Soul Boy #2

Another Soul Boy! This time we travel to Kibera, the largest slum in Nairobi, Kenya, where a young boy finds his father delirious and debilitated after gambling away his soul. On instruction from the local 'witch', the boy has until the following morning to face a series of his father’s greatest fears in order to restore his soul.

This production was born from an initiative headed by German production company One Fine Day Films. Produced and supervised by Tom Twkyer (director of Run Lola Run), the company set out to equip the local community with the skills and technology to produce a film. The project has a lot of merit, both in process and the finished result; I was drawn into the colourful labyrinth of Kibera by the strong cast of non-actors as they brought an age-old folk tale to life. At times the plot comes across as simplistic, however, the film interweaves some interesting cultural and religious phenomena, and flows at a pumping ‘Lola-esque’ pace; short and sweet works! Read more about the project here: Soul Boy

Yo, Tambien (Me, Too)

Daniel was born with Down's Syndrome, but through his mother's determination and relentless hard work, he is well educated and relatively independent. After graduating from university, he starts his first job in the Department of Social Services where he falls in love with his enigmatic co-worker Laura. With her own demons concerning love, trust and relationships with men, Laura drops her guard and the two strike up a close friendship. For a time together, they experience what it's like to feel 'normal'. But soon, the close-mindedness from their surrounding world begins to creep in and eat away at their bond.

Brimming with humour and humanity, this poignant Spanish drama is without doubt one of my favourites from this year's EIFF. What I loved about it was that it wasn't so much about people who are different just because they have an extra chromosome; it's a more universal story of humans who constantly struggle to fit in.

In following these two beautiful characters, we come to realise the importance of self acceptance and expression. With all the best intentions Daniel's mother has essentially created a shell of normality around her son; he thinks and feels the same as everyone else. But when he is treated differently in the real world, the shell cracks and crumbles, leaving him more vulnerable than ever. It asks the question, is happiness found in normality or the acceptance of our peculiarity? The film frequently visits a dance studio where Daniel's sister-in-law runs classes for young people with Down's Syndrome. The scenes are incredible; the strength and conviction of movement, and the sheer intensity of human expression is alien to our 'normal' world; these young adults can express themselves with a purity that most of us have learnt to suppress.

Off the Wall....

Au Revoir Taipei

This delightfully silly homage to French New Wave cinema is set on the bustling streets of Taipei. In order to visit his girlfriend in Paris, a young man borrows money from an uncle and agrees to pick up a 'package' for him. With his awkward school friend and a cute girl he meets in a book shop, the threesome become entangled in a ring of crime, drugs, kidnapping and dumplings! This is a cheesy and quirky Taiwanese romance, washed down with a Jazz Manouche inspired soundtrack... loved it.

The Black Panther

When the director Iyari Wertta introduced this film, he encouraged the audience to stick it out... it would all become clear in the end! Exhaustion forced me out of the game fairly early when it came to making sense from this noir-ish piece of Mexican surrealism. However, adamant to find meaning, my dear friend concentrated from beginning to end and still came out of the cinema wondering where the last two hours had gone. All I can say is that the film follows a private eye who is instructed by a God-like figure to find 'The Black Panther'. The rest is a cinematic brew of flying saucers, lesbians, large hairy dogs and cryogenics. Tempted?

The Extra Man

A young writer (Paul Dano) moves to New York where he finds a roommate of another era: a charismatic yet miserly old man (Kevin Kline) who is dedicated to etiquette and works as an escort for ancient aristocratic ladies. This is a strange buddy movie, extroverted and exaggerated in every way. As the rest of the audience enjoyed a good belly laugh, sadly, for reasons unknown, I remained somewhat stone-faced and silent throughout the film. Another victim of my film fatigue?

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...

Miss Remarkable and her Career

This wonderful 30 minute animation will be screening at the Annecy International Animation Festival in June. Based on the book by Joanna Rubin Drager, the Swedish-Irish co-production fuses elements of dark comedy and fantasy to tell the story of Miss Remarkable- a young woman struggling under the weight of parental expectation and the societal pressure to be... remarkable.

Watch the teaser for Miss Remarkable and her Career

... Whiskey and Cinema make a fine match

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...

WHATEVER WORKS

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.

Meeting Mr Brainwash... the Final Word from Berlinale!

Screening to a packed-out artsy Berlinale crowd, Banksy's debut film 'Exit Through the Gift Shop' presented a brilliant critique on humans and their relationship with art. True to style, Bansky debuts in unconventional style, redirecting the camera from himself to someone 'much more interesting'. Frenchman Thierry Guetta has a family, a vintage clothing business and an addiction to video cameras; he cannot live without a third eye capturing everything that happens, not matter how mundane. When chance finds him making a documentary about the world of underground street art, he must find and befriend the notorious Banksy to star in his film. Renaming himself 'Mr Brainwash', Thierry eventually joins the ranks as a street artist and finds himself setting up a mammoth 'Banksy' style exhibition. His journey is unplanned and unpredictable, but when he has an idea, he goes at it with gusto!

Acutely aware of the hype that surrounds him, Banksy maintains his secret identity throughout the film. Faceless and deep-voiced he assumes a God-like persona; and with a mixture of embarrassment, horror and bemusement, he tells the story as it unfolds, lamenting the unintentional creation of a monster.

Throughout history, 'documentary' has strived for verisimilitude; the ability to capture the real. In many ways, I think 'Exit through the Gift Shop' is one of the most successful in its genre. This mainly comes down to the fact that the film was never intended, therefore there is no ulterior motive or bias from which it was created. Compiling decades of amateur, home-video style footage, Bansky created this portrait of obsession and as he points out from the beginning, there is probably no moral lesson to be taken away from it, just the ironic and baffling phenomenon of 'Mr Brainwash'.

Most of all, it's the ambiguity of Thierry as protagonist that renders this story better than any fiction. Is he an artist, genius, conman or madman? We are left to make up our own minds!

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.