Advertisements

Tag Archives: Aleksandr Sokurov

Cinematic Iceland: A Photo Tour

The country of Iceland has had a relatively prolific and surprisingly rich local film industry over the past couple decades, especially considering its population is currently hovering at an all-time high of barely more than 300,000 people. I recently visited this delightful Scandinavian nation for the occasion of my fifth wedding anniversary and was able to engage in many film-related activities along the way, including visiting the locations of prominent Icelandic movies and having coffee with legendary director Fridrik Thor Fridriksson. Below are some photos documenting my journey. Unless otherwise noted they were taken by me or my wife, Jill.

20130806_165430Me and the great Fridrik Thor Fridriksson in a quiet corner of Reykjavik’s fashionable 101 Bar. (Our full interview will be posted on this blog soon.)

Fridrik Thor Fridriksson is almost single-handedly responsible for Iceland’s impressive movie boom of the 1990s and early 2000s. His 1991 feature Children of Nature (Börn náttúrunnar), the only locally made film of that year, was the first Icelandic movie to be nominated for a Best Foreign Film Oscar. He sunk the film’s profits into buying production equipment and established the Icelandic Film Corporation, which produced dozens of distinctive films in the following years. I interviewed Fridriksson over coffee and was able to see a beautiful 35mm print of Children of Nature, which I had only previously seen on VHS tape.

Children of Nature ranks for me alongside of Leo McCarey’s Make Way for Tomorrow and Yasujiro Ozu’s Tokyo Story as one of the cinema’s most powerful statements about the predicament of the elderly. It tells the story of Thorgeir (Gísli Halldórsson), an old man who is virtually forced by his uncaring family into living in a retirement home. Upon arriving there he meets Stella (Sigríður Hagalín), an old flame, with whom he soon steals a jeep and escapes to rural southern Iceland so that she can see again the land of her childhood. One of the film’s most evocative scenes occurs right before the couple flee Reykjavik for the countryside: Thorgeir strolls alone through Holavallagardur cemetery, a remarkable site that contains many graves dating back to the 19th century. Flowers and trees have been planted directly on top of many of the plots, giving the impression that the location is a garden as much as it is a graveyard. It is unquestionably the most beautiful cemetery I’ve visited and one that makes its stateside counterparts seem sterile and depressing by contrast.

20130807_152002Holavallagardur cemetery

childrenI love this movie so much I paid 1600 krona to see it!

Fridriksson may be best known in the U.S. for Cold Fever (Á köldum klaka), an absurdist comedy/road movie about Hirata (Masatoshi Nagase), a Japanese businessman who travels to Iceland to perform a traditional cleansing ritual at the site where his parents had died years earlier. The film was an international arthouse hit when it was released in 1995/1996 and part of what makes it so charming is the way it uses a fish-out-of-water story to present “typically” quirky Icelandic characters and scenarios to an outsider-protagonist who functions as a surrogate for the viewer. For instance, the first place Hirata visits in Iceland is the Blue Lagoon, an outdoor hot spring that has long been the country’s most popular tourist destination.

coldHirata (Masatoshi Nagase) visits the Blue Lagoon in a still from Cold Fever. The milky blue water and roiling mist contribute to an intoxicating, ethereal atmosphere.

bluelagoonJill and me in the same location 19 years after Fridriksson shot his scene. Please note the above photo was taken at 9:30 pm.

vlcsnap-2013-08-12-16h19m03s109Hirata stays at the upscale Saga Hotel in Reykjavik. In this still from the film he is enjoying a glass of wine in the hotel bar when he’s approached by a punky young woman desperate to sell her car.

100_2444The same location as seen today. It has since been purchased by Radisson and renamed the Radisson Blu Saga Hotel.

Unlike Hirata we didn’t pop into the Saga for a drink. We did however imbibe at many other local bars, including the amazing Big Lebwoski-themed Lebowski Bar.

lebowskibar

Of course we ordered White Russians . . .

lebowski2I had the “El Duderino,” which contained tequila and triple sec (appropriate for a drink named after the Dude’s Latinized nickname — or for those “not into the brevity thing”). Jill had the “Tree Hugger,” which was made with soy milk instead of cream!

One of the most popular Icelandic film-exports of the 21st century is Baltasar Kormákur’s offbeat comedy 101 Reykjavik, which details a young man’s affair with his mother’s lesbian lover. One of the movie’s central locations is a trendy bar known as Kaffibarinn. Unfortunately, Kormákur’s subsequent output has become increasingly generic and impersonal (culminating in a recent stint in Hollywood as Mark Wahlberg’s director of choice).

100_2468Kaffibarinn in 2013.

Iceland has become a popular destination for Hollywood productions in recent years (especially sci-fi films in search of exotic exteriors). The opening of Ridley Scott’s Prometheus, one of the most beautiful and enigmatic scenes in that abstract and still-underrated movie, was shot at the awesome Gulfoss waterfall.

prometheusGulfoss: the biggest waterfall in Iceland and one of the most impressive natural wonders I’ve ever seen.

Iceland’s exteriors have also proven to be an attractive option to filmmakers from other European countries. Aleksandr Sokurov’s ambitious Russian/German co-production of Faust (2011), for instance, memorably set its final scene in Geysir (pronounced gay-ZEER), the site of one of only two of the world’s continually spouting geysers. No one in Sokurov’s film, however, looks as remotely happy as my wife and I do here:

1001395_643976382287754_1411427757_n

This post would not be complete without mention of my visit to Iceland’s Phallological Museum, which contains penis samples of over 280(!) different mammals. The museum’s quest to find a human donor was the subject of the hilarious — and surprisingly sweet — 2012 documentary The Final Member, which I reviewed when it played the Chicago International Film Festival last year. Below is my photograph of the museum’s sole human sample, finally acquired in 2011. It belonged to 95-year-old former explorer Pall Arason.

finalmemberPlease forgive me for posting this.

Advertisements

CIFF 2011 – Twenty Two Most Wanted!

With the start of the Chicago International Film Festival only six weeks away, it’s time for my annual wish list of films I’d most like to see turn up there. This is a combination of movies that have generated buzz at other festivals throughout the year, movies by favorite directors whose production status I’ve been following in the press, recommendations from friends and even a title or two that may be nothing more than rumor. In alphabetical order:

Arirang (Kim, S. Korea)

South Korea’s Kim Ki-duk directed an astonishing 12 feature films between 2000 and 2008. The last of these, Breath, belatedly received its U.S. premiere at Facets Multimedia earlier this year and suggested that Kim’s wellspring of creativity had run dry, an impression seemingly verified by the 3 year silence that’s followed it. Arirang, Kim’s latest, is apparently a one man show/pseudo-documentary in which Kim himself examines this impasse a la 8 1/2. This premiered at Cannes where its supposed “navel gazing” quality drove many viewers up the wall. I say bring it on!

The Assassin (Hou, Taiwan)

When I put this on my wish list of films I hoped would turn up at CIFF last year it was nothing more than a pipe dream. Since then, Hou Hsiao-Hsien’s long rumored martial arts film actually did quietly begin production. Tadanobu Asano and Takeshi Kaneshiro have apparently joined a formidable cast that has long had Hou regulars Shu Qi and Chang Chen attached.

Bernie (Linklater, USA)

Richard Linklater has intriguingly described this as his version of Fargo – a quirky true crime tale set in his beloved native Texas. Jack Black (reuniting with Linklater for the first time since the excellent School of Rock), Shirley MacLaine and Matthew McConaughey star.

Carnage (Polanski, France/Germany)

Roman Polanski follows up his estimable The Ghost Writer with an adaptation of Yasmina Reza’s Tony award winning play about a long night of drinking and fighting between two married couples brought together after a playground fight between their children. Polanski’s talent for shooting in confined spaces and the sterling cast (Jodie Foster, Christoph Waltz, Kate Winslet and John C. Reilly) make this a mouth-watering prospect.

A Dangerous Method (Cronenberg, Germany/Canada)

David Cronenberg’s adaptation of Christopher Hampton’s play about the birth of psychoanalysis, which is depicted as stemming from an imagined rivalry between Carl Jung (Michael Fassbender) and Sigmund Freud (Viggo Mortensen). As someone who thinks Cronenberg’s recent Mortensen collaborations (A History of Violence, Eastern Promises) are his very best work, my expectations for this could not be higher.

The Day He Arrives (Hong, S. Korea)

Another character-driven Hong Sang-soo comedy/drama that premiered in Cannes’ Un Certain Regard sidebar where it was universally admired, begging the question of why it didn’t land in Official Competition. This one apparently deals with the relationship between a film professor and a film critic. Expect the usual witty merry-go-round of booze, sex and self-deceit.

The Devil’s Church (de Oliveira, Brazil/Portugal)

A year after working with CGI for the first time, the great Portugese director Manoel de Oliveira continues to stretch himself by travelling to Brazil to shoot his first film outside of Europe (and his 57th overall). The Devil’s Church is based on a Faustian-themed short story by Machado de Assis, widely considered Brazil’s greatest writer. Ricardo Trepa, Oliveira’s grandson and favorite leading man of late, stars. CIFF’s fondness for Oliveira makes this a good bet.

Faust (Sokurov, Germany/Russia)

Speaking of Faust . . . I’m on the fence about Russian miserabilist Aleksandr Sokurov whose films frequently astonish on a technical level but fail to stir the soul in the manner of his mentor Andrei Tarkovsky. But this Russian/German co-production looks promising – a new version of Faust with Fassbinder’s muse Hannah Schygulla in the Marguerite role.

The Girl with the Dragon Tattoo (Fincher, USA/Sweden)

English language remakes of recent foreign language films are almost always a bad idea but since the Hollywood version of The Girl with the Dragon Tattoo is directed by David Fincher, we can assume it will be an exception. At the very least, Fincher, whose best work has featured dark, twisty narratives involving serial killings, expert use of CGI and Boolean logic that seemingly puts this project in his wheelhouse, can be counted on to push the material in an interesting direction.

Goodbye (Rasoulof, Iran)

According to reports out of Cannes Iranian director Mohammad Rasoulof made this film under “semi-clandestine conditions” while awaiting sentencing following his highly publicized arrest and trial for “anti-regime propaganda” in 2010. Goodbye uses the story of the disbarment of a female lawyer to allegedly tackle the repression of Ahmadinejad’s Iran head-on.

The Grandmaster (Wong, Hong Kong)

This made my wish list last year and, knowing Wong Kar-Wai’s glacial pace of shooting and editing (and re-shooting and re-editing), it could also make the list again next year. A film about the early years of Ip Man, best known as Bruce Lee’s kung-fu teacher, “built around one of the most exciting sets and fighting sequences that I have ever seen” according to Fortissimo Films chairman Michael Werner who came on board as associate producer earlier this year.

Hara Kiri: Death of a Samurai (Miike, Japan)

Takashi Miike continues his recent trend of remaking chambara classics, this time in 3D, by taking a stab at Masaki Kobayashi’s Harakiri from 1962. But with Miike, you can always expect the unexpected, and this project boasts surprising collaborators like veteran art house producer Jeremy Thomas and A-list actor Koji Yakusho (the favorite leading man of Miike’s mentor Shohei Imamura and the star of Miike’s superb 13 Assassins).

Le Havre (Kaurismaki, Finland/France)

I’ve never really warmed to the deadpan humor of Finnish writer/director Aki Kaurismaki whose “minimalist” films have always struck me as less than meets the eye. His latest, a supposedly sentimental tale of immigration politics centered on a French shoeshiner and an African refugee, was by far the most critically admired film at the 2011 Cannes Film Festival. Color me interested.

Hugo (Scorsese, USA/France)

Martin Scorsese throws his hat into the 3D ring with this Johnny Depp/Jude Law-starring children’s film about a little boy who lives inside the walls of a Paris metro station in the 1930s. This will obviously receive a super-wide release; if it does turn up at CIFF it will be as a sneak preview “Gala Presentation” (hopefully with cast and/or crew present).

In the Qing Dynasty (Jia, China)

Another improbable but intriguing-sounding concoction is the latest from Jia Zhangke, the important, formidably arty chronicler of China’s tumultuous recent history, who appears to be making his first big budget film with this historical epic. Produced by none other than Hong Kong gangster movie specialist Johnnie To.

J. Edgar (Eastwood, USA)

Clint Eastwood’s critical stock is at the lowest its been in some time following his poorly received (but in my humble opinion misunderstood) melodramas Invictus and Hereafter. Stakes are therefore even higher than they otherwise would be for this J. Edgar Hoover biopic scripted by Dustin Lance Black and starring Leonardo di Caprio and Armie Hammer. As with Hugo Cabret, this will only make it in as a Gala Presentation (not out of the question since this happened with Hereafter last year). Sure to make my CIFF wish list next year is the prolific Eastwood’s next film – a remake of A Star is Born starring . . . Beyonce?

Life Without Principle (To, Hong Kong)

This began life as a project titled Death of a Hostage when it started shooting (without a script) in 2008. Three years later, it’s finally complete and it sounds like Johnnie To’s most exciting in some time: a bank heist thriller starring the charismatic, enormously talented Lau Ching-Wan; the last collaboration between these two, 2007’s ingenious Mad Detective, was one of my favorite films of the last decade. Will Life Without Principle stack up? Is the title a reference to Thoreau? Is the above movie poster the coolest ever?

Night Fishing (Park/Park, S. Korea)

Park Chan-wook, the reigning innovator of the South Korean New Wave, caused a stir on the festival circuit earlier this year with this 30 minute horror short shot entirely on an iphone. This alone would justify the purchase of a ticket to one of CIFF’s notoriously erratic “Shorts Programs.”

Once Upon a Time in Anatolia (Ceylan, Turkey)

Still photographer Nuri Bilge Ceylan made one of the great directorial debuts of the last decade with Distant, a deliberately paced, minimalist comedy about the growing estrangement between a professional photographer in Istanbul and his visiting country bumpkin cousin. If Ceylan’s subsequent films haven’t quite lived up to the promise of his debut, this film about a night in the life of a doctor living in the harsh title region (the gateway between Europe and Asia) should still be worth a look. Won the Grand Prix at Cannes.

A Separation (Farhadi, Iran)

Asghar Farhadi (Fireworks Wednesday, About Elly) is a CIFF veteran so one can only hope that this universally admired marital drama, which won three prizes in Berlin (including the Golden Bear), will turn up here – preferably as an in competition entry with multiple screenings.

This is Not a Film (Panahi/Mirtahmasb, Iran)

Like Mohammad Rasoulof, Jafar Panahi essentially made his latest film as a political prisoner in Iran. Co-directed by Mojtaba Mirtahmasb, this documentary-style “diary” about the great director’s inability to work was smuggled out of Iran on a USB stick buried inside of a cake. The more attention that’s brought to the tragic plight of Rasoulof and Panahi the better.

The Turin Horse (Tarr/Hranitzky, Hungary)

Hungary’s Bela Tarr took home the Best Director award in Berlin for this, his acclaimed final film. The premise is a fictionalized account of what happened to the horse Friedrich Nietzsche saw being whipped in Turin a month before the philosopher was diagnosed with the mental illness that left him bedridden for the rest of his life. Tarr himself has described this as his “most radical” work, a daunting claim from the uncompromising, austere maestro responsible for the seven and a half hour Satantango. I was fortunate to see Bela Tarr bring The Werckmeister Harmonies to CIFF in person in 2000. One can only hope he’ll see fit to do so again with this swan song.


%d bloggers like this: