Short and Sweet

A few short and sweet reviews to get the ball rolling...

Genius Within- The Inner Life of Glenn Gould

An eclectic biographical documentary that delves into the life of acclaimed pianist Glenn Gould. Although I was previously unfamiliar with this eccentric man, his story, told through music, interviews and rare archival footage, was enough to keep me fascinated for the duration of the film. Hailed as a 'child prodigy', Gould was thrust into the limelight and began performing in his early teenage years. However, it didn't take him long to shy away from public sphere and retreat into the recording studio. Genius Within is a study into the human search for joy, satisfaction and a place to call home. For Gould, home was inside himself; the musical intimacy between him and his piano.

Barry Munday

After losing his ‘family jewels’ in a freak accident involving a trumpet and a protective father, wanna-be ladies man Barry Munday is forced to re-evaluate his entire sense of existence. When he is contacted by Ginger, a young woman who claims that Barry is the father of her unborn child, he is presented with one last chance at fatherhood. Carried by the terrific performance of Patrick Wilson, who transforms a seemingly loathsome character into a lovable hero, Barry Munday is a great dose of comedy and playfulness!

The Road to Las Vegas

This documentary follows the journey of Vanessa Meldon who, after receiving a message from God, packs up her life in Alaska and relocates to Las Vegas in search of work. Taking her partner Maurice and five of their kids, they spend the first year living in the car before Vanessa finds stable work. The documentary touches on a very interesting phenomenon as thousands of families make the same journey to Las Vegas every year. However, as the British director only visited this family on a yearly basis, I felt like much of their story was missed. I wanted to know more about Maurice's battle with drug addiction and life on the streets... the children's experiences. Instead, the film rests almost entirely on the perspective of Vanessa and her brave yet somewhat disillusioned approach to life.

Outcast

Ancient Celtic spells, curses and monsters take force in the urban heart of Edinburgh. This supernatural 'thriller' was hard to take seriously. James Nesbitt plays Cathal, a man on a mission to find and kill his son, a human/beast hybrid who spends his nights devouring young women on the housing estate. Outcast scores high in the gore factor, but achieves little else in my books.

Heartbreaker

Alex Lippi (Romain Duris) breaks hearts for a living. Hired by wealthy relatives, he carries out elaborate plans in order to steal the hearts of his female cases, reignite their sense of passion and inspire them to end their 'flawed' relationship. But when he is enlisted to work his magic on a beautiful and headstrong young wine dealer who is engaged to a nice yet essentially boring Englishman, surprise surprise... he falls for her. This is pure French Hollywood with a cheese factor of 10/10. In saying this, I sheepishly enjoyed every cliché ridden moment... the Duris charm never fails!

Red Hill

Seeking a simple and stress-free lifestyle, a young policeman and his pregnant wife move to a country town. But when a convicted murderer escapes from prison, the small community goes into lock-down, arming themselves in preparation for his imminent return. Hunting them down one by one, the Indigenous escapee takes his revenge and the town’s dark secrets begin to unravel. I spent the first half of Red Hill squirming; effectively chilled and manipulated by the stunning cinematography and suspense. But when the plot turned ridiculous, I copped on. This is a spoof- a ‘Western’- Aussie style.

A Strange Brew... Jazz Funk, Orangutans and Sex

Thundersoul

With great emotional honesty and an infectious soundtrack, Thundersoul is refreshingly uplifting. Threading vibrant interviews with rare archival footage, the documentary celebrates the life and passionate work of Conrad 'Prof' O Johnson, who dedicated himself to music teaching. Creating his own arrangements, Johnson began infusing jazz funk into the repertoire of the Kashmere High School stage band he conducted during the 60s and 70s. Soon the group of of 15-year-olds became an international hit; the first all-black stage ensemble to be recognised and celebrated in America at a professional level.

To pay tribute to their beloved 'Prof', the band decides to reunite and perform for him. After 34 years, some members have gone on to pursue music as a career, whilst others haven't picked up their instruments since school. In any case, it doesn't take long for them to regain their groove. His ex-students have a captivating presence on screen. With their energy and eternal gratitude to Johnson, we come to realise what a deep effect he had on their lives. His story is currently being developed as a feature biopic, but I suggest you get in and see the documentary first! It will leave you with a skip in your step and the funk in your soul.

Nénette

With the huge success of his documentary 'To Be and To Have', director Nicholas Philibert has released another film centred around observation and human behaviour. Nénette is a French celebrity. The 40-year-old orangutan draws visitors from around the world to her home in a Parisian zoo. Throughout the film, the eye of the camera rests solely on Nénette, her son and her zoo-mates. Layered over this observational footage are audio recordings of visitors as they watch and muse from the other side of the glass, interviews with Nénette's keepers and various artistic monologues/improvisations. As Philibert admits, the film is artificial in that none of the visuals are synced with the audio, but carefully constructed in the edit. But I don't think this changes the intentions at the heart of the film.

A new look at animals in captivity, Nénette is a documentary of questions rather than answers. It doesn't champion any cause or push any ideology, but relies on the viewer to draw their own conclusions. Although we focus visually on Nénette, she remains a creature of mystery. The film is more an exploration of the human tendency to project our own reality onto something that is unknown. In a sense, having spent her life watching humans through the glass, we get the feeling that Nénette knows more about us and we do about her. Philibert's spontaneous idea was originally to make is a 10-15 minute documentary, which I think could have worked better. Even at a mere 70 minutes the film tests the patience of modern audiences. However, it is a very interesting piece of cinematic choreography that is well worth the time, albeit for the thought and discussion that it evokes.

Brilliantlove

I can't say that early mornings are ideal for films that are 90% explicit. After a while, I found myself desensitised to all the sex and nudity, and yearning for a simple conversation. In any case, Brilliantlove is an incredibly daring feature that pushes the boundaries of our view around relationships and intimacy. The film tells the story of two young lovers- she (Noon) is a taxidermist and he (Manchester) is a photographer. Together, they spend the summer living in a garage, surviving on sex and the bare essentials. Completely dependent on each other for constant physical contact and a sense of self-worth, their world is shaken when an 'outsider'- a wealthy 'art' enthusiast- stumbles across some of Manchester's explicit photographs of Noon. The cinematography is beautifully experimental and performances from the two main actors are bold and raw. Although for some reason their characters didn't gel together and I found it really hard to be absorbed in the story when I didn't believe in their relationship. It is by no means a hollow film; it makes its statement loud and clear from the very first frame.

A triple bill

Les Signes Vitaux (Vital Signs)

A bleak French-Canadian film about a young woman who returns home from Boston after the death of her grandmother, to whom she was very close. Unsure of how to deal with her grief, she decides to volunteer at the hospital where her grandmother spent her last days. In time, she develops rather inappropriate relationships with patients who wait on their deathbeds. Meanwhile, she also resumes a complex relationship with her ex-boyfriend. Although raising some interesting questions about mortality, choice and self-worth, this is mostly a film about unhappy and damaged people.

Superhero Me

When Steve Sale sets out to discover what it takes to be a superhero, 'S.O.S' is born. Using whatever equipment he could lay his hands on- handycams and camera phones included- he documents his experience as he ventures into the world of real life superheroes who patrol the streets and fight crime! I really think this film had potential; there is a rich melting pot of characters who devote their lives to an alternative identity. But the film didn't dig deep enough, only scraping the surface of these intriguing characters. Furthermore the handheld camera work was at times, so nauseating, that I had to close my eyes. (The first sign of ageing?) Whilst I admire the bravery of this indie/guerilla style of filmmaking, I was ultimately disappointed.

Huge

Two aspiring comedians played by Noel Clarke and Johnny Harris, team up and attempt to break into the stand-up scene with their duo act 'Warren and Clarke'. Directed by Ben Miller and with a strong support cast from the comedy sphere (plenty familiar faces to spot here) Huge has a wealth of experience behind it. It's not so much a comedy in itself, but a film about comedy; an homage to the world of stand-up and the often brutal journey comedians must make on the way to the top.

Alamar (To The Sea)

Alamar is not your conventional drama or documentary, but a beautiful hybrid piece of cinema that will leave you tender and serene. Taking a real life father and son duo, director Pedro Gonzalez-Rubio sets them up with a narrative context; the son (Natan) is moving to Italy with his mother. But before he leaves, he is to spend time with his father (Jorge) and grandfather in a small fishing community on the Mexican-Caribbean coast. There, in a small house on stilts surrounded by water, the drama evolves spontaneously. In fishing, eating and interacting with the wild surrounds, life is consumed by the simplest of activities; we sense the fragility of the ecosystem and as humans, how gentle we must be ensure its livelihood.

After the film, Gonzalez-Rubio talked about the purity of this particular environment and way of life. We all search for this purity, he said, but if we all take a piece of it, in the end we destroy it. It is disturbing to think of the recent oil spill as is makes it's way to these pristine waters, and with continued touristic development, the ecosystem becomes more and more endangered. These ideas are by no means explicit in Alamar, but sewn into the fragile and tender relationship between Natan and Jorge. Jorge is a mystical and placid creature; 'despacio' meaning 'slowly' is the word he lives by. Natan, like most children, is spontaneous and inquisitive. Together, they embody intimacy and discovery, surrounded by the miracles of everyday life. Although this unique father and son connection is so remote from the Western world, I hope it resonates across all urban-dwelling audiences. Alamar reminded me a lot of someone close, but for whatever reason, it put me back in my skin. If it weren't for festivals, films such as this gem would struggle to make it to the big screen. So we are lucky.

The Family Tree (L'abre et la foret)

Scandal sinks into a family home when the father decides not to attend his son's funeral. As relatives and in-laws throw about accusations and attempt to justify their behaviour, a buried family secret begins to unravel.

At one point in The Family Tree, a character ultimately sums up the film by saying, "We are at the end of a long line of unhappy people." If you enjoy spending an hour and a half in a house full of unhappy people- you may enjoy this film . The problem is, none of the characters are likeable enough to endure their selfish and destructive behaviour. What's more, after virtually a lifetime of silence and secrets, when the father suddenly decides to come clean, the film turns into his own personal monologue. Whilst there are some interesting historical references and revelations to begin with, the monologue quickly becomes repetitive and at times, pretentious.

SoulBoy

Inspired by the 'Wigan Casino', alleged home of of Northern Soul, SoulBoy is a small coming-of-age tale of a young man who gets swept up in the music phenomenon that hit Britain in the 70s. If you're craving some soulful beats and moves, head along to this love your soul and crave a few - head along to this sweet little film... but don't expect any twists, surprises or emotional punch.

The Edge of Dreaming

When scientist/filmmaker Amy Hardie dreams that her horse is dead, she goes outside to find it true. Shortly after, she dreams of her own death aged 48. 'The Edge of Dreaming' follows Amy through the year as she explores the notion of mortality, dreams and human psychology. Set in the family home, this self-reflexive documentary is full of warm and tender moments. The experimental cinematography also worked very well. In terms of substance- it all depends on how open-minded you are. Although the film was an interesting journey into the realm of dreams, they continue to mystify us... and I kind of like it that way!

Opening Gala- 'The Illusionist'

Adapted from an unproduced script by Jacques Tati, Sylvain Chromet's The Illusionist is a moving homage to the late mime artist and the beautiful city of Edinburgh during the late 1950s. The magician (an animated version of Tati himself) leaves Paris for the UK in an attempt to revitalise his fading career. Passing through a small and very lively Scottish community, he attracts the attention of a young girl who then follows him on to Edinburgh. Taking a room in a small hotel full of entertainers and creative outcasts, the unlikely pair pursue their separate dreams; The Illusionist in search of an audience and the young girl who desperately wants to grow into a 'modern' woman. What is beautiful about this film is that although both characters respond very differently to the onset of post-WW2 consumerism, neither approaches are depicted as right. We are simply told a story of two lost souls seeking human connection.

With virtually no dialogue, it is The Illusionist's nuanced animation and attention to detail that makes it so evocative. An expression, a pause... a grunt or a sigh. The trembling of a rustic motorcar, personified as if it had the loose and brittle bones of an old man. Whilst some seem to believe that the film was 'missing something', I truly believe it is the symptom of what I call 'slow film fatigue'- the fatigue associated with having to concentrate on the smallest of details in order to follow a quiet and slow-moving film- something we're not so accustomed to in this day and age! I think if anything more were to be added to The Illusionist, the alchemy would be ruined, for it is truly magic!

Edinburgh... the film feast begins!

Edinburgh 2010 begins… and to set off on a dark and twisted path I went along to see Werner Hertzog and David Lynch's first director/producer venture, ‘My Son, My Son, What Have Ye Done’. After travelling all night without a wink of sleep, consuming the film was like drinking on an empty stomach. Very soon, the incredibly surreal characters and imagery became overwhelming and crept into my small bouts of shut-eye as the film played out.

As you would expect, it was an absurd and perverse narrative. Inspired by a true story, the film follows homicide detective Hank Havenhurst's (Willem Dafoe) investigation of Brad McCallum (Michael Shannon) who has murdered his mother with an antique sword. As Havenhurst questions McCallum's fiancée and friend/theatre director, we delve into the disturbed young man's past through a series of flashbacks to discover that a recent rafting trip to Peru left him with some serious mental scars.

Threading Greek tragedy with psychoanalysis and experimenting with time, space and the audience's suspension of disbelief, this is classic Hertzog/Lynch territory. There is much to enjoy in this film: some off the wall one-liners and a terrific performance from Grace Zabriskie as the mother. The juxtaposition of cinematography and music is also very effective in creating an unsettling and visceral experience. However, there was so little humanity in this film that I was relieved to see it end. It is pure madness. Devout Hertzog fans will no doubt be delighted, but for the under-slept and vulnerable- beware! Your dreams will be invaded by Flamingos, Quaker Oats and glazed eyes...