On Thursday, June 25, the 2009 Los Angeles Film Festival quickly became Westwood Village's second biggest item when news spread that Michael Jackson passed away at UCLA Medical Center.
While people the world over mourned the loss of the legendary entertainer, Westwood was quieter than expected (I walked past the hospital that evening where about 500 people were gathered in Jackson's honor). And with the exception of the demonstrators lined up in front of the Federal Building, making their collective voice heard about Iran's recent presidential election (Westwood is home to a large Persian population), it was a relatively quiet week in the Village.
It's possible the economy is the chief reason Westwood didn't appear as lively as it has in years past during festival week. I only attended a few packed screenings ("Dear Lemon Lima" being the most crowded), and the festival lounge housed a sparse crowd every time I visited. But it's impossible not to have fun at LAFF, partly because Westwood is probably the city's most ideal location for a festival (one of the few areas in LA where people actually walk!) and also due to the typically solid programming. I managed to catch a number of decent to good films, with the standout being the documentary "Facing Ali."
Below are reviews of the movies I caught during the festival's second half, excluding the special screening of '70s cult favorite "Billy Jack," which was a treat to finally see on the big screen. I was only able to attend the film's last-minute second screening and regrettably missed the one with Tom Laughlin and Delores Taylor in attendance. If you haven't seen the movie, it's highly recommended.
The 2009 LAFF feature film awards are listed below the reviews.
35 SHOTS OF RUM
Director: Claire Denis
Cast: Alex Descas, Mati Diop, Nicole Dogue, Grégoire Colin, Jean-Christophe Folly
100 mins, France
One of the more entertaining aspects of attending a film festival is to overhear unfiltered audience reaction to the movies in them. It's an environment where people are eager to vocalize their opinions. One such person was a young woman filing out of the screening of "35 Shots of Rum" in front of me, who turned to a friend and exhorted, "My god, that was tedious!"
Scheduling critically revered French director Claire Denis' new film for a 9:45 PM start on a Thursday night was a questionable decision given its lack of action, slow pacing and, in some stretches, absence of dialogue. Abstract isn't the right word to describe the veteran filmmaker's work, but her characters' behavior can be vague and it's easy to understand how the subdued atmosphere can leave some cold.
The bond between a father (Alex Decas) and his adult daughter (Mati Diop), who share a modest apartment in Paris, is at the core of Denis' latest, a quiet movie made up of small dramas and conflicted emotions that aspires to reach a moving climax. The touchy feely nature of Lionel and daughter Josephine's relationship would seem appropriate if she was still a small child, but it's mildly discomforting at their older age. Yet it vividly illustrates how close and tender their connection is. The inevitability of change and need for growth are themes explored in this story, and there are times when that exploration resonates emotionally. But at other times it takes considerably more work to engage with the characters, and some will find that an unwelcome chore.
I'll admit to having mixed feelings about Denis' films, but a constant strength is Agnes Godard's fantastic cinematography, which can make just about any setting feel unique and vibrant. She doesn't disappoint here.
ALL TOMORROW'S PARTIES
Director: Jonathan Caouette
Featuring: Sonic Youth, Belle and Sebastian, Daniel Johnston, Nick Cave, Mogwai, Animal Collective
82 mins, England
Jonathan Caouette's "All Tomorrow's Parties," about the British-based independent music festival of the same name, is a concert film version of an epic mashup song. The director, who made a big splash with his widely praised autobiographical documentary "Tarnation," compiles footage from hundreds of different sources to give his audience a definitive sampling of the atmosphere at ATP. If you're seeking a streamlined narrative about the festival's history, well, that documentary has yet to be made.
ATP began in 1999, first assembled by the British indie rock band Belle and Sebastian. Each year a different artist curates the fest, creating a lineup that reflects their personal taste. Both bands and fans use the same lodging facilities, lending ATP a unique sense of equality and community. In addition to the bands playing on stages, impromptu performances in various areas on or near the venue are also commonplace.
This is a film for fans, but not strictly limited to those who are aficionados of the featured bands. People with an interest in the more eclectic sounds found in the rock music spectrum should appreciate the movie's unrelenting, infectious, fast-paced energy. Highlights include an inspired performance by The Stooges, comedian David Cross dealing with hecklers on stage (and later confronting one heckler off stage) and Lightning Bolt manically playing to a small but rabidly appreciative crowd on the festival grounds.
"All Tomorrow's Parties" doesn't really advance Caouette as a filmmaker, but after all the personal pain he confronted in his debut, it's nice to see him make such a purely enjoyable follow up.
DEAR LEMON LIMA
Director: Suzi Yoonessi
Cast: Savanah Wiltfong, Shayne Topp, Melissa Leo, Beth Grant, Elaine Hendrix, Meaghan Jette Martin, Vanessa Marano, Zane Huett, Eleanor Hutchins
87 mins, USA
One half "Napoleon Dynamite" and one half Afterschool Special -- but better than that description sounds -- "Dear Lemon Lima" really wants you to like it. Personally, I appreciate the film's pleasing spirit more than the film itself, but Suzi Yoonessi's feel-good underdog story is a bona fide crowd pleaser, as evidenced by the fact that LAFF added a third screening of the movie to its calendar.
Set in Alaska, 13-year-old Vanessa (Savanah Wiltfong) enrolls at prestigious Nichols prep school so she can be close to her ex-boyfriend Philip (Shayne Topp). Vanessa is still infatuated with Philip, who dumped her just before leaving for Paris the previous summer, and while they remain friendly, the cultured, intellectual boy believes Vanessa needs to climb the school's social ladder before they can consider rekindling their romance. The freshman Vanessa, who's half Yup’ik Eskimo and attends the school on a minority scholarship, soon becomes the leader of Nichols' various outcasts. Their ultimate mission is to win the school's Snowstorm Survivor competition, an ostensibly impossible feat considering the team (known as the FUBARS) appears to be at an enormous physical disadvantage. This goal also puts Vanessa in direct competition with Philip.
It took me at least 30 minutes to adjust to the film's sugary sweet tone, and once I did, it nearly won me over. The problem is that Yoonessi's script embraces formula too easily (though the film's major tragedy caught me off guard) and is populated with caricatures. Vanessa, played by newcomer Savanah Wiltfong with a mixture of confidence and fragility, is a likeable protagonist, but is missing another layer that would make her truly loveable. The movie's heart is completely genuine though, and it's thankfully not too quirky for its own good.
As far as I know the film is without a theatrical distributor -- expect that to change soon.
FACING ALI
Director: Pete McCormack
Featuring: Muhammad Ali, George Chuvalo, Sir Henry Cooper, George Foreman, Joe Frazier, Larry Holmes, Ron Lyle, Ken Norton, Earnie Shavers, Leon Spinks, Ernie Terrell
96 mins, USA
Add "Facing Ali" to the list of excellent documentaries about one of the most important athletes to ever walk the planet, heavyweight boxing champion Muhammad Ali. In Pete McCormack's thrilling film, the Ali story is told from the perspective of ten fellow prizefighters who stepped in the ring with the man. It's an honest, even handed movie that exposes the tough reality of making a living in this exceedingly grueling sport.
The story is largely told in chronological chapters, from the brash, trash talking, up-and-coming Ali's (then known as Cassius Clay) 1963 bout in England against British fighter Henry Cooper to his tough to watch last stand against Larry Holmes in 1980, when the former champ was but a mere shell of himself. Each boxer interviewed has an intriguing tale to tell, some inspiring (Ron Lyle's rise from ex-convict to top contender) while others are heartbreaking (the loss of George Chuvalo's wife and three sons).
Despite the riches and fame a small percentage of professional fighters enjoy, an equally tiny minority is able to retire from the sport with no lasting physical damage (one onscreen example is George Foreman). The ravages of Parkinson's disease and pugilistic dementia on Ali's body are well chronicled, and subtitles are needed to translate the slurred speech of a few of the interviewees (who all retain a quick wit). As the film clearly illustrates, it's an unforgiving profession for those who stick around too long.
Enhancing the interviews with a staggering amount of archival footage and an exceptional jazz and funk score, McCormack has made a film where a dull moment almost literally can't be found. You needn't be a boxing fan to thoroughly enjoy this one.
HARMONY & ME
Director: Bob Byington
Cast: Justin Rice, Kevin Corrigan, Pat Healy, Kristen Tucker
75 mins, USA
Bob Byington has yet to make a movie as humorous as his post-screening Q&A sessions, but "Harmony & Me" definitely has its moments. Like his previous film, "Registered Sex Offender," Byington's latest starts out in full comic stride before getting bogged down in repetitive gags and ultimately running out of steam.
Justin Rice is proving to be an in-demand actor in the world of micro-budget features, and he brings his usual understated appeal to the lead role. Harmony is fitfully trying to recover from getting dumped, even though his petty (and very attractive) ex-girlfriend, Jessica (Kristen Tucker, also the film's producer), seems like the kind of girl you'd want to stay far away from. He has a few encouraging friends and family members, and also uses piano lessons to take his mind off Jessica, but all to no avail. When Harmony reaches rock bottom he turns to -- gulp -- a box of chocolates.
The film's cheap digital video look won't win any cinematography awards, and Byington's idea of storytelling meshes together random events involving the core group of characters with few smooth transitions. So while the narrative is clunky and the visuals aren't particularly pleasing, "Harmony & Me" hangs together because the writer/director's brand of comedic cynicism doesn't feel artificial. Sure, its perspective is jaded, but the movie doesn't wear its attitude like a badge of honor. Byington's organically low-key approach to the material suggests he's comfortable with the fact his film won't please everyone.
Unfortunately, the lack of storytelling flow makes the movie feel overlong at only 75 minutes. My hope is that in the near future Byington's films will play less like just series of collected scenes, allowing his unique comic voice to be heard in a better vehicle.
I SELL THE DEAD
Director: Glenn McQuaid
Cast: Dominic Monaghan, Larry Fessenden, Angus Scrimm, Ron Perlman
85 mins, USA
Glenn McQuaid's film about a graverobbing duo set for execution tackles inherently dark subject matter with a beaming smile on its face. Clever, well executed (no pun intended) and all in good fun, "I Sell the Dead" has the rare distinction of giving the horror/comedy genre a good name.
Told in a series of flashbacks, Dominic Monaghan ("Lost") plays Arthur Blake, a young man in 18th century England who recounts his life's story to a priest (Ron Perlman) while awaiting death via the guillotine. He narrates a tale that covers falling under the tutelage of scraggly longtime graverobber Willie Grimes (cult horror director Larry Fessenden) in his youth, the trials of working for a sadistic doctor (Angus Scrimm), running into stern competition in the form of the bodysnatching Murphy clan and eventually having to deal with zombies.
There's a dash of violence and a few genuine scares, but the film is so witty and good-natured that only the extremely sensitive could possibly be offended. The big reasons the film works so well is that McQuaid firmly commits to a comic tone (enhanced by animated sequences) and the story, even with the myriad shifts in the timeline, glides easily from one scene to the next. The actors all tackle their roles with gusto, but are sure not to make their performances any bigger than need be.
McQuaid displays a variety of skills in his feature debut, but far more than just being a showcase for the filmmaker, "I Sell the Dead" is great fun and has all the makings of a cult favorite for years to come.
Target Filmmaker Award (for Best Narrative Feature):
"Wah Do Dem" ("What They Do") written and directed by Sam Fleischner & Ben Chace
Target Documentary Award (for Best Documentary Feature):
"Those Who Remain" ("Los Que se Quedan") directed by Juan Carlos Rulfo and Carlos Hagerman
Outstanding Performance in the Narrative Competition:
Shayne Topp in Suzi Yoonessi’s "Dear Lemon Lima"
Audience Award for Best Narrative Feature:
"The Stoning of Soraya M." written by Betsy Giffen Nowrasteh and Cyrus Nowrasteh and directed by Cyrus Nowrasteh
Audience Award for Best Documentary Feature:
"Soul Power" directed by Jeffrey Levy-Hinte
Audience Award for Best International Feature:
"Born Without" ("Nacido Sin") written & directed by Eva Norvind
