Showing posts with label 2010 Film Festivals. Show all posts
Showing posts with label 2010 Film Festivals. Show all posts

The Golden Plantpots 2010



Another year, another hundred or so films reviewed, filed and ordered. There have been some actual crackers this year, some predicted and some complete surprises. There has also been some middling, tatty throwaway stuff you fortunately will only see at a festival, or should stay well clear of if it creeps onto a DVD shelf. Either way, the opinions expressed are completely my own and could well be the opposite of yours if you saw the same film.

I think I've just invalidated the existence my entire blog.

Weeeeeeeeell, ignoring that. Here are links to the festivals I went to this year.
Now in it's third year, the pots are designed to add a little tiny bit more highlight to the films that might not otherwise be known. If you see one advertised in the 2011 festivals, or more likely, your local indie cinema, why not give one a go?

As usual comments are open.

Best Film - Micmacs (France)

Long-time readers will know my love-hate relationship with French cinema, which can give us the highs of action-packed thrillers or beautiful love stories, through to the lows of confusing, pretentious, downright annoying arty crap. Yes, other countries' output can have this same description levelled at them, but not to such a polarised degree.

Anyway, Micmacs continues the Jeunet trend of producing succulent, juicy, velvetty films that reveal more detail on each viewing. Micmacs' tale of an underdog uprising with a complicated array of likeable characters (including some long-time Jeunet collaborators) lasts a long time but you are too busy enjoying it to notice. Out now on DVD.

Honourable Mentions:

- Third Star (AKA Barafundle Bay) (UK)
Benedict Cumberbatch is a name to watch. Already with a string of performances behind him (including a small part in last years' Creation) he brought his talents to this fantastic film about childhood friends gathering for one last very English hurrah, at their favourite beach. A funny, unpredictable, deep film that in its last few moments grabs you by the throat and doesn't let go.

- Elling (Nor)
Spawning a pair of sequels, Elling was shown as part of a retrospective segment at Leeds. It's a Norwegian comedy about two disfunctional men living in a flat, trying to make sense of the scary world, having just been released into it. But it is absolutely brilliant. Achingly funny and able to make you care about the two well-played leads.

- Inside Job (US)
The reasons for the latest fall into global economic debt, the largest so far, are told in a refreshingly non-dumbed down style by Matt Damon (sorry, Matt), in an epic documentary (and I mean that in a good sense) that shows that when we have let capitalism completely off the lead it will run rampant and destroy itself. I don't doubt that in 10-20 years we have an even bigger crash, down to the stupidity, greed, incompetence and inaction of those in power just not listening, but this film does all it can to say how it happened, and how it might be avoided.

- Inception (US)
Shock-horror. A mainstream film! Yes, a mainstream film with a complicated, interesting concept, made clear and compelling without simplifying it to the level of the dumbest yokel in the seats. Inception is full of special effects, which puts it in my targets for criticism, traditionally, but manages to avoid them by being so damn good.

- Mai Mai Miracle (Jpn)
In-between waiting for the masters of animation at Pixar and Studio Ghibli to do their next thing, this lovely film surprised me and won me over, having thought it was very much a poor man's Miyazaki film. Quiet, considered and intelligent, but at a child's level like Totoro, there is enough here for children and parents alike who are prepared to look past the kiddy name.

- Russian Lessons (Geo/Rus)
A very disturbing look at the conflicts between Russia and Georgia over the past few years, told by a husband and wife team of journalists who risk their lives to get through to the most ravaged areas of the war and report what they see. Not a film to forget in a hurry.

- Evangelion 2.0 (Jpn)
The experience would be even better if you watch 1.0 first, but the shocks in 2.0, as the story and characters implode in on themselves is tense, adrenaline-pounding stuff. Evangelion is the best example of the 'big robots' anime out there, a genre I am not so keen on, but even I had to admit to being utterly glued to the screen.

- Home from Home (Ger/S. Kor)
This unassuming documentary film about German men and their Korean war brides moving to a German-themed village in Korea is made infinitely watchable by the characters, in particular the unassuming old man who for the most part wears a weary scoul, but occasionally shares his alter ego side with the camera, and we are privileged.

Best Short Film - The Astronomers Sun (UK)

Evoking the best nostalgic memories of short Christmas films from the 80's, devoid of [obvious] computer graphics and instead sprinkled with the glitter dust you could buy down the newsagents, the Astronomers Sun is a short and beautiful paean to the life work of a man. I dare you to have dry eyes at the end.

Honourable Mentions:

- Scent (UK)
A quietly shocking film about the days of an elderly man when his wife dies and he finds he can't let go.

- Love and Theft (Ger)
There are no more odd, disturbing or hypnotic films I saw this year than Love and Theft. The characters you know from childhood, plus more besides, are animated, morphed and mutated as one long psychedelic sequence. An experience to behold.

- Uncle David (UK)
An example in the British can-do attitude, one to give you a warm feeling. In the face of teen confrontation and the same scene greeting him every day, a retired man takes it upon himself to clean the local park and surrounding area of litter, and worse; all lovingly captured by his nephew.

Best Animation - Mai Mai Miracle (Jpn)

Quiet and unassuming but with hidden depth, Mai Mai Miracle will pass many people by. But if you loved films such as Ghibli's Only Yesterday, you should definitely try and see this.

Honourable Mentions:

- The Astronomers Sun (UK) - A gorgeous stop-motion animated film that could easily be a rediscovered childhood memory from 80's television, but is actually brand new.

- Evangelion 2.0 (Jpn) - The Daddy of all 'big robot' anime just got remade, and this second installment came laden with heavy drama.

- Avatar (US) - Yes, this is only 'sort of' animated, but I couldn't leave it out of the plantpots entirely. A rare, decent use of 3D, the most fantastic melding of computer graphics and live action - period, and a pretty strong storyline on top (which does admittedly sound a lot like a load of others but lets just sweep that criticism under the carpet). And yes, I mean the James Cameron film, not that other abomination.

- A Town Called Panic (Fr) - If those Cravendale adverts exude any charm at all for you (and they do for me) then this is a must for you, because it is what they are in homage to. An energetic, frenzied feast for the eyes that barely lets up through the entire film.

- Love and Theft (Ger) - A short film bringing back memories of all sorts of cartoon characters, and then mutating them in wierd, nasty but brilliant ways. A psychedelic way to zone out your brain for five minutes.

- Jackboots on Whitehall (UK) - Curiously absent from mainstream cinemas so far, this puppet animation borrows heavily from the excellent Team America, with a thoroughly British World War II theme. If you want to see Hitler in a dress, you come to this.

- Redline (Jpn) - Even though it lacks a bit of meaty story, there is no denying that this comes as close as we're probably going to get to F-Zero The Movie. At least, until the American movie studios start sniffing around the franchise (please, no). It's insanely fast, a bit saucy, and a good laugh as well.

- Pigeon Impossible (US) - A promising talent in Martell Animation brings us what should be the first in a long line of quality animation films, as a secret agent is foiled by an over-intelligent pigeon.

Best Documentary - Inside Job - (US)

By a country mile, Inside Job is the most important, authoritative source for the problems we have found ourselves in financially, and why, sadly, it will probably all happen again sometime soon, thanks to greed, incompetence and stupidity.

Honourable Mentions:

- Russian Lessons (Rus/Geo) - The husband and wife documentary duo risk everything over several years to bring a comprehensive account of the Russian/Georgian conflict to the screen.

- Home from Home (Ger/Kor) - A fantastic, funny and heart-warming documentary about German men and their Korean wives being tempted to live out their retirement in a German-style village built for them on the Korean coastline. Deceptively able to get under your skin.

- Uncle David (UK) - A lovely short film about one man's determination to make his environment a little bit better.

- Article 12 (UK/Arg) - A subversive rallying call to those in the UK, who are the most surveyed in the world, about how our privacy is being massively eroded by cameras and laws, imposed on us in the name of protection.

- Dive! (US) - A positive look at the problem of massive worldwide food waste, from the point of view of one American man trying to feed his family, and ending up doing his bit for the community.

- Restrepo (US) - Just about the most in-depth, shocking and authoritative documentary on the war in the middle east this year.

- Countdown to Zero (US) - An American take on the threat of Nuclear War, which only just outshone the UK equivalent, Beating the Bomb, which was also shown this year.

- 43565 (US) - Films like this shouldn't work. No plot whatsoever, just film footage of the goings on of the various residents of an American town. But this one did work, about as well as something like this could.

- Face the Wall (Ger) - A handful of Germans talk of their treatment by the Stazi in the years before the fall of the Berlin Wall. Slow, and can be a bit stodgy at times, but equally harrowing and compelling stories.

Enjoy The Journey Award - The Art of Negative Thinking (Nor)

Norwegians have some of the blackest humour, and it's clear from the off that inviting perverse disabled drunk Geirr into the fragile world of a support group is going to end up with the other members being comprehensively destroyed. But just how it is carried out is one of the highlights of the year. Hilarious, unpredictable and very enjoyable from start to end.

Honourable Mentions:

- Sweet Little Lies (Jpn) - The two leads of the film are in a loveless marriage, and though it is obvious what will happen when their attentions are picked up by others, the quiet nature of the film keeps you watching.

- The Woman who Dreamt of a Man (Den) - The whole film is basically the title. A woman dreams of a man, and then sees him in real life. She becomes besotted, to the cost of everything she knows. Even though you know all this is coming, her comprehensive self-destruction is compelling viewing.

- Blue Bus (US) - Two men go on a road trip from LA to New Orleans, in memory of a friend. As with the best of these films, the value is in the journey, as the two characters fill out nicely on their journey.

- 43565 (US) - This documentary asks nothing of its' viewers but to sit back and relax, and look in on the lives of the people the camera meets. You don't even need to keep a plotline in your head.

- The Taste of Tea (Jpn) - A deeply oddball comedy from Japan, about a quiet family with unusual habits. Little goes on, other than the members interacting in the way families do, with the odd smidge of magic thrown in. The final few minutes will grab you much more than you expect them to.

After the Credits Roll - Leap Year (Spain)

Few films will have you putting your guard up more than Leap Year, as it's quiet character study of a lonely woman evolves into a disturbing realisation of her innermost demons. A powerfully unsettling film that leaves you with memories for a long time after.

Honourable Mentions:

- Dogtooth (Gre) - Completely out there, this brilliant film manages to be both barkingly abstract and completely relevant to the world at large. A shrinking down of a society to the size of a single family, under the rule of an uncompromising dictator overflows with excellent social and psychological observation.

- Third Star (UK) - What begins as a jolly, buddy film quickly deepens as it becomes clear what the ultimate aim of James' last trip to his favourite seaside spot before cancer renders him incapable. The final scenes will not leave you in a hurry.

- Vital Signs (Fr) - A beautiful tale of one woman who finds meaning in the care of the elderly people at an old folks home.

Emotional Kick - Third Star (UK)
Just as you are getting used to James' terminal cancer, he goes and throws a bombshell at the end of the film that leaves you hugging your coat.

Honourable Mentions:

- Never Let Me Go (UK/US) - Though a little too thick in syrupy schmaltz, this emotional adaptation of Kazuo Ishiguro's novel is still capable of pulling at the heartstrings, as the second-class children of an alternate Britain learn of their commoditized existence.

- Face the Wall (Ger) - The tales of the German survivors of the Stazi treatment prior to the reunification of Germany tell of a stifling existence for anyone even thinking of stepping out of line.

- Elling (Nor) - A great piece of character comedy with a surprising ability to get under the skin.


Twist Award - Evangelion 2.0 (Jpn)

If you had seen it first time round, then the reboot would hold little in the way of new things, but I am glad I got to see this for the first time on the big screen. Anno decides from the halfway point of the film to let all hell loose, and if you don't see it coming, it'll floor you.

Honourable Mentions:

- Third Star (UK) - The final stage of the film completes the transition between light-hearted final hurrah to something far darker.

- Inception (US) - Multiple levels of story are all going on at once, and never once are you able to predict where it will turn, right down to the final seconds of the film.

- Leap Year (Spn) - The scene where Laura waits patiently for her 'lover' to arrive is one of the most highly strung in recent movie history, the audience having been floored by what she is expecting to happen in that very room when he does.

Cleverest Film - Dogtooth (Greece)

There are few films so inventive as Dogtooth, a cleverly imagined view of a dictatorship and its corrosive effects. I for one am very glad that video tapes are being replaced by DVDs.

Honourable Mentions:

- Micmacs (Fr) - A magical underdog story, packed with a thousand little touches like only a Jeunet film can be.

- Inception (US) - Dreams within dreams, folding cities and the power of suggestion. It's complicated themes and ideas are presented cleverly and intelligently without trying to patronise the viewer.

- Avatar (US) - The best example so far of 3D integration, and the most convincing meld of computer graphics and real life.

- Love and Theft (Ger) - A fantastic short film that puts your mind in a trance.

Biggest Laugh - A Town Called Panic (France)

Horse, Cowboy and Indian, three little figurines in the style of those farmyard animal sets you played with and stuck up your nose as a small child. They seemed to have little potential as the central characters in not only several episodes of a cult French comedy, but also a full-length feature film, and against the odds they pull it off. Masses of energetic action, near constant machine-gun gaggery fired at the poor, helpless audience, and precious few places to catch your breath between laughter.

Honourable Mentions:

- The Art of Negative Thinking (Nor) - A film all about going through the mincer and hoping to come out better against the odds on the other side. Geirr is the most horrible, self-loathing heap imaginable, but he has something his fragile little support group doesn't, and that is a grounding in reality that they have long since let go of, and it's a brilliant laugh seeing them learn this lesson.

- Skeletons (UK) - A brilliant and funny low budget British effort, Skeletons is both funny and charming with its tale of two lonely men trawling the countryside for closets to empty.

- Elling (Nor) - A great and now classic film about learning to live in the big scary world.

- The Bothersome Man (Nor/Icl) - A funny and surreal Prisoner-esque film, with a black streak of humour running right through it. The subway scene will have you simultaneously laughing and wincing.

- High on Hope (UK) - One for the acid house crowd. The idea of a load of bored Lancastrians arranging spontaneous garage rave nights, keeping one step ahead of the law and only just able to stop themselves flying through the air on direct current is retold in this touched-up and very funny documentary; well worth a watch even if you weren't part of the scene.

- My Invisible Friend (Spa) - A great little short film about a fat kid and his invisible friend, the only one he has the courage to talk to, suddenly becomes real.

A Thousand Words - Avatar (US)

Leaving aside any talk of lifted plotlines, Avatar does one thing at least exceptionally well, and that is give your eyes a serious feast. You could watch the entire film without even considering any plot and just looking at it, and you would still get your money's worth. It's also one of the few films in 3D I've seen so far that actually benefits from it.

Honourable Mentions:

- Micmacs (Fr) - A beautiful, rich velvety film, filled to the brim with little Jeunet-style incidental details.

- Mardock Scramble (Jpn) - Cyberpunk future Japan has been done a million times before, but they're getting very good at it now. Mardock Scramble has some achingly beautiful backdrops and character models.

- The Illusionist (Fr) - The world of 1950's England is brought back to life with this gorgeous animation from the creator of Triplets of Belleville.

- The Sky Crawlers (Jpn) - Although it became largely forgotten under all the other films, Oshii's latest is an undeniably beautiful film, especially the gorgeous aerial scenes.

Best Indie to Show Your Friends - Inception (US)

Many other films might have beaten Inception if they had been in English, but the old problem of subtitles will no doubt always push foreign language films down the list in this category. However Inception is a brilliant way of showing people that a film can be intelligent and complex, and not be hard to follow or boring.

Honourable Mentions:

- Elling (Nor) - If you can get them to accept the subs, Elling would be my first choice for showing friends. It's a funny and charming film that takes it's time without getting dull. I sat with an almost constant smile on my face through it.

- Neurosonics Audiomedical Labs Inc. (UK) - A brilliantly barmy short film, with a simple concept. Computer trickery puts the dismembered heads of beatboxers onto turntables, and they are played in front of your eyes.

- A Town Called Panic (Fr) - Even though it's in French, there is so much visual humour here that you can't help but laugh.

- Jackboots on Whitehall (UK) - Funny and unsubtitled, Jackboots on Whitehall is the ideal film for when you're a few hours away from going down the pub. A good lads film.

- The Astronomers Sun (UK) - A beautiful short film with no dialogue. If this doesn't show it's face on Channel 4 next Christmas (they made it) then I'll eat my own head.

The Manky Sankey Awards

Mankeys are the films that, in my humble opinionation, are best avoided, because they frustrated, angered, confused, wasted my time, or rendered me comatose.

Biggest Let Down - I Am Not Your Friend/I Will Not Be Your Friend (Hun) (UK)

After the controversial Taxidermia, and the (so I read) charming Hukkle, György Pálfi did not manage to pull off the triple. What could maybe, if the circumstances were just right, have been a successful experimental film where the actors were just plucked off the street and asked to completely ad-lib themselves a plotline, wasn't. Too often, the actors (who looked seriously out of their depth) just passed the buck to their opposite when put under pressure to move the story forward, resulting in a massive game of 'I don't know what to say you have a go' ping-pong. It wasn't funny. It wasn't thrilling, and after the first ten minutes, even the novelty stopped being interesting. Please never do this again.

Dishonourable Mentions:

- Uncle Boonmee Who Can Recall His Past Lives (Thai/UK/Fra) - Supposedly, this won all sorts of awards, but I just can't see why. It started so promisingly, as the spirits of friends and family are attracted to the final breaths of a dying man, but it didn't take long to completely break down into a mushy soup as they took a journey through a cave.

- The Secret of Kells (Fra/Bel/Irl) - Undeniably beautiful, Kells was high on my list and I just had to see it at Leeds, having missed it at least twice previous. It had a reasonable start, a strong middle, and then.... it finished. At the point where you expected a big finale, it just stopped dead.

- Mundane History (Thl) - Another one that could have set the hair on fire but didn't, Mundane History decomposed into a soup of apathy, as the story built up in the first half is thrown out of the window and replaced with a 2001-style abstract journey of healing in the second.

- The Blacks (Cro) - A team of soldiers find themselves in dire circumstances in a forest somewhere, this poor mans' Memento flashing backwards through their story to some epoch moment, meaning, rather predictably, that there was no ending.

- Toto (Aus) - Bloody Toto and his memories. A 2+ hour film of a man sl-oo-oo-oo-wly working his way through his thoughts - which half of it you can't interpret because it's subtitled and in black and white - which are so disjointed as to not be worth investing the time and effort required to parse his enormously long and protracted sentences.

- A Spanking in Paradise (UK) - The local Edinburgh lasses who took part in the film had filed in, tanked up on booze, and were there at the front to give their precious film every cheer that they could. And they tried, bless them, to make the film appear more entertaining than it was, but the fact was that there were other films (Perriers Bounty, Bad Family, Animal Kingdom, The Misfortunates) that managed to pull off the same plot in a far better way.

Most Pretentious - Kosmos (Tur/Bul)

Kosmos had some good things going for it; if it weren't for my haggard, cynical attitude I might have viewed this with more kindness. It's story of a man who trudges through the snow to a remote village, and bewitches its inhabitants with his mystery has a bewildering, sometimes magical charm, but it's the sort of charm that would be best suited to a short film. He becomes quickly tiresome in a full-length feature.

Dishonourable Mentions:

- Mr Bradley Mr Martin Hear us Through the Hole in Thin Air (UK) - A short film where the words of William S. Burroughs are jumbled and assorted so he sounds like a confused old grandad trying to keep a hold on the last threads of sanity. Perhaps mysterious and beautiful for some, confusing and annoying for others.

- The Pandrogeny Manifesto (Fra) - Oh you frenchies. This is what happens when you let French people loose with a little bit of information, some abstract religious concepts and a few recreational drugs. They are meant to be a new version of humanity.

- Terrorism Considered as one of the Fine Arts (UK) - What twaddle I had to sit through. Overly self-aware rubbish that took itself way too seriously. The only film I have walked out of.

- Verdrehte Augen: Videoversion-2 - A self-important mess of a film about some people talking, cutting up fish, and getting assaulted in a car.

Most Drawn Out Scene - The Silent House (Uruguay)

Filmed in one long take, The Silent House annoyed the hell out of me because so much of it was trying to make up for the deficiencies you get in a film when you can't cut between scenes. After a certain amount of build-up, it was just one long shot of a once-terrified-but-now-bored teen girl shining her torch at various ornaments and objects in a darkened house.

Dishonourable Mentions:

- Freezer Fright (US) - There is no more grating intro than the one at the start of Freezer Fright, where the filmmaker 'treats' us to a static graphic of the film title, to the sound of her own guitar and some bird sqwaeking outside. FOR FIVE TORTUROUS MINUTES.

- Terrorism Considered as one of the Fine Arts (UK) There were far too many arty shots of the man going round the tram system for them not to be annoying, mixed with repetitive abstract shots of this and that.

Most Annoying Film - Terrorism Considered as one of the Fine Arts (UK)

The only film I have ever walked out of. Unfathomably bad. The film was a badly written, recorded and scripted mess of a guy sat on a tram all day waiting for a woman to appear, while a stupidly realised conspiracy theory of the Rainbow Warrior sinking is crowbarred into the already confusing thoughts of this pretentious idiot on screen. There is nothing, literally nothing, to recommend in this truly awful film.

Dishonourable Mentions:

- The Pandrogeny Manifesto (Fra) - Mercifully short, the two women blathering on about their transformation into the next stage of humanity made me want to slap them many times until they got themselves a proper job.

- The Sickness Is Coming or, The Blind Man's Television (UK) - A completely nonsensical short about teenagers in a future wasteland of rubbish book-to-film conversions.

- The Temptation of St. Tony (Est/Swe/Fin) In an attempt to out-French the French, Tony's monochrome journey was a creepy, disjointed nightmare of a man who is little more than a passenger to the stupidity around him. It started off strange, got a couple of semi-coherent plot threads going, and then snapped them all and vomited over it.


- Freezer Fright (US) - Kudos to Nancy Silver for inviting us into her house and pretending that her freezers and those of her neighbours are filled with plastic toys and dildos, but the combination of the drawl, the obvious fakery and the damn annoying intro made the breaking of the film partway through nothing short of sweet release.


===========================================

It will be three short months until it all starts up again; the Bradford Film Festival is in mid-March, with Edinburgh a month or so after that, and I get my holidays reset in a few days so I get some time to take off for them!

Leeds Film Festival 2010: Day 18

Tucked away at the end of the festival, was the anime segment. In an encouraging change, LIFF will be getting it's own 'Anime Day' filled with as many as they can fit in. This was what we got this year:

One Piece Film: Strong World (Jpn) (wiki/site)

I haven't seen any episodes from the (very) long-running anime series on which this is based, but from what I can tell, it's a highly-stylised adventure variant along the lines of Bleach and Inuyasha, but with a pirate theme. It's certainly being marketed to death all over Okinawa at the moment, that's for sure. Luffy (the main character) is made of rubber, and can cause his body to stretch or inflate at will. He has a bounty on his head, as do the rest of his clan, a mixture of human beings (presumably in this world by a portal from earth, that's usually how these things go) and strange beings, including a shape shifting doctor bear, and a panty-obsessed musical skeleton. Each have various special abilities along the lines of Bleach, and it's all played with over-the-top slapstick in the way that certain breeds of anime do.



In this film, a powerful pirate Shiki, missing for 20 years, turns up on a flying island and causes havok, taking control of the animals on it and engineering them to become massive and dangerous. The only thing he fears are the cyclones, and so when Nami, one of the crew, shows him her ability to predict them in time to get out of the way, he kidnaps her, forcing Luffy and co to the rescue.

Even though this sort of anime isn't really my realm, it was difficult not to laugh at the mad storyline and madder characters, and the casual joking around in the middle of chaos. There were even some quieter moments where there was enough investment in the characters to care about some of the problems they were going through. It's with these things it's a case of don't think, just go with it. It took a couple of minutes for the initial confusion and madness to settle down, and it would have helped if I'd known the backstories of some of the characters, but I did enjoy it and would not be against seeing a few of the series episodes. 7/10

Mardock Scramble: The First Barrage (Jpn) (site)

To contrast with the zany humour of One Piece, Mardock Scramble is a dark, adult film noir, the first of several episodes based on the novels of Tow Ubukata. Mardock City is a grim, Bladerunner/Ghost In The Shell-style metropolis; neon signs and fancy, chic restaurants in it's upper, affluent levels, and gangsters, prostitutes and criminals survive below. Rune Balot, a young prostitute is locked in a car by Shell, a wealthy and corrupted young man, sought by the authorities but always able to use his contacts to stay out of jail. When the car is blown up, Balot is saved by an ex-military scientist who treats her wounds in the hope she will testify against Shell in court, but Balot is pretty messed up, and the injustices of her wretched childhood cloud her judgement as she turns from scared and confused to angry and vengeful.



There is a lot to like about this film, and I am interested in catching the next one (not least because it ends on a hell of a cliffhanger). The art style was on the realistic end of the scale, and the animation was much smoother, although they did cheat with the car scenes by using computer models. It did get a just little silly in places, just taking things slightly beyond the wiggle room it had earned for itself which spoiled it a little. That said, I have high hopes for the next in the series. 8/10

Evangelion 2.0: You Can (Not) Advance (Jpn) (wiki)

If you were to only watch a single 'big robot' anime, then Evangelion is the one to go for, as it is The Daddy. Nausicaa artist Hideaki Anno has decided to 're-imagine' [resell] his 90's ground-breaking series by remaking them as three films, this being the second. It was a great shame that last year they didn't think of putting the first one on but the Leeds Anime Society has hold of the Hyde Park Picture House and it's one of the choices in the 'pick a flick' segment, so all is not lost.



Evangelion is the story of the EVA units; huge robots the size of skyscrapers built to serve an urgent need; earth is under repeated attack by 'angels', beings of unknown origin that attempt to destroy life on earth with disturbingly calm looks on their faces. The situation has matured to the point of cities being designed for the ever present threat of being levelled by a huge fight; whole swathes of tower blocks can retreat into the earth and infrastructure exists to make emergency evacuations at a moments notice on confirmation of a new angel being spotted. Even worldwide treaties were signed to limit the number of EVA units to have in operation at any time.

As tends to be the case with series like this, the units are manned by children barely into their teens, whose quick reactions and supple brains are most suited to the immersion technology to meld man with machine. The films concentrate on Shinji, a shy but talented pilot of the experimental EVA 01 unit, and son of the director of Nerv, the organisation tasked with repairing and deploying them in combat. Joining Shinji are Asuka, a foreign student with fiery red hair and an obnoxious personality, and Rei, a mysterious and quiet girl piloting the prototype EVA 00 unit, mysteriously hand-picked by the Nerv director for inclusion in the project.

Evangelion is particularly good at not 'just' being a big robots anime; much of the episodes and scenes detail their unnatural lives as they try to live as normal outside the stresses of war and conflict, particularly Shinji's all but destroyed relationship with his father. Even the fights themselves don't 'feel' like typical anime, often with some backstory going on as the battles progress. 2.0 has a particularly good example of this, but I will say no more as it's the most powerful scene, and one of the most affecting I have seen in film. There are sections where I don't think I took a breath for several minutes.

In short, if you have any curiosity over anime and want to get a cross section of what the best out there is, you might well want to put the Evangelion films (of which there will eventually be four) in the big robot space. 8.5/10

Redline (Jpn) (site)

Redline is utterly relentless. Only the Japanese can manage this level of high-energy eye-hammering to such a consistent degree. Best described as a desperate, chaotic and destructive imagining of F-Zero on the big screen with a bit of romance thrown in, Redline has a very distinctive art style, similar to American comic books, again reminiscent of the artwork of the F-Zero characters from the later games in the series. It's about all-out racing in a distant future, where the earth is dry of resources and inhabited planets have long since made contact. Though skycars are the norm, some 'fools' still race using wheeled vehicles.



JP and Sonahime are racers in the Yellow Line cup, trying to qualify for the all-out Redline race later on. While Sonahime makes the cut, JP's rigged car explodes and crashes, and it's only due to others dropping out that he just qualifies for the big race. Someone decided that it should take place in 'Roboworld' - a group of planets ruled by a stuck up set of metal gits who don't like the idea of thousands of cameras poking around their planets, possibly taking pictures of military secrets and the like. When trying to stop the race doesn't help, they launch an all out attack as it happens, which seeing as the contestants can use whatever weapons they choose, makes an already insane situation that bit madder.

I haven't seen something so utterly unrelenting on screen before. You can barely tell what is going on sometimes, only that a lot of metal is getting dented and some people are going to hurt in the morning. It's absolutely mad, but also fresh and inventive, with distinctive visuals and a lot of action. You might get a headache watching it though. 8/10

Another festival gone already, and that's it for another year. Thanks for reading my reviews and I hope my tired brain made sense as I emptied it onto the page. The next fest will be Bradford in February, with maybe a couple at the trusty Hyde Park Picture House. Lets see if I can get some time free for it.

Leeds Film Festival 2010: Day 17

The Secret of Kells (Fra/Bel/Irl) (site/wiki)

A charming animation from a relatively unknown studio, Kells has been doing the festival circuit for a year, managing to stay out of my grasp until now. In fact, you can already get it on DVD. Its' seductively colourful stylised artwork and interpretations of Irish myths and legends got me interested and I was thankful I had one final festival in which to catch it.

Young Brendan is the nephew of Abbot Cellach, the ruler of the circular city of Kells, his pointy tower rising at its centre, the only viewpoint that can see over the wall that is being constructed, at the obsessive command of Cellach, to keep the citizens safe. News comes in from all around of Vikings, who attack each city they find and burn it to the ground. So much has Cellach worried about this threat that he has forbidden anyone to leave the safety of the city walls.

One day Brother Aiden, a scribe from the far away city of Iona arrives and uses the sanctuary of the city to tell of the 'Book of Iona', a book with power and beauty, written by a man whose words blind any sinner who will read them. In an incomplete state, Aiden asks Brendan to gather berries to make ink, in the woods beyond the walls. It is there he meets with the mysterious wolf-girl Aisling, who helps Brendan see past his uncle's unwavering opinions.



Kells is full of beauty and mystery; drawing on both traditional Abrahamic and Celtic religious storytelling, it feels like the latest chapter of an often repeated and revised religious text. For 90% of it's length, I was enthralled in a beautiful story told with child-like and distinctive visuals. I was thoroughly enjoying it all when.. the credits rolled. At the point where I would have expected another 20 minutes or so of wrapping up the story, it just ended leaving me hanging. It was if they had run out of money and just wrapped things up super quick, which disappointed me somewhat after enjoying it so much until that point. But I should note that this does not invalidate the beauty and enjoyment experienced for the hour or so before. 7.5/10

Leeds Film Festival 2010: Day 16

Russian Lessons (Rus/Geo) (site)

Husband and wife documentary team Andrei Nekrasov and Olga Konskaya, both Russian, decided to make a film exploring the recent escalations between uneasy neighbours Russia and Georgia, and the real goings on not reported - or blatantly misrepresented - by the Russian state media on the 2008 war between them. Splitting up and approaching Georgia from the north and south, they meet in the disputed country of Ossetia, with both their findings differing greatly from what the masses, both in Russia and beyond have been fed.

What was particularly disconcerting was the media coverage that was provided overseas by foreign news - including our highly respected BBC - which appeared to swallow the Russian line without questioning. A particular segment of the film showed Russian newsreel footage against the original source material, showing that more often than not, reports vilifying the Georgian attacks on disputed places like Tskhinvali, were unconnected with the footage actually screened. Scorched bodies and pock-marked buildings were often Georgian, Abkhazian, Tskhinvalian, but not Russian, as had been reported. It was this alleged, massive blatant propaganda that further stirred the Russian people up against the Georgians, to validate their need for counter-invasion, the intention being to punish Georgia for it's arrogance and bring it back under Russian control.



There are many, many images and personal testimonies in this film that are deeply disturbing, but need to be shared. Andrei and his late wife Olga put themselves in considerable danger to extract and collate this information and have created a powerful and comprehensive alternative voice. It should be viewed by as many people as possible, as it is a powerful signal that we have not left behind in our history barbarism of the scale attributed to the Nazis. 8.5/10

Face The Wall (Ger) (site)

In the years leading up to the final act of the fall of the Berlin wall in 1989, an estimated 72,000 people from East Germany were detained under the most appalling treatment by the Stasi of the former GDR. This film takes 5 volunteers who attempted to defect across the border; Catharina who chose to follow her fleeing boyfriend, Lothar, a farmer who had his land taken away, Andreas, whose ideas were stifled as a young child at school, Mario, a gay man who had contact with his West German friends taken away, and Anne, a teacher at a state school who was required to scrutinize and report any sign of western influence in the children she taught.

Swapping between them, director Stefan Weinert sits patiently as they talk about their pre-detainment lives, the constant surveillance they received every time they left their home, and their capture and imprisonment, often without reason or warning. The middle segment of the film, where each talk about their experience while imprisoned is pretty horrifying. Treated worse than animals, they are tortured both physically and psychologically. Hung upside down with electrical wire, given cells with violent criminals. Sleep deprivation, isolation, and mind games, such as repeated questioning of the smallest details of their lives, or a bunch of interrogators screaming at them in their cells. Sometimes they would be convinced over a period of weeks that their friends and families were turning against them, that their memories were false, or that they put loved ones in danger as a result of their transgressions. Anything to completely annihilate any feeling that they had power over their own minds. Unsurprisingly, many cracked under the pressure and confessed to whatever they were charged.



Several times in the film, the volunteers were taken back to their places of detainment or their old homes, which intensified the memories, and the recollections for the camera. Even when in the relative comfort of their own homes, the distant look in their eyes tells you there are a lot of memories being dredged up, maybe never shared with anyone over the 20 years between.

Though I had become weary from the overwhelming imagery of Russian Lessons, Face the Wall was powerful enough to easily hold my attention some more, this time with only my imagination, rather than pictures, to realise the enormity of the suffering. 8/10

High on Hope (UK) (site)

A low budget and suitably rough and ready documentary (updated from the Director's 2003 film) about the rise of the impromptu Blackburn warehouse parties, at the beginning of the Acid House era that started in the late 80's. Starting small, these grew in size to be thousands of people strong, and consequently moved from small rented rooms in pubs, to abandoned warehouses. For 18 months these parties sprang up in the face of unemployment and misery in the north of England, the huddled masses looking for alternatives to the bouncer-infested, black-tie-no-jeans nightclubs that had become the stifle of creativity and expression they had always been against.

To the delight of the slightly inebriated sell-out audience, the film took them on a nostalgic trip back 20 years, showing how the parties would be announced at the last minute by an individual who could provide a venue, whilst others brought the sound equipment. No dress code, no problem. Fleets of cars would clog up the roads en masse to the party, and the race was on to get everyone in before the police arrived to put an end to it. Cue flaky, grainy footage taken within of the throng moving as one to the insanely cranked up bass. At a time where the future was seen as hopeless, these primal, tribal gatherings satisfied an indescribable need.



Told in the style you might imagine by a group of thirtysomethings looking fondly back on their anarchic youth, High on Hope was much more enjoyable than I expected it to be, having been a delicate and sheltered soul who felt intimidated at the anarchy of it all at the time it was all kicking off. It was funny, and positive, and made me reassess the opinions I formed while looking at the unfavourable news reports from the time. 8/10

Leeds Film Festival 2010: Day 15

Kosmos (Tur/Bul) (imdb)

Deep in the winter wilderness of a remote corner of Turkey, a man, perhaps deliriously happy, or maybe hysterically upset, tramps and stumbles noisily through the deep snow. Finding himself in a remote village, he stops for a while at the riverside, only to see the body of a child floating by, followed at the other side of the river by a frantic mother. He drags the lifeless object from the current and holds him so tight, arms and legs are flung in all directions. Miraculously, to the mothers' great relief, the boy stands alive, but the man is exhausted and sobbing in the snow.

Earning respect and hospitality from Yahya, the father of the boy, and hypnotising the local cafe crowd with his strange, prophetic talking, the man finds offers of both work and accommodation, but he is only passively interested. Walking through the village with childlike wonder, proclaiming love in it's simplest sense for the women he meets, and trying to help those he comes across in need. As the bombs and gunfire of civil war thunders continuously overhead, the man becomes the great hope of the poor and needy, and the target of suspicion for those looking to capture whoever it is who has started stealing from the local shops at the same time he arrived. The cold, derelict village full of old buildings and dying citizens both reject him and look to him for salvation. But the man cares not for these things, his forlorn and weathered face only lighting up when he finds a kindred spirit in Yahya's daughter, a girl who seems to see the world as he does, and fly on the wind.

Kosmos has me divided. To it's credit, the religious allegories are a mysterious and seductive form of storytelling, and the whole story as a clever circularity to it that you will not see until the end; the man himself is a strange enigma, unpredictable like a feral animal, and forever reacting abnormally to the situations that come his way. Once the film was over I found myself reviewing the film more positively than during it's 2 hour length.

Unfortunately, the film's ability to make me put on rose tinted glasses the moment the credits roll, wasn't quite enough to get over just how bloody annoying the man was, or how random things were inserted into the film and then were casually dropped, as if they were no longer needed because some mystery message were being transmitted on a frequency that only you couldn't hear. Kosmos is a deeply flawed, but beautiful work with flashes of brilliance and frustration in equal measure. I wanted to enjoy it so much more. 5.5/10

All That I Love (Pol) (site)

Janek and Kazek are brothers in ATIL, a punk band singing anarchic songs as they practice in an abandoned caravan. They are still at school, and they're close to graduation. It's the early 80's in an unstable East Germany. Martial law has been instigated, and their father is a soldier in the Communist party. It's fair to say there's a little bit of tension in the air.

We centre in on the life of Janek in particular. Though a nutter on stage, he's still a shy boy when it comes to the ladies, and consequently Besia, who has taken a shine to him, has to do all the work to get him to make a move. Besia is the daughter of a prominent member of the Solidarity movement, a growing civil unrest that is attempting to subvert the government. Understandably, father is less than happy for her to go around with the son of a commie. When Besia's father is taken as a political prisoner by the communists, she finds herself unable to reconcile her relationship and withdraws, not wanting further contact. Janek faces a time in his life where a number of tough and uncertain decisions have to be made, just as the world changes and crumbles around him.

Though the themes in the film have plenty of potential for conflict, much of it is unrealised, most of the enjoyment coming from the brief periods of joy or victory that the band has against their increasingly restrictive oppressors, some of which are less obvious than others. Ultimately, ATIL relies completely on the smaller concerns within a larger problem, and thus failed to completely hold my attention. 7/10

Leeds Film Festival 2010: Day 14

I Am Not Your Friend/I Will Not Be Your Friend (Hun) (imdb)

Director György Pálfi is notorious for his 2006 film Taxidermia; a bold and grotesque yet somehow endearing film that caused people to sit up (and throw up) in their seats when it was shown. I had some queasy turns when I saw it in 2007 at Cambridge but despite its' disturbing imagery, it was clear that Pálfi could cause some serious film-based ripples.

So it was with some priority that I ensured I would see his latest effort, split into two parts. There is literally no plot, or more accurately, at the point the cameras begin to run there isn't. The actors are given no cues, only to decide for themselves their acting names, what sort of person they are, and improvise the film in front of the cameras. Relative unknowns in the film industry (they may even be people plucked off the street) are used to give it that extra bit of 'making it up as they go along' spontaneity.

But first, we are shown a short film (I Will Not Be Your Friend), which is little more than the quiet scenes from Etre Et Avoir, where small children argue, chatter and generally work out their pecking orders and groups of friends, at an age where they are not aware of the recording power of cameras. I think it's aim was to provide a comparison between the way children interact without direction in front of the camera, compared to the adults.

The main film was the main experiment. Several actors and actresses appear, and try to get a narrative going with each other, but I'm afraid the result fell flat on its arse. The structureless dialogue was broken and unordered, people talked over others, sentences stumbled, and what looked like several plot lines started up with great enthusiasm just to fizzle out, never to return later. It would have helped if the participants were a little better prepared for the experiment; too many times in the film, one of the characters in the conversation would ask a question (e.g. 'what are you doing here?') and after a pause, the other would attempt to look serious and respond with a filler ('you tell me!') while their mind tried to think of something worthwhile to say, that golden moment where the actors go in sync and smoothly ad-lib to the output of the other never comes, which is a shame because it could have been beautiful.

If the actors found themselves dumbfounded for what to do once or twice, it would have probably helped the film get some cute charm, but when it happens dozens of times it gets annoying, and I found myself scrutinizing the dialogue for fillers rather than enjoying what was being made. The only noticeable structure to the film are the several periods where characters sing along to a tune on the radio; a regular occurrence meant I assume to give the feeling of structure where there was none.

This could have been a far better film, if only Pálfi hadn't insisted on a complete lack of structure. The only reason I have rated it as highly as I have is because it was a worthwhile experiment to see if this sort of thing could work. We now know that it can't. 4/10

The Robber (Aus/Ger) (site)

Missed several times at other festivals, I wanted to catch this one while I could. Johann, a running fanatic and serial bank robber has just been released from six years in prison, during which time he has done little more than run around the prison yard. Without any outwardly apparent reason, he ignores the advice of his parole officer and immediately nicks a car and robs a bank, depositing the car far away and running back to his halfway house bedsit. He happily leads a double life, becoming a minor celebrity as the guy who left the professionals behind at the Vienna marathon.



A chance meeting with his trusting old flame Erika, who offers to house him until he gets a place of his own does not diminish his irrational and unquenchable desire for more and more loot, and after several high-profile armed robberies, Erika finds his stash of banknotes and has a very difficult decision to make.

The most frustrating thing about the film is it's refusal to even break the surface and explore the psychology behind Johanns' baffling desire to keep going out and putting both himself and others at risk; his desire to amass money that he doesn't seem bothered about spending seems to be more like a challenge to himself in the vein of the gruelling amount of exercise he does. But I suppose the real-life story behind the film is an enigma anyway, given the events that run their course. Overall, it was an enjoyable and increasingly tense exploration into the mind of someone with a compulsive disorder. 7.5/10

Zonad (Irl) (site)

Zonaaaad. Zoooooooooonaaaaaaaaaaaad. Zonad.



Waking up in a drunken haze covered in half-eaten snacks on a living room floor, with a prim and proper family standing over him, Francis knows he is in trouble, but the few brain cells that haven't been destroyed by the previous nights' binge are working overtime, and tell him to get up and proclaim himself to be an alien from another planet.

He is dressed in a shiny red leather suit and wearing a plastic helmet. He says his name is Zonad. The family believe him.

In fact, 'Zonad' is Frank, an alcoholic who has escaped with colleague Liam during a fancy dress party at the local rehab clinic. Losing the gorilla-suited Liam somewhere along the way, he's landed on his feet; the family feed him, he gets the bed of the youngest kid to kip in, and he becomes a source of intrigue and excitement for Jenny, the barely legal teen daughter whose intended boyfriend Guy, a strange American soul living in an empty mansion with his butler, just doesn't seem like he wants a piece.

With all the free booze and food placed on Zonad by the trusting and simple villagers of Ballymoran, he isn't going anywhere, until Liam turns up and likes the look of the attention his ex-friend is getting, spawning Zonad's arch-nemesis, Bonad who proceeds to oust him of all the luxuries he was just beginning to take for granted.

Zonad is anarchicly funny, full of ridiculous characters based on fictional ideal-home people from the 1950's transported without touching a piece of technology to the present day and stuck in a backwater village. Only the immensely corruptible Sgt. Maloney shows signs of evil, happily beating and tying people up, and weeing on them, but only if the right person asked. The characters are deliberately overplayed parodies, and the film doesn't take itself too seriously, eschewing ethical messages often found in superhero films in favour of slapstick and swearing. A good laugh on a low budget. 8/10

Leeds Film Festival 2010: Day 13

Article 12 (UK/Arg) (site)

The title refers to the article in the UN Declaration of Human Rights, stating that 'No one shall be subjected to arbitrary interference with his privacy..'. This film underlines the importance of this fundamental right by examining the meaning of privacy, security and surveillance, what it means to an individual, a society, and what happens when it is eroded or taken away.

Surveillance takes many forms, from nosy neighbours, to tracking your kids' mobile phones, to loyalty card shopping, internet service providers storing surfing data, and CCTV which aside from allegedly keeping the peace, can be used to record registration plates (and therefore where you went today), face recognition, and even trials where people are trained to watch individuals to work out what they are about to do just by analysing their expressions and body language. This film spends a lot of time enumerating the number of ways that our privacy is being eroded, and the list is quite disturbing. Such erosion is often justified by the old 'why complain if you have nothing to hide' argument, one which is roundly stamped on repeatedly by the film. Everyone has something to hide. It's not a bomb, it's a person's private life, something that everybody has a right to have.

Comprehensively, but stodgily, this documentary takes interviews from various thinkers and doers in the area; security experts, lawyers, political activists and 9/11 survivors all give their opinions, leaving the viewer quite dizzied about how far we have let our rights be taken away. Those who suppose the extra intrusion in our lives should consider the effects already starting to permeate in; your facebook comments, and thus your non-employment life, could decide whether or not you get that next job you really needed. Trending software can make an educated guess at your sexuality or religion from what food you buy, which might be useful to right-wing governments the next time they want to go all Nazi on us. Surveillance has gone one before, but never with the level of intrusive technology available these days, and so it is down to a film such as this to inform us.

The message that rang truest for me was about our PM, who in the aftermath of the 2005 bus bombings, said that the government's number one priority is keeping the country safe. No, the number one priority for any government is to keep the country free. Freedom means that you are not completely safe from the spectre of a terrorist attack, but that is part of what freedom is about; we shouldn't be nannied and kept frightened and our rights taken away, because that was the aim of the terror in the first place. 8/10

After the film, there was a talk with the audience, the director, and several of the films' talking heads, about the subjects raised, which unfortunately I had to miss, but it looked very interesting. It should be available as a transcript on their site shortly.

The Invisible Eye
(Arg/Fra/Spn) (site)

Taking place in the days before the beginning of the Argentinian uprising against the dictatorship in 1982. The strict regime of the school in which young teaching assistant Maria works has kept her as subdued as the children she teaches, who are never allowed to deviate from the norm or get even slightly out of line. The new year brings in an unruly boy, whose looks and faint signs of rebellion wake the subdued desires within her. Taking on the false badge of catching the boys smoking, Maria gets herself increasingly into situations she shouldn't, and while doing so, unwittingly attracts the attentions of the fatherly supervisor Mr Biasutto, the morally upstanding boss of the place. As the rioting begins to escalate beyond the walls outside, the increasingly inappropriate situation cannot possibly end well.


Where The Invisible Eye did well was in the depiction of a group in power, hiding their long suppressed desires behind an eggshell of moral upstanding, and how a little bit of power can cause those people to misuse their advantages over others. It also had a suitably shocking ending which although it took long enough to arrive, came quickly and unexpectedly, and held the audience's breath in its hands. It would have scored higher if it wasn't for the overuse of repeating situations that barely moved the story forward, but a solid film even so. 7/10

Bad Family (Fin) (site)

Some time ago, Mikael's wife left him for a guy in a band. A free spirit with little organisational skills, she was never a good fit to a man with strong principles and a high sense of duty to do what is right. The split also meant dealing with their two children; Dani the son stayed with Mikael, while unexpectedly, sister Tilda went away and lived with mum, who was suffering from depression.

After several years, Mikael has remarried and has a second batch of children, and Dani is now well on to manhood. When news comes of his ex dying of an overdose, Tilda finds herself homeless and without anywhere to go and is invited to stay for a while. Returning to her fathers' side, she has clearly picked up a few of her mother's habits.

During the welcome party with friends, Mikael hears rumour of incestuous goings on between the newly reunited and hormonal pair, and further fleeting glances in window reflections seem to confirm it, although what actually happened is much more innocent, Mikael has got/ it into his head, and gnaws away at his mind. His actions become increasingly irrational (not helped by the conflicting opinions over what his friends suggest he should do) as he tries to maintain control of a phantom situation that is getting out of hand.

Mikael is played as a man permanently on the edge of violent outburst by the streamlined Ville Virtanen, who looks liable at any moment to use his fists to get his own way. It lends the film a sense of tension and urgency, particularly when mixed with the provocative and confrontational Tilda, whose relationship to both Dani her father are always kept ambiguous and complicated. It's an unpredictable and intriguing thriller, with a few funny bits sprinkled in and a good round off for the night. 7.5/10

Leeds Film Festival 2010: Day 12

Elling (Nor) (site)

Elling was showing as part of the festival's retrospective selection, and dates from 2001. Ultra-reclusive Elling is found by the police cowering in a cupboard, completely helpless as a child after his overprotective mother dies. While in a care home, he finds himself sharing a room with Kjell, a clumsy oaf who shares Elling's fear of the outside world, but otherwise is his exact opposite. Brash and unwashed, his over-active but underfed libido causing him to have ladies on the brain 24 hours a day, impulsive Kjell somehow bonds with the hesitant and morally upstanding Elling and the two become close like squabbling brothers.

Their little world shatters when they are ejected from the seclusion of the care home and given a flat in Oslo to live in as a halfway house, on their way back to normal life. Along with the deal strides the confident Frank, a social worker with little patience, there to encourage them to get out an interact with the world; if they don't, they will lose their flat and will be out on their ear. They don't even know how to answer a telephone.

I apologise to the Norwegians for the quality of this American trailer.


Elling was Oscar nominated in 2002 and it's easy to see why. It's a fantastic and gentle little film with plenty of memorable scenes and lots of laughs; it's very funny indeed, the sex-mad Kjell bringing a lot of the jokes as Elling's foil, and the balance between funny and poignant as they become more outgoing in their own ways and thus begin to lose their close bond, is pitched just right. Well worth seeing. 8.5/10

The Art of Negative Thinking (Nor) (wiki)

What might best be described as a well-organised descent into chaos, The Art of Negative Thinking takes the fragile stability of a 'positivity group', four timid souls each trying to heal themselves after some personal tragedy, and applies a badly aimed hammer in the form of Geirr at it. Miserable, angry and with a jet black sense of humour, Geirr spends his time purposelessly wheeling himself about his house, some unknown accident leaving him wheelchair bound. Driven to the edge, his despairing wife Ingvild has taken the bold step of inviting the small group to their house for introductions, something that Tori, the organiser of the group approaches with her usual confidence, even in the face of Geirr's flat out refusal to cooperate. After all, she is an expert.

It doesn't take long for Geirr's poisonously negative attitude to infect the fragile shell that Tori has spent many long months trying to build around her subjects, but as the walls begin to break down, it is clear that the group members have their own problems and frustrations that are not being addressed by Tori's highly-rated techniques.

Although Elling pipped it for sheer enjoyment, this could have been a highlight if it had been shown on a different day. The deliciously decadent idea of sending a fragile group of souls into the quagmire that they have just managed to struggle out of, betting against the odds that they will somehow come out okay at the other side is a very guilty pleasure, with each laugh from the increasingly chaotic situation coming on the back of a feeling that you really shouldn't be laughing. But to label it as straight comedy is wrong, as the relationships in the group develop and broaden, and there is a genuine heart to the film in the quieter bits. Even though they are heading over the cliff on a wave of funny, we care enough for them to not go over the edge. 8/10

Leeds Film Festival 2010: Day 11

The Woman who Dreamt of a Man (Den) ()

A sour romantic thriller from Denmark in the same vein as Anna M, a story of how obsessional desire can only destroy everything you know. Fashion photographer K dreams over and over of a man committing suicide by falling from a hotel room balcony. In the waking world she finds Machek, a happily married man by chance at a cafe who is the spit of the one in her dreams. Forming an immediate bond to the man and a desire to protect him, she follows and finds him responding with equal passion to her advances, the lives of both their families forgot in the throes of passion.

But the situation cannot last, and Machek begins to step back from the edge, with only K's overpowering desire keeping him close. Both sides risk losing everything for their passions, and K appears to be losing her mind.

This is a good movie to introduce to your average cinema goer, to show them that just because it's not made in the US doesn't make it inaccessible. Most of the film is in English with only the occasional burst of subtitles, and from the look of the friend I took with me who doesn't go for this sort of thing, he really enjoyed it (although that might have been to do with the large amounts of casual nudity). 8/10

Erratum (Pol) (review)

Long since leaving behind his parents, home and friends in Szczecin for a new life elsewhere, Michal is asked by his boss to return there to pick up a new car. On the start of his drive back however, he knocks down an old man who wanders drunkenly into the road. Initially fleeing the scene, he returns to face justice, and is fortunate to spend a quiet conversation in police custody with a wise old officer who understands the situation; the old man was drunk and Michal was driving correctly. Enough to cause the end credits to roll in many films, this was not the end of the story but the beginning. Whilst waiting for the hastily contacted mechanic to get the parts to repair the damage to the car so the boss won't find out, Michal's conscience kicks in and with time on his hands tries and find the friends and relatives of the old man, who died without anyone seeming to know who he was. As he learns more, the life of his own father, who he has not talked to at all since leaving, begins to sound very similar leading to a few small attempts at reconciliation.

A very quiet and unassuming feel-good film, Erratum warms the cockles with its gently progressing storyline and the messages of maintaining, or at least re-establishing contact with loved ones before it's too late. 8/10

Animal Kingdom (Australia) (site)

There are several films in the 'innocent kid getting mixed up with the gangster part of the family' group films, and this one fits nicely into that pigeon hole. Already in a ropey family unit, teenager Josh comes home to find his mother dead from a heroin overdose, and goes to stay with his aunt, who happens to live with an extended family of rough and unpleasant gang members headed up by Uncle Andrew, known in the streets as The Pope, They're the source of much of the crime in the area and to complicate things, the Australian police force is about to lose by legislation, its tough and controversial armed squads, and so they are determined to make the most of it in their remaining weeks.

Josh, not the brightest of buttons, spends a lot of the movie navel-gazing and looking a bit gormless, and invites his unknowing girlfriend into the evening drink, drugs and TV get togethers, something she drinks up with pleasure, unaware of who it is she is dealing with. When the police make an unprovoked killing of one of the members, they respond in kind, and things begin to escalate. Josh's semi-liveable existence and that of his girl is put into serious danger. Does he trust his family to see things through or go to the police, headed by a moustached Guy Pearce, to give him protection against any vengeful kin, or maybe the lawyers in the middle can give the remaining members a deserved spell in the cells.

It's better than Edinburgh's A Spanking in Paradise, but not quite on the level of The Misfortunates from last year. Animal Kingdom is light on humour but plenty of thrills and danger. 7.5/10

R U There? (Ned) (site)

One of an emerging batch of films that bring to the big screen the on-line multiplayer world. Jitze is a computer games wizard, taking the crown in massive on-line tournaments, but he is frustrated and tired with his obsession, and takes a holiday away from everything to the far east. Conspicuously out of place and not speaking the language, he searches for some relief from his RSI-induced arm ache, he meets with the intriguing Minmin, who shows him life away from the guns and ammo of a thousand first person shooters, and a more calm and sedate existence both in the real world, and through Second Life.


The film uses footage from the game as a gateway to the feelings they project onto their avatars, with Minmin far more affectionate in the on-line world than she does outside. An entertaining variant on the clueless tourist abroad stories, R U There shows a both critical and sympathetic sides to the mass adoption of video games, but its story about the regaining of a persons human side never quite realises it's potential. 7/10

Never Let Me Go
(UK/US) (wiki/site)

Based closely on the book of the same name by Japanese author Kazuo Ishiguro, who also gave us the excellent Remains of the Day, and by the director of One Hour Photo, that managed somehow to make Robin Williams into a decent actor again, this film is a sort of sci-fi film with no sci-fi elements. Based in an alternate 1970's - 1990's middle England, where medical science took a leap forward into cloning for the creation of donor organs, the donors themselves 'modelled on' (i.e. were clones of) other people, and are seen as subhuman creatures.

The Halesham boarding school churns out many such clones every year, and the film follows three of them, Kathy, Tommy and Ruth, from their early years at the school to their graduation and eventually when they reach the required age, their passage into the status of donors. Rumours fly around that those who fall in love may be granted some deferment so they may live a few years longer together, and Kathy and Ruth both see Tommy with some affection; the more confident Ruth taking her place in front of Kathy, who was beginning to form strong bonds with him.

There is a sense of helplessness and dread almost from the first scene, the audience first made aware of a general sense of the transitive lives of the children, which is grimly fleshed out as the film goes on. Your heart cries out at the screen for them to rebel or run away, but their resignation to their fate seems to be too strong. It's a really moving film, and one for times when you want to have a good cry, but it sometimes the sheer weight of sorrow for the damned characters gets a little overpowering. Still however a very beautiful and haunting film. 8/10