate pace and style on the piano by Nikau Palm, with interpretation of inter-titles clearly and eloquently performed by Anders Falstie-Jensen. The subject is lean, with beautiful vistas of the journey from Ny-Alesund at Svalbard over the North Pole to Teller in Alaska. We see the building of the ship, as well as the various hangars along the way used to temporarily house the massive ship. The relationships of the men on board are glimpsed briefly, as well as with their hosts at various harbouring points along the way. However, it seems the fillmakers ran out of subject somewhere in the creation of this so the last part of this five part film is simply the crew travelling to certain cities to brag and show themselves to be heroes. A quaint historical document of an important moment in aviation, this doesn’t really sustain properly, but thanks to New Zealand Film Festival for championing something so rare. The sold-out audience seemed to really appreciate the presentation.
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For session times and more information, visit the official New Zealand Film Festival website.
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