ratcityfilmsociety

This is a much better film than I thought it would be, and I came in with high expectations. First of all: don't worry about an Irani playing an Arab, it works. It really works. Golshifteh Farahani is a stunning beauty and an even better actress, her performance in this film is one for the ages. This is a much more universal film than its simple setting in a Lebanese village. Complex and multi-layered; touching upon immigration, the inconsistencies of memory as well as the longer term effects of a civil war on all that came under its sway. It was nice to find out that my favorite moment in the film was the director's as well. I suspect that a number of friends who were also in attendance are wondering if we saw the same film, we likely didn't. Those who get the immense sadness of the title (which is absolutely brilliant, something I almost never say about a title), please find a way to see this film. There are heartbreaking and painful parts; but there is "that moment", one of those that make film my favorite art form.

One of those horribly depressing environmental documentaries where even if everyone cared it would still be a disaster. In the case of this film about the petroleum extraction from the sandy soil of Northern Alberta, the environmental tragedy takes almost every possible form while the political forces all have their heads buried in the sands and their hands firmly on their wallets. The loss of woodlands alone would be an outrage in most locales. Massive swaths of forest are cleared, the debris (including all the trees) is piled up and burned. this is a secondary or tertiary concern in this chronicle of woe. There is human tragedy, poisoned water, corporate indifference, government neglect and strip mine the size of Florida. It is not nearly as shrill as it could be, but it is definitely one-sided. I am not denying the truth of its one-sidedness and have no desire to watch Exxon-Mobil's response, but people who don't like the message will make this assertion like it actually means something. The appropriate response to statements of that nature might be along the lines of: "You don't see many documentaries about Hitler working hard to be even handed." This film is an important document in this sad case and should be watched, no matter how hopeless and depressing the situation.

Incredibly long film with dozens(?) of people answering the same questions while being recorded. The interviewer (who I presume is the film maker) seems like a kind and generous soul who loves love. The people that are interviewed have interesting insights that they share with the camera. As a conversation it is quite interesting, as a film it is a disaster. Hopefully I saw a very rough edit (164 minutes), although I doubt that much of the material that is in this film could be used. When I say "worst production values ever", I say it shaking my head with a smile on face. The intentions and content of this work are so pure and good and well meaning that I feel a little bad about giving it two stars. But the good film would be about 60-80 minutes long and the people being interviewed could be somewhere other than the end of a busy airport's runway (one of the more glaring and annoying shortcomings). Once again I do salute the spirit of this work (in progress?), a great conversation.

A great war film, as well as a great anti-war film. The war is "over" and reconciliation is to begin in an unnamed West African nation's civil war. The leaders of both sides and their entourages meet at a village/compound to sign the paper. There are many axes to grind in this savage world that is to be left behind. The word Shakespearean comes up over and over again in regard to this film. As a huge fan of the Bard, I will affirm that those words are well placed. The story was built around a point in time where people's attitudes and behavior toward each other were expected to change instantly. It showed the harsh realities that people were going to have to live with in order to live in peace. The hate filled and vengeful obstacles that arise made me more aware of the particularly cruel nature of civil wars. I would recommend pairing this film with a very different film in a similar vein "Si le vent soulève les sables", set on the opposite side of the continent and the characters are from other side of the power spectrum. War is savage.

This film starts right off the bat with a hot sex scene, I feared that it might be the high point of the film. I just didn't realize how low it would go and quickly it would get there. What didn't go quickly was the horrifically graphic castration by garden shears scene that followed, which seemed to drag for some 7-10 minutes (I'm not watching it again just to time it). I watch a lot of films, this offended like few others ever have. These guys were obviously proud of the prosthetic (I hope) scrotum and testicles, which got thrown around and a featured in several close up shots. I feel scarred for life by that interminable scene. The rest of the movie? Where it wasn't predictable, it turned on preposterous premises... In the end the whole movie was that savage and pointless (in terms of story development) celebration of emasculation. Why?

This heartbreaking film brings home the series of tragedies that can easily strike thousands if not millions of simple families during a time of drought and strife in East Africa. After viewing this film, I have a totally altered perspective when I hear news of any kind of conflict or movement of people in that region. This is a European production and the family whose tragedies we endure speak French. The acting was good and my English subtitles were coherent and legible, as a non-French speaker the language being spoken was irrelevant to me. I realize this might be a different case for others. The isolation and simplicity of this family's world and life was exceptionally well presented by writer/director Marion Hansel. Life and death choices made in complete ignorance, the randomness of the other people they came in contact with, and the randomness of the life altering results. It will leave you shaken by the cruelty that we as people are capable of. It is visually appealing as well, the stark desert landscapes are utilized well. When I saw this film at the Seattle International Film Festival a few years back, it was easily my favorite out of over 100 films that I had viewed at that year's festival.

This is a film that anyone who has known an old Arab man can not help but love. The rest of humanity will be starting at a disadvantage, but love is still a very distinct possibility. At the same time, if all you look for in a film is lighting and other composition relate things you still will be pleased. It is not flawless, but the sublime moments overpower any fault finding reflexes in me. This film actually bridges and melds together Arab and Western film. Something that the various subcultures of the Arab World have already done to varying degrees in their real lives, but for some reason (pick your own) the arts have lagged behind. The good, bad and ugly were all shown true to life; which isn't the norm in the conservative world of Arabic language film. At the same time the film overflowed with that charm and generosity that is so central in Arab culture. I am an American with Arab roots, which might play a part in my great affection for this film; it might only be really good instead of really really good. Oh my! I almost forgot Rana Sultan, which would have been almost sinful. Every once in a while there is that character in a film (and in real life too) that just dazzles with charm and beauty (Audrey Hepburn and Virginia Madsen are two others that jump to my mind). Her vivacious, powerful, and stunning character filled the screen. It's always nice to fall in love, even if it is only for 102 minutes.

This film combines a multitude of genres into a delightful romp through the end of a high school year, climaxing in a talents show performance for the ages. The resulting movie is simply delicious. There is that whole "lets enter the talent show" element along with several other teen related or specifically Japanese sub-genres involved in this beautiful brew. When I saw this at the Seattle International Film Festival, everyone exited the theater congratulating each other and ourselves for selecting this particular film. It entertains, strikes all kinds of right chords, sparks memories in the old and empathy in the young. As satisfying a film experience as I've ever had. I can not imagine ANYONE not being completely charmed by this engaging and quirky movie.

The greatest love story I have ever seen on film. A bold assertion that I made some seven years ago as I floated out of the theater completely blown away by the magnificence of this motion picture. Whenever I doubt that claim, I know it is time to revisit Chang-dong Lee's amazing expression of love on film. There is a point early in the picture where you will think that I am insane in my declaration. That's what helps to make it such a great story. So-ri Moon and Kyung-gu Sol both give phenomenal performances as the imperfect people who discover that love exists in its own plane, and this perfection is available to them. When I read the first part of this review, I sound like "Mr. Chick Flick"; which I am not. And after reading the preceding gushfest, I wouldn't and didn't change a word. It really is that good. It is on my all time top ten list most days (admit it yours has a degree of fluidity to it as well) and always in my twenty best of all time.

This documentary had an exceptional quality; it did not allow the film maker's perspective on this contentious issue to dominate or even raise its head until the very end (and I won't spoil that for you). For the first half of the movie, every time one of the advocates for one side or the other of this issue (abstinence only, sex education) was presenting their case I would think she was on "their side". Then I realized that she was simply allowing all of these people to present their best case and she honored the nature of debate, which SHOULD be present in all documentaries about controversial topics. Until I saw this film, I didn't realize how incredibly rare it is in contemporary documentary films. I certainly haven't seen them all, but I have seen over 300 feature length docs in the past two years. I can not recall another one that came across as this balanced, a stunning achievement. I'm not sure if this was where director Cassie Jaye intended to focus her career energy, but she does have an exciting future as a documentary film maker.

There are architecture related documentaries aplenty out there. Some celebrating visionary men (disclaimer: I have yet to see a documentary film about a female architect) with a large body of work, some about their equally visionary contemporaries with limited or lost buildings. There are are plethora of other angles that "architecture documentaries" have examined, some having nothing to do with architecture. I give you this preamble because this is the only truly memorable architecture documentary that I have ever seen. Yes it is about a man and his buildings, but it is so much more. It is about a philosophy of architecture that I had not seen or even considered. It is also about the way that students in The Rural Studio are taught and the values that are instilled in them and their future work. I found this film to be an immensely inspiring work; the kind that not only gives you faith in humanity, it makes you proud to be a part of our human race. Memorize the horrifically unwieldy (yet academically precise) name, for this is a must see.

In a remote region of a remote Soviet republic there once lived Igor Savitsky, a museum curator. If his profession had saints he would be among the most revered. In his half century career he filled his museum with art that was often (literally) on the verge of disappearing onto the dust heap of history. Not only did he acquire these works of art; he paid for them, with state allocated funds. A true "holy fool" for art, he relentlessly sought pieces for his museum up to the time of his death, with almost no government interference. Savitsky's story is enough, but the film also examines the lives and work of some of the artists who owed their artistic existence and legacy to this amazing man. It is a well structured and remarkably apolitical documentary, utilizing some of the great living narrators in contemporary English language film. The love for art has rarely been so well represented in a documentary, not to mention that the actual works of art are absolutely stunning.

I avoid 9/11 related movies and dislike (some might say despise) musicals. That said, this 9/11 related musical charmed me. I had no idea that it had any song and dance numbers until the first one burst forth, at the perfect time. Every time the story started declining into melodrama it would go into one of these power pop musical bits that buoy the film's atmosphere just enough to re-enter a typical post-9/11ish story line. Even as I type this, I am amazed that I didn't hate this movie. I am still in awe of the treasure that was wrought by perfectly mixing two poisonous elements (only in my narrow taste), film alchemy at its finest. The stories of the survivors are heart rending and quite believable, the kind of stories that lead me to shy away from films with these themes. The songs were reminiscent of Cheap Trick, and if you are going to do a power pop musical there should be no one that you would rather be compared to. If this is what this movie did for a fervent non-believer, then anyone who has an interest in post-9/11 dramas or musicals should be absolutely thrilled.

After watching this film three times, and mixing in some cinematographic favorites from the past as visual challenges. I must stick to my initial assessment of: This may be the best shot film I have ever seen. The Redwoods have an essence that is notoriously hard to capture film, director Asiel Norton captures it over and over again. Five minutes into this film I said to myself: "If this has any kind of a coherent story, it will be a great film". Much to my delight it was a very coherent and very primal story line complete with possibly my favorite cinematic "holy fool". The isolation of the family was almost a character in the story. A remote village can have some odd practices and rituals, this Depression era homestead is that remoteness at its most extreme. The cast was perfect, right down to the dog. Everything about this movie is to be praised and admired. It is hard not to ramble on saying x y and z were flawless, but they were. This directorial debut of Asiel Norton leaves me confident we have seen the our first glimpse of one of the all time greats.

This tragic tale takes place in Denmark, almost completely in Arabic. The Lebanese Civil War and the culture of vendetta that it created run amok in the streets of Copenhagen. What I particularly enjoyed about this film was the way that it explored some of the more ridiculous elements of the Sunni Shia divide, as well a variety of hypocrisies that occur when people use their faith as an excuse and/or a weapon. Any Western Muslim with Old World connections (like myself) must see this film. There are a number of elements and scenes that will blow right over the heads of the people who are just seeing a brilliant tragedy of Shakespearean proportions playing out on the screen in front of them. That said, if you are just a guy that loves action films and doesn't give a rats ass about "nuances" or Shakespeare, you will love this savage burst of blood and adrenalin.

This is one of the most important films that I have ever experienced. The ending is given to us in the first few minutes yet the tension is taut throughout. It is so well made that I did not know that this was a low budget film until I read it somewhere online. The scenes and settings are simple, but at no point does it look like someone was cutting corners in order to save money. So back to the "important" part: This film takes on the issue of so called "honor killings" in Britain, opening up a perspective on an ongoing social tragedy that almost everyone works hard to ignore. This brilliant debut by director and writer Avantika Hari is well made in every way, but there was an element that took this film to the heights of my all time film list. As an American Muslim film geek of Arab descent, I have a particular interest in films about Muslims and Arabs. Islam and Muslims are a tough thing to portray in a film. There is an explanation element that is more or less a necessary component; as well as that simple but seemingly impossible part of just presenting people's perspectives as they are in reality, no spin no judgment. They usually screw up the first part and it just goes downhill from there. In the end, everybody screws up. In my experience Avantika Hari stands alone as the one who didn't. If you have the opportunity to see this rare film, move mountains to do so.

A brilliant absurdist fantasy about a Peruvian village that takes the gap between Christ's death and resurrection as the focal point of Holy Week. This directorial debut of Claudia Llosa stays on the real side of Magical Realism, but that movement's influence is seen throughout this film. When "God is dead" (and not watching) people can do some very wrong things. If you are easily outraged or offended maybe this film is not for you, may I recommend some classics with Doris Day or Pat Boone? I enjoyed how it took that sensibility that one finds in people of remote villages anywhere in the world and let its reasoning loose on the essence of of Easter. A very entertaining film, watch it as fantasy not an indictment of anything or anyone.

Erik Poppe created a masterpiece with this work. Wonderful characters fill this brilliantly shot film. The intertwined stories are a common enough device, but they work particularly well in this movie. Each of these diverse characters is so well developed that I would watch a film built around any of them with great interest. It has become my "go to" DVD when I am in need of a powerful film to lift a sagging soul. I give it the highest possible compliment when I call it Steinbeckian. A Steinbeckian film to me is one where the humanity of all the characters, no matter how evil their actions, is on view. Empathy is generated where other films will often resort to caricature. The tension in this film leaves my heart pounding every time I watch, knowing full well what happens next. At the same time I see new nuances every time I watch it. You know, I may just pop it in the machine right now.

What a wonderful romance, splendidly played by a phenomenal cast. In particular: The female lead, Erin Mulgrew was simply amazing; and Chris Morris, who masterfully executed an incredibly risky supporting role. Each of the major characters in this picture had the potential of becoming a caricature or worse. The film makers took on the challenge, wrote a brilliant script and found the perfect people to fill the roles. this is what independent film is supposed to be, people making movies where they are with the talent that is already there. This is very much a Philadelphia production, but it gives me hope for all the regional film in this country. There is a massive unseen talent base in cities outside of New York or Los Angeles, and this film is a shining example of what is possible in contemporary American film making.

This puddle of derivative drivel stole from every Soviet film of note and failed miserably. I was left with an experience of everything that is wrong with organized religion in general and the Russian Orthodox Church's particular shortcomings (mind you this comment comes from a person of faith). Even the outstanding cinematography left me uninspired. I spent its most beautiful moments very aware of the masterworks that it was poorly imitating. I would not recommend seeing this movie unless you have a deep passion for the Russian Orthodox Church, its monastic traditions, miracles in the face of Communism, and Saints of the Seventies. It is a meaningless film from (and about) a narrow perspective that did absolutely nothing for me.