Calgary International Film Festival 2010, preview II

Taylor's Way

A quite incredible film that effortlessly switches gears between three different genres with considerable ease. The opening 15 minutes appear to be familiar territory (girl in a bad relationship is picked up by a guy at a bar) but then the film transforms into a road journey/self-discovery story which navigates the beautiful British Columbia countryside. Yet, amid the beauty and tranquility signs of darkness start to slowly filter through. However, the meaning of these signs is only revealed in the film's final moments. A must see film!

Pelada

Soccer is called the beautiful game. Now, that beauty may be hard to find on a professional or international game pitch but it does exist. Proof of that genuine beauty is provided courtesy of an American college duo who hit the road to play pick-up games in various countries. Their journey takes them to unlikely destinations such as a Bolivian prison, a slum in Kenya, a roof-top in Japan, a playing field in Iran and the streets of China. The end result is a magnificent documentary that highlights why the world loves this game and how the real passion of the game exists on the streets amid everyday people. Professional soccer players, their managers and FIFA should be forced to watch this film and lower their heads in shame. Because the ugliness of the World Cup and its negative play (4-5-1/5-5-0 tactics, dives, fouls) is ruining the game yet uglier the game gets, the more money these professional players make.

Bioscope

An engaging Indian film that demonstrates the hypnotic effect that cinema has on people. Some of the film’s strongest scenes are those where there is no dialogue and the beautiful haunting images (such as the recurring dream of a dead body washed ashore) flood the screen. The film is set in 1921 India when cinema was largely unknown in the country. So we witness villagers seeing cinema for the first time and observe how their views are shaped – some consider the device as ungodly while others are entranced by the images. And we even get to meet a character (Diwakaran) whose love for the new medium leads him to neglect everything around him and only focus on cinema. In fact, Diwakaran probably depicts the actions of the first cinephile in Indian history.

Cinema is such an integral part of modern Indian life that it is hard to imagine Indian society without movies. So it is fascinating to watch a film which shows how love for cinema started to make its way through Indian life.

At World's End

This humorous Danish film is a throwback to the 1980’s style of action/adventure comedies. In a way, it is refreshing to see an old fashioned film about adventure in an exotic land told with humor and a bit of political incorrectness. The actress Birgitte Sorensen steals the show and it wouldn't be a surprize to see her land bigger profile roles in the future.

Norberto's Deadline

Norberto is drifting aimlessly in life until he finds his true love in theater. However, if it was not for theater, then it is likely possible that Norberto would morph into either a Travis Bickle (Taxi Driver) or a Raúl Peralta (Tony Manero). It is to Daniel Hendler's credit that he allows us to closely observe Norberto in his moments of despair and misery so that we can better understand Norberto and comprehend how someone who is just one or two steps away from a complete breakdown can still find the courage to salvage their life.

Mundane History

Winner of a Tiger Award at Rotterdam, Mundane History is cut from the same cloth as one of Apichatpong Weerasethakul's films. Yet, Anocha Suwichakornpong is able to carve out an individual identity and demonstrate true talent in two mesmerizing sequences which break away from the 'mundane' everyday life scenes. The first sequence charts a journey all the way to the origins of the universe. And the second sequence charts events following the big bang towards a human birth and lands firmly in the main characters hospital room location, thereby putting the whole story into perspective. Patient viewers will be rewarded with a truly cinematic treasure.

Kosmos

Reha Erdem is certainly an intriguing filmmaker but at times he can be frustrating as well. While each of his last three films have improved their visual beauty, each successive work has had a slight dip in the story and character depiction. Times and Winds was a satisfying film where the cinematography was perfectly in sync with the coming of age tale while in My Only Sunshine the on-screen beauty overpowered the bleak tale. Now with his latest offering Kosmos, Reha Erdem has given us a delicious visual treat but the story is not as dark as the cinematography points to. There are hints of distrust about the magical healing powers of the outsider and a bit of cosmic interference (UFO) but the innocent love tale slightly halts the film's mesmerizing rhythm. Still, it deserves to be seen because it is one of the best shot films of the year.

The Famous and the Dead

Every now and then there appears a film that reminds everyone that there is more to Brazil than soccer, beaches, samba, favelas, poverty and crime. A few years ago, it was Heitor Dhalia's wonderfully bizarre Drained set in a warehouse that showed a Brazil devoid of these common symbols and now it is Esmir Filho's chance with The Famous and the Dead. There are no beaches to be seen in The Famous and the Dead and the film's depiction of suburban isolation and loneliness is more familiar material for American Indie cinema. Yet the setting of such themes in Brazil highlights how similar issues can take place in any part of the world, especially in a modern globally connected world where various social networking sites and blogs allow people to hide their true identities and assume another.

The film's chilly mood and atmosphere goes perfectly with the theme of death and suicide. In fact, in almost all scenes one can detect the presence of death hovering above the main character. The film also does a great job of integrating social networking sites, blogs, online videos within the story to highlight the main character's sense of isolation. Also, the transition from the web videos to regular footage is seamless. The end result is a work that is very much in tune with modern times, aspects that most current cinema seems to sidestep.

Note: The film's look and mood evokes the chilly winter conditions of Canada or Northern Europe. So in a way, the film is a perfect companion to the fall weather that greets CIFF every year:)

Family Tree

There have been quite a few films that have used a family gathering as a starting point to uncover a dark past about one of the family members (such as Celebration, Monsoon Wedding). So directors Olivier Duscastel and Jacques Martineau deserve a lot of praise for using this familiar template to make an intelligent and delicate film which manages to deliver an emotional punch. A son's funeral is the starting point for unwrapping a family secret that provides quite a shock when all is said and done. An incredibly moving film!

Turkish Cinema

It has been a vintage year for Turkish cinema. The year started off with the Rotterdam Film Festival having a wonderful spotlight on Young Turkish Cinema. A few months later, at the Istanbul film festival local Turkish films managed to shine through. And as the year has gone on, new fascinating Turkish films have continued to pop up, like the wonderful Wrong Rosary that screened at CIFF’s Maverick competition.

But here are 5 films that featured at Rotterdam and Istanbul. The films are arranged in order of personal preference.

The Storm (director Kazim Öz)



This politically alive film handles the debate about Kurdish identity and illustrates the revolutionary awakening from a youth perspective. The political issues and revolutionary planning aspects presented in the film could easily apply to other parts of the world like the summer student protests in Iran. Even though the film was released last year in Turkey, it has hardly gotten any press coverage. One big reason could be because of the portrayal of the Turkish police and Government. The film is only shown from the Kurdish student’s point of view and the Turkish Government is shown to be the enemy and at times things look like a police state. Such a depiction of the state might have caused this movie to be looked unfavorably in certain quarters. But the film is highly relevant and shows how the seeds of revolution can take hold at an early age as students (and young adults) can be transformed into revolutionaries. The flip-side is that these same revolutionaries can be labeled as terrorists, depending on who is reporting the story.

The Storm may not be as visually stunning as other recent Turkish films but its cinematography is perfect for the story and gives the audience a fly on the wall view of the secret conversations that go on behind closed doors. There are two interesting shots in the film that convey the mood of the main character Cemal. When Cemal is on his way from his village to Istanbul, he throws a stone in the river. As the stone skips on the water, the camera is placed on the opposite side and we witness the stone gain momentum until it speeds past the camera. This same action is taken from a different angle near the film’s end, when Cemal is returning back to his village from Istanbul. He throws a stone again in the river but this time the camera is placed behind the stone and shows the stone skip and quietly disappear into the water. Cemal’s face hardly conveys any emotion but the position of the camera gives us a glimpse into his inner state. In the first instance, when the stone approaches the camera, we get a sense of a burst of energy and this mimics the enthusiasm with which Cemal is looking forward to university. But at the film’s end, he is returning tired and beat up from his city experience. He throws the stone with the same force but the camera angle allows us to see the stone quietly sinking into the water. Cemal is at peace at the film’s end and has had enough of the city life, so one can naturally assume that he will spend the rest of his life back in his village, a place where he will be eventually buried.

These are the words for the film on Rotterdam’s website: "Hardcore and heart-wrenching, The Storm has already started to gain cult status among young audiences in Turkey."

I can easily imagine that this film will indeed gain momentum in certain sections of Turkish society but I do hope that more people outside Turkey can get to see this gem.

Milk (director Semih Kaplanoglu)



An absolutely wonderful film that is packed with plenty of symbolism and cinematic beauty. The film manages to delicately handle a few issues such as a son's attempts to get published, his failed attempts at love, his relationship with his mother and adds a mystical element regarding the powers of milk to drive away evil. The relationship of the son to the mother feels similar to the one portrayed in Nuri Bilge Ceylan's Three Monkeys but Milk shows more maturity and depth than Nuri Bilge Ceylan’s award winning film did.

note: Milk contains one of the most eye opening scenes I have ever seen on film in recent years. The image in question was something that I had never read about nor seen on camera, so this film added a new image to my memories. I won’t give it away but all I can say is that the image is not out of context and is relevant for a thread that runs through the movie.

My Only Sunshine (director Reha Erdem)



One of the year’s best shot films!! The film has a beautiful visual language but the story is not as strong as that of Reha Erdem’s previous feature Times and Winds. In My Only Sunshine every single bleak situation is easily anticipated but the film does have a knight in shining armour that comes to save the day, but the knight is in the form of a foreign soccer fan who arrives on his boat to give the film a much needed light fairy tale feel.

Pandora’s Box (director Yesim Ustaoglu)



An enjoyable Turkish family film that blends humor with emotional drama. There are some slack aspects in the movie but those are balanced out by some quiet thoughtful moments which give a glimpse into the character's lives.

Two Lines (director Selim Evci)



A nice debut film which is similar in style to Nuri Bilge Ceylan's Climates. The relationship of the main couple is developed patiently with plenty of excellent expressions and moments of contemplation.

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update: Wrong Rosary had also screened at the Rotterdam (where it won an award) and Istanbul film festivals.

Spotlight on Turkey

pics from Crossing the Bridge: The Sound of Istanbul

Turkey has always fascinated me ever since I first learned of the nation via history books -- Constantinople was always an interesting city given its geographical location as being a link city between Europe and Asia. And it is nice to see that present day Istanbul still occupies a measure of that charm. But Turkey is more than just Istanbul. Even though looking at Turkish soccer and cinema, one can be forgiven for not looking beyond Istanbul as the league soccer is dominated by the three teams from Turkey's largest city (Galatasaray, Fenerbahçe & Beşiktaş) and most movies shot in Turkey feature the required shots of the gorgeous Bosphorus river and the impressive Hagi Sophia. I can't any remember any features shot exclusively in Turkey's capital, Ankara.

In political terms, Istanbul may be responsible for all future decisions but it is events in the country-side and other Turkish cities that may force a change. Orhan Pamuk's engaging book, Snow, may be a work of fiction but recent political events have mimicked the novel's tale and show that what happens outside of Istanbul can't be discounted if Turkey is to move ahead.

In that regards, my idea to feature a spotlight on Turkey was to find topics/themes that looked at life both inside and outside of Istanbul.

Migrations:

One moves to a big city in the hopes of a better future. As it happens often, such a change is difficult to navigate -- the big city is not very welcoming and offers very little in terms of housing and jobs. A person can struggle to find their feet.

Such is the case of Yusuf in Nuri Bilge Ceylan's poetic 2002 film Distant. He comes to Istanbul in search of a job and stays with his cousin, Mahmut. But Yusuf struggles to find a job, although he is not very enthusiastic about trying to find work anyhow. The movie touches upon the topic of loneliness as that is what a big city can induce in a person.



Both Mahmut and Yusuf can't communicate their feelings. In fact, Mahmut goes to great lengths to hide his real interests and alienate Yusuf. There are some amazingly realistic scenes where Mahmut wants Yusuf to leave the room so that he can watch tv in peace.

And this gorgeous film features the only cinematic shots I have seen of Istanbul covered in snow.


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In Yesim Ustaoglu's 1999 feature Journey to the Sun Mehmet also heads to the city in order to find work.



But over there, he is mistaken as a terrorist and put in jail. When he is released from jail, he finds himself a marked man and can't resume his normal life. He returns home to find a giant "X" on the door. His room-mates urge him to leave as they don't want to stay with such a person.


Even when Mehmet heads to a motel with his girlfriend, the symbol follows him.


***Spoiler notes:*** Tired of the big city, Mehmet heads out to the country-side to his only real friend's (Berzan) house. But Berzan is a kurd and political events lead to his death. In order to fulfill Berzan's last wishes, Mehmet takes Berzan's body back to his home village of Zorduc. But Mehmet is shocked to find the village flooded (aside: these images of a flooded village reminded me of Jia Zhang Ke's Still Life).



The political mark:

The topic of the Kurdish issue make this a relevant movie given current events in Turkey. The movie shows how Kurds are treated as second class citizens and have to live a marked life. One of the film's most striking sequence is when Mehmet is getting closer to the Kurdish region of Turkey. He comes across villages in ruins but his eyes can't miss the red "X" sign on the shattered walls. So it does not matter if it is a village or a city, the sign of the outsider can't let a person live in peace.



Hamams:

Hamams form a well known Turkish symbol and a thing to do during a visit. Ferzan Ozpetek's 1997 feature Hamam centers around the charm and exotic pull that a traditional Hamam holds for Francesco, an Italian man of Turkish origin. Francesco only returns back to Istanbul to sell his dead aunt's assets and properties, one of which was a shut down Hamam. But Francesco finds love & peace amid the Hamam and the Turkish air starts to breathe new life into him.

Music:

Music plays an important part of any culture's identity. Turkey has always had a rich musical background thanks to its location between Asia and Europe. Fatih Akin's well made documentary Crossing the Bridge: The Sound of Istanbul shows the modern sounds that echo throughout Istanbul from classical music to Turkish rap, hip-hop and fusion music. Even though the music in Istanbul is a central focus, the documentary reaches out to give a glimpse of the music that resonates throughout the nation. And the film also gives an insight into how the struggles that Kurdish culture had in trying to keep their music alive.

Everyday life:

Reha Erdem's calm and peaceful film Times and Winds showcases the everyday life in a small Turkish village. Life in the village is shown through the passage of the changing seasons and through the different time shifts in a day such as morning, afternoon and evening.

Old traditions:

As Turkey moves towards modernity, conflict will arise because of old traditions. Abdullah Oguz's emotional film Bliss showcases the struggle a military man has to go through to acknowledge his love for a village woman against tradition and his father's wishes. The movie also features the memorable lines "Every Turk is born a soldier" and shows the military side of Turkish life.

A magical romantic tale:

One can find the seeds of Edge of Heaven in Fatih Akin's 2000 film In July. Like Edge of Heaven, In July starts in Germany and ends in Turkey and features overlapping romantic tales. While Edge of Heaven had a serious tone to the film, In July is a magical romantic story. All the coincidences in the script can be forgiven if one buys into the film's portrayal of emotional victory of love winning over any rational explanations. The story feels a bit like Paulo Coelho's amazing journey tale The Alchemist. In July also features the romantic appeal that Turkey has to outsiders.

Overall ratings:

Distant (2002, Nuri Bilge Ceylan): Rating 9.5/10

Bliss (2007, Greece/Turkey, Abdullah Oguz): Rating 9.5/10

Times and Winds (2006, Reha Erdem): Rating 9/10

Journey to the Sun (1999, Yesim Ustaoglu): Rating 8.5/10

Crossing the Bridge: The Sound of Istanbul (2005, Fatih Akin): Rating 8.5/10

In July (2000, Fatih Akin): Rating 8/10

Hamam (1997, Ferzan Ozpetek): Rating 7.5/10
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