Last weekend I headed across the country for a taste of the Jameson Dublin International film festival. Neglecting to book tickets, I wasn't spoilt for choice as most of the screenings had sold out (great to see at any film festival). But I did manage to get along to a few films in between sips of free whiskey...
Woody Allen's new film touches on what seems to be a recurring theme in my recent cinema-going experience... Mid-life crises! In 'Whatever Works', Larry David assumes the role of Boris, cynical 'genius' (sound familiar?) who settles into an habitual New York existence after a failed suicide and marriage. After coming to terms with an imperfect and random existence, he takes in Melodie, a young runaway from Mississippi who accosts him outside his apartment one evening. Relishing the opportunity to impart his cynicism and worldly view onto another human being, Boris begins to develop feelings for the pretty but essentially dim-witted young woman; and as Melodie soaks up Boris' 'wisdom' like a sponge, she blossoms with self-confidence and unwarranted devotion for the old man.
I didn't enjoy this film nearly as much as 'Vicki Cristina Barcelona', but Woody Allen stays true to style, delivering a film rich with witty and provocative dialogue, and a palette of interesting characters. He also experiments with a new element, allowing Larry David's character to directly address the audience throughout the film. It's a strange and yet rewarding experience; as an audience you are invited into his world as the 'cretins' and 'inchworms' he so despises. In any case, if you are seeking a bit of New York nostalgia and mid-life reassurance, you'll definitely enjoy this film. According to Boris, life, love, happiness and fulfillment is all unpredictable and in many ways disgusting... but 'whatever works'!
REVANCHE (REVENGE)
Living a life of debt and oppression, an ex-prisoner (Alex) and an illegal Ukrainian prostitute (Tamara) decide to rob a bank on the outskirts of Vienna and elope to Spain. When the seemingly simple plan goes horribly wrong, Alex takes refuge with is grandfather, where he chops wood and devises a plan of revenge.
In the style of Michael Hanneke, this film rides on tension-building, anticipation and long drawn out pauses. With some great performances and poignant moments I was completely absorbed for the majority of the film. It is a visceral and unpredictable piece of storytelling, that explores the process of grief and the cyclical nature of life and death; and how extreme emotional circumstances can sometimes open the door to intimacy.
APPLAUSE
Carried by the brilliant performance of actress Paprika Steen, this gritty Danish drama tells the story of a recovering alcoholic who tries to reconnect with her children, her past and essentially find something to live for. Toying with genre and audience expectation, I enjoyed the ambiguous plot and was drawn into the vicious circle of alcoholism. However, don't expect to be uplifted by this stylistically bleak and often nauseating piece of cinema...
SHAMELESS
I went into this low-budget Czech drama with little to no expectations and it definitely lived up to its name as an 'unromantic comedy'. Full of bulging bodies and shallow behaviour, 'Shameless' follows a 40-something year old man who tumbles into a mid-life crisis after waking up one morning to the realisation that his wife's nose is too big. Losing his job and moving out of the family home, he reverts back to bachelorhood, experimenting with life as a sugar daddy and toy boy.
Like its characters, this is a graceless film that doesn't shy away from sheer silliness. Again, we are encouraged to embrace a life that isn't predictable or symmetrical, but full of surprises. Although clunky in places, I found 'Shameless' somewhat refreshing in that it explores mid-life crises without taking itself too seriously.
Dublin Film Critics Circle
I went along to the small awards ceremony presented by the Dublin Film Critics and was delighted to see 'Samson and Delilah' take out the Best Film category! This quietly powerful Australian film has already captured audiences across the globe; it is so good to see it continue to do so.
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