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49th Chicago International Film Festival Report Card

And that’s a wrap for the 49th annual Chicago International Film Festival. Here are capsule reviews for the five films I saw during the fest proper, as well as links to the capsule reviews for the eight movies I previewed before the fest began. In preferential order:

Stranger By the Lake (Alain Guiraudie, France)
Rating: 9.8 (Review here.)

The Immigrant (James Gray, USA)
Rating: 9.4

immigrant

CIFF scored a major coup by hosting the Chicago premiere of James Gray’s The Immigrant, a truly great new American film that is in the process of being tragically buried by its distributor The Weinstein Company (it won’t be released until 2014 and, even then, may go straight to video-on-demand). I was therefore particularly gratified to see this on the big screen. Gray’s masterful drama tells the story of Ewa (Marion Cotillard), a Polish immigrant who arrives at Ellis Island in the early 1920s along with a tubercular sister (who is promptly quarantined). After being threatened with deportation, Ewa reluctantly turns to a charming but ruthless burlesque show manager and pimp, Bruno (Joaquin Phoenix), who promises to help her out. Tragically, it isn’t long before Ewa is prostituting herself in the streets and finds herself in a doomed love triangle with Bruno and his cousin, a seemingly kindhearted magician named Orlando (Jeremy Renner). While this might sound like a familiar melodrama scenario, Gray consistently pushes the material in directions more challenging and rewarding than you might expect, profoundly exploring notions of love and forgiveness within a specific Polish/Catholic milieu, while also wringing from his story the emotions of grand opera. Gray’s fifth feature, his first period piece, is his most ambitious work to date. It is also his masterpiece.

Stray Dogs (Tsai Ming-Liang, Taiwan)
Rating: 9.1 (Review here.)

Soul (Chung Mong-Hong, Taiwan)
Rating: 8.0 (Review here.)

Closed Curtain (Jafar Panahi/Kambuzia Partovi, Iran)
Rating: 7.6

closed

This is the second film that the great Jafar Panahi has been able to make and have smuggled out of Iran after being banned from directing movies or giving interviews for 20 years. While the first, This Is Not a Film, dealt explicitly with Panahi’s legal plight and served as a provocative inquiry into what it means to “make a movie,” Closed Curtain deals with the same themes in a more oblique fashion: it begins with a political dissident/writer (co-director Partovi) and his dog, on the run from government authorities, seeking refuge in the house of a friend. The writer soon finds himself unwillingly sharing this space with a young woman who is also wanted by the police and who he fears may be suicidal. In the second half, Panahi — an old hand at self-reflexive trickery — appears onscreen as the Godlike creator of the events in the first half and asks if he has dreamed up these characters or if they have somehow dreamed him. Fans of the director can’t afford to miss this fascinating puzzle-film whose “mirror structure” may make you want to immediately watch it again — though it lacks the poignance and sense of urgency that made This Is Not a Film such an unexpected masterpiece.

Trapped (Parviz Shahbazi, Iran)
Rating: 7.5 (Review here.)

The Girls on Liberty Street (John Rangel, USA)
Rating: 7.2 (Review here.)

Contracted (Eric England, USA)
Rating: 7.2

contracted

Samantha (Najarra Townsend), a young woman feeling low after being dumped by her lesbian lover, gets drunk at a party and engages in a one-night stand with a strange man named B.J. (a sinister, out-of-focus Simon Barrett). The next day she fears she has contracted a sexually transmitted disease but, as her symptoms rapidly worsen, realizes to her horror that her body is actually rotting from the inside out. Writer/director Eric England, aided immeasurably by a brave lead performance by the game Townsend (the little girl from Me and You and Everyone We Know) and terrific, old-fashioned make-up effects, mines not only genuine terror from this Cronenberg-ian body-horror scenario but also a surprisingly rich vein of black comedy. The result is a fairly awesome low-budget shocker that creates and sustains a spirit of nasty fun that filmmakers with much higher budgets would no doubt love to buy; someone should really make Fede Alvarez, director of the lame, overhyped Evil Dead remake, watch this several times. There’s a certain kind of horror gem capable of rocking a late night film festival audience and, by God, Contracted rocked the Chicago International Film Festival.

Blue is the Warmest Color (Abdellatif Kechiche, France)
Rating: 7.1 (Review here.)

Pieces of Me (Nolwenn Lemesle, France)
Rating: 7.0 (Review here.)

Go Goa Gone (Krishna D.K./Raj Nidimoru, India)
Rating: 6.2

gogoagone

Two immature stoners, Hardik (Kunal Khemu) and Luv (Vir Das), accompany their slightly more responsible buddy, Bunny (Anand Tiwari), on a business trip to an island off of India’s Goa coast. There, amidst some gorgeous tropical scenery, they attend a rave party where the mass consumption of an Ecstasy-like drug has the unintended side-effect of turning those who take it into zombies. It’s then up to this unlikely trio — with a little help from a Russian mafioso (producer/star Saif Ali Khan with a blonde dye-job) — to save the day. Go Goa Gone has gotten a lot of press for being the “first Bollywood zombie movie” but I think it actually works best in its earliest stages when it’s merely a comedy dependent upon rapd-fire dialogue and word play. Once the reanimated corpses start piling up (aided by fairly shoddy make-up and CGI), it quickly becomes monotonous and repetitive — though at least there’s colorful cinematography and snappy music keep things lively.

Stockholm Stories (Karin Fahlén, Sweden)
Rating: 6.1

stockholm

The lives of dozens of Stockholm denizens repeatedly criss-cross over the span of a few days in this Altman-esque ensemble comedy-drama. The most prominent plot lines involve a brother and sister (Martin Wallström and Julia Ragnarsson) — the adult children of a beloved, deceased Swedish novelist — and how they each cope with living in their famous father’s shadow. By the time the inevitable power-outage climax rolled around, bringing a couple of different couples together romantically, I must admit this had begrudgingly won me over. The first feature of former make-up artist Karin Fahlen, Stockholm Stories isn’t as good as Robert Altman at his worst but it’s certainly superior to sentimental trash like Love Actually (with which someone somewhere will no doubt compare it).

At Berkeley (Frederick Wiseman, USA)
Rating: 5.1 (Review here.)

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About michaelgloversmith

Filmmaker, author and Film Studies instructor. View all posts by michaelgloversmith

6 responses to “49th Chicago International Film Festival Report Card

  • John Charet

    I see that Alain Guiraudie’s Stranger by the Lake, Tsai Ming-Liang’s Stray Dogs and last but not least James Gray’s The Immigrant are your favorites of this year’s Chicago International Film Festival. I am peeved that Harvey Weinstein is not only under-promoting that film, but he is also (at least based on my knowledge) releasing it straight to dvd. This is not the first time Weinstein has been disrespectful to the visions of other filmmakers. Anyway, I finished my list of my “Top 101 Favorite Filmmakers of All-Time” Here is the rest of the list on my site in the link below.

    http://cinematiccoffee.com/

    Also, here is the list of my favorite Orson Welles films

    http://cinematiccoffee.com/2013/10/24/my-favorite-orson-welles-films-final-revision/

    • michaelgloversmith

      I don’t think the fate of THE IMMIGRANT is known yet but I’ve heard the rumors that it will be released straight to DVD and VOD. I guess the Weinsteins bought it thinking it had “awards chances” (probably for Marion Cotillard) but then lost confidence in it somewhere along the way.

  • John Charet

    I will keep updated with the fate of the film. Anyway, I finished my whole list of my favorite directors. Here is the link to the Orson Welles list below.

    http://cinematiccoffee.com/2013/10/24/my-favorite-orson-welles-films-final-revision/

  • John Charet

    I was deeply thinking about “My Favorite Orson Welles Films” list and I moved “Touch of Evil” to number 4 and “The Lady from Shanghai” to number 5. Here is the link to the revised list below.

    http://cinematiccoffee.com/2013/10/24/my-favorite-orson-welles-films-final-revision/

  • Top Ten Films of 2013 | White City Cinema

    […] James Gray’s fourth and best feature film is a period tragedy chronicling one Polish woman’s harrowing experience immigrating to America in the early 1920s. Shortly after arriving at Ellis Island, Ewa (Marion Cotillard) is virtually blackmailed by a pimp (Joaquin Phoenix) into prostituting herself in exchange for being able to stay in the country and freeing her tubercular sister from the hospital where she’s been “quarantined.” Does salvation lay in the overtures of a charming magician (Jeremy Renner) who also happens to be the pimp’s cousin and rival? The golden-hued cinematography and early 20th-century New York setting will undoubtedly cause many lazy critics to compare this to the Godfather films upon its release next year but Gray has cited opera and silent movies as his primary sources of inspiration. This makes sense because the revelatory Cotillard, whose voluptuous figure is atypically concealed and downplayed, comes across as waifish, doe-eyed and as soulfully expressive as any silent film heroine; and Gray’s commitment to her plight is heart-wrenching without ever crossing over into the terrain of melodrama. The Weinstein Company purchased the distribution rights to The Immigrant at Cannes last May (probably believing that it had good “awards chances”) but apparently lost confidence in it somewhere along the way. Whoever is responsible for not giving this the marketing push it deserves should rot in hell. More here. […]

  • Top 100 Films of the Decade, pt. 4 (#25 – #1): A Contest | White City Cinema

    […] Alain Guiraudie’s film begins on a beautiful sunny day in an idyllic lakeside park populated by frolicsome gay men, and ends a little over an hour-and-a-half later on a note of existential terror as a single character stands alone in the nearby woods engulfed in pitch-black darkness. In between, sex and death are inextricably intertwined as one of the “cruisers” commits murder while another witnesses the act but doesn’t report it, mainly because of his sexual attraction to the killer. Adventurous viewers will find many dividends to be paid from the way the rigorous construction of the Hitchcockian-thriller elements meets a fascinating, near-ethnographic view of a very specific queer subculture, but I also can’t help but see it as a sly cautionary tale: who hasn’t been guilty at one time or another of rationalizing the obvious, potentially dangerous faults of a person to whom one is physically attracted? While much ink has been spilled about the movie’s Hitchcock connection and the explicitness of the sex scenes, there hasn’t been enough discussion about just how funny this is. My favorite example of Guiraudie’s humor is the pesky police inspector-character, who could’ve almost stepped out of one of Claude Chabrol’s daffier efforts, repeatedly popping up at the most inopportune moments. More here. […]

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