By Sean Boelman Every year, the Miami Film Festival showcases some of the most exciting films from around the world, with a particular focus on Ibero-American films and stories. Truly representative of the multiculturalism of the South Florida community, the festival’s lineup always features fantastic films from Latin American countries that audiences may not have gotten the opportunity to discover elsewhere. For the second year in a row, the Miami Film Festival is offering a hybrid edition, with boh in-person and virtual offerings. We at disappointment media will be covering the festival to tell you about some of the best films in the lineup, many of which can be screened across the Sunshine State. Here are some of our brief thoughts on some of the films we have been able to see. AmparoSimón Mesa Soto’s Amparo is the type of film that is more interested with the issue at its core than anything else. This story of a mother trying to help keep her son from being forcibly conscripted into the military in a war that will surely lead to his death is nothing short of heartbreaking, even if it is a bit one-dimensional in its approach. In terms of being a character study about the mother, it’s quite moving, but one can’t help but feel like the perspective of the son would have rounded this out nicely. Lo InvisibleSome films are quietly restrained in a way that causes them to creep under your skin and leave quite a lingering impact. That is the case with Javier Andrade’s Lo Invisible, a subtle exploration of postpartum depression. As the title suggests, this is a very introspective film, with very little in the way of external conflict. The result is a film that will understandably be a bit too restrained and melancholy for some viewers, but will resonate deeply with those who are able to peel back the layers of the film and see the invisible forces at play. Anaïs in LoveThere’s a certain level of charm to Anaïs in Love, but even so, the film cannot escape an overwhelming feeling of familiarity. A love triangle the likes of which we have seen dozens of times before, there’s nothing about the film that is outright bad, but also nothing particularly impressive about it, either. It’s not especially funny, nor does it offer anything insightful about love and romance. Anaïs Demoustier is very charismatic, and elevates the lead role beyond its very generic trappings, but other than that, there is little that makes this romantic comedy memorable. A Film About CouplesMetafiction is a plot device that, when used correctly, can work out really well, but it is also very easy to screw up. Natalia Cantal and Oriol Estrada’s A Film About Couples incorporates it in a way that is mostly effective, even if it is lacking in focus at times. With a very funny opening that is effectively a tongue-in-cheek slap in the face to an audience that will certainly overanalyze the rest of the film. And the way in which it uses certain romantic comedy beats is quite interesting. Keep the Cameras Rolling: The Pedro Zamora WayIn discussions about the AIDS epidemic, the disease and the people who had it are often held at an arm’s distance, but there are activists who helped bring this topic to the public eye. Pedro Zamora, one of the participants on The Real World, was one of the most instrumental individuals in making the American public understand the disease better. The documentary Keep the Cameras Rolling: The Pedro Zamora Way isn’t the most groundbreaking in its presentation, but the extraordinary message of empathy that it and its subject teaches is what makes it worth watching. OmaraHugo Perez takes a very traditional music documentary approach to telling the story of Afro-Cuban legend Omara Portuondo in his documentary Omara, but his subject is so illustrious and stories that her story is more than enough to keep the audience invested. Although the short runtime does prevent the film from going as in-depth into the significance that she has beyond her musical contributions, her accomplishments are so impressive that they speak for themselves. This documentary will be a wonderful way of introducing new generations to the incredible nonagenarian, and will remind others why she’s so amazing. The 2022 Miami Film Festival runs from March 4-12.
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By Sean Boelman In 2020, Austin’s South by Southwest festival was one of the very first victims of the pandemic, with the in-person edition having to be canceled mere days before it was supposed to begin. 2021 saw the festival return with a virtual edition that was quite impressive, but nothing is quite like the in-person festival experience, especially when it comes to SXSW. So in 2022, the festival is back in full force with a hybrid edition emphasizing its in-person offerings. Here are some of the films that you shouldn’t miss when you attend this year’s festival. The Blind Man Who Did Not Want to See TitanicSXSW’s Global section always features some interesting and unorthodox films, and there is unlikely to be one more unconventional in this year’s lineup than The Blind Man Who Did Not Want to See Titanic. A shocking, empathetic love story, the film is a slow-burn thriller in all the best ways. It’s the type of quiet film that doesn’t usually gain as much buzz at festivals, but will find appreciation slowly over time. The CellarOne of the most popular screening sections at SXSW is the Midnighters section, which includes a combination of messed up horror movies and campy flicks. Brendan Muldowney’s The Cellar is the former, a simply-constructed film that is more about what it doesn’t show than what it does. The film was acquired by Shudder prior to the festival, making it an immediate can’t-miss for fans of the genre. Diamond Hands: The Legend of WallStreetBetsIt can be crazy how fast the documentary field moves, with two movies this year already about the GameStop stock situation that happened just last year. Diamond Hands: The Legend of WallStreetBets is a flashy film that explains what happened and the factors that led to it happening in a way that is both informative and entertaining. And while the eponymous phrase has been meme-ified, this film has some much more interesting implications. I Love My DadWith a rare starring role for comedian Patton Oswalt, I Love My Dad is the type of film that is going to make viewers tremendously uncomfortable in all the right ways. It follows a father who is estranged from his son as he resorts to unorthodox methods of trying to reconnect. It’s one of the buzzier films in this year’s festival and will likely find itself with a distribution deal before closing night, so take advantage of this chance to see it early. Really Good RejectsAlice Gu’s first documentary The Donut King had its SXSW premiere stolen from it by the pandemic, so it’s nice to see her getting the chance to come back to Austin for her sophomore feature, Really Good Rejects. Telling the story of an unorthodox guitar builder, the film is an absolute must see for any music fan at the festival. And given the size of Austin’s music scene, this is sure to be a highlight of the film festival for many. The 2022 SXSW Film Festival runs from March 11-19.
By Dan Skip Allen
From the very beginning with the overture, Nosferatu has a very ominous dark feeling to it. F.W. Murnau's film is the first of its kind, a vampire film. It came out one hundred years ago this week and still stands up as an achievement of cinema. The silent film classic looks as good as it can, considering its age. Silent films like this don't have great prints, but this print restored by Kino looks great.
Like many silent films of the era, Nosferatu has dialogue on the screen so the viewer can read and know what's going on between each scene. The dialogue is a way for the script by Henrik Galeen to be made more accessible. Like a lot of silent films, the actors have to be very expressive in their facial movements and emotions. The film features the story of Thomas Hutter (Gustav von Wangenheim) and his wife, Ellen (Greta Shroeder). The two are a happily married couple. Count Orlok (Max Shrek) wants to buy a house near the Hutter's, so he summons him to his castle in Transylvania as a diversion. He leaves his servant Knock (Alexander Granach) back to prepare his new home for him. Nosferatu is the classic retelling of Bram Stoker's Dracula. They are very similar in nature but slightly different. The silent nature of this film means it has to do things other films can't. Future versions of Dracula lean in on the darkness and shadows. This film is very bright at times until Nosferatu has to feed, which is at night. The score by Hans Erdmann separates the melancholy from the dread and the day from the night.
Silent films of the era such as Charlie Chaplin's classics, Buster Keaton's work, and Harold Loyd's films all learned in on the comedic chops. Their films made the audience laugh. Whereas films like Nosferatu and others starring Lon Cheney we're more horrific. They intended to scare and surprise audiences. And that they did. This wasn't the norm for the time.
Nosferatu is a classic love story of these two people that have been separated by many miles and an ocean. They both long for each other. Neither of them will be happy until they are reunited with each other. Of course, the vampire and his henchman stand in their way of happiness, as well as an unidentified plague that has swept across the countryside and ship Nosferatu is traveling on. With horror films, one aspect that has to be very believable is the creature effects and the look of the monsters. This film has a great-looking monster. The makeup and visuals are very creepy and scary looking. Nosferatu has long, dangly fingers and hands and pointy ears, and beady eyes. There aren't many monsters that look like this now or before. Nosferatu is a great silent film that is the grandfather of the vampire films that came after it, primarily Dracula starring Bela Legosi. The cast is all fantastic in the film, including Max Shreck, who played Nosferatu. The score is perfect, and in silent films, it has to be. It's like a character in the film all on its own. The script adapts this classic story very well. So many other films took homage to Nosferatu, and that's a great thing. It's still around one hundred years later, though.
By Sean Boelman
Throughout the year, Film at Lincoln Center offers several festival programs highlighting specific aspects of world cinema to pique the interest of cinephiles. Their Rendez-Vous With French Cinema program showcases some of the most exciting French features to have played on the festival circuit in the past year, from voices both acclaimed and up-and-coming.
One of the higher profile films screening in this year’s lineup is Between Two Worlds, which debuted at last year’s Cannes Directors’ Fortnight. Based on Florence Aubenas’s semi-autobiographical work, the movie is a sharp commentary on class issues in France. But it is veteran actress Juliette Bincoche’s performance that is the main draw of this film, and she delivers work here that is as extraordinary as always. Another star-driven movie to see is Constance Meyer’s Robust. In the film, Gérard Depardieu plays an aging film star who forms an unexpected friendship with his bodyguard (Déborah Lukumuena). As a whole, the film is solid, but it is the extraordinarily humane chemistry between Depardieu and Lukumuena that makes this something special. Debuting at Cannes to a divisive reception, Arnaud Desplechin’s steamy romance Deception is one of the more complex films to screen at the festival. It’s always tricky to adapt Philip Roth’s works to the screen, and there are a few points in which this misses the mark, but there are more than enough interesting questions posed here for it to work. And with strong performances from Denis Podalydés and Léa Seydoux, it’s at least intriguing.
Rachel Lang’s Our Men is the type of movie made with such a noble intent that it’s hard to dislike. Exploring the lives of a series of individuals who are connected to the French Foreign Legion, the portions of this film about the actual servicemen are solid, but those about their families are extraordinarily compassionate. It’s a tad sentimental, but it’s a crowd-pleaser first and foremost.
For the music lovers, Rendez-Vous offers two great options: Magnetic Beats and Authentik. The former follows a kid who is called up for service, finding an unexpected opportunity to pursue his love of being a radio disc jockey. It’s a conventional film at times, but a well-made one at that. Authentik is a biopic about the formation of rap group Supreme NTM, and while it may not be as unconventional as the artists deserve, it’s a very fun time. Those who are looking for something a bit more edgy may want to check out Bruno Reidal: Confessions of a Murderer. A tremendously bleak film with brutal violence and graphic sexuality, this definitely won’t be for everyone, but those who are able to dial into its tragic wavelength will find themselves tremendously moved. It’s a complicated film that somehow manages to be both ambiguous and unsubtle, allowing it to be perplexing in all the right ways. Embrace your inner Francophile and check out some cinema at this year’s Rendez-Vous With French Cinema. The festival lineup has several great flicks, from high-profile films screening before their full release in the US to new discoveries you may not have seen otherwise. And with such a wide span of genres, there is something to satisfy everyone. The 2022 edition of Rendez-Vous With French Cinema runs March 3-13. |
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