The Road to Catharsis

GREENBERG

- Youth is wasted on the youth.
- I’d take it further… I’d say life is wasted on… people.

Having recently left hospital after a nervous breakdown, Roger Greenberg (Ben Stiller) goes to stay in his brother's rich family LA home whilst they are abroad. Reconnecting with old friends and lovers who have all moved on to middle-aged family life, he is flooded with the regrets and misfortunes from his youth. But when he strikes up an awkward relationship with Florence, his brother's young personal assistant, the two of them are given the chance to let go of the past and find a sense of belonging.

In a nut shell, 'Greenberg' is a film about embracing the life you didn’t plan. With great expectations after the success of 'The Squid and the Whale', director Noah Baumbauch delivers another delicate human drama with a rawness that reflects the painful journey of growing old. Although they are from different generations, the two main characters search for one thing: catharsis in a life overwhelmed with dissatisfaction. For Greenberg, he must overcome the disappointment of forgone opportunities. Whereas Florence must overcome the anxiety associated with the pressure to succeed.

Infused with painful comedy, the film is a brilliant portrayal of the 'ugly duckling', which I'm sure many people will relate to. At 40-something, Greenberg hasn't evolved into the person that society tells us to be. Left behind and alienated by family and friends, he exists in basic survival mode; a routine of cynicism and self-absorption that doesn't render him the most likable of characters. However, as the film unfolds, it is clear he wants what everyone wants; to feel connected with the world and accepted for who you are. Soppiness aside- Greenberg has plenty to offer in terms of character, craft and comedy- and it's great to see Ben Stiller in a different skin!


PLEASE GIVE

From director Nicole Holofcener (Lovely and Amazing, Friends With Money), 'Please Give' presents another strong cast of females to remind us that crises are not only for the middle-aged. From a well-off New Yorker family, Christine (Catherine Keener) is racked with the guilt of her profession, where she and her husband make a fortune through the buying and selling of dead people's furniture. In her quest to become a better person, Keener plays the queen of faux pas', unintentionally insulting every person she sees on the street by offering them money and food. Meanwhile, her husband acts on his roaming eye, starting an affair with a younger woman, and her daughter alienates herself from her neurotic mother as she struggles with a tidal wave of teenage woes.

As the family waits for their neighbour to die so that they can knock down the walls and expand, they feel compelled to connect with the miserly old woman and her grumpy granddaughters. True to life, these are fundamentally good people that have been moulded by a shallow society. Struggling to shake off the cynicism, suspicion and greed that gathers with age, they search for some sense of morality and human connection. Catherine Keener is terrific (as always) and the film is really enjoyable; nothing revolutionary, but a poignant way to wrap up my Berlinale feast!

"We don't have time for wars"

Screening with great success at this year's Berlinale, 'Budrus' is an incredible documentary that sheds new light on the Palestinian/Israeli conflict. When the Israeli government initiates the construction of a ‘security’ wall on Palestinian soil, the small town of Budrus is set to lose access to their cemetery and a significant portion of their olive groves. As the bulldozers move in and begin to uproot the olive trees, they are effectively uprooting the town's livelihood- their income, history and tradition. With a strong background in the resistance movement, local resident Ayed Morrar leads the community in a peaceful protest against the invasion.

The documentary was initiated by 'Just Vision', an organisation that uses multimedia as a tool for education and empowerment; promoting non-violent and collaborative efforts to end conflict between Israel and Palestine. Following the screening, director Julia Bacha spoke about the general fatigue associated with the conflict. In response to this, 'Budrus' aims to counter the negative press that overwhelms the media and reinforce the sense that civilians still have a role to play.

During the film, Ayed Morrar says something along the lines of: 'A peaceful protest scares the army more than violence.' With the construction site occupied by the whole community; men, women, children and the elderly; the Israeli army is virtually handcuffed in terms of what action they can take. More importantly, the government is unable to brand them as terrorists. Gathering widespread media attention and respect, supporters begin to arrive from local villages and abroad. But it is when a group of young Israelis arrive lend their support to the non-violent protest that many of the locals become aware of a common vision and we catch a glimpse of reconciliation.

'Budrus' is not without its dark moments. In many ways it explores a community's natural descent into violence and chaos when bullied by a more powerful and organised force. Through interviews with Israeli protesters and a young female Israeli soldier, we also see the helplessness from their perspective, risking prosecution and imprisonment if they do not complete their compulsory military service or support the national political interest.

A visually arresting piece of cinema, 'Budrus' was compiled out of 200+ hours of footage that was shot by professionals, locals, journalists and protesters from abroad. The camera's presence amidst this type of action is an interesting phenomenon. Whilst documenting the events and human drama necessary to tell the story, the camera also plays an important role by protecting civilians against potential human rights violations. This multitasking lens gives us an incredible insight into the process of non-violent action.

'We don't have time for wars'. Ayed declares this at the very start of the film. However, after ten months of relentless non-violent action, the sheer devotion of this community renders this statement somewhat ironic. In any case, it is a devotion that will hopefully travel and inspire many audiences across the world.

You can find more information about the film and Just Vision here: www.justvision.com

Madmen, Delinquents and Yeast Lords...

THE MAN WHO SOLD THE WORLD

"The World is Beautiful" X screams repeatedly as he is dragged into the back of a white van to be institutionalised.

Nothing to do with the David Bowie song, this Moroccan production is based on the novel "A Weak Heart" by Fyodor Dostoevsky. In a post-war apocalyptic setting, a young man called 'X' takes the journey from pure joy to madness. Deliberately heavy in style and content, 'The Man Who Sold the World' aims to make the viewer feel as uncomfortable as the characters. Unfortunately, it merely alienates them. Throughout the film, the audience was confused and restless, and whilst many left the theatre prematurely, I stayed on in the hope that the directors would shed some light on this metaphysical drama during the Q&A session. The brotherly duo were impressive in their auteurial and experimental approach, however I still believe that they produced more of a visual poem than a narrative film; attempting to encapsulate feelings and emotions on screen, but forgetting to add story.

FRIEDENSSCHLAG- Das Jahr der Entscheidung (TO FIGHT FOR- The Year of Decision)

I really wanted to like this documentary. With the best of intentions, the documentary follows five teenage boys who spend a year at the 'Work and Box' company, where they take part in a programme designed to help break the vicious circle of crime and keep young people out of jail. Although it highlights the devotion of the social workers and the complex road the young protagonists take, stylistically, this film is contrived and sentimental. Puppeteering the audience, the way music and editing is employed to pull at the audience's heart strings is hardly subtle. Unfortunately, I spent the whole film being over-conscious and apprehensive about the camera's presence in these delicate situations. Whether it hindered or helped the process of rehabilitation for the young men is debatable... but I can't imagine how anyone would want these self-depreciating moments immortalised on screen.

GENTLEMEN BRONCOS

'Gentlemen Broncos', the latest film from Jared Hess (of 'Napoleon Dynamite' and 'Nacho Libre' fame), follows the story of Benjamin Purvis, a science fiction enthusiast and aspiring writer. When Benjamin meets his literary idol, Ronald Chevalier (Jermaine Clement) at a young writer’s camp, he is exploited, falling victim to copyright fraud.

Borrowing many of the archetypes and comedic devices from his previous films, there is little entertainment value in Hess’ new feature. In saying this, the film thankfully redeems itself every time Sam Rockwell graces the screen with his terrific interpretation of ‘Bronco’; the protagonist in young Benjamin’s novel. Science-fiction fans will probably enjoy the film's many references and sheer tastelessness. For the rest of us… stay home and watch 'Napoleon Dynamite' again instead!

A Waltz With The Golden Bear

Coincidently, the first film I saw at Berlinale also delved into the issue of illegal immigration. After missing a plane and a bus; dashing through airports, anti-Nazi protests and underground train stations; I finally made it to Berlin and by 9am on a Sunday morning, I was dying to plunge head first into the festival. With no set agenda, I walked into the first screening I could find…

‘Dooman River’ took me all the way to the snowy border between China and North Korea. A sobering depiction of poverty and desperation, this quiet film takes place in a small traditional Chinese village, which receives a stream of illegal immigrants from North Korea crossing the frozen Dooman River in search of food. When local Chinese boy Chang-Ho meets a young North Korean immigrant who has recently crossed the border with his ill sister; friendship becomes a complex affair.

In the Korean/German/English discussion that followed the film, director Lu Zhang described illegal immigration in the region as an escalating phenomenon. His intention was to make a film that explores the impact on families; as the world gets darker, parents become less capable of sheltering their children from what they shouldn’t have to deal with.

Whilst this film doesn’t inspire a lot of hope, it does manage to infuse a sense of lightness in many of its characters; the adulterous mayor who makes quirky announcements to the town over a big speaker; the precocious shopkeeper’s daughter who bosses the seniors about and frequently propositions the ‘cutest boy in the village.’

Using local villagers instead of professional actors, the film manages to climb out of its initial self-consciousness and settle into an honest and poignant rhythm. Effectively, the film unmasks a seemingly alien culture, presenting it as something we recognise as universally human. Zhang also explores the origins and evolution of racism, even amongst a group of people with the same origins, separated merely by a frozen river.

Interestingly, this film was a co-production between Korea and France- and between this film and Phillipe Lioret's 'Welcome'- it's clear that the two countries have a lot to share and confront in terms dealing with illegal immigration. So if this beautiful and powerful little film makes it to a festival or cinema near you- be sure not to miss it.

'Welcome' to my world

In countries such as Australia, issues concerning illegal immigration are easily kept from the public eye. Asylum seekers arrive on boats, only to be whisked away to detention centres on remote islands or in the middle of the desert. Although facts and figures do reach us via the media, we are not confronted with the issues on a physical, day-to-day basis. And so they remain aloft; figments of our imagination. But for many communities across the world, it is an entirely different story...

Phillipe Lioret's acclaimed film 'Welcome' was screened last week as part of the Galway Film Society's winter season. Set in the French coastal border town of Calais, 'Welcome' tells the story of Bilal, a young Kurdish refugee who joins the flock of illegal immigrants attempting to cross the English channel. After an attempt to be smuggled over in a truck goes horribly wrong, Bilal decides to learn how to swim and is taken under the wing of local swim instructor Simon. When Simon realises Bilal's real intent; to brave the freezing waters and swim across the English Channel; an unlikely friendship blossoms between them. As he is drawn deeper into Bilal's world, the many political and legal complications associated with helping illegal immigrants begin to emerge.

You really have to admire films which confront political ideologies with such force that they inspire debate, public pressure and ultimately the revision of political policy. 'Welcome' has done just that! Screening in France and across the world the film asks a powerful question; if all humans are equal, with the same hopes, dreams and desires, why are we living in such an unequal world? The scope of the film is impressive, giving voice not only to the immigrants, displaced and ignored, but also to local residents who fall victim to this forced inhumanity; forbidden by French law to help the hundreds of immigrants that inhabit their area.

Without going too much further into the film (as everyone should see it), it is a gripping story with strong motifs that explore notions of suffocation and futility, without leaving you drained of all hope for change.

Old Fangs

Take ten minutes out of your day to sit down and absorb this evocative animation... it's incredibly visceral and a real visual feast. From Cartoon Saloon in Kilkenny, Ireland... the film travelled across the Atlantic to Sundance and is currently featured on the festival's youtube channel.
Enjoy!

Watch 'Old Fangs' on Youtube

A year in review

2009 overflowed with films... the good the bad and the ugly! But I thought I'd put together a small list of my favourites... I hope you are able to track them down!

- "I'm Going To Explode" (Voy a Explotar): another gem to add to the impressive Mexican cinema. This was my stand out film from Edinburgh... bursting with the energy and tragedy of youth!
- "The First Day of the Rest of Your Life": A great French family drama- with some very memorable air guitar moments!
- "Unmade Beds": A lively yet very romantic portrayal of squatting in London... with a brilliant soundtrack.
- "Identities" is a small documentary from Dublin. Beautifully filmed, it's an interesting dip into the world of transgenderism.
- "Only When I Dance": Another documentary gem about young Brazilian ballet dancers and their struggle to be recognised.
- "Fish Tank": A bold film about a bold young woman and her life on a council estate in Essex.
- "All Tomorrow's Parties": A fabulous music documentary; a true filmic collage that uses material from a huge range of sources; from esteemed music directors such as Vincent Moon to moments captured on camera phones!
- "Away We Go": A film that delivers a great emotional punch for those who need it... I did!

I also came across some fabulous shorts...

- "Kirran and the Hatchmaker": I think this has to be one of my favourite films of the whole year! It's a student documentary I saw as part of a shorts programmes in Edinburgh, which delves into the world of Kirran: a weird and wonderful young chap with a huge love/obsession with his chickens!
- ''The Crumblegiant": a beautiful Irish animation on imagination and growing old!
- "The Crocodile, the Rooster and the Night Sky": an animated fable with many twists and turns...
- "Donkey": is a great little Irish animation by Louise Bagnall- a perfect reminder to live the life you love!

Gelsomina's Trumpet

"What a funny face! Are you a woman, really? Or an artichichoke?"
Words from The Fool in Fellini's beautifully tragic 'La Strada'.

I saw La Strada in my second last year of high school. As we often did, my parents and I canoed across the Brisbane River, scrambled up the muddy embankment and headed up to the University of Queensland's Schonell Theatre. The film had recently been re-released, though I had no prior knowledge of it or any of Fellini's work; my folks had invited me along and with nothing better to do, I joined them for the journey into Italian neo-realist cinema. As corny as it sounds... that night I fell in love with cinema. As we paddled back home across the river in the peaceful darkness, the tune from Gelsomina's melancholic trumpet played over and over in my head, and followed me all the way through film school and beyond. (And I still have a habit of drawing the 'Gelsomina' eyebrows on my forehead for parties or no reason at all!)

For the past year I have been travelling around the UK and Ireland, volunteering and interning for various film festivals and production companies. Like many on the festival circuit, I've experienced the usual cinematic overdose; I've been moved, shaken, bored, intrigued, disturbed and inspired... And as the festival season kicks off once again, I'm ready to do it all again. But this time, I'm going to write it all down! First stop is Berlinale... With a limited budget, I'm going to get as many cheap last minute tickets as I can get my hands on. No need to be choosy- obscurity is a friend of mine!

Please feel free to comment, argue... or simply yabber on about whatever you please.

Some favourites from 2009 to come!