Art by Zee

Foxes : Alžbeta and her big sister Tina both relocated from their village in Slovakia to cosmopolitan Dublin in the hopes of finding a better life, but even when you can’t go home again, you never really get to leave it, either. Tina, who lives in a nice house with her Irish fiancee, Steve, initially seems the more sympathetic of the pair–she is always eager to help her “Betka” out of the messes she keeps getting herself into–but it soon becomes obvious that the younger woman has reason for her resentments. Bleak, but bracing. May 28 4:00 pm – Harvard Exit [Zee Grega]

Winter’s Bone: Winner of the Grand Jury – Narrative prize as this year’s Sundance festival, this is a thriller about a 17 year old girl searching the Ozarks for her bail-jumping father in an attempt to save the family home. Ree faces tremendous obstacles, including the members of her own family who have no problem doing whatever it takes to stop her. May 28 7:00 pm – Egyptian, May 30 1:30 pm – Egyptian [Zee Grega]

Senior Prom : Local filmmaker Nicholas Terry casts his Mountlake Terrace High School classmates in this “mockumentary” about young love and the massive importance of the big dance. May 28 7:00 pm – SIFF Cinema, June 1 4:30 pm – SIFF Cinema [Zee Grega]

RoboGeisha : RoboGeisha is everything you could ever want in a movie about cybernetic-enhanced geisha assassins. An inspired Midnight Adrenaline selection. May 28, midnight – Egyptian, June 8 10:00 pm, Neptune [Zee Grega]

The Hedgehog : The Hedgehog is a French film about 11-year old Paloma, who decides that growing up in a rich family will never allow her to be the type of person she wants to be. She decides that if she cannot change what she believes is her destiny, that she will kill herself on her 12th birthday. As her legacy in life, she wants to make a film of her last few months, and we see the world through her eyes. Along the way we meet The Hedgehog, the building’s manager/janitor Renee. Paloma dubs Renee as the hedgehog because she’s tough and prickly on the outside but Paloma knows there’s more to her on the inside. A compelling film that will leave you needing an entire box of tissues, this one is well worth watching. May 28 7:00 pm – Uptown Cinemas, May 30 4:00 pm Uptown Cinemas [Patricia Eddy]

Farsan : Josef Fares directed SIFF faves, like Jalla! Jalla!, Kopps and now Farsan. While I haven’t seen his last two films, this was was full of emotion. One of those laugh and cry flicks, the movie revolves around a middle-eastern Swedish immigrant and the people surrounding him. Whether he’s looking for love, helping men be men or finding happiness in unexpected places this heartwarming piece of cinema has shining moments that you’ll talk about long after the movie is over. May 29 9:15 pm – Harvard Exit [barrie arliss]

Mao’s Last Dancer : Bruce Beseford might have been famous for his direction in Driving Miss Daisy, but it’s Mao’s Last Dancer that takes him in a whole new world. This true story, set in the early 80s depicts the china-born ballet star, Li Cunxin, and his dilema between his forced career, his first love and his Communist home. While some of the acting could’ve showed a bit more emotion, it was the dancing that’s the true star of this film. May 29 5:30 pm – Uptown Cinemas [barrie arliss]

Henry of Navarre : Political intrigue in Sixteenth Century France as the future King Henry IV faces intrigues and betrayals a-plenty on his path to assuming the throne. Possibly worth seeing for the costumes along. May 27 9:20 pm – Neptune, May 29 2:00 pm – Neptune, June 12 9:00 pm – SIFF Cinema [Zee Grega]

The Dry Land : Newcomer Ryan O’Nan and cast featuring America Ferrera, Wilmer Valderrama, Ethan Suplee, Jason Ritter, and the always superb Melissa Leo in a film about a soldier having a difficult time readjusting to civilian life after a tour of duty in Iraq. May 29 6:30 pm – Harvard Exit, May 31 1:30 pm – Harvard Exit [Zee Grega]

On the Waterfront : In this archival film from 1954, Marlon Brando gives the performance of his career, no small deal, as a dim former prizefighter developing a conscience. An intense story, an excellent cast, and an exquisite visual appeal are all reasons this movie was well on its way to classic status shortly after its initial premiere. May 30 1:30 pm – Harvard Exit [Zee Grega]

The Topp Twins: Untouchable Girls : You might think that a film about twin lesbian yodelers from New Zealand is obviously a fictional feature, but you’d think wrong. Jools and Lynda Topp are very real and their story is a tribute to the power of passion; not only were they inducted into the New Zealand Music Hall of Fame, but they were influential in the passing of New Zealand’s homosexual rights reform bill. May 30 7:00 pm – Egyptian, May 31 11:00 am – Egyptian

By Mike Caccioppoli

Lots going on as usual at the Seattle International Film Festival so with the films beginning to pile up I will be short and sweet with the following six reviews.

From Beginning to End (Brazil,2010)

Directed by Aluizio Abranches

This is the kind of film that couldn’t be made in this country. It’s about the deeply romantic, sexual relationship between half-brothers. When they are young boys their mother sees something different about them, about the way they interact with each other. Maybe it’s something, maybe it’s nothing she tells her ex-husband. Well it turns out that it definitely is something. Their relationship becomes intensely sexual after their mom dies and it gets deeper from there.

Director Abranches portrays their “taboo” relationship in a very non-taboo way. He doesn’t wish to judge his characters, in fact he seems to see nothing wrong with their love affair. This will make some people feel uncomfortable and find reasons to tell friends how awful the film is. Even the score is saccharine rich as the brothers make love and look longingly at each other. It is all dome without even a hint of cynicism or sarcasm. Nothing bad happens to teach these awful sinners a lesson either. This film is so not American in so many ways and thank goodness for that.  Yes the scenery is beautiful and so are the actors but there is something to be said for a film where everyone supports and loves each other and nobody is hateful. You probably won’t see me write that last line ever again. The filmmaker curiously dedicates his movie to his parents. Boy it takes brass balls to make a film like this.

Devil’s Town (Serbia,2009)

Directed by Vladimir Paskaljevic

In this dark comedy which satirizes modern day Serbian life, we follow several characters as they live through one very hot miserable day in Belgrade. Most of these people are unlikable in one way or another. There is the aggressive, violent cab driver, the old perverted gynecologist, the spoiled tennis loving daughter of a high class call girl.. etc. They all interconnect in one way or another through tragedy, murder or bizarre sexual relations. The filmmakers sense of humor is quite dark and it often works and there is definitely something seething beneath it all. This is one of those films where you could probably appreciate it more if you understand the political and social targets that the filmmakers are aiming at. There are indeed aiming at something however especially with the consistent tennis theme that permeates the film. The characters are either playing it, wanting to learn it or fascinated by watching it on television. There’s a happy ending to all of this I think as bunnies that are set for execution are released and a little girl finally gets to play tennis.

Sex & Drugs & Rock & Roll (United Kingdom, 2010)

Directed by Mat Whitecross

Andy Serkis gives a rousing performance as punk rocker Ian Dury in this superb rock biopic. Part All That Jazz, part Tommy but with a style all its own the film captures the measure of this crazy, loving, larger than life man in all his nutty glory. Beginning in the 60′s when Dury was trying to make it with his original band the film takes us on a kaleidoscopic journey through the 70′s and ending in the early 80′s when Dury had made it  from rock bottom to the top and around again. The film makes a sharp connection between Dury’s childhood (he suffered from Polio) and his never ending drive to succeed. Some of the most poignant scenes in the film are father-son related as Dury’s dad tells him that he must “stand on his own” while Dury reminds his own boy that “I’ll always be here, just above your shoulder.”

Visually stunning, and emotional in a blind-siding kind of way, Sex & Drugs & Rock & Roll pulls no punches in its depiction of a sometimes unstable yet highly talented man. Andy Serkis’ performance has to be seen to be believed, as Dury he’s annoying, captivating, moving, lovable, eccentric and simply brilliant. I knew nothing about Dury coming into this film, but after seeing it I want to know even more. Heck I even want to hear more of his music! Higher praise cannot be given. This film is an instant classic.

Hidden Diary (France/Canada, 2009)

Directed by Julie Lopes-Curval

This wonderful film from the director of Seaside is about the connection between three generations of women. When a daughter who is living in Canada visits her mother and father in France it opens up some old wounds and creates some new ones as well. It all surrounds a diary/cookbook and involves the woman’s grandmother and grandfather. What could have very well played as melodrama is perfectly assembled by director Julie Lopes-Curval.  As the mystery involving what is written in the diary and the disappearance of one of the main characters begins to take focus we also see how the past can create wounds that may never heal. Catherine Deneuve continues to amaze as the often steely mother.

The Freebie (USA, 2010)

Directed by Katie Aselton

A 30 something couple decide to shake up their dead in the water sex life by allowing each other to have a one night stand with the stranger of their choice. They agree to do it then come back together and not talk about it. Do you think it all works out? What sounds like a tacky exercise in film making actually turns out to be a fairly thought provoking movie. Yes they result of the experiment is predictable but the two leads (Dax Sheppard and Katie Aselton) are engaging and real and the film does make some sharp observations about “openness” and how it can be a disguise for genuine honesty. It’s also good to see Sheppard doing something “adult” for once. I knew he had it in him.

Down Terrace (United Kingdom, 2009)

Directed by Ben Wheatley

You certainly have never met a family like this one before. A father and son are released from prison and it doesn’t take long for them to get right back into their lives of crime. Why? Because it’s in their blood. Well not just theirs but moms as well. We start at the beginning of the week and by the weekend several of their friends have been killed and this blue collar organized crime family is just getting started. The violence is depicted in such a realistic, almost nonchalant fashion that it’s truly disturbing. Sprinkle in some dark humor and frighteningly convincing performances and you get a little gem of a movie that really shows how blood is thicker than water.. and downright messy too.

Calling Excited “a relationship movie about premature ejaculation” is a bit like describing Gone with the Wind as a movie about Atlanta. Sure, the subject is raised quite a few times, but if you skipped Excited at SIFF because you thought it was going to be a dumb comedy, you missed a smart, mature film about adult relationships and the lengths to which people go for the sake of love.

Kevin (Cam Cronin) is the owner of a successful golf course, as unfortunate in love as he’s been fortunate in business. He’s not exactly happy about his love life, but he could sure do without the nagging he gets from his overbearing mom, Claire. Gabrielle Rose does a tremendous job of keeping Claire just creepy enough to be believable; she’s so desperate for a grandchild that you’ll find yourself glad that hospitals have security measures in place for their newborns these days. Kevin’s just about given up on love when his ne’er-do-well brother Randy (Paul Skrudland in a pleasantly understated performance) hooks him up with a lovely lady named Hayaam. Warm, witty and charming, Hayaam seems like the perfect match for Kevin, at least until his freak out over his bedroom performance issues turn him into a petulant overgrown child.

Kevin’s not a complete idiot, though he acts like one at times (most notably in an uncomfortably funny scene where he insists on sharing way TMI at Hayaam’s workplace), so he does his best to salvage the shreds of their budding romance. Just when it seems like the course of love might be sailing smoothly for once, Hayaam drops a bombshell that forces Kevin into a position where he not only has to decide what he really wants from a romantic relationship, he has to defend it from his unhinged mother.

Laara Sadiq is perfectly cast as Hayaam; expressive and charismatic, Sadiq gives such rich life to Hayaam that it’s easy to see why he’d be willing to make a fool of himself for the sake of being with her. In town for the festival, Laara Sadiq was happy to speak about her film.

Addressing the issue of the movie’s unfortunate description: That’s what happens with low budget movies. There wasn’t really a publicist attached to it – it was ultra ultra ultra low budget and I guess because of [director] Bruce {Sweeney]’s reputation it’s done as well as it has.

What attracted you to the project?

LS: What attracted me to the project, to be honest, is Bruce. We have a long history; most of us who work with him do. I met Bruce well over twenty years ago. We went to university together. He was doing his Master’s in film at UBC when I was doing my BFA in acting so we met there. I did his very first film Live Bait. I did another tiny part in American Venus, the Rebecca DeMornay film. And then he just called me up, it’s two years ago now, end of the summer, and said “Hey, I’ve got this script and want to shoot this film and there’s this woman in it and can we talk?” We met for coffee and he had a few pages, a few scenes written, and I loved the character right away, a woman my age. Bruce writes character-driven stories and the story really appealed to me, about a woman of a certain age and a guy looking for something and just trying their very best to make something work.

Playing this character, did it feel kind of autobiographical for you, then?

LS: No. I’ve been with someone for 18 years, I have a kid. It didn’t feel autobiographical. What it was was the inner life of this woman at 40. She says she’s 39…the inner life of a woman that age. Hollywood seems to be fixated on–there’s this youth cult–and so a story about someone, a very normal woman of a certain age looking for something, wondering if she’s going to find it, all of those very real human things…So, no, not autobiographical at all, but the emotional life of a woman that age is something that I understand.

On working with Bruce:

Bruce is a good writer so the bones, it’s all there. In the workshop developing process–Bruce does that, that’s how he works–he comes up with skeleton bits of scripted scenes and you workshop and he shoots the workshopping and then he goes away and takes a look at the raw footage and writes some more and comes back with some more pages. Workshop, workshop, develop, develop for a few months so that by the time you get to camera you actually get a script that’s pretty locked in but you’ve worked on it, most of the kinks are worked out.

We worked on it together in terms of “Well, what about this?” His instincts are great but there were some things that I had to offer, too. He would say, “Well, I think she should say this” and I’d say, “I don’t know, Bruce. You’re a middle aged white guy, this woman’s going to come from a slightly different place, so how about if we try this?” Ultimately he knows what he wants so either it works for him or it doesn’t.

He’s someone who’s very clear on what he wants and what his aesthetic is and he’s trying to tell a story.

The thing about working with people you’ve worked with before who you’re comfortable with is that there’s… the sensibilities are similar. You’re speaking the same language, so even if you’re disagreeing over something, you can discuss it in a way that is productive and creative.

How long was the filming process?

LS: We shot in two blocks. It was like two, I’d say 12 – 15 day blocks, two months apart. We did the first chunk in November and took a few months off. In that time Bruce looked at the footage, decided to get rid of some stuff, decided to expand some stuff, finished the script–the script wasn’t entirely finished, we didn’t have an ending yet. The second block was finishing shooting the film but also we shot some stuff, got rid of some stuff, added some augmented scenes. That time was great for Bruce to figure out what we needed.

Really, on a low budget film, too, it was also we were talking practicalities as well. It was people’s scheduling, too.

On the movie’s intimate scenes:

Well, it wasn’t awkward – it’s horrifying as an actor to do that kind of work. It has everything to do with trust. I had never worked with Cam before. I have a long history with Bruce. Bruce is probably one of the few people for whom I would go to those lengths, because I trust him, because I know him, because I have a history with him. Bottom line is as an actor it’s really difficult to do that kind of stuff, to do that intimate work with a camera right there and and crews around, but when you trust the people you’re working with, when you believe and trust in the material…Bruce writes for his actors, so the stuff feels right and you just dive in.

I don’t think it’s easy for anyone to do that kind of intimate work. There’s nothing more horrifying for me as a 40 year old woman to be lying there in front of the camera with my clothes off going, “Oh, god, fuck, what am I doing? Why am I doing this? It’s only for Bruce.” But because I believe in the work and there’s trust…you just kind of go there. That is how the story needs to be told. The work asks for that, for you to go there. It’s always hard, it’s always difficult, it’s always slightly horrifying. That’s where you have to go as an actor, sometimes, and as long as there’s trust, as long as the work is good, you go there.”