Advertisements

Tag Archives: Mojtaba Mirtahmasb

Top 10 Films of 2012

In 2012 I made a concerted effort to watch more movies in the theater than I have in the recent past, ramping up my total number of trips to 63 for the calendar year, or a little more than one big-screen movie per week on average. This included seeing 51 new films, three of which I saw twice, as well as nine revivals of older movies (and this is to say nothing of the new films I saw for the first time on home video and On Demand). This also meant that I ended up seeing more great new films in 2012 than in any year I can remember. I’ve subsequently come to realize that there’s really no such thing as a “good year” or a “bad year” for movies as pundits are often fond of proclaiming – any year is a great year for movies if you cast your net wide enough. I’ve also come to believe more than ever that it’s utterly foolish to limit one’s personal “best of” list for any year to only those movies that received a world premiere during the past calendar year, as many of my personal and professional colleagues do. Lists that are more region-centric – by including local premieres – are always much richer and more diverse; by allowing myself to include Chicago premieres, for instance, my list below contains such recent pre-2012 gems as This Is Not a Film (2011), Bernie (2011), House of Pleasures (2011), Aita (2010) and The Hunter (2010), all of which would have otherwise been ineligible from my list last year or the year before simply because they didn’t happen to play where I live and I had no chance to see them. Why penalize any of these great films by excluding them just because the machinery of distribution and exhibition happens to move slower for non-Hollywood titles?

Finally, to return to a theme I raised in my year-end best of list for 2011, the vitality of old dudes, I think it’s worth pointing out that the two most impressive pieces of “shock cinema” I saw this year were directed by 75-year old men: the surgery scene in Prometheus and the fried-chicken scene in Killer Joe. I find it heartening that, in their old age, “Sir” Ridley Scott and “Hurricane” Billy Friedkin now seem beyond giving a damn about fussing around with middlebrow, Oscar-bait material and aren’t afraid of really LETTING IT FLY. Will Spielberg ever do likewise?

The Top 10 (in preferential order):

10. The Comedy (Alverson, USA) – Facets Cinematheque. Rating: 8.7

comedy

One of the many provocative things about musician/filmmaker Rick Alverson’s third feature is the title itself: the film is not a comedy at all but rather a fascinating and strangely poignant drama about Swanson (Tim Heidecker), an overprivileged 30-something hipster/douchebag who drifts through life seemingly with no purpose. He lives in Williamsburg, fritters away his dying father’s money and hangs out with a circle of similarly overprivileged and reprehensible friends (including characters played by members of LCD Soundsystem and Okkervil River). But far from being the exercise in monotony that some critics claimed, I found this to be a carefully structured, extremely sharply observed character study that I would even say approaches Antonioni territory as a trenchant portrait of alienation – albeit one that is situated within a very specific, contemporary American context; Swanson repeatedly tries to reach beyond his circle of white male friends to connect with other people – mostly minorities, immigrants and women – but continually offends them with his extreme, offensive and unfunny behavior. This courageous film is what American independent cinema should be but all too rarely is.

9. Cosmopolis (Cronenberg, Canada/France) – Landmark’s Century Centre Cinema. Rating: 8.7

The year’s second best movie about a dude being chauffeured through a major metropolis in a stretch limo, David Cronenberg’s adaptation of Don DeLillo’s novel had many casual viewers walking out of theaters, mid-screening, in droves. That’s too bad, as the intentionally stylized, robotically-cadenced dialogue and acting, which admittedly takes some getting used to, ultimately proved to be the pitch-perfect vehicle for the director’s critique of late capitalism; the darkly comic, dream-like world of Cosmopolis isn’t quite the world we live in but it does bear a disturbing resemblance to it, as if the movie were taking place just a few short months into some potential dystopian future. Cronenberg’s deft use of confined spaces also produces some of the most stringent filmmaking of his career, and lead actor Robert Pattinson excels as the despicable billionaire whose plight becomes both moving and tragic as the movie inexorably heads to its haunting final shot, an image more emblematic of our times than any other I saw this year. Full review here.

8. House of Pleasures (Bonello, France) – Siskel Center. Rating: 8.8

Bertrand Bonello’s mesmerizing portrait of the last days of a fin-de-siecle Parisian brothel turned up for a brief run at the Siskel Center and, seeing as how I was turned away from the first sold-out screening I tried to attend, should’ve gotten a much wider release. Like Hou Hsiao-Hsien in The Flowers of Shanghai, Bonello is more interested in the public (as opposed to private) spaces of his central location and consequently focuses more on the social (as opposed to sexual) interactions between the prostitutes and their clients – although there’s plenty of nubile flesh on display as well. Bonello initiates viewers into this fascinating, largely interior, self-enclosed world through the experiences of two sex workers at opposite ends of their careers: Pauline, a virginal 16-year old who is hired on at the film’s beginning, and Madeleine, a veteran of the trade who’s forced into premature retirement when a knife-wielding john slashes a permanent grin into her face so that she resembles Conrad Veidt in The Man Who Laughs. Gorgeous visuals and an anachronistic soundtrack (featuring classic r&b and The Moody Blues’ “Nights in White Satin”) contribute to an intoxicating, enigmatic and wholly unforgettable experience.

7. Bernie (Linklater, USA) – Century 12 Evanston. Rating: 9.0

Richard Linklater’s delicious black comedy tells the incredible true story of the title character, an ingratiating assistant funeral director (Jack Black) from the small Texas town of Carthage, who befriends and then murders a wealthy 81-year old battle-axe (Shirley MacLaine). Things really start cooking when the murder trial has to be moved to another town because Bernie is too well liked in Carthage. Black, reteaming with Linklater for the first time since their winning collaboration on The School of Rock, is a million miles away from his usual manic Belushi-esque schtick; he marvelously underplays Bernie as a barely-closeted homosexual and seemingly all-around nice guy whose true motives remain shrouded in ambiguity. MacLaine and Matthew McConaughey also shine in supporting roles but the real heart of the film is the performances of the residents of Carthage who essentially play themselves and function as a kind of homespun Greek chorus. The result is so damn entertaining that first-time viewers are likely to not even realize the complex and even troubling questions being posed about morality, justice and the American legal system by Linklater and co-writer Skip Hollandworth (on whose non-fiction Texas Monthly article the screenplay is based). Richard Linklater is a national treasure and it is a shame that more critics and audiences didn’t rally behind this great, deceptively small film. More here.

6. The Master (Anderson, USA) – Music Box/Landmark’s Century Centre Cinema. Rating: 9.2

Paul Thomas Anderson’s sixth feature in many ways plays like a Greatest Hits album for the prodigiously talented 42-year-old writer/director. It revisits familiar elements in terms of both content (addiction, alternative families, strained father/son relationships, a charismatic con man/charlatan character and, in the memorable phrase of Ignatiy Vishnevetsky, a “sex obsessed man-child”) as well as form (a dissonant musical score, bravura long takes, depth staging and elaborate camera movements). Yet much of the film’s greatness lies in the way that, in spite of its familiarity, it was still somehow able to confound; my opinion of The Master was at its lowest immediately after I first saw it due to what I perceived to be Anderson’s awkward handling of narrative structure. But the more time has gone by, the more I feel that it is confounding in the way that only something genuinely new and exciting can be, and what I initially perceived as “flaws” now seem like virtues. There may be no catharsis, for either the characters or the viewer, but this film does so many things right: the 70mm cinematography and period detail are often awe-inspiring, and Philip Seymour Hoffman and Joaquin Phoenix give career-best performances, proving yet again that PTA is the contemporary American cinema’s finest director of actors. Full review here.

5. Like Someone in Love (Kiarostami, Japan/Iran) – Chicago International Film Festival. Rating: 9.3

I’ll never forget listening to the instantly heated arguments that began immediately after the sold-out screening of Like Someone in Love that I attended at the Chicago International Film Festival. The audience response seemed to be one big collective “What the fuck?,” which is understandable given the film’s extremely abrupt and enigmatic ending (and I mean extremely abrupt and enigmatic even for Abbas Kiarostami). However, as with The Master, the passage of time has convinced me that this provocation is one of Kiarostami’s best films – an almost perverse challenge to audience expectations of narrative structure that satisfies precisely because of its irresolution. The Japan-set story documents a kind of unconventional love triangle between a kindly old professor, a beautiful young prostitute and her violent and jealous boyfriend. There is actually a lot of comedy in the film (even more than in Kiarostami’s beloved Certified Copy) although the darkness of the final moments seems to cast a retroactive shadow over everything that has come before. Kiarostami slyly told his producer that no one would be able to tell that this film hadn’t been made by a Japanese director and I think he’s right; if Yasujiro Ozu were around today, this seems like the kind of movie that he might make. More here.

4. This Is Not a Film (Panahi/Mirtahmasb, Iran) – Siskel Center. Rating: 9.5

Chris Marker concludes his extraordinary 1993 documentary The Last Bolshevik by noting that, in the silent era, Russian director Alexander Medvedkin cried the first time he spliced two shots together and saw the result run through a motion picture projector. Marker then poignantly adds “Nowadays television floods the whole world with senseless images and nobody cries.” The antiquated notion of a movie inspiring someone to cry — not just over its content but due to the miracle of its construction — is unexpectedly resurrected in Jafar Panahi’s lo-fi-by-necessity This Is Not a Film. There was nothing in any film to first play Chicago in 2012 more moving or more profound than the scene where Panahi, under house arrest, concludes a lengthy description of his proposed next movie, one that he will probably never be able to make, by asking, “If we could tell a film, then why make a film?” There are tears of frustration in his eyes when he asks this question. Against all odds, This Is Not a Film ends up triumphantly providing the answer by refusing to exist as something that “can be told.” See it and weep for yourself. Full review here.

3. Something in the Air (Assayas, France) – Chicago International Film Festival. Rating: 9.6

Olivier Assayas’ autobiographical quasi-sequel to his autobiographical Cold Water is one of the most detailed and convincing portraits of the late Sixties/early Seventies counterculture I’ve ever seen in a movie (from France or anywhere else). It is a vividly imagined evocation of the “sex, drugs and rock ‘n roll” era that impressively manages to avoid the cliched treatment you might expect of its subject. From France to Italy to England, Assayas’ mise-en-scene is lovingly detailed throughout, as if each shot were meticulously recreated from one the director’s highly personal memories, but it’s the faces of the actors that ultimately give the film its throat-catching power: these remarkable young people register on screen with the delicacy, beauty and physical immediacy of the “models” of late Bresson. One can only hope that Assayas will keep this adventures-of-Gilles series going and turn it into an Antoine Doinel-like cycle of his own. More here.

2. Life Without Principle (To, Hong Kong) – Blu-Ray (Chicago Premiere: Siskel Center). Rating: 9.9

Johnnie To’s 2011 masterpiece turned up in Chicago for a couple of screenings at the Siskel Center in November but this was many, many months after I had already seen (and reviewed) Media Asia’s superb Hong Kong Blu-ray release. Oh well, even though I would have preferred to see this 35mm-shot film for the first time projected on the big screen, such are the tricky machinations of contemporary distribution patterns. The movie itself, one of To’s best, depicts three interlocking crime stories about money-mad characters (the most prominent of whom is a lovable, low-level triad portrayed by the brilliant Lau Ching-Wan) scrambling to get ahead in the current global financial crisis. Short on action but long on delightful cat-and-mouse style maneuverings, this absurdist dramedy succeeds as both nimble, expertly clever storytelling (a set piece involving a banker selling a high-risk investment to an elderly customer is worthy of Beckett) and as a prescient sociological analysis. Someone should make Andrew Dominik, the talented director of the pretentious Killing Me Softly, watch this. Full review here.

1. Holy Motors (Carax, France) – Chicago International Film Festival/Music Box. Rating: 10

It’s been over two months since I first saw Leos Carax’s Holy Motors at the Chicago International Film Festival and I still haven’t quite been able to wrap my brain around its brilliance. This exhilarating hallucinatory journey concerns a man named Oscar (the great, almost impossibly expressive Denis Lavant) who finds himself, for reasons never explained, embodying eleven different avatars over the course of one long day. Whisking him from one “appointment” to the next is an elderly female chauffeur named Celine (an enchanting Edith Scob), and their warm-hearted bond perfectly balances out the moodier aspects of Carax’ eulogy for what he sees as the end of our era of “large visible machines.” Out of all the movies I’ve seen in the 21st century, none struck me as more deeply personal (nor more embarrassingly private – it was dedicated to Carax’ girlfriend who committed suicide shortly before production began, an event that is symbolically recreated in the film). Although Carax may not care about aggressively courting critics or even audiences, he still believes, like a child, that movies are magic. I defy you to watch this film and not believe it too. Full review here.

Because I saw more new films than usual in 2012 (in part because I tried to go to the theater more often but also because I covered two festivals as a member of the press) I am listing 33 and a third runners-up below.

Runners-Up (in preferential order):

11. Aita (de Orbe, Spain) – Siskel Center. More here. Rating: 8.6
12. The Hunter (Pitts, Iran) – Facets Cinematheque. Rating: 8.6
13. Prometheus (Scott, USA) – Wide Release. Full review here. Rating: 8.3
14. The Day He Arrives (Hong, S. Korea) – DVD (Chicago Premiere: Siskel Center). Rating: 8.3
15. Oslo, August 31st (Trier, Norway) – DVD (Chicago Premiere: Siskel Center). Rating: 8.2
16. Our Children (Lafosse, Belgium) – CIFF. More here. Rating: 8.2
17. Meeting Leila (Yaraghi, Iran) – CIFF. More here. Filmmaker interview here. Rating: 8.2
18. Sleeping Sickness (Kohler, Cameroon/Germany) – Siskel Center. More here. Rating: 8.1
19. Marley (Macdonald, USA/UK) – DVD (Chicago Premiere: Music Box). Rating: 8.1
20. Moonrise Kingdom (Anderson, USA) – Century 12 Evanston. More here. Rating: 7.9
21. Killer Joe (Friedkin, USA) – Landmark’s Century Centre Cinema. Rating: 7.9
22. A Simple Life (Hui, Hong Kong) – AMC River East. More here. Rating: 7.8
23. Resident Evil: Retribution 3D (Anderson, Canada/Germany) – Wide Release. Rating: 7.8
24. Damsels in Distress (Stillman, USA) – Facets Cinematheque. Rating: 7.8
25. The Phantom Father (Georgescu, Romania) – Siskel Center. More here. Rating: 7.8
26. The Last Sentence (Troell, Sweden/Norway) – CIFF. More here. Filmmaker interview here. Rating: 7.8
27. Unforgivable (Techine, France/Italy) – Music Box. Rating: 7.8
28. The Jeffrey Dahmer Files (Thompson, USA) – CIFF. More here. Rating: 7.7
29. Punk’s Not Dead (Blazevski, Macedonia) – DVD Screener/CIMM Fest. More here. Rating: 7.7
30. The Three Disappearances of Soad Hosni (Stephan, Lebanon/Egypt) – DVD Screener/CIFF. More here. Rating: 7.7
31. Mekong Hotel (Weerasethakul, Thailand) – CIFF. More here. Rating: 7.4
32. A Separation (Farhadi, Iran) – Music Box. Rating: 7.4
33. The Deep Blue Sea (Davies, UK) – DVD (Chicago Premiere: Siskel Center). Rating: 7.3
34. Carnage (Polankski, France/Germany) – Landmark’s Century Centre Cinema. More here. Rating: 7.3
35. To Rome with Love (Allen, USA/Italy) – Cine Arts 6 Evanston. More here. Rating: 7.2
36. The Final Member (Bekhor/Math, Canada/Iceland) – CIFF. More here. Rating: 7.1
37. Consuming Spirits (Sullivan, USA) – DVD Screener/CIFF. More here. Rating: 7.1
38. The Innkeepers (West, USA) – On Demand (Chicago Premiere: Music Box). Full review here. Rating: 7.1
39. The Girls in the Band (Chaikin, USA) – DVD Screener/CIMM Fest. More here. Rating: 7.0
40. F*ckload of Scotch Tape (Grant, USA) – DVD Screener/CIFF. More here. Rating: 7.0
41. Rhino Season (Ghobadi, Iraqi Kurdistan/Turkey) – CIFF. More here. Rating: 6.8
42. Love Stalker (Glasson/MacLean, USA) – Portage. Filmmakers interview here. Rating: 6.7
43. John Dies at the End (Coscarelli) – CIFF. More here. Rating: 6.6

Special citation for a short film (the 1/3!):

Vardeldur (Bass, USA) – Vimeo (Chicago Premiere: Siskel Center). Full review here.

And, just so you’ll know exactly what I had to work with, here are the other new films I saw in 2012 that didn’t make the list (ranging, in my estimation, from the terrible to the pretty good):

Abraham Lincoln: Vampire Hunter (Bekmambetov) – DVD (Chicago Premiere: Wide Release). More here.
Argo (Affleck, USA) – Wide Release.
Beasts of the Southern Wild (Zeitlin, USA) – Landmark’s Century Centre Cinema. Some more thoughts here.
Bound By Flesh (L. Zemeckis, USA) – DVD Screener/CIFF.
The Brooklyn Brothers Beat the Best (O’Nan, USA) – DVD Screener/CIMM Fest. More here.
The Cabin in the Woods (Goddard, USA) – Wide Release. Full review here.
Control Tower (Miki, Japan) – DVD Screener/CIMM Fest. More here.
Dark Horse (Solondz, USA) – Facets Cinematheque.
The Dark Knight Rises (Nolan, USA) – Navy Pier IMAX.
David Wants to Fly (Sieveking, Germany) – Streaming at linktv.org (Chicago Premiere: Chicago Cultural Center). More here.
Django Unchained (Tarantino, USA) – Wide Release.
The Hobbit: An Unexpected Journey 3D (Jackson, New Zealand) – Navy Pier IMAX.
Irvine Welsh’s Ecstasy (Heydon, Scotland/Canada) – DVD Screener/CIMM Fest. More here.
Killing Them Softly (Dominik, USA) – Wide Release.
Lincoln (Spielberg, USA) – Wide Release. More here.
Looper (Johnson, USA) – Wide Release.
Madly in Love (Van Mieghem, Belgium) – Siskel Center. More here.
Paradise Lost 3: Purgatory (Berlinger/Sinofsky) – DVD (Premiere: HBO)
Polisse (Maiwenn) – Facets Cinematheque.
Room 237 (Ascher, USA) – CIFF. More here.
Skyfall (Mendes, UK/USA) – Navy Pier IMAX. More here.
Snow White and the Huntsman (Sanders, USA) – Wide Release.
Tuesday (Kornilios, Greece) – Siskel Center. More here.
Trouble with the Curve (Lorenz, USA) – Wide Release.
The Woman in Black (Watkins, UK) – DVD (Chicago Premiere: Wide Release).

Advertisements

Now Playing: This Is Not a Film

This Is Not a Film
dir. Jafar Panahi/Mojtaba Mirtahmasb, 2011, Iran

Rating: 9.5

The bottom line: a movie that dares to answer the question “If we could tell a film, then why make a film?”

Now playing at the Gene Siskel Film Center is This Is Not a Film, a remarkable new documentary by and about Iranian director Jafar Panahi, one of contemporary cinema’s greatest and most socially conscious filmmakers. As is fairly well-known, this new “non-film” was made by Panahi while under house arrest following his conviction in December 2010 on vague charges of creating “propaganda against the Islamic Republic.” Prior to shooting, Panahi had been sentenced to six years in prison and received a further 20 year ban on filmmaking, giving interviews or leaving the country. Incredibly, This Is Not a Film, made clandestinely and in collaboration with Panahi’s friend Mojtaba Mirtahmasb, was smuggled out of Iran on a USB drive hidden inside of a birthday cake and received its world premiere at the 2011 Cannes Film Festival last May. Since then it has played around the world to great acclaim including in the U.S. where it was picked up for distribution by Palisades Tartan. As far as I can tell, Panahi is presently in a stage of legal limbo known in Iran as “the execution of the verdict,” meaning he is free but can be re-arrested and sent back to prison at a moment’s notice. My advice to anyone reading this who is contemplating seeing This Is Not a Film is to do so immediately. The acclaim it has generated has nothing to do with critical sympathy for Panahi’s legal plight, as one might cynically assume. The movie, while impossible to evaluate without also contemplating the circumstances of its making, is essential viewing for anyone who cares about cinema.

One fruitful way to begin analyzing This Is Not a Film is to start with the provocative title, which has at least three possible meanings:

1) On the most superficial level, This Is Not a Film is literally not a “film.” It was shot on a consumer-grade digital camera primarily manned by Mirtahmasb and an iPhone operated only by Panahi. The lo-fi YouTube-quality aesthetics are appropriate given that the movie is essentially an intimate one-man show featuring Panahi at home over the course of one long day.

2) More importantly, This Is Not a Film refuses to function like what most viewers think of when they think of a “film” (i.e., it is not an escapist entertainment nor an easily digested and forgotten commercial object). Instead, it is closer to being a cinematic essay, one that engages viewers in a dialogue and requires them to contemplate the very nature of both filmmaking and human rights in the 21st century. The content is deceptively mundane: Panahi watches clips from his own films on DVD, attempts to feed his daughter’s pet iguana, receives a food delivery and, unforgettably, accompanies a neighbor on an excursion to take out the trash. But context is everything: these activities are set against the backdrop of the “Fireworks Wednesday” celebration of the Persian New Year and they have been carefully edited so that they build to a final image of a conflagration that is overwhelming in its poetic power.

3) On the most profound level, by making a film that declares itself a non-film, Panahi has protested his sentence while also cleverly and subversively complying with the Iranian authorities’ ban on filmmaking. The closing titles identify This Is Not a Film as an “effort by” Mirtahmasb and Panahi with no indication of how exactly the filmmaking duties were split up between them. A good chunk of their 75 minute effort is devoted to Panahi acting out scenes from a script that he wrote prior to being arrested. Provocatively, they involve a girl being forbidden to attend university by her father, who locks her in her bedroom instead. (The irony of Panahi playing the role of a girl who is essentially under house arrest is almost impossibly rich.) By bringing this story to light, even without proper actors and sets, Panahi raises the tricky question of whether or not he has actually made that film after all. Or has he instead merely become the subject of a documentary being made by Mirtahmasb, which he has not been banned from doing according to the dictates of his sentence? Ultimately, Panahi is asking what it means to make a film. Although Mirtahmasb is in charge of the cinematography, at least initially, Panahi can’t resist telling him where to point his camera and, on at least two occasions, also saying “Cut.” (I guess once a director, always a director.) In the final scenes, when Panahi finally picks up Mirtahmasb’s camera himself and ventures outside of his apartment, it feels like a genuinely radical act of defiance.

This Is Not a Film is at least the third recent Iranian movie to receive a Chicago debut this year, following Asghar Farhadi’s much-lauded (and Oscar-winning) A Separation and Rafi Pitts’ magnificent, criminally under-seen anti-thriller The Hunter (which played for a week at Facets to little fanfare). This recent spate of activity proves that Iranian cinema is alive and well even if the relationship between Iranian filmmakers and their government is growing increasingly tense. In an interview, Pitts has aptly summarized contemporary Iranian cinema by saying, “Dealing with censorship has become our art, how to say something, with certain rules.” In This Is Not a Film, Panahi has gone a step further by taking his own incarceration and filmmaking ban and turning them into a daring work of performance art. Panahi’s latest may not be a “film” in any conventional sense, but it is certainly a masterpiece.


%d bloggers like this: