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<title>2009 NEW YORK FILM FESTIVAL</title>
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<p align=center style='text-align:center'><st1:place w:st="on"><st1:State
w:st="on"><b><span style='font-size:24.0pt;font-family:Arial'>NEW YORK</span></b></st1:State></st1:place><b><span
style='font-size:24.0pt;font-family:Arial'> FILM FESTIVAL</span></b></p>
<p align=center style='text-align:center'><b><span style='font-size:18.0pt;
font-family:Arial'>2009 � 47<sup>th</sup> Festival</span></b></p>
<p class=MsoNormal>The <b style='mso-bidi-font-weight:normal'>2009 NYFF</b> <span
class=GramE>just<span style='mso-spacerun:yes'>� </span>ended</span> on11
October.<span style='mso-spacerun:yes'>� </span>As a warm-up for this year�s
Festival, on 23 September the Film Society hosted the premiere of <b
style='mso-bidi-font-weight:normal'>Oliver Ston</b>e�s new documentary, <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>South
of the Border</i></b>.<span style='mso-spacerun:yes'>� </span>It was a
momentous, rather incredible event, attended by <b style='mso-bidi-font-weight:
normal'>Hugo Chavez</b> and <span class=SpellE><b style='mso-bidi-font-weight:
normal'>Evo</b></span><b style='mso-bidi-font-weight:normal'> Morales</b> (the
presidents of <st1:country-region w:st="on">Venezuela</st1:country-region> and <st1:place
w:st="on"><st1:country-region w:st="on">Bolivia</st1:country-region></st1:place>,
respectively), who joined <b style='mso-bidi-font-weight:normal'>Stone</b> and
the Film Society�s <b style='mso-bidi-font-weight:normal'>Richard <span
class=SpellE>Pe�a</span></b> for a Q&A after watching the film.<span
style='mso-spacerun:yes'>� </span>Nevertheless, while I fundamentally agreed
with the point of the film�that U.S. policies towards South America have been
and continue to be misguided and shamefully bad, and that there are many
important populist movements there that we ought to be friendlier towards�and
while it is actually very watchable for a political documentary, the level of
its na�vet� was hard to take:<span style='mso-spacerun:yes'>� </span>it was
essentially a praise poem to Hugo Chavez!<span style='mso-spacerun:yes'>�
</span>Now, one can legitimately point to many things that are good about
Chavez, and it is completely reasonable to note that he has been unfairly
demonized in the <st1:place w:st="on"><st1:country-region w:st="on">U.S.</st1:country-region></st1:place>
media; but the idea of a movie centered on him without a <i style='mso-bidi-font-style:
normal'>single</i> criticism of any aspect of his policies and what he�s done
is bizarre.<span style='mso-spacerun:yes'>� </span>The next night, <b
style='mso-bidi-font-weight:normal'>Warner Bothers</b> threw a fun party at
Tavern on the Green for the upcoming 70<sup>th</sup> anniversary release of the
newly re-mastered print of <b style='mso-bidi-font-weight:normal'>The Wizard of
Oz</b>, which was to premiere in the NYFF during its first weekend.<span
style='mso-spacerun:yes'>� </span>And after these two preliminary <span
class=GramE>event</span>, the next night was Opening Night of the Festival�</p>
<p class=MsoNormal><o:p> </o:p></p>
<p class=MsoNormal>With the exception of <b style='mso-bidi-font-weight:normal'>Alain
<span class=SpellE>Resnais</span></b>� brilliant <b style='mso-bidi-font-weight:
normal'>Opening Night</b> film, <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Wild Grass (Les <span class=SpellE>herbes</span>
<span class=SpellE>folles</span>)</i></b>, this year�s Festival had a
relatively slow start, and many of the films were unusually dark, some even
brutal; the quality, however, was in general amazingly high and grew better and
more rewarding as the Festival progressed.<span style='mso-spacerun:yes'>�
</span><b>Closing Night</b> was the major, total stand out:<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Pedro <span
class=SpellE>Almod�var<span style='font-weight:normal'>�s</span></span></b> <b><i
style='mso-bidi-font-style:normal'>Broken Embraces (Los <span class=SpellE>abrazos</span>
<span class=SpellE>rotos</span>)</i></b><span style='mso-bidi-font-weight:bold'>,
which was fantastic on every measure�including being a completely enjoyable
viewing experience.<span style='mso-spacerun:yes'>� </span>There were other
great films by <b>Claire Denis</b>, <b>Todd <span class=SpellE>Solondz</span></b>,
and <b>Lee Daniels</b>; and quite excellent ones by <b>Michael <span
class=SpellE>Haneke</span></b>, </span><span class=mediumc3><b
style='mso-bidi-font-weight:normal'>Bong <span class=SpellE>Joon</span>-Ho</b>,
and <b style='mso-bidi-font-weight:normal'>Jacques <span class=SpellE>Rivette</span></b>.<span
style='mso-spacerun:yes'>� </span>Half of the films were quite difficult
experiences, even when they were wonderful, and even beautiful.<span
style='mso-spacerun:yes'>� </span>Mothers took a particular beating in the way
they were represented in some of the films:<span style='mso-spacerun:yes'>�
</span>we saw one mother hack someone to death with a machete, one bludgeon someone
to death with a monkey wrench, and another throw her daughter and newborn
grandchild down a flight of stairs and then drop a television on them�and, on a
lighter note, we heard one explain to her twelve year old son how she got wet
on her first date with a new boyfriend when he touched her on the elbow.<span
style='mso-spacerun:yes'>� </span>There were two absolutely marvelous films
from the 1930s that were completely joyous experiences.<span
style='mso-spacerun:yes'>� </span>And, as always, there was the array of
incredibly beautiful, moving films one would never have the opportunity to see
anywhere else which we have come to expect from the NYFF.<span
style='mso-spacerun:yes'>� </span>All-in-all, it was another great Festival.</span><span
class=apple-style-span><o:p></o:p></span></p>
<p>We were scheduled to see 20 of the films in two weeks of this year�s NYFF
and one Special Event (a conversation with <b style='mso-bidi-font-weight:normal'>Pedro
<span class=SpellE>Almod�var</span></b> on the history of cinema); and I have
described below the 19 films I actually got to see.<span
style='mso-spacerun:yes'>� </span>(<st1:City w:st="on">Nancy</st1:City> saw the
one I missed, <b><i style='mso-bidi-font-style:normal'>Henry-Georges <span
class=SpellE>Clouzot�s</span> Inferno [<span class=SpellE>L�enfer</span> <span
class=SpellE>d�Henri</span>-</i></b><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Georges <span class=SpellE>Clouzot</span>]</i></b><i
style='mso-bidi-font-style:normal'> </i>by <b style='mso-bidi-font-weight:normal'>Serge
Bromberg</b> and <span class=SpellE><b style='mso-bidi-font-weight:normal'>Ruxandra</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Medrea</span></b>, [<st1:place
w:st="on"><st1:country-region w:st="on">France</st1:country-region></st1:place>],
and she thought it was very good.)<span style='mso-spacerun:yes'>� </span>For
those who are interested, the entire 2009 NYFF program and the Film Society
descriptions of each film can be found at<a
href="http://www.filmlinc.com/nyff/nyfffilm2004.htm"></a> <span
style='mso-bidi-font-size:8.5pt;color:black;mso-bidi-font-weight:bold'><a
href="http://www.filmlinc.com/nyff/program.html">www.filmlinc.com/nyff/program.html</a></span>.<span
style='mso-spacerun:yes'>�� </span>My reviews of past years of the NYFF can be found
at <a href="http://www.rlrubens.com/nyff.html">www.RLRubens.com/nyff.html</a>;
and there is an online version of this year�s NYFF available at <a
href="http://www.rlrubens.com/nyff-09.html">http://www.RLRubens.com/nyff-09.html</a>
</p>
<p><span style='mso-spacerun:yes'>�</span>For those of you who over the years
have not noticed my subtlety in this�and who can be blamed for not looking for <i
style='mso-bidi-font-style:normal'>me</i> to be subtle about my judgments about
anything�I thought I might mention that I have always placed my reviews of
these films in approximately descending order of how much I liked them.</p>
<p>All films are dated 2009 unless otherwise noted.</p>
<p align=center style='text-align:center'><b style='mso-bidi-font-weight:normal'><u>THE
FEATURE FILMS IN THE FESTIVAL<o:p></o:p></u></b></p>
<p class=MsoToc1><!--[if supportFields]><b style='mso-bidi-font-weight:normal'><u><span
style='mso-element:field-begin'></span><span style='mso-spacerun:yes'>�</span>TOC
\f \n \p " " \h \z <span style='mso-element:field-separator'></span></u></b><![endif]--><span
class=MsoHyperlink><span style='mso-no-proof:yes'><a href="#_Toc245911494"><b><i
style='mso-bidi-font-style:normal'>Broken Embraces (Los abrazos rotos)</i></b><span
style='mso-bidi-font-weight:bold'>.</span></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911495"><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Wild Grass (Les herbes folles)</i></b>.</a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911496"><b>The Wizard of Oz</b></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911497"><b><i style='mso-bidi-font-style:normal'>White Material</i></b>.</a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911498"><b><i style='mso-bidi-font-style:normal'>Life During
Wartime</i></b><span style='mso-bidi-font-weight:bold'>.</span></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911499"><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Precious: Based on the Novel �Push� by
Sapphire.</i></b></a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911500"><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Crossroads of Youth (Cheongchun�s Sipjaro)</i></b>.</a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911501"><b><i style='mso-bidi-font-style:normal'>The White Ribbon
(Das wei�e band)</i></b><span style='mso-bidi-font-weight:bold'>.</span></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911502"><b><i style='mso-bidi-font-style:normal'>Mother (Maedo)</i>.</b></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911503"><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Ghost Town</i><span style='mso-bidi-font-weight:
bold'>.</span></b></a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911504"><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Around a Small Mountain (36 vues du Pic
Saint-Loup)</i></b>.</a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911505"><b><i style='mso-bidi-font-style:normal'>Everyone Else
(Alle Anderen)</i>.</b></a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911506"><b><i style='mso-bidi-font-style:normal'>The Art of the
Steal.</i></b></a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911507"><b><i style='mso-bidi-font-style:normal'>Kanikosen</i>.</b></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911508"><b><i style='mso-bidi-font-style:normal'>Min Y�... (Tell
Me Who You Are).</i></b></a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911509"><b><i style='mso-bidi-font-style:normal'>Sweet Rush
(Tatarak).</i></b></a></span></span><span style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911510"><b><i style='mso-bidi-font-style:normal'>Vincere</i>.</b></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911511"><b><i style='mso-bidi-font-style:normal'>Trash Humpers</i>.</b></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911512"><b><i style='mso-bidi-font-style:normal'>Police,
Adjective (Politist, adj.)</i>.</b></a></span></span><span style='mso-no-proof:
yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc245911513"><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Ne change rien.</i></b></a></span></span><span
style='mso-no-proof:yes'><o:p></o:p></span></p>
<p><!--[if supportFields]><b style='mso-bidi-font-weight:normal'><u><span
style='mso-element:field-end'></span></u></b><![endif]--><b style='mso-bidi-font-weight:
normal'><span class=GramE><i style='mso-bidi-font-style:normal'><span
style='mso-bidi-font-weight:bold'>Broken Embraces (Los <span class=SpellE>abrazos</span>
<span class=SpellE>rotos</span>)</span></i><span style='font-weight:normal;
mso-bidi-font-weight:bold'>.</span></span></b><!--[if supportFields]><span
style='mso-bidi-font-weight:bold'><span style='mso-element:field-begin'></span></span>
TC "<span style='mso-bookmark:_Toc245911494'><b><i style='mso-bidi-font-style:
normal'>Broken Embraces (Los abrazos rotos)</i></b><span style='mso-bidi-font-weight:
bold'>.</span></span>" \f C \l "1" <![endif]--><span
style='mso-bidi-font-weight:bold'><![if !supportNestedAnchors]><a
name="_Toc245911494"></a><![endif]></span><!--[if supportFields]><span
style='mso-bidi-font-weight:bold'><span style='mso-element:field-end'></span></span><![endif]--><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span></span>(<b
style='mso-bidi-font-weight:normal'>Closing Night</b>, <st1:place w:st="on"><st1:country-region
w:st="on">Spain</st1:country-region></st1:place>, Sony Pictures Classics<span
class=GramE>)<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'>Pedro</b></span><b style='mso-bidi-font-weight:normal'> <span
class=SpellE>Almod�var</span></b> has created yet another masterpiece!<span
style='mso-spacerun:yes'>� </span>The latest in a long series of wonderful <span
class=SpellE>Amod�var</span> films to premiere at the NYFF, <b><i
style='mso-bidi-font-style:normal'>Broken Embraces</i></b> is also one of his
finest; and it was far and away <i style='mso-bidi-font-style:normal'>the</i>
best, most enjoyable and rewarding film in this year�s Festival.<span
style='mso-spacerun:yes'>� </span>Harry <span class=SpellE>Caine</span> (<span
class=SpellE><b style='mso-bidi-font-weight:normal'>Llu�s</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Homar</span>, </b>from <i
style='mso-bidi-font-style:normal'>Bad Education</i>), a blind screenwriter,
learns of the death of a wealthy businessman (<b style='mso-bidi-font-weight:
normal'>Jos� Luis <span class=SpellE>G�mez</span></b>); and this initiates a
journey back 14 years into his past, to a time when he was directing his final
movie, and before he abandoned his real name, Mateo Blanco.<span
style='mso-spacerun:yes'>� </span>At the center of this journey is the
ravishingly beautiful, sexy <st1:place w:st="on">Lena</st1:place> (the
incomparable <span class=SpellE>Almod�var</span> star, <b style='mso-bidi-font-weight:
normal'>Penelope Cruz</b>), who is the love interest and who ends up starring
in the movie Mateo was making.<span style='mso-spacerun:yes'>� </span>The journey
moves through many incredibly rich landscapes�in the physical world (travelling
from Madrid to the moon-like cratered volcanic fields of the Canary Islands, to
the sea coast, and ultimately back to Madrid), in the emotional world (moving
through comedy, drama, romance, and thriller), and ultimately through the world
of cinema itself (<span class=SpellE>Almod�var�s</span> story progresses
through the cinematic world he creates, thence into the world of the film
created by the characters within it, and eventually moves recursively back into
the film world of the auteur himself).<span style='mso-spacerun:yes'>�
</span>The marvelous cast is rounded out by <b style='mso-bidi-font-weight:
normal'>Blanca Portillo</b> (from <span class=SpellE><i style='mso-bidi-font-style:
normal'>Volver</i></span>), <b style='mso-bidi-font-weight:normal'>Tamar Novas,
</b>and<b style='mso-bidi-font-weight:normal'> Rub�n <span class=SpellE>Ochandiano</span></b>.<span
style='mso-spacerun:yes'>�� </span><b><i style='mso-bidi-font-style:normal'>Broken
Embraces</i></b> is a riveting, moving, exciting, entrancing experience.<span
style='mso-spacerun:yes'>� </span>At 128 minutes, it races by all too
quickly�not something I often feel about films.<span style='mso-spacerun:yes'>�
</span>It is sublimely fabulous, and a must for all who love <span
class=SpellE>Almod�var�s</span> work.<span style='mso-spacerun:yes'>�
</span>See it as soon as it is released!</p>
<p style='tab-stops:871.5pt'><span class=GramE><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Wild Grass (Les <span
class=SpellE>herbes</span> <span class=SpellE>folles</span>)</i></b>.</span><!--[if supportFields]><span
style='mso-element:field-begin'></span> <span class=GramE>TC "<span
style='mso-bookmark:_Toc245911495'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Wild Grass (Les herbes folles)</i></b>.</span>"</span>
\f C \l "1" <![endif]--><![if !supportNestedAnchors]><a
name="_Toc245911495"></a><![endif]><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><b style='mso-bidi-font-weight:
normal'><span style='mso-spacerun:yes'>��</span></b>(<b style='mso-bidi-font-weight:
normal'>Opening Night</b>, <st1:place w:st="on"><st1:country-region w:st="on">France</st1:country-region></st1:place>,
Sony Pictures Classics)<b style='mso-bidi-font-weight:normal'> </b><span
style='mso-spacerun:yes'>��</span>I have always loved the films of <b
style='mso-bidi-font-weight:normal'>Alain <span class=SpellE>Resnais</span> </b>(including
<b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Same
Old Song</i></b> [<b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>On <span class=SpellE>conna�t</span> la chanson</i></b>] from the 1998
NYFF), and this latest of his creations (at the age of 87) is no
exception.<span style='mso-spacerun:yes'>� </span>Seeing M. <span class=SpellE>Resnais</span>
in person for the first time when he appeared on stage opening night, I fell in
love with him:<span style='mso-spacerun:yes'>� </span>he is an elegant,
vibrant, somewhat impish man, with a shock of longish white hair, whose
personal presence was so strong, endearing, and warm that we wanted to take him
home with us!<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Wild Grass</i></b> is an
engaging, beautiful voyage into the convoluted territory of obsession.<span
style='mso-spacerun:yes'>� </span>Not obsessive-compulsiveness, but rather the
tortured confusion of guilt and anxiety over inner badness that may or may not
be real�over events that may or may not have occurred.<span
style='mso-spacerun:yes'>� </span>The film�s m�lange of shifting realities,
alternative memories, and multiple speculative ruminations spins and mutates in
a way strongly reminiscent of the multiple realities of <span class=SpellE>Resnais</span>�
1961 <i style='mso-bidi-font-style:normal'>Last Year at <span class=SpellE>Marienbad</span></i>
(<span class=SpellE><i style='mso-bidi-font-style:normal'>L'ann�e</i></span><i
style='mso-bidi-font-style:normal'> <span class=SpellE>derni�re</span> � <span
class=SpellE>Marienbad</span></i>).<span style='mso-spacerun:yes'>� </span><span
class=SpellE>Resnais</span> regular, the magnificent <b style='mso-bidi-font-weight:
normal'>Andr� <span class=SpellE>Dussollier</span></b>, is incredible as
Georges <span class=SpellE>Palet</span>, a middle-aged man who finds a stolen
wallet, and then proceeds, after returning it, to become obsessed with its
owner.<span style='mso-spacerun:yes'>� </span>The moment�repeated multiples
times throughout the film�when Georges first touches the bright red wallet (<span
class=SpellE>Resnais</span>� intense use of color has an almost symbolic feel
throughout the film) has all of the electricity, ominous import, and danger
that obessives so characteristically experience in the act of touching a
meaningful object.<span style='mso-spacerun:yes'>� </span>Georges either has or
has not committed some crime or shameful deed�which may or may not have
involved violence against women; and his intentions toward Marguerite Muir, the
enigmatic woman whose wallet he has found (wonderfully played by <b
style='mso-bidi-font-weight:normal'>Sabine</b> <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Az�ma</b></span><b style='mso-bidi-font-weight:
normal'>, </b>another familiar player in <span class=SpellE>Resnais</span>�
recent repertoire) may or may not be malevolent�but they are certainly
obsessive.<span style='mso-spacerun:yes'>� </span>The story is further
complicated by the dichotomies in Marguerite�s character:<span
style='mso-spacerun:yes'>� </span>she is a solitary, rather sad woman, who
lives a strange, limited existence, except in that she has an intensely joyous
side related to her seemingly unintegrated activities as an airplane pilot; she
seems rather passive and submissive, except she is also a dentist who seems to
inflict more than an expectable amount of pain on her patients.<span
style='mso-spacerun:yes'>� </span>Add for wonderfully good measure the
marvelous <b style='mso-bidi-font-weight:normal'>Mathieu <span class=SpellE>Amalric</span></b>,
who plays Bernard de Bordeaux, the somewhat bewildered police officer who is
the original conduit through which the wallet is returned, and one has a
terrific ensemble that generates the tremendous energy and vitality of the
film.<span style='mso-spacerun:yes'>� </span>There is a powerful feeling of
danger and foreboding throughout the film, yet it is counterbalanced by
intensely satisfying humor and a lightness of touch, and by the visual beauty
and richness of filming�and the juxtaposition of these moods reinforces the
other tensions in the plot and within the personalities of the
protagonists.<span style='mso-spacerun:yes'>� </span>One never knows for sure
what has happened, what is happening, or what it all means�but this<i
style='mso-bidi-font-style:normal'> is </i>Alain <span class=SpellE>Resnais</span>,
after all; and one is always propelled forward through the experience by the
careful hand of the master.<span style='mso-spacerun:yes'>� </span>The sense of
duality�and it is the irresolvable tension between good and bad, clean and
dirty, maleness and femaleness, <i style='mso-bidi-font-style:normal'>etc</i>.,
that is always at the very core of all obsessive rumination� resonates
throughout the film:<span style='mso-spacerun:yes'>� </span>the repeated image
of Marguerite�s bright yellow handbag �flying� through the air in slow motion
at the moment it was stolen is a visual pun on one of these dualities (�<span
class=SpellE><i style='mso-bidi-font-style:normal'>voler</i></span>� in French
means both �to steal� and �to fly�); and even the film�s title, <i
style='mso-bidi-font-style:normal'>Les <span class=SpellE>herbes</span> <span
class=SpellE>folles</span></i>, which properly translates as �rank weeds�
(although the English title <i style='mso-bidi-font-style:normal'>Wild Grass</i>
certainly is valid, as �<span class=SpellE><i style='mso-bidi-font-style:normal'>folles</i></span><i
style='mso-bidi-font-style:normal'> <span class=SpellE>avoine</span></i>� is
�wild oats�) contains the duality of �<span class=SpellE><i style='mso-bidi-font-style:
normal'>folles</i></span>� (a feminine plural of �<span class=SpellE><i
style='mso-bidi-font-style:normal'>fou</i></span>�), having the connotation of
�wild� in the sense of �out of control� (as descriptive of<span
style='mso-spacerun:yes'>� </span>�weeds�), but also more directly of �mad� or
�insane�; and there even is another statement of the duality in the visually
beautiful images which open the film and are repeated at moments throughout�of
grass pushing up through cracks in the far less attractive manmade environment
of the pavement and roads�spontaneous life, �wild� and �crazy,� emerging
without plan, but beautiful and vital.<span style='mso-spacerun:yes'>��
</span>If I had one discomfort about this most absorbing and successful
masterpiece, it was in relation to the extreme strangeness of<span
style='mso-spacerun:yes'>� </span>its impossibly unintegratable last scene; but
I am told that <span class=SpellE>Resnais</span> has said that it is there
because it is true to the novel by <b style='mso-bidi-font-weight:normal'>Christian
<span class=SpellE>Gailly</span></b> upon which the film was based; and, given
the tremendous sophistication and mastery of Alain <span class=SpellE>Resnais</span>,
I am more than willing to accept as meaningful in his work things I cannot
immediately integrate and to simply enjoy their presence.<span
style='mso-spacerun:yes'>� </span>In summary, <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Wild Grass </i></b>is a rich,
deep, beautiful, complex, psychologically sophisticated, and powerful
experience, and I loved it.</p>
<p style='tab-stops:871.5pt'><b>The Wizard of Oz</b><!--[if supportFields]><b><span
style='mso-element:field-begin'></span></b> TC "<span style='mso-bookmark:
_Toc245911496'><b>The Wizard of Oz</b></span>" \f C \l "1<span
class=GramE>" </span><![endif]--><b><![if !supportNestedAnchors]><a
name="_Toc245911496"></a><![endif]></b><!--[if supportFields]><b><span
style='mso-element:field-end'></span></b><![endif]--><span style='mso-bidi-font-weight:
bold'>.<span style='mso-spacerun:yes'>� </span>(</span>1939, <st1:place w:st="on"><st1:country-region
w:st="on">USA</st1:country-region></st1:place>, Warner Home Video)<span
style='mso-spacerun:yes'>� </span>The NYFF featured the premiere of the 70<sup>th</sup>
anniversary release of a newly re-mastered print (and DVD edition) of.<span
style='mso-spacerun:yes'>� </span>What more is there to say?<span
style='mso-spacerun:yes'>� </span><b>The Wizard of Oz</b> is a triumph of the
filmmaking arts, and it is one of the iconic films of all times. Viewing it was
a delight�as always; but the opportunity once again to see this masterpiece on
the big screen was thrilling.<span style='mso-spacerun:yes'>� </span>A piece of
trivia we learned as part of its presence in the NYFF was that there were
actually three directors involved in making the film.<span
style='mso-spacerun:yes'>� </span>The two uncredited ones were<b
style='mso-bidi-font-weight:normal'> King Vidor</b> (prolific in the teens and
20s, directed <i style='mso-bidi-font-style:normal'>Stella Dallas</i> in 1937),
who did all the black and white Kansas scenes, and <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Mervyn</b></span><b style='mso-bidi-font-weight:
normal'> <span class=SpellE>LeRoy</span></b> (best known for his directing in
the mid-50s films like <i style='mso-bidi-font-style:normal'>Mr. Roberts</i>
and <i style='mso-bidi-font-style:normal'>The Bad Seed</i>); while the one with
the director credit, of course, was <b style='mso-bidi-font-weight:normal'>Victor
Fleming</b>, who directed <i style='mso-bidi-font-style:normal'>Gone with the
Wind </i>that same year (interestingly, also with two uncredited other
directors�in this case George Cukor and Sam Wood).</p>
<p style='tab-stops:871.5pt'><span class=GramE><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>White Material</i></b></span>.</span><!--[if supportFields]><span
style='mso-element:field-begin'></span> <span class=GramE>TC "<span
style='mso-bookmark:_Toc245911497'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>White Material</i></b></span>.</span>"</span> \f C \l
"1" <![endif]--><![if !supportNestedAnchors]><a name="_Toc245911497"></a><![endif]><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><span
style='mso-spacerun:yes'>��</span>(<st1:place w:st="on"><st1:country-region
w:st="on">France</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>�� </span><b style='mso-bidi-font-weight:normal'>Claire
Denis</b> has written (along with <b style='mso-bidi-font-weight:normal'>Maria <span
class=SpellE>N�Diaye</span></b>) and directed a devastatingly powerful tale of
the collapse of French colonial control in an unspecified African country.<span
style='mso-spacerun:yes'>� </span>Filmed in <st1:country-region w:st="on">Cameroon</st1:country-region>
(quite wonderfully, by her new cinematographer, <st1:place w:st="on"><st1:PlaceName
w:st="on"><b style='mso-bidi-font-weight:normal'>Yves</b></st1:PlaceName><b
style='mso-bidi-font-weight:normal'> <st1:PlaceType w:st="on">Cape</st1:PlaceType></b></st1:place>),
the visuals are as magnificently beautiful as the story is profoundly
ugly.<span style='mso-spacerun:yes'>� </span>The central character Maria Vial,
the capable, indomitably determined former daughter-in-law of the French Plantation
owner Henri Vial (a relatively minor role for <b style='mso-bidi-font-weight:
normal'>Michel <span class=SpellE>Subor</span></b>), <span class=GramE>is</span>
played by the stunning, incomparable<b style='mso-bidi-font-weight:normal'>
Isabelle Huppert</b>.<span style='mso-spacerun:yes'>� </span>She valiantly and
stubbornly attempts to keep the family coffee plantation going amidst the
crumbling of the society around her:<span style='mso-spacerun:yes'>� </span>the
French soldiers are abandoning the country; the local army and the rebel forces
are in open conflict; there is fighting between the old rebels (represented in
the quietly understated but immensely powerful presence of �The Boxer,� <span
class=SpellE><b style='mso-bidi-font-weight:normal'>Isaach</b></span><b
style='mso-bidi-font-weight:normal'> de <span class=SpellE>Bankol�</span></b>)
and the new rebel elements; the schools have closed and the youth of the
country are armed and running amok; violence is breaking out everywhere�and
there is little more disconcerting than seeing a 10 year old with an automatic
weapon, or even a machete.<span style='mso-spacerun:yes'>� </span>Maria�s
family is falling apart as well:<span style='mso-spacerun:yes'>� </span>her
ex-husband Andr� Vial (played by <b style='mso-bidi-font-weight:normal'>Christophe
Lambert</b>) is trying to sell the plantation and flee to France; their late
adolescent, ne�er-do-well son Manuel is going off the deep end; the
relationship between Maria and Lucie, Andr�s current black wife, and her child
by him, Jos�, turns bad; and Henri is sick and apparently dying.<span
style='mso-spacerun:yes'>� </span>Maria�s entire world is disintegrating,
despite her apparently heroic efforts to hold it together.<span
style='mso-spacerun:yes'>� </span>Slowly every participant in the drama reveals
himself in all the horror and problematic negativity in the position and soul
of each:<span style='mso-spacerun:yes'>� </span>there are ultimately no good
guys in the collapse of this society.<span style='mso-spacerun:yes'>�
</span>One by one, even the apparently angelic Jos� turns out to be destructive
and ugly.<span style='mso-spacerun:yes'>� </span>And finally, as the entire
fabric of the social contract disintegrates and fails, we are confronted with
the futility and misguided essence of even Maria�s role in the whole
drama.<span style='mso-spacerun:yes'>� </span><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>White Material</i></b></span> is a
masterpiece of filmmaking�powerful and successful, and beautiful in the horror
of the brutality it is exploring; but it is a profoundly upsetting
experience.<span style='mso-spacerun:yes'>� </span>We staggered out of Alice
Tully Hall, the stuffing having been knocked out of each of us.</p>
<p style='tab-stops:871.5pt'><b><i style='mso-bidi-font-style:normal'>Life <span
class=GramE>During</span> Wartime</i></b><span style='mso-bidi-font-weight:
bold'>.</span><!--[if supportFields]><span style='mso-bidi-font-weight:bold'><span
style='mso-element:field-begin'></span></span> TC "<span style='mso-bookmark:
_Toc245911498'><b><i style='mso-bidi-font-style:normal'>Life <span class=GramE>During</span>
Wartime</i></b><span style='mso-bidi-font-weight:bold'>.</span></span>" \f
C \l "1" <![endif]--><span style='mso-bidi-font-weight:bold'><![if !supportNestedAnchors]><a
name="_Toc245911498"></a><![endif]></span><!--[if supportFields]><span
style='mso-bidi-font-weight:bold'><span style='mso-element:field-end'></span></span><![endif]--><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span></span>(<st1:place
w:st="on"><st1:country-region w:st="on">USA</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>�� </span>I actively disliked <b style='mso-bidi-font-weight:
normal'>Todd <span class=SpellE>Solondz�s</span></b> <i style='mso-bidi-font-style:
normal'>Happiness</i> (from the 1998 NYFF), so the fact that <b><i
style='mso-bidi-font-style:normal'>Life During Wartime</i></b> is essentially a
sequel to <i style='mso-bidi-font-style:normal'>Happiness</i> did not bode well
for me.<span style='mso-spacerun:yes'>� </span>It turns out that I found <span
class=SpellE><b style='mso-bidi-font-weight:normal'>Solondz�s</b></span> latest
film to be terrific!<span style='mso-spacerun:yes'>� </span>I don�t know whether
it represents a shift in my perspective�or a reaction to the current state of
the world�but I thought it was a completely successful movie:<span
style='mso-spacerun:yes'>� </span>it was coherent, sophisticated, and
wonderfully funny.<span style='mso-spacerun:yes'>� </span>The same strange
characters from the same dysfunctional Jewish family�played in <b><i
style='mso-bidi-font-style:normal'>Life <span class=GramE>During</span> Wartime</i></b>
by a totally different, and quite excellent cast�while now centered mostly in <st1:State
w:st="on">Florida</st1:State> instead of <st1:place w:st="on"><st1:State w:st="on">New
Jersey</st1:State></st1:place>, continue to struggle with the same unhealthy
issues and relationships.<span style='mso-spacerun:yes'>� </span>The twist of
plot and storylines are too confusing to summarize fully: suffice it to say
that the baby-voiced Joy (<b style='mso-bidi-font-weight:normal'>Shirley
Henderson</b>) is still joyless, now with the ex-con she stopped rehabilitating
in her prison job and then married�but with hallucinatory visit from her dead
former lover interest, Andy (<b style='mso-bidi-font-weight:normal'>Paul <span
class=SpellE>Reubens</span></b>��Pee Wee Herman�?); Joy�s sister Trish (<b
style='mso-bidi-font-weight:normal'>Allison <span class=SpellE>Janey</span></b>)
is dating the recently divorced Harvey (<b style='mso-bidi-font-weight:normal'>Michael
Lerner</b>), who, while older than she,<span style='mso-spacerun:yes'>�
</span>�is fantastic! Well, he voted for Bush and McCain, but only because of
Israel, and he really knows they are idiots�; Joy�s about to be bar <span
class=SpellE>mitzvahed</span> son Timmy (<b style='mso-bidi-font-weight:normal'>Dylan
Riley Snyder</b>) isn�t sure he wants another man in the house, as the kids at
school think he�s gay and tell him his father raped little boys; Timmy�s
father, Bill (<span class=SpellE><b style='mso-bidi-font-weight:normal'>Ciar�n</b></span><b
style='mso-bidi-font-weight:normal'> Hinds</b>), who Timmy has been told is
dead,<span style='mso-spacerun:yes'>� </span>is actually just getting out of
jail and heading for Florida;�get the direction of all this?<span
style='mso-spacerun:yes'>� </span>But, it is wonderful!<span
style='mso-spacerun:yes'>� </span>There is even a rather deep set of questions
running through the film about the nature of love and forgiveness, remorse and
atonement�and the role in all that of forgetting (and of lying, to oneself and
others).<span style='mso-spacerun:yes'>� </span>Nevertheless, in the truest
classical sense of comedy, all of this is engaging and thought-provoking, while
at the same time profoundly humorous.<span style='mso-spacerun:yes'>�
</span>Add in other supporting cast members like <b style='mso-bidi-font-weight:
normal'>Ally <span class=SpellE>Sheedy</span></b> (as the third sister) and <b
style='mso-bidi-font-weight:normal'>Charlotte <span class=SpellE>Rampling</span></b>
(as Bill�s one night stand), and the result is a really great piece of cinema,
which I most highly recommend to you for your viewing pleasure and edification!<span
style='mso-spacerun:yes'>� </span>(By the way, the music supervisor for the
film was our talented friend and neighbor, <b style='mso-bidi-font-weight:normal'>Doug
<span class=SpellE>Bernheim</span></b>; and so, predictably, the music was also
a very successful part of the overall experience.) </p>
<p style='tab-stops:871.5pt'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Precious: Based on the Novel �Push� by
Sapphire.</i></b><!--[if supportFields]><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><span style='mso-element:field-begin'></span></i></b>
<span class=GramE>TC "<span style='mso-bookmark:_Toc245911499'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Precious:
Based on the Novel </i></b></span><span style='mso-bookmark:_Toc245911499'><span
style='font-size:10.0pt'>\</span><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>�Push</i></b></span><span style='mso-bookmark:
_Toc245911499'><span style='font-size:10.0pt'>\</span><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>� by Sapphire.</i></b></span>"</span>
\f C \l "1" <![endif]--><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><![if !supportNestedAnchors]><a
name="_Toc245911499"></a><![endif]></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='mso-element:field-end'></span></i></b><![endif]--><span
style='mso-spacerun:yes'>��</span>(<st1:place w:st="on"><st1:City w:st="on"><b
style='mso-bidi-font-weight:normal'>Centerpiece</b></st1:City>, <st1:country-region
w:st="on">USA</st1:country-region></st1:place>, <span class=SpellE>Lionsgate</span>)<span
style='mso-spacerun:yes'>� </span>Everything about this film <i
style='mso-bidi-font-style:normal'>sounded</i> completely off-putting:<span
style='mso-spacerun:yes'>� </span>the story�about an extremely obese
African-American teenager, pregnant for the second time with her father�s
child, abused in the extreme physically and mentally by her mother�had sounded
like it was going to be so melodramatic as to be unwatchable; the actors were
not people I have any innate interest in seeing; and the fact that the
Executive Producers included <b style='mso-bidi-font-weight:normal'>Oprah
Winfrey</b> and <b style='mso-bidi-font-weight:normal'>Tyler Perry</b> also
added nothing to my enthusiasm.<span style='mso-spacerun:yes'>� </span>But <span
class=GramE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Precious</i></b></span> is nothing like what one might expect:<span
style='mso-spacerun:yes'>� </span>it is a moving, involving, and even
uplifting�albeit painfully difficult�experience.<span
style='mso-spacerun:yes'>� </span>It is only the second film directed by <b
style='mso-bidi-font-weight:normal'>Lee Daniels</b>, but with it he has
demonstrated enormous talent�especially in getting such incredible performances
from the young people, most of whom have little film experience, and some, like
<span class=SpellE><b style='mso-bidi-font-weight:normal'>Gaboubrey</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Sidibe</span></b>, who
plays the title role, having no prior experience acting in films at all.<span
style='mso-spacerun:yes'>� </span><span class=SpellE><b style='mso-bidi-font-weight:
normal'>Sidibe</b></span> was rivetingly wonderful.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Paula
Patton</b> was very good as the teacher who takes an interest in Precious; <b
style='mso-bidi-font-weight:normal'>Lenny <span class=SpellE>Kravitz</span> </b>was
good as the young nurse, although his role was rather thin; and <b
style='mso-bidi-font-weight:normal'>Mariah Carey</b>, as a social worker, was
surprisingly competent.<span style='mso-spacerun:yes'>� </span><span
class=SpellE><b style='mso-bidi-font-weight:normal'>Mo'Nique</b></span> <i
style='mso-bidi-font-style:normal'>so</i> convincingly played <span
class=GramE>Precious�s</span> monstrous mother that it is hard not to hate her
personally�although I guess that means she did a wonderful job acting the
role.<span style='mso-spacerun:yes'>� </span>Although it is emotionally
difficult for the viewer to deal with the horrible situations depicted in the
film�and no less so because of their reality in our world�<b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'> <span class=GramE>Precious</span></i></b>
does work extremely well as a movie and as an involving dramatic
experience.<span style='mso-spacerun:yes'>� </span>There are aspects of it that
are at times simplistic and emotionally manipulative, but the film succeeds�and
it does so in an emotionally powerful and intellectually satisfying way.<span
style='mso-spacerun:yes'>� </span>You should see it.</p>
<p style='tab-stops:871.5pt'><span class=GramE><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Crossroads of Youth (<span
class=SpellE>Cheongchun�s</span> <span class=SpellE>Sipjaro</span>)</i></b>.</span><!--[if supportFields]><span
style='mso-element:field-begin'></span> TC "<span style='mso-bookmark:
_Toc245911500'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Crossroads of Youth (Cheongchun�s Sipjaro)</i></b>.</span>" \f C
\l "1" <![endif]--><![if !supportNestedAnchors]><a
name="_Toc245911500"></a><![endif]><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><span
style='mso-spacerun:yes'>��</span>(1934, <st1:place w:st="on"><st1:country-region
w:st="on">Korea</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>� </span>Co-presented with the Film Society by the <b
style='mso-bidi-font-weight:normal'>Korea Society</b> and the <b
style='mso-bidi-font-weight:normal'>Korean Film Archive</b>, this 1934 silent
film�the oldest existing example of Korean cinema�was <i style='mso-bidi-font-style:
normal'>the</i> pleasant surprise of the NYFF!<span style='mso-spacerun:yes'>�
</span><b style='mso-bidi-font-weight:normal'>An <span class=SpellE>Jong-hwa<span
style='font-weight:normal'>�s</span></span></b> melodrama about a young man who
leaves a country life for the big city��where all the young people want to
be��after his promised bride has been stolen by a �wicked man� is a tale of
such men (all of whom subversively have a decidedly Japanese look about
them�this being a period of Korea�s having been occupied by Japan�as opposed to
all the heroes, who look archetypally Korean) taking unfair advantage of noble
but weak young women, and the cruel twists of fate that come close to saving
them but do not.<span style='mso-spacerun:yes'>� </span>Nevertheless, as one
might imagine in such a tale, young virtue triumphs in the end, if not in time
to prevent the orgy of suffering.<span style='mso-spacerun:yes'>� </span>The
film itself was in itself a successful version of such a melodramatic tale,
although that, in <span class=GramE>itself</span>, would not have been so
outstanding.<span style='mso-spacerun:yes'>� </span>What made the experience so
fabulous, however, was that it was presented as it would have been in
1934:<span style='mso-spacerun:yes'>� </span>with a live musical accompaniment
(in this case provided by a four-piece ensemble), two actors (representing the
main male and female protagonists) who sang and acted out parts before, during,
and after the film, and, most importantly, a <span class=SpellE><i
style='mso-bidi-font-style:normal'>pyonsa</i></span>�a narrator�who put words
into the characters� mouths, added description and color to the scenes, made
jokes and comic asides, and who generally added an amazing vitality and
thrilling energy to the experience that I found unique.<span
style='mso-spacerun:yes'>� </span>In conversations with the Film Society�s
Director of Programming <b style='mso-bidi-font-weight:normal'>Richard <span
class=SpellE>Pe�a</span></b> and the Korea Society�s President <b
style='mso-bidi-font-weight:normal'>Evans Revere</b> before and after the
screening, we were assured that this is <i style='mso-bidi-font-style:normal'>precisely</i>
how such films were presented back then�including all the modernist touches
added by the <span class=SpellE><i style='mso-bidi-font-style:normal'>pyonsa</i></span>.<span
style='mso-spacerun:yes'>� </span>Richard <span class=SpellE>Pe�a</span> told
us that the model for this genre was that of Japanese silent film, where the <span
class=SpellE><i style='mso-bidi-font-style:normal'>benshi</i></span> (Japanese
for �narrator,� and written with the identical<span style='mso-spacerun:yes'>�
</span>kanji Chinese characters which in Korean are �<span class=SpellE><i
style='mso-bidi-font-style:normal'>pyonsa</i></span><i style='mso-bidi-font-style:
normal'>�</i>) was so central to the film-going experience, that it was the <span
class=SpellE><i style='mso-bidi-font-style:normal'>benshis</i></span> who had
tremendous followings rather than the specific movies themselves (apparently
Japanese movie posters from the �20s list the name of the <span class=SpellE><i
style='mso-bidi-font-style:normal'>benshi</i></span> in large type at the top,
with the name of the film listed way below in far smaller print, it being the
personality of the <span class=SpellE><i style='mso-bidi-font-style:normal'>benshi</i></span>
that inspired a following.).<span style='mso-spacerun:yes'>� </span>Richard
told us that it was the extreme popularity of this particular <span
class=SpellE><i style='mso-bidi-font-style:normal'>benshi</i></span> format
that lead to silent films coexisting with talkies in Japanese cinema right up
until the 50s�in a way unparalleled in any other country.<span
style='mso-spacerun:yes'>� </span>It was an unbelievably fun, rewarding
experience.<span style='mso-spacerun:yes'>� </span>(The only thing I can even
begin to compare it to <span class=GramE>is</span> the way <i style='mso-bidi-font-style:
normal'>The Rocky Horror Picture Show</i> was sometimes presented in midnight
screenings; but this experience was far beyond that.)<span
style='mso-spacerun:yes'>� </span>I only hope they present <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Crossroads of Youth</i></b> again
in this format so I can alert everyone I know to go see it next time!</p>
<p style='tab-stops:871.5pt'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'><span lang=DE style='mso-ansi-language:DE'>The White Ribbon (Das wei�e
band)</span></i></b></span><span class=mediumc3><span lang=DE style='mso-ansi-language:
DE;mso-bidi-font-weight:bold'>.</span></span><!--[if supportFields]><span
class=mediumc3><span style='mso-bidi-font-weight:bold'><span style='mso-element:
field-begin'></span></span></span><span style='mso-ansi-language:DE'> </span><span
class=GramE>TC "<span style='mso-bookmark:_Toc245911501'><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'>The White Ribbon (Das
wei�e band)</i></b><span style='mso-bidi-font-weight:bold'>.</span></span></span>"</span>
\f C \l "1" <![endif]--><span class=mediumc3><span style='mso-bidi-font-weight:
bold'><![if !supportNestedAnchors]><a name="_Toc245911501"></a><![endif]></span></span><!--[if supportFields]><span
class=mediumc3><span style='mso-bidi-font-weight:bold'><span style='mso-element:
field-end'></span></span></span><![endif]--><span class=mediumc3><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span>(</span>Germany/Austria/France/Italy<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>Winner</span> of the Palme
d�Or at <st1:place w:st="on"><st1:City w:st="on">Cannes</st1:City></st1:place>
this year (not <i style='mso-bidi-font-style:normal'>always</i> a good omen,
but on target in this instance), <b style='mso-bidi-font-weight:normal'>Michael
<span class=SpellE>Haneke<span style='font-weight:normal'>�s</span></span></b>
film<span style='mso-spacerun:yes'>� </span>about a small German village just
before the outbreak of World War I is a powerfully gripping and successful
drama.<span style='mso-spacerun:yes'>� </span>The town�s young schoolteacher,
played by <b style='mso-bidi-font-weight:normal'>Christian <span class=SpellE>Friedel</span></b>,
is a central observer/participant in the drama, all of which is cast as him
narrating his reminiscences of the events of 1913 from his current day
perspective many years later, when he is an old man.<span
style='mso-spacerun:yes'>� </span>Beginning with the mysterious,
life-threatening injury to the village doctor in a trap maliciously set to
cause a horseback riding accident, a series of tragedies and crimes befall some
of the residents of the village, including the torture of two children, both
outcasts�one by virtue of being the son of the Baron, the other by having Downs
syndrome.<span style='mso-spacerun:yes'>� </span>In an unflinching
way�reflected in the beautiful but stark black and white cinematography�<span
class=SpellE><b style='mso-bidi-font-weight:normal'>Haneke</b></span> takes us
progressively deeper into the fabric of the village and the psyches of its
residents, revealing levels of anger and suffering, sadism and humiliation,
domination and submission.<span style='mso-spacerun:yes'>�
</span>Unremittingly, each person�with the notable exceptions of the school
teacher and his love interest, the young governess Eva�reveals himself to be
darker and more odious; and, eventually, the teacher begins to suspect his
eerily emotionless pupils.<span style='mso-spacerun:yes'>� </span>The
d�nouement�at least, to whatever extent any resolution exists�coincides with
the outbreak of the War, and it is hard not to feel the implicit suggestion
that we are being shown the generational origins and psychological
underpinnings of the authoritarianism and Fascism that is so profoundly to
shape the next thirty years in Germany.<o:p></o:p></span></p>
<p style='tab-stops:871.5pt'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>Mother (<span class=SpellE>Maedo</span>)</i>.</b></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-begin'></span></b></span> TC
"<span style='mso-bookmark:_Toc245911502'><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Mother (Maedo)</i>.</b></span></span>"
\f C \l "1" <![endif]--><span class=mediumc3><b><![if !supportNestedAnchors]><a
name="_Toc245911502"></a><![endif]></b></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-end'></span></b></span><![endif]--><span
class=mediumc3><b><span style='mso-spacerun:yes'>�</span></b><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(</span><st1:country-region
w:st="on"><st1:place w:st="on">South Korea</st1:place></st1:country-region>)<span
style='mso-spacerun:yes'>� </span>This film by <b style='mso-bidi-font-weight:
normal'>Bong <span class=SpellE>Joon</span>-Ho</b> feels at the outset to be a
rather light, comic look at a 27 year old man, Do-<span class=SpellE>joon</span>
(<b style='mso-bidi-font-weight:normal'>Won Bin</b>),<span
style='mso-spacerun:yes'>� </span>who seems goodhearted, albeit mildly
retarded, and his doting mother (the renown Korean actress, <b
style='mso-bidi-font-weight:normal'>Kim <span class=SpellE>Hye-ja</span></b>),
with whom he lives.<span style='mso-spacerun:yes'>� </span>The troubles Do-<span
class=SpellE>joon</span> gets into at first seem minor, and his mother�s
ministrations to him seem only comically extreme in their maternal devotion and
over-involvement.<span style='mso-spacerun:yes'>� </span>As the film
progresses, however, Do-<span class=SpellE>joon</span> ends up in jail, accused
of murder; and his mother�s efforts seem progressively more heroic.<span
style='mso-spacerun:yes'>� </span>Toward the end, we are forced to confront
what we have been subliminally aware of throughout:<span
style='mso-spacerun:yes'>� </span>there are disturbingly problematic aspects to
this mother�and, in the end, it becomes increasingly impossible for the viewer
to deny the potential horror of how some of them fit together.<span
style='mso-spacerun:yes'>� </span>Contributing to the depth of the film, there
is a theme about efforts to remember and efforts to forget that permeate the
very fabric of the story.<span style='mso-spacerun:yes'>� </span>Moving from
amusing to deeply disturbing, <b><i style='mso-bidi-font-style:normal'>Mother</i></b>
is sophisticated and extremely well done throughout�and <b style='mso-bidi-font-weight:
normal'>Kim <span class=SpellE>Hye-ja</span></b> is incredible in the title
role.<o:p></o:p></span></p>
<p style='tab-stops:871.5pt'><span class=GramE><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Ghost Town</i><span
style='mso-bidi-font-weight:bold'>.</span></b></span><b> </b><!--[if supportFields]><b><span
style='mso-element:field-begin'></span></b><span
style='mso-spacerun:yes'>�</span>TC "<span style='mso-bookmark:_Toc245911503'><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Ghost
Town</i><span style='mso-bidi-font-weight:bold'>.</span></b></span>" \f C
\l "1" <![endif]--><b><![if !supportNestedAnchors]><a
name="_Toc245911503"></a><![endif]></b><!--[if supportFields]><b><span
style='mso-element:field-end'></span></b><![endif]--><span
style='mso-spacerun:yes'>�</span>(<st1:country-region w:st="on">China</st1:country-region><span
class=GramE>)<span style='mso-spacerun:yes'>� </span>We</span> intensely
enjoyed this documentary by <b style='mso-bidi-font-weight:normal'>Zhao <span
class=SpellE>Dayong</span></b> about <span class=SpellE>Zhiziluo</span>, a
dying town in the mountains of southwestern <st1:place w:st="on"><st1:country-region
w:st="on">China</st1:country-region></st1:place>.<span
style='mso-spacerun:yes'>� </span>Despite its almost three hour length�and yes,
it would have been far better were it to have been 2/3 of that duration�<b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>
Ghost Town</i></b> was and deeply absorbing, hauntingly beautiful experience,
in which the visual beauty and life of the green, mountain gorge setting plays
against the harshness and ugliness of the realities of life in the dying
town.<span style='mso-spacerun:yes'>� </span>The film is divided into three
sections, each containing some version of the life forces remaining in this
dying place.<span style='mso-spacerun:yes'>� </span>The first, �Voices,� is
primarily focused on the Christian community and its pastor and his father:<span
style='mso-spacerun:yes'>� </span>they are struggling to understand and apply
the teachings of the Gospels and of the long-departed missionaries who brought
them their religion�the father more rigidly and shallowly (and he proudly talks
about how they used to spend their time dealing with ghosts [literally, not
figuratively], and now they have their Christianity which has freed them from
that; and he then goes on to deal with a woman and her sick child in a way that
sounds awfully much like he is attempting to exorcise ghosts and demons�), the
pastor with a far more human and humane touch.<span style='mso-spacerun:yes'>�
</span>The second, �Reflections,� seems primarily populated by cats and dogs
(and I <i style='mso-bidi-font-style:normal'>did</i> enjoy the cats and dogs
more than I liked the Christians�), but really focuses on a series of
deteriorating relationships, all deeply affected by the economics of the town.<span
style='mso-spacerun:yes'>� </span>The third, �Innocence,� revolves loosely
around the story and the activities of a 12 year old boy who has been abandoned
by his parents and his making his way in this dying town.<span
style='mso-spacerun:yes'>�� </span>And all takes place against the cold stone
presence of a stature of Chairman Mao, staring out over the town and the
valley.<span style='mso-spacerun:yes'>� </span>It is gorgeously filmed and
entrancingly constructed.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Ghost
Town</i></b> was pleasantly reminiscent of<b style='mso-bidi-font-weight:normal'>
<span class=SpellE>Jia</span> <span class=SpellE>Zhangke<span style='font-weight:
normal'>�s</span></span></b> documentary<b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'> 24 City (<span class=SpellE>Er</span> Shi
Si Cheng <span class=SpellE>Ji</span></i></b>), which was an unexpectedly
wonderful treat in last year�s NYFF.</p>
<p style='tab-stops:871.5pt'><span class=GramE><span class=mediumc3><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Around
a <st1:place w:st="on"><st1:PlaceName w:st="on">Small</st1:PlaceName> <st1:PlaceType
w:st="on">Mountain</st1:PlaceType></st1:place> (36 <span class=SpellE>vues</span>
du <span class=SpellE>Pic</span> Saint-Loup)</i></b>.</span></span><!--[if supportFields]><span
class=mediumc3><span style='mso-element:field-begin'></span></span> <span
class=GramE>TC "<span style='mso-bookmark:_Toc245911504'><span
class=mediumc3><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Around a <st1:place w:st="on"><st1:PlaceName w:st="on">Small</st1:PlaceName>
<st1:PlaceType w:st="on">Mountain</st1:PlaceType></st1:place> (36 vues du Pic
Saint-Loup)</i></b>.</span></span>"</span> \f C \l "1" <![endif]--><span
class=mediumc3><![if !supportNestedAnchors]><a name="_Toc245911504"></a><![endif]></span><!--[if supportFields]><span
class=mediumc3><span style='mso-element:field-end'></span></span><![endif]--><span
class=mediumc3><span style='mso-spacerun:yes'>��</span>(<st1:place w:st="on"><st1:country-region
w:st="on">France</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>�� </span>Two giants from <i style='mso-bidi-font-style:
normal'>La Nouvelle Vague</i> (the French New Wave of cinema from the late 50s
and 60s) in this year�s NYFF!<span style='mso-spacerun:yes'>� </span>This one,
the 81 year old <b style='mso-bidi-font-weight:normal'>Jacques <span
class=SpellE>Rivette</span></b> (who was one of the editors of <i
style='mso-bidi-font-style:normal'><span style='mso-bidi-font-weight:bold'>Cahiers
du <span class=SpellE>cin�ma</span></span></i>) brings his lively, entrancing,
yet complex film that begins with a chance encounter between heavy-hearted Kate
(<b style='mso-bidi-font-weight:normal'>Jane <span class=SpellE>Birkin</span></b>),
a middle-aged French woman returning to the circus she left years earlier and
whose car has broken town on a country road, and the lighthearted Italian <span
class=SpellE>Vittorio</span> (<b style='mso-bidi-font-weight:normal'>Sergio <span
class=SpellE>Castellitto</span></b>), who, after speeding by in his Porsche,
comes back to help.<span style='mso-spacerun:yes'>� </span>This opening
sequence is a total joy, by the way:<span style='mso-spacerun:yes'>�
</span>essentially silent and restrained, the interaction between them is
deeply funny, and results in <span class=SpellE>Vittorio</span> following Kate
to the town where the small, dying circus is performing.<span
style='mso-spacerun:yes'>� </span>Like the quintessential <span class=SpellE>Rivette</span>
film it is, <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Around a Small Mountain</i></b> contains many themes and connections
which at least partially reveal themselves from within the complex tapestry
into which they have been woven; but unlike the typically long, rambling format
of most his movies, it is amazingly short and compact, weighing in at a mere 85
minutes; it has as much going on it in as any <span class=SpellE>Rivette</span>
film, but at an incredibly higher density.<span style='mso-spacerun:yes'>�
</span>Despite the fact that so much is �going on� in the action as <span
class=SpellE>Vittorio</span> becomes progressively involved with the circus and
with Kate, what is happening is not what really matters.<span
style='mso-spacerun:yes'>� </span>What is really crucial are the emotions and
ideas which are brought into the ring of this sparsely attended circus�the ring
being, in this case, <span class=SpellE>Rivettes</span>� familiar,
all-important stage, which is always presented as a transformative space:<span
style='mso-spacerun:yes'>� </span>as <span class=SpellE>Vittorio</span> puts
it, it is �the most dangerous place on earth�but also where everything is
possible.�<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p style='tab-stops:871.5pt'><span class=GramE><b><i style='mso-bidi-font-style:
normal'>Everyone Else (<span class=SpellE>Alle</span> <span class=SpellE>Anderen</span>)</i>.</b></span><!--[if supportFields]><b><span
style='mso-element:field-begin'></span></b> <span class=GramE>TC "<span
style='mso-bookmark:_Toc245911505'><b><i style='mso-bidi-font-style:normal'>Everyone
Else (Alle Anderen)</i>.</b></span>"</span> \f C \l "1" <![endif]--><b><![if !supportNestedAnchors]><a
name="_Toc245911505"></a><![endif]></b><!--[if supportFields]><b><span
style='mso-element:field-end'></span></b><![endif]--><span style='mso-bidi-font-weight:
bold'><span style='mso-spacerun:yes'>��</span>(</span><st1:place w:st="on"><st1:country-region
w:st="on">Germany</st1:country-region></st1:place><span class=GramE>)<span
style='mso-spacerun:yes'>� </span>Writer</span>-director <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Maren</b></span><b style='mso-bidi-font-weight:
normal'> Ade</b> has created an unusual film wherein a relationship is the
subject and the expression of the story.<span style='mso-spacerun:yes'>�
</span>While it is rare for this to be the entire focus of a film, it is even
more uncommon for it to be as successfully so as it is in <span class=GramE><b><i
style='mso-bidi-font-style:normal'>Everyone</i></b></span><b><i
style='mso-bidi-font-style:normal'> Else.</i></b><span
style='mso-spacerun:yes'>� </span>The film�s two young lovers�Chris, a young
architect played by <b style='mso-bidi-font-weight:normal'>Lars <span
class=SpellE>Eidinger</span></b>, and his girlfriend <span class=SpellE>Gitti</span>,
played by <b style='mso-bidi-font-weight:normal'>Birgit <span class=SpellE>Minichmayr</span></b>�are
as mismatched as they are alike:<span style='mso-spacerun:yes'>� </span>Chris
is a sulky, taciturn, self-doubting but self-important architect living in his
wealthy parents� villa in Sardinia, and <span class=SpellE>Gitti</span> is a
flighty, mercurial, apparently rootless, fun-loving, person who at first seems
to have no professional commitments at all; but they are united in an
immaturity that is deeply a part of each, albeit in startlingly divergent ways.
<span style='mso-spacerun:yes'>�</span>In ways that are at times humorous and
at times are painful, but always are riveting and illuminating, the film
progressively reveals the workings and dysfunctions of their relationship.</p>
<p style='tab-stops:871.5pt'><span class=GramE><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>The Art of the Steal.</i></b></span></span><!--[if supportFields]><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><span style='mso-element:
field-begin'></span></i></b></span> <span class=GramE>TC "<span
style='mso-bookmark:_Toc245911506'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>The Art of the Steal.</i></b></span></span>"</span> \f C \l
"1" <![endif]--><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'><![if !supportNestedAnchors]><a name="_Toc245911506"></a><![endif]></i></b></span><!--[if supportFields]><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><span style='mso-element:
field-end'></span></i></b></span><![endif]--><span class=mediumc3><b><span
style='mso-spacerun:yes'>�</span></b><span style='mso-spacerun:yes'>�</span>(<st1:place
w:st="on"><st1:country-region w:st="on">USA</st1:country-region></st1:place>,
Sundance Selects)<span style='mso-spacerun:yes'>� </span>This documentary by <b
style='mso-bidi-font-weight:normal'>Don <span class=SpellE>Argott</span></b>
explores the history of the Barnes Foundation and the forces that conspired
ultimately to break the trust agreement established by its creator, Dr. Albert
C. Barnes.<span style='mso-spacerun:yes'>� </span>Dr. Barnes, a physician who
made a fortune inventing and manufacturing the antiseptic <span class=SpellE>Argyrol</span>,
assembled an extensive collection of primarily Impressionist,
Post-Impressionist, and early Modern painting, which he housed in his
Beaux-Arts mansion in Merion, PA.<span style='mso-spacerun:yes'>� </span>Before
going further, allow me to say that this documentary worked as a film:<span
style='mso-spacerun:yes'>� </span>it was engaging, interesting, and generally
successful as a viewing experience in a way that few documentaries are.<span
style='mso-spacerun:yes'>� </span>Having said that, however, I have to note how
much I was annoyed by the na�vet� of its completely biased perspective.<span
style='mso-spacerun:yes'>� </span>Starting with the fact of Barnes� working
class origins in Philadelphia, it casts him as a populist who fought against
the conservatism and social elitism of old line Philadelphia society; and it
paints the movement to break the carefully designed trust he created as a
capitalist plot to exploit his collection.<span style='mso-spacerun:yes'>�
</span>The reality, of course, is much more complex than that:<span
style='mso-spacerun:yes'>� </span>Barnes did put together an important
collection�with the help, by the way,<span style='mso-spacerun:yes'>� </span>of
a former classmate, </span><span lang=EN style='mso-ansi-language:EN'>William
Glackens (a painter who was a founder of the Ashcan School)�</span><span
class=mediumc3>that, when a major selection from it was exhibited at The PA
Academy of the Fine Arts in 1923, was scorned by the Philadelphia art
establishment because they indeed were not open to its modernity; but his
reaction to the establishment, and his lifelong battle with it, was anything <i
style='mso-bidi-font-style:normal'>but</i> populist.<span
style='mso-spacerun:yes'>� </span>He actually made his collection all but
inaccessible to the public for many years; and, even after its restrictions
were changed to allow for some public access, it was always incredibly
difficult to arrange to see the collection�even for those of us with the level
interest that made us willing to travel to the northern suburbs of Philadelphia
to do so (in all the years of wanting to see it, Nancy and I only once actually
were able to arrange to do so).<span style='mso-spacerun:yes'>� </span>And,
contrary to the repeated insistence of the film, it is <i style='mso-bidi-font-style:
normal'>not</i> the �greatest� or �largest� or �best� collection of such art
anywhere:<span style='mso-spacerun:yes'>� </span>the collection contains many
incredible masterpieces, which it insists on exhibiting interspersed with works
of far less worth�and some that are frankly mediocre or even bad; nor can I
sympathize with the attempts to glorify the way Barnes had the works
presented�its densely crowded hanging of work I found a quite poor choice (it
was actually incredible to watch the footage of a show in Paris of some of the
paintings from the Barnes collection: presented by the film as a travesty of
ignoring Barnes� sense of how they should be exhibited, but striking all of us
as being the most wonderful and correct presentation of the works we had ever
seen, giving important pieces space to be seen and appreciated for the
masterpieces they are.)<span style='mso-spacerun:yes'>� </span>One definitely
can make the point that there is something wrong with contravening a person�s
clear intent in establishing a trust; and, indeed, this is precisely what has
happened in the case of the Barnes Foundation.<span style='mso-spacerun:yes'>�
</span>But this is an argument about the sanctity of private property, not of
populism.<span style='mso-spacerun:yes'>� </span>(One wonders what the reaction
would be to a carefully designed trust that ordered the burning of historically
important works of art upon the death of the owner�)<span
style='mso-spacerun:yes'>� </span>The �evil conspiracy� of the museum and
foundation world to move the Barnes collection into Philadelphia proper and to
create a more reasonable public access for viewing it actually does have some
things to be said in favor of it; nor is it clear why it is surprising or
horrifying that these �conspirators� employed money, power, and even political
influence in achieving their ends.<span style='mso-spacerun:yes'>� </span>There
are many serious issues that could have been raised by this film�including even
the whole question of whether it is acceptable that historically important
masterpieces be owned by super wealthy individuals in the first place; but, due
to the one-sidedness of the perspective of <b><i style='mso-bidi-font-style:
normal'>The Art of the Steal</i></b>, that does not happen.<span
style='mso-spacerun:yes'>� </span>Nevertheless, it is an interesting piece of
filmmaking.<o:p></o:p></span></p>
<p style='tab-stops:871.5pt'><span class=SpellE><span class=GramE><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'>Kanikosen</i></b></span></span></span><span
class=GramE><span class=mediumc3><b>.</b></span></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-begin'></span></b></span> TC
"<span style='mso-bookmark:_Toc245911507'><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Kanikosen</i>.</b></span></span>" \f C
\l "1" <![endif]--><span class=mediumc3><b><![if !supportNestedAnchors]><a
name="_Toc245911507"></a><![endif]></b></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-end'></span></b></span><![endif]--><span
class=mediumc3><b><span style='mso-spacerun:yes'>�</span></b><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(</span><st1:place
w:st="on"><st1:country-region w:st="on">Japan</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>� </span><span class=SpellE><b style='mso-bidi-font-weight:
normal'>Sabu</b></span><span style='mso-spacerun:yes'>� </span>(as the
actor/director/writer </span><b style='mso-bidi-font-weight:normal'>Hiroyuki
Tanaka</b><span class=mediumc3> calls himself) has taken a piece of 1929
leftist muckraking/propaganda by <span class=SpellE>Takiji</span> Kobayashi,
via a recent <span class=SpellE><i style='mso-bidi-font-style:normal'>manga</i></span>
(Japanese graphic novel) version of it which made it popular among Japanese
youth, and based on this he has written and di</span>rected a highly unusual
and rather successful film.<span style='mso-spacerun:yes'>� </span><span
class=SpellE><span class=mediumc3><b><i style='mso-bidi-font-style:normal'>Kanikosen</i></b></span></span>
translates as �Crab Canning Ship.� Indeed, it is the story of the dreadfully
oppressive conditions of workers onboard just such a ship in the period between
the Wars:<span style='mso-spacerun:yes'>� </span>replete with a monstrously
evil company official�a man who beats, intimidates, in every way exploits the
workers, and even shoots and kills one of them, who orders the ship to continue
fishing when the captain believes it to be in danger from a storm, and refuses
to allow the captain to bring the ship to the rescue of another canning ship
which is foundering in that storm, and which ultimately sinks with the loss of
the lives of all those onboard;<span style='mso-spacerun:yes'>� </span>officers
of the Imperial Japanese navy who completely back the actions of the company
and its official.<span style='mso-spacerun:yes'>� </span>It would be the worst
sort of melodrama, were it not for the cartoonish, absurdist spirit of <span
class=SpellE><b style='mso-bidi-font-weight:normal'>Sabu</b>�s</span> film,
with its modernist touches (<i style='mso-bidi-font-style:normal'>e.g.</i>,
according to the others, one of the workers is described as having flipped out
and thinking of himself as being a crab�shift to a shot of a worker, alone at
the end of a passageway, walking sideways, crab fashion; or the hilariously
funny [yes, really!] attempted mass suicide the workers decide to commit to
escape their suffering):<span style='mso-spacerun:yes'>� </span>it is actually
fun!<span style='mso-spacerun:yes'>� </span>There are two main problems with
the film: first, its political na�vet�even granting its lampooning and
tongue-in-cheek spirit�is extreme (to wit: the crucial turning point in the
plot happens when two escaping workers are picked up by a Russian trawler, and
are transformed by their exposure to the individuality and personal freedom of
the Bolshevik system); and, second, the film is far too long for what it is�it
would have been hugely more successful at 80-90 minutes rather than 109.<span
style='mso-spacerun:yes'>� </span>But <span class=SpellE><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Kanikosen</i></b></span></span> is an
entertaining, engaging, and humor-filled absurdist fantasy, in which dream and
hyper-reality merge in a wonderful way.<span style='mso-spacerun:yes'>�
</span>To hell with <span class=SpellE><span style='mso-bidi-font-weight:bold'>Manohla</span></span><span
style='mso-bidi-font-weight:bold'> <span class=SpellE>Dargis�s</span> total
dismissal of it in her <i style='mso-bidi-font-style:normal'>New York Times</i>
review!</span></p>
<p style='tab-stops:871.5pt'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>Min <span class=SpellE>Y�</span>... (Tell Me Who You Are).</i></b></span><!--[if supportFields]><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><span style='mso-element:
field-begin'></span></i></b></span> TC "<span style='mso-bookmark:_Toc245911508'><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'>Min Y�... (Tell Me Who
You Are).</i></b></span></span>" \f C \l "1" <![endif]--><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><![if !supportNestedAnchors]><a
name="_Toc245911508"></a><![endif]></i></b></span><!--[if supportFields]><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><span style='mso-element:
field-end'></span></i></b></span><![endif]--><span class=mediumc3><b><span
style='mso-spacerun:yes'>�</span></b><span style='mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>�</span>(</span>Mali/France)<span
style='mso-spacerun:yes'>� </span>In <span class=SpellE><b style='mso-bidi-font-weight:
normal'>Souleymane</b></span><b style='mso-bidi-font-weight:normal'> <span
class=SpellE>Ciss�<span style='font-weight:normal'>�s</span></span></b>
rollicking commentary on marital relations and social mores in Mali,</span>
Mimi,<span class=mediumc3> </span>a spunky, 52-year-old, high government
official (wonderfully portrayed by <span class=SpellE><b style='mso-bidi-font-weight:
normal'>Sokona</b></span><b style='mso-bidi-font-weight:normal'> <span
class=SpellE>Gakou</span></b>), is married to a filmmaker <span class=SpellE>Issa</span>
(<span class=SpellE><b style='mso-bidi-font-weight:normal'>Assane</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Kouyate</span></b>),
who has another, younger wife. When <span class=SpellE>Issa</span> confronts
Mimi with the fact that she is having an affair with another man, Abba (<b
style='mso-bidi-font-weight:normal'>Alou <span class=SpellE>Sissoko</span></b>)�who
has two wives of his own�she explodes at his socially sanctioned hypocrisy,
serving him with divorce papers, a move that <span class=SpellE>Issa</span>
counters by accusing her of adultery.<span style='mso-spacerun:yes'>�
</span>Mimi�s cavalier flaunting of her adultery seems insensitive and
outrageous, except for the fact that one is <span class=GramE>continually<span
style='mso-spacerun:yes'>� </span>reminded</span> that it is happening against
the backdrop of the polygamy that this society accepts on the part of<span
style='mso-spacerun:yes'>� </span>its men.<span style='mso-spacerun:yes'>��
</span>At 123 minutes, the film is far longer than is completely sustainable;
nevertheless, it is a basically enjoyable and successful view into this society
and its mores.</p>
<p style='tab-stops:871.5pt'><span class=GramE><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Sweet Rush (<span class=SpellE>Tatarak</span>).</i></b></span></span><!--[if supportFields]><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><span style='mso-element:
field-begin'></span></i></b></span> <span class=GramE>TC "<span
style='mso-bookmark:_Toc245911509'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>Sweet Rush (Tatarak).</i></b></span></span>"</span> \f C \l
"1" <![endif]--><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'><![if !supportNestedAnchors]><a name="_Toc245911509"></a><![endif]></i></b></span><!--[if supportFields]><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'><span style='mso-element:
field-end'></span></i></b></span><![endif]--><span class=mediumc3><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span></span>(<st1:place
w:st="on"><st1:country-region w:st="on">Poland</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>� </span><span class=SpellE><b style='mso-bidi-font-weight:
normal'>Andrzej</b></span><b style='mso-bidi-font-weight:normal'> <span
class=SpellE>Wajda</span></b> had long wanted to make a film starring </span><span
class=SpellE><b style='mso-bidi-font-weight:normal'>Krystyna</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Janda</span></b> (the
star of his earlier films)<span class=mediumc3> based on a short story by</span>
<span class=SpellE><b style='mso-bidi-font-weight:normal'>Jaroslaw</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Iwaszkiewicz</span></b>.<span
class=mediumc3><span style='mso-spacerun:yes'>� </span>After his earlier
attempt to do so was scuttled by the d</span>eath of <span class=SpellE>Janda�s</span>
husband, <b style='mso-bidi-font-weight:normal'>Edward <span class=SpellE>Klosinski</span></b>
(<span class=SpellE>Wajda�s</span> cinematographer), <span class=SpellE><span
class=mediumc3><b style='mso-bidi-font-weight:normal'>Wajda</b></span></span><span
class=mediumc3> </span>developed the idea for <span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Sweet Rush (<span class=SpellE>Tatarak</span>)</i></b></span>:<span
style='mso-spacerun:yes'>� </span>it is a multi-layered movie about the filming
of the original movie�and the original story is the movie within the movie we
are watching.<span style='mso-spacerun:yes'>� </span>The embedded story is about
the wife of a doctor who has just diagnosed her with an aggressive terminal
disease, but has chosen not to tell her; the two of them are still recovering
from the loss of their two sons in World War II; and then she becomes absorbed
in her confused feelings�maternal as well as romantic�towards a handsome
working-class youth.<span style='mso-spacerun:yes'>� </span>Most of the time,
we are simply watching this movie within the movie; but some of the time the
point of view draws back, and we are presented with the filming of this
movie.<span style='mso-spacerun:yes'>� </span>And, interspersed with all that,
we are in a stark hotel room, listening to <span class=SpellE>Krystina�s</span>
long monologues (actually written by <span class=SpellE><b style='mso-bidi-font-weight:
normal'>Janda</b></span> herself) about the death of her husband, and a
meta-view of the way it affected her life, her art, and the production of the
movie.<span style='mso-spacerun:yes'>� </span>It is a very clever idea, and a
potentially elegant construct; but I did not find it particularly
successful.<span style='mso-spacerun:yes'>� </span>I found the embedded film to
be the best part of the movie�albeit not all that wonderful; and I found <span
class=SpellE>Krystina�s</span> monologues, while poignant, to be dull and
tiresome, and actually not all that profound.<span style='mso-spacerun:yes'>�
</span>Had I known that it was her real life story that she was soliloquizing
about, I suppose I might have been more sympathetic to them; but I do not feel
that they actually <span class=GramE>worked.</span><span
style='mso-spacerun:yes'>� </span>I should mention that <st1:place w:st="on"><st1:City
w:st="on">Nancy</st1:City></st1:place> <span class=GramE>like</span> this
movie <i style='mso-bidi-font-style:normal'>much</i> more than I did, and felt
that it did work as intended.</p>
<p style='tab-stops:871.5pt'><span class=SpellE><span class=GramE><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'>Vincere</i></b></span></span></span><span
class=GramE><span class=mediumc3><b>.</b></span></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-begin'></span></b></span> TC
"<span style='mso-bookmark:_Toc245911510'><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Vincere</i>.</b></span></span>" \f C \l
"1" <![endif]--><span class=mediumc3><b><![if !supportNestedAnchors]><a
name="_Toc245911510"></a><![endif]></b></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-end'></span></b></span><![endif]--><span
class=mediumc3><span style='mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>��</span>(</span><st1:place w:st="on"><st1:country-region
w:st="on">Italy</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>� </span>Written and directed by<b style='mso-bidi-font-weight:
normal'> Marco <span class=SpellE>Bellocchio</span>,</b> this </span>film
presents the story of Benito Mussolini�s relationship with Ida <span
class=SpellE>Dalser</span> (<b style='mso-bidi-font-weight:normal'>Giovanna <span
class=SpellE>Mezzogiorno</span></b>), and their child, Benito Albino Mussolini.
The film�s contention (and there is apparently much historic evidence to
support the claim) is that Mussolini was secretly married to Ida in 1914,
although, after marrying <span class=SpellE>Rachele</span> <span class=SpellE>Guidi</span>
(his mistress of several years) in 1915, he came to deny any relationship to
either <span class=SpellE>Dalser</span> or their son.<span
style='mso-spacerun:yes'>� </span>In somber black and white, the film
chronicles Il Duce�s rise to power from the Ida�s perspective and as a backdrop
to their relationship.<span style='mso-spacerun:yes'>� </span><span
class=SpellE><b style='mso-bidi-font-weight:normal'>Filippo</b></span><b
style='mso-bidi-font-weight:normal'> <span class=SpellE>Timi</span></b> plays
both the young Benito Mussolini and the adult Benito Albino, with actual
newsreel footage of Il Duce being used for his later presence in the film.<span
style='mso-spacerun:yes'>� </span>Ida�s driven efforts to assert her marital
status led to her being confined for much of her life in mental asylums, and
her son�s fate was ultimately the same.<span style='mso-spacerun:yes'>�
</span>From <span class=SpellE>Bellochio�s</span> perspective, Ida�s claim of
marital status and Benito Albino�s paternity were valid; nevertheless, it is
also clear that in his view there was something actually insane about the way
the Ida and her son dealt with their situations.<span
style='mso-spacerun:yes'>� </span>This is the setting for what could have been
a most fascinating film, and, given how <span class=mediumc3>much we had liked <b
style='mso-bidi-font-weight:normal'>Marco <span class=SpellE>Bellocchio<span
style='font-weight:normal'>�s</span></span></b> </span>2003 <span
class=mediumc3>entry</span> in the NYFF, <i style='mso-bidi-font-style:normal'>Good
Morning, Night (<span class=SpellE>Buongiorno</span>, <span class=SpellE>Notte</span>)</i>,
we should have expected it to be so.<span style='mso-spacerun:yes'>� </span>I
am afraid that <span class=SpellE><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>Vincere</i></b></span></span> did not meet that expectation.<span
style='mso-spacerun:yes'>� </span>It was too long, too overdone, too
unremittingly dark, <span class=GramE>too</span> heavy handed, too
melodramatic�<span class=SpellE><i style='mso-bidi-font-style:normal'>troppo</i></span><i
style='mso-bidi-font-style:normal'>, <span class=SpellE>troppo</span>, <span
class=SpellE>troppo</span></i>!<span style='mso-spacerun:yes'>� </span>It was
OK, but disappointing.</p>
<p style='tab-stops:871.5pt'><span class=GramE><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Trash <span class=SpellE>Humpers</span></i>.</b></span></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-begin'></span></b></span> <span
class=GramE>TC "<span style='mso-bookmark:_Toc245911511'><span
class=mediumc3><b><i style='mso-bidi-font-style:normal'>Trash Humpers</i>.</b></span></span>"</span>
\f C \l "1" <![endif]--><span class=mediumc3><b><![if !supportNestedAnchors]><a
name="_Toc245911511"></a><![endif]></b></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-end'></span></b></span><![endif]--><span
class=mediumc3><b><span style='mso-spacerun:yes'>�</span></b><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(</span><st1:place
w:st="on"><st1:country-region w:st="on">USA</st1:country-region></st1:place>)<span
style='mso-spacerun:yes'>�� </span><b style='mso-bidi-font-weight:normal'>Harmony
<span class=SpellE>Korine<span style='font-weight:normal'>�s</span></span></b>
latest work is a hard one to describe, no less to explain.<span
style='mso-spacerun:yes'>� </span>It is a crudely edited, roughly filmed
video�in production values, indistinguishable from a very old, unedited home
VHS tape.<span style='mso-spacerun:yes'>� </span>It stitches together scene
after purposely repetitive scene of the most outlandish action imaginable,
mostly centering on three figures in old-people masks (two of them <b
style='mso-bidi-font-weight:normal'>Harmony <span class=SpellE>Korine</span></b>
himself and his wife, <b style='mso-bidi-font-weight:normal'>Rachel</b> <span
class=SpellE><b style='mso-bidi-font-weight:normal'>Korine</b></span>),
cackling and singing as if insanely demented:<span style='mso-spacerun:yes'>�
</span>they peer into windows, smash television sets, throw florescent light
tubing into the air and watch them explode on parking lots, they fellate bushes
and trees, and, most incessantly, they literally hump trash cans�so much so,
that late in the film the mere appearance of a trash can on camera elicits a
laugh from the audience.<span style='mso-spacerun:yes'>� </span>We get to watch
an overweight child wearing a white shirt and tie savagely beat in the head of
a baby doll with a hammer.<span style='mso-spacerun:yes'>� </span><span
class=GramE>The is</span> no plot; there is only a succession of various forms
of weirdness.<span style='mso-spacerun:yes'>� </span>But the film almost
works.<span style='mso-spacerun:yes'>� </span>In fact, it is almost brilliant:
had it been 10-12 minutes in length, it would have been the sort of weird,
comic piece of video art one might have found in a gallery�and it might have
been wonderful.<span style='mso-spacerun:yes'>� </span>But, at 74 minutes, it
is quite purposely and significantly longer than that; and it is clear that it
is intended to stretch the limits of our notions about what constitutes a movie
far beyond what we are comfortably able to accept.<o:p></o:p></span></p>
<p style='tab-stops:871.5pt'><span class=GramE><span class=mediumc3><b><i
style='mso-bidi-font-style:normal'>Police, Adjective (<span class=SpellE>Politist</span>,
adj.)</i>.</b></span></span><!--[if supportFields]><span class=mediumc3><b><span
style='mso-element:field-begin'></span></b></span> TC "<span
style='mso-bookmark:_Toc245911512'><span class=mediumc3><b><i style='mso-bidi-font-style:
normal'>Police, Adjective (Politist, adj.)</i>.</b></span></span>" \f C \l
"1" <![endif]--><span class=mediumc3><b><![if !supportNestedAnchors]><a
name="_Toc245911512"></a><![endif]></b></span><!--[if supportFields]><span
class=mediumc3><b><span style='mso-element:field-end'></span></b></span><![endif]--><span
class=mediumc3><b><span style='mso-spacerun:yes'>�</span></b><span
style='mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(</span>Romania)<span
style='mso-spacerun:yes'>� </span><span class=SpellE><b style='mso-bidi-font-weight:
normal'>Corneliu</b></span><b style='mso-bidi-font-weight:normal'> <span
class=SpellE>Porumboiu<span style='font-weight:normal'>�s</span></span></b>
film is a lengthy presentation of a police surveillance operation, in which we
watch <span class=SpellE>Cristi</span>, the plainclothes officer protagonist,
endlessly staking out a young student who is using marijuana with two of his
friends.<span style='mso-spacerun:yes'>� </span><span class=SpellE>Cristi</span>
is avoiding his boss, because he knows the chief will just want to set up a
sting operation and bring the case to a long-overdue close by arresting the
student.<span style='mso-spacerun:yes'>� </span><span class=SpellE>Cristi</span>
does not believe the student is selling drugs, feels the real supplier is
someone else in the picture, and does not believe that the laws against casual
use are fair.<span style='mso-spacerun:yes'>� </span>There are some interesting
moments, but basically the film is neither artistic enough nor sophisticated
enough to support the fact that this is a two hour movie in which basically
nothing happens.<o:p></o:p></span></p>
<p style='tab-stops:871.5pt'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Ne change <span class=SpellE>rien</span>.</i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='mso-element:field-begin'></span></i></b> <span class=GramE>TC "<span
style='mso-bookmark:_Toc245911513'><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Ne change rien.</i></b></span>"</span> <span
class=GramE>\f C \l "1" </span><![endif]--><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><![if !supportNestedAnchors]><a
name="_Toc245911513"></a><![endif]></i></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='mso-element:field-end'></span></i></b><![endif]--><span class=GramE><span
style='mso-spacerun:yes'>��</span>(France/Portugal).</span><span
style='mso-spacerun:yes'>� </span>Well, I suppose if one really liked French
actress and chanteuse <b style='mso-bidi-font-weight:normal'>Jeanne <span
class=SpellE>Balibar</span></b>, <b style='mso-bidi-font-weight:normal'>Pedro
Costa</b>�s lingeringly slow, stark, black and white study of her performing
and rehearsing her music might be very rewarding.<span
style='mso-spacerun:yes'>� </span>We all found her voice dreadful (during the
opening sequence, I whispered to <st1:place w:st="on"><st1:City w:st="on">Nancy</st1:City></st1:place>,
�Is she really as flat as I think she is?<span class=GramE>�;</span> and she
replied, �No, it�s just that she keeps sliding into each note, and that her
voice is dreadful.�) and her choice of music even worse.<span
style='mso-spacerun:yes'>� </span>We waited about 15 minutes to see if anything
changed, and, when it did not, we left.<span style='mso-spacerun:yes'>� </span><span
class=GramE>Painful.</span></p>
<p class=MsoNormal align=center style='text-align:center'><o:p> </o:p></p>
<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:
normal'><u>SPECIAL EVENTS<o:p></o:p></u></b></p>
<h2><span style='font-size:12.0pt;font-weight:normal;mso-bidi-font-weight:bold'>Every
year the NYFF has a rich array of <a
href="http://www.filmlinc.com/nyff/program/special/index.html">Special Events</a>.
<o:p></o:p></span></h2>
<h2><span style='font-size:12.0pt;font-weight:normal;mso-bidi-font-weight:bold'>We
were only able to attend one of these Special Events, but it was an absolutely
fantastic one:<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt'>Pedro <span class=SpellE>Almod�var�s</span> History of
Cinema: <span class=GramE>A</span> Conversation</span><span style='font-size:
12.0pt;font-weight:normal;mso-bidi-font-weight:bold'>.<span
style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt;
font-weight:normal'>In addition to being one of the world�s greatest
filmmakers, </span><span class=SpellE><span style='font-size:12.0pt;mso-bidi-font-weight:
normal'>Almod�var</span></span><span style='font-size:12.0pt;font-weight:normal'>
is also a world-class film buff.<span style='mso-spacerun:yes'>� </span>Billed
as the �cinematic autobiography of a major film artist,� this conversation with
NYFF Selection Committee chairman </span><span style='font-size:12.0pt;
mso-bidi-font-weight:normal'>Richard <span class=SpellE>Pe�a</span></span><span
style='font-size:12.0pt;font-weight:normal'> (who, as always, also provided
excellent translations for <span class=SpellE>Almod�var</span> when he needed
to revert to Spanish for nuance), consisted of Pedro showing clips from his
films alongside clips from films that have influenced his work, and then
discussing his own artistic creative process in that light.<span
style='mso-spacerun:yes'>� </span>One of his first examples was a combination
of clips from </span><span style='font-size:12.0pt;mso-bidi-font-weight:normal'><a
href="http://www.imdb.com/name/nm0000581/"><span style='color:windowtext;
text-decoration:none;text-underline:none'>Joseph L. <span class=SpellE>Mankiewicz</span></span></a></span><span
class=SpellE><span style='font-size:12.0pt;font-weight:normal'>�s</span></span><span
style='font-size:12.0pt;font-weight:normal'> 1950 </span><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;mso-bidi-font-weight:normal'>All About
Eve</span></i><span style='font-size:12.0pt;font-weight:normal'> and </span><span
style='font-size:12.0pt;mso-bidi-font-weight:normal'><a
href="http://www.imdb.com/name/nm0001023/"><span style='color:windowtext;
text-decoration:none;text-underline:none'>John <span class=SpellE>Cassavetes</span></span></a></span><span
style='font-size:12.0pt;font-weight:normal'>� 1977 </span><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;mso-bidi-font-weight:normal'>Opening
Night</span></i><span style='font-size:12.0pt;font-weight:normal'>, the
combination of which <span class=SpellE>Almod�var</span> felt led to his own
1999 </span><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
mso-bidi-font-weight:normal'>All About My Mother</span></i><span
style='font-size:12.0pt;font-weight:normal'>.<span style='mso-spacerun:yes'>�
</span>Among many other topics, he also laid out the relationship between </span><span
style='font-size:12.0pt;mso-bidi-font-weight:normal'>Ingmar Bergman</span><span
style='font-size:12.0pt;font-weight:normal'>�s 1978 </span><i style='mso-bidi-font-style:
normal'><span style='font-size:12.0pt;mso-bidi-font-weight:normal'>Autumn
Sonata</span></i><span style='font-size:12.0pt;font-weight:normal'> and his own
1991 </span><i style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;
mso-bidi-font-weight:normal'>High Heels</span></i><span style='font-size:12.0pt;
font-weight:normal'> as it applies to the idea of motherhood in film.<span
style='mso-spacerun:yes'>� </span>It was a most informative, enjoyable two
hours.<o:p></o:p></span></h2>
<p class=MsoNormal>There are short films shown with some of the main screenings
of the Festival.<span style='mso-spacerun:yes'>� </span>Particularly good this
year were:<span style='mso-spacerun:yes'>� </span>[the best film] <b><i
style='mso-bidi-font-style:normal'>The Hardest Part</i> </b><span
style='mso-bidi-font-weight:bold'>by </span><b style='mso-bidi-font-weight:
normal'>Oliver <span class=SpellE>Refson</span></b> (U.K.), in which an aging
television actor famous for playing a butler rehearses a role that turns out to
be as humiliating in his audition as it is useful on the way home; [the most
fun]<b> </b><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Get Your <span class=SpellE>Ya-Yas</span> Out!</i><span
style='mso-bidi-font-weight:bold'> </span></b><span style='mso-bidi-font-weight:
bold'>by <b>Bradley Kaplan</b>, <b>Ian <span class=SpellE>Markiewicz</span></b>,
<b>Albert <span class=SpellE>Maysles</span>, </b>(1969-2009, USA), which
contains 27 minutes of rare footage from the<b> Rolling Stones� </b>1969
concert in Madison Square Garden, was a rip-roaring rock-n-roll
experience!;<span style='mso-spacerun:yes'>� </span></span><span class=SpellE><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Socarrat</i></b></span>
by <b>David Moreno</b><span style='mso-bidi-font-weight:bold'> (Spain), was a
cleverly presented, very funny tale of family dysfunction spanning three
generations; and </span><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Plastic Bag</i></b><span style='mso-bidi-font-weight:
bold'>, by <span class=SpellE><b>Ramin</b></span><b> <span class=SpellE>Bahrani</span></b>
(USA), tell the journey of a plastic bag, from the bag�s perspective in the
voice of <b>Werner Herzog</b>.<o:p></o:p></span></p>
<h2><span style='font-size:12.0pt;font-weight:normal;mso-bidi-font-weight:bold'>During
this year�s NYFF, there was a </span><span style='font-size:12.0pt'>NYFF
Masterworks </span><span style='font-size:12.0pt;font-weight:normal;mso-bidi-font-weight:
bold'>series</span><span style='font-size:12.0pt'>.</span><span
style='font-size:12.0pt;font-weight:normal;mso-bidi-font-weight:bold'> This year's
Masterworks � repertory collections, highlighting the history of global cinema,
were programs of films from <st1:country-region w:st="on">China</st1:country-region>
and <st1:place w:st="on"><st1:country-region w:st="on">India</st1:country-region></st1:place>.
</span><span style='font-size:12.0pt'><a
href="http://www.filmlinc.com/nyff/china.html"><span style='color:windowtext;
text-decoration:none;text-underline:none'>(Re)Inventing China</span></a>: A New
Cinema for a New Society, 1949-1966</span><span style='font-size:12.0pt;
font-weight:normal;mso-bidi-font-weight:bold'>, is a twenty-film anthology of
works from the crucial early years of the People's Republic of <st1:place
w:st="on"><st1:country-region w:st="on">China</st1:country-region></st1:place>.
</span><span style='font-size:12.0pt'>A Heart as Big as the World: <a
href="http://www.filmlinc.com/nyff/program/dutt/index.html"><span class=GramE><span
style='color:windowtext;text-decoration:none;text-underline:none'>The</span></span><span
style='color:windowtext;text-decoration:none;text-underline:none'> Films of
Guru <span class=SpellE>Dutt</span></span></a></span><span style='font-size:
12.0pt;font-weight:normal;mso-bidi-font-weight:bold'> offered eight films from
the much-admired Indian auteur.<span style='mso-spacerun:yes'>� </span>This</span><span
style='font-size:12.0pt'> NYFF Masterworks </span><span style='font-size:12.0pt;
font-weight:normal;mso-bidi-font-weight:bold'>series was screened at the Film
Society�s <a href="http://www.filmlinc.com/wrt/wrt.html">Walter Reade Theater</a>.<span
style='mso-spacerun:yes'>� </span>As much as we should have loved to see these
films, we simply did not have the time this year.<o:p></o:p></span></h2>
<h2><span style='font-size:12.0pt;font-weight:normal;mso-bidi-font-weight:bold'>We
were also unable to attend any of the annual <a
href="http://www.filmlinc.com/nyff/program/avantgarde/avantgarde.html">Views
from the <span class=SpellE>Avant-Garde</span></a> series, which is always so
wonderful.<o:p></o:p></span></h2>
<p align=center style='text-align:center'><img border=0 width=573 height=6
id="_x0000_i1025" src=line1.gif></p>
<p align=center style='text-align:center'><a
href="http://www.rlrubens.com/nyff.html"><i>Return to NYFF Reviews main page. </i></a></p>
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