Dublin International Film Festival 2016

e_e

Programme and booking goes up on Thursday.

Am hoping to see:

Anomalisa
Cemetery of Splendour
Chi-Raq
The End of the Tour
Hail Caesar
In Jackson Heights
Midnight Special
My Scientology Movie
Victoria
The Witch

But if it's 100 films I haven't heard of I'll be happy simply because of the surprises.

gmisk

e_e wrote: »

Programme and booking goes up on Thursday.

Am hoping to see:

Anomalisa
Cemetery of Splendour
Chi-Raq
The End of the Tour
Hail Caesar
In Jackson Heights
Midnight Special
My Scientology Movie
Victoria
The Witch

But if it's 100 films I haven't heard of I'll be happy simply because of the surprises.

I heard sing street is going to be on.
I saw a preview ages ago and it is terrific, catchy music too.

The witch was the surprise film at horrorthon and is brilliant imo, but not really as advertised in trailer.

e_e

Yeah 100% on Rotten Tomatoes for Sing Street so far. It's the opening film with Viva (which I know nothing about) closing the fest.

Decuc500

I'm hoping Green Room will be shown. The director's previous film, Blue Ruin, was great.

johnny_ultimate

Is it too soon for them to secure a Manchester by the Sea screening? Probably. But would be very excited to see that pop up on the schedule. My wishlist over the past 48 hours has pretty much been 'Manchester by the Sea' repeated a dozen times, with a few other titles thrown in for good measure.

A full-on, whole-hog Arabian Nights screening would be welcome, although I think it's actual release may not be too far off so would be keen to know the plans there first.

In Jackson Heights and Cemetery of Splendour for sure. Right Now, Wrong Then would be very welcome, although they let the Sang-soo side down last year with no Hill of Freedom screening (potential double bill ahoy!). Akerman's No Home Movie, and perhaps some sort of accompanying retrospective, would be great too.

Son of Saul and Anomalisa are, I'd imagine, on the 'soon to be released so pretty much guaranteed' list.

I oversaw a trailer for Embrace of the Serpent on Euronews' (it was on in the background :pac:) film show the other day. Looks beautiful, and eager to see it.

Sad Professor

I find it hard to get excited about DIFF. It's mostly the dredges of last year's festival circuit and glorified previews for films out two or three weeks later. Nice atmosphere and some gems to be found if you have the time and money to really dig in, but overall the programme tends to be very bland and formulaic. Some avant-garde stuff, some middling European domestic dramas, some all-star galas of mediocre films with Irish connections, some classic screenings dictated by whoever the guests are, and exactly one Asian action film and one Japanese arthouse film, no more. Oh and the "surprise film", preferably a comedy and if that's not possible whatever piece of crap the studios will give them.

e_e

So your problem is just that it's like other festivals around the world? I agree there are issues with DIFF but the positives largely outweigh the negatives for me.

It's exciting for me because I pay 200 a year for a 10 day marathon of movies and am always spoiled for choice and compelled by the variety of experiences I could have. Sure a few movies are only a week away but I like the rush of content and just how much stuff there is that I wouldn't get to see otherwise.

Sad Professor

I just think the programming has become very predictable in recent years. I don't expect it to be like Sundance or Venice in terms of heavy-hitters, those festivals are for buyers and exhibitors. But it would be nice if it was more like LFF or even Edinburgh. But the time of the year precludes that, as does the "something for everyone" approach to the programme and the silly studio executive-like conclusions they come to based on how previous films were received. "Oh people really liked that Raid film last year, lets stick a crappy Asian action film in this year, they'll love it". Or "people only like comedies and action films for the surprise film". I still like the festival and understand the difficulties in programming for a public audience in such a small market, I just think it could be better.

vidor

It'd be nice to see them get rid of the daft 'Surprise Film' slot but that's never going to happen as it's always sold out. It's a tough spot for them due to all the other festivals happening this time of year but that's not to say they can't change the programme up a bit and make it a tad more appealing than it has been in the last five years. Unfortunately it seems that if the head honcho isn't crazy about something, there's zero chance of it appearing on our screens.

e_e

Sad Professor wrote: »

I just think the programming has become very predictable in recent years. I don't expect it to be like Sundance or Venice in terms of heavy-hitters, those festivals are for buyers and exhibitors. But it would be nice if it was more like LFF or even Edinburgh. But the time of the year precludes that, as does the "something for everyone" approach to the programme and the silly studio executive-like conclusions they come to based on how previous films were received. "Oh people really liked that Raid film last year, lets stick a crappy Asian action film in this year, they'll love it". Or "people only like comedies and action films for the surprise film". I still like the festival and understand the difficulties in programming for a public audience in such a small market, I just think it could be better.

I agree and I do feel we're extra limited when it comes to Dublin screens and other Irish festivals throughout the year. When we already have ones in Dublin for horror, Japanese movies, family films and documentaries it's easy to see why DIFF has fallen into a (very comfortable and still interesting imo) formula.

e_e

At the season ticket holder launch this morning, appeared to me to be an even more limited programme this year but still found enough good to settle on 25 movies. Less than a third of my wishlist made it though. Although let's say that there is a certain long-ass European film that I hadn't even considered that made the programme.

johnny_ultimate

Very underwhelming programme to be sure. Definite highlights here and there, but very little in the way of programming surprises or niche fare (No Home Movie is the only one I'd file under that category, and even that comes with a higher profile this year for obvious reasons). Have a few tickets booked, but really not a whole lot under the 'must see' category that aren't likely to be showing on a wider release within a month or two of the fest.

Oh well, the Arabian Nights day will be fun anyway.

e_e

Grainne mentioned that it had been a trickier year due to the different sponsorship and all that, plus she said there may be more films added. Also mentioned trying to get some action movie that played at TIFF and I think it's likely Hardcore.

e_e

My list:

• Sing Street
• Black
• Our Little Sister
• Evolution
• Hail, Caesar!
• Francofonia
• Brothers
• Traders
• Louder Than Bombs
• Arabian Nights Vol 1-3
• High-Rise
• Neon Bull
• Anomalisa
• Green Room
• Mammal
• Summertime
• 100 Yen Love (this is intriguing me for some reason)
• No Home Movie
• Heart of a Dog
• Hitchcock/Truffaut
• Victoria (yes!)
• Son of Saul
• Sworn Virgin (simply because I'm not risking the surprise film again)
• Viva

Decuc500

Looks like a decent enough line up to me. Happy to see Green Room there anyway. I don’t know a lot about most of the other films but some of them sound intriguing.

The only disappointing thing is that even though there’s a lot less films than previous years there’s still a few instances where times overlap. Surely it wouldn’t be too hard to ensure a big enough gap to make it from an early evening screening in the Lighthouse to the later film in Cineworld?

Sad Professor

Decuc500 wrote: »

Looks like a decent enough line up to me. Happy to see Green Room there anyway. I don’t know a lot about most of the other films but some of them sound intriguing.

The only disappointing thing is that even though there’s a lot less films than previous years there’s still a few instances where times overlap. Surely it wouldn’t be too hard to ensure a big enough gap to make it from an early evening screening in the Lighthouse to the later film in Cineworld?

Or just show some films more than once, like nearly all other festivals do and even DIFF did in previous years.

I'm not sure if I'm going yet (nearly everything I want to see is out 2-3 weeks later), but if I do, having to choose between Evolution and Mustang will be painful.

mystic86

Sad Professor wrote: »

Or just show some films more than once, like nearly all other festivals do and even DIFF did in previous years.

I'm not sure if I'm going yet (nearly everything I want to see is out 2-3 weeks later), but if I do, having to choose between Evolution and Mustang will be painful.

Mustang is a great movie.

Sad Professor

e_e wrote: »

My list:
[…]
[*]Sworn Virgin (simply because I'm not risking the surprise film again)
[…]
[/LIST]

What if the surprise film is *gasp* The Witch?

Belial

No Cemetery of Splendour. Boo-urns!

DIFF has always been rubbish with Asian cinema.

e_e

Sad Professor wrote: »

What if the surprise film is *gasp* The Witch?

I don't know if they'd just repeat the Horrorthon choice tbh.

Sad Professor

e_e wrote: »

I don't know if they'd just repeat the Horrorthon choice tbh.

Ah crap, I didn't know that.

It definitely won't be The Witch then.

Son of Saul (László Nemes, Hungary, 2015)

Sunday 28th February, Light House Cinema, 2:00pm



Shot in tight close-ups using shallow focus, with traditional widescreen aspect ratio sliced down to a much more compact 4:3, Son of Saul is unsparing of the horrors of Auschwitz without indulging in salacious detail. Glimpses of the recently murdered are always at the corners of frames, the minutiae of concentration camp life – the disposal of ashes, the scrubbing of floors – rendered unremarkable. Among the few Holocaust films to deal not only with the ordeal of the Jews, but with their faith.

Belial

I have a ticket to Evolution tonight in the Lighthouse (9:15) that I'm not going to use. If anyone wants it PM me and I'll email you the PDF.

BOHS

2 free tickets to Michael Collins tomorrow, DM if interested

Decuc500

Evolution was a strange one. A kind of body horror/sci fi mix up. One of those where there's not much of a narrative, instead the imagery and sound set the mood. I thought the ending was satisfying. Interesting q&a with the director afterwards.

Decuc500

Hail, Caesar! was the Coens at their funniest. Perfect way to spend a rainy Saturday morning.

doubledown

I caught Traders this evening. Audience loved it, as did I.

A high concept, low budget thriller which effortlessly blends tension, humour and bursts of horrific violence. Recommended.

Decuc500

I thought Nasty Baby was terrific. For the most part it was a funny character drama about a group of New Yorkers that ended up going to some surprisingly dark places.

The handheld camera work gave it an edgy feel and Kristen Wiig was great in an unusual role for her. The kind of film it's great to see knowing nothing about beforehand.

e_e

doubledown wrote: »

I caught Traders this evening. Audience loved it, as did I.

A high concept, low budget thriller which effortlessly blends tension, humour and bursts of horrific violence. Recommended.

Booked this then was really put off because I saw the trailer and it made it look awful, the kind of worthy, heavy-handed, ponderous and relentlessly grim Irish drama we've been inundated with. What a pleasant surprise that it was a surprisingly funny and light-footed watch. Always nice when you watch a really low budget film and get the sense that everyone involved was confident and in complete control of what they wanted to do.

johnny_ultimate

Our Little Sister and Mustang on Friday proved to be the kind of accidental double bill you sometimes stumble upon at film festivals - complementing and contrasting with each other perfectly.

You probably should take my thoughts on Kore-Eda's latest with a pinch of salt, because as far as I'm concerned over the last three films he has done no wrong. His films just ooze a warmth and empathy that hits me right in the weak spot, capturing the spirit of classic Japanese cinema while still being their own thing. His latest follows three sisters living alone who take in their estranged father's teenage daughter following his death. It's just such a lovely character and relationship story, with brilliantly compelling performances and Kore-Eda's understated directorial brilliance. Yeah, I can see how the loose structure, episodic plot, emotional earnestness, extended running time and emotive soundtrack will leave some cold. But for me this completed a run of three of the most beautifully considered films of the last decade.

Mustang also follows a group of sisters, this time in Turkey. But whereas Out Little Sister is gentle and low-key, Mustang feels urgent and angry. The Virgin Suicides and Jafar Panahi's Offside feel like the most apt comparisons, as it focuses on five very young girls whose freedom and individuality are increasingly restricted by social norms and a deeply conservative family. It's less a coming of age story than a taking of age one, as the younger sister refuses to conform to the path laid out for her. While it inevitably feels like a sometime dark film making an essential 'point', it is however also a very playful, energetic film, featuring at least one delightful comedic aside. The lively performances and camerawork add to a film that feels important, but not self-important.

fisgon

Was in Dublin for the weekend and caught three films in the festival. Cannot understand the critical, damning attitude of some posters on here regarding the programme, (before it even started) I have to say there were a couple of films I really wanted to see that I wasn´t able to, because of clashes.

Hail Caesar! was very meta. A movie about movie-making, the Coen brothers in top gear, absurd, hilarious, joyous, non-stop. A joy to watch, a complete pleasure.

I saw Remainder on Saturday night. A head-wreck. The comparisons have been to Memento and even Inception, which are valid up to a point. But this film is slow, intriguing and quite frustrating to watch, I wanted a little more revelation as it went on. When it ended it made a kind of sense, but was still unclear to me. I assume that

what had happened was that he had either died or been left in a coma after the accident, and had never in reality woken up, and the movie was simply him recreating the memories of the events leading up to his injury.

But there could have been more to it than that.

I saw Arabian Nights vol.1 this afternoon. Or rather, I saw an hour and ten minutes of it. I really don't think I have ever walked out of a film before, but I did here. The whole thing seemed like a total mess. There was no real structure, it was like a rant on screen. I think he thought that he was doing something clever with the Arabian Nights template, but it felt forced to me, had nothing to do with the subject of the film (if it had one), and anyway has been used a thousand times before, in books and films, much better (John Barth, for one).

What really forced me to leave was the pathetic effort at a satire of the Troika's actions in Portugal.

It was juvenile, amateurish, laughable in its name calling and propaganda. Apparently the Troika's decisions were down to the sexual impotence of their delegation in Portugal. And then there was something with a witchdoctor.

Childish, embarrassing nonsense. Then something about a cock and ducks.

Life is too short. In the DIFF programme it has the words "Palm Dog" beside it. I thought this was a misprint for "Palme D'or", but apparently it is a real award, for the best performance by a canine. It occurred to me that it would be a good award for the worst film in a festival, this is certainly in the running. Maybe parts 2 and 3 improved....

e_e

I don't begrudge anyone for being tired and frustrated by Arabian Nights but I adored it. Opposite to the post above I didn't find it ranty in the least, in fact it seemed to tell its story in the clear-headed and straightforward way one would tell the fables of Arabian Nights today, it was an approach to recent history that I've never really seen before.

Found it delightful, odd and intriguing and would go so far as saying it was one of the most beautifully shot films I've ever seen too. Gorgeous use of film stock too, had an amazing texture and warmth that drew me in even as very little was happening. That last hour of volume 3 which went so far beyond the point of no return that it became kind of transcendent for me.

Decuc500

I felt Arabian Nights volume 1 was a bit of a chore to watch. The short story/documentary structure of the film just didn't grab me at all. I was glad I didn't get tickets for the trilogy.

Mountains May Depart was a decent Chinese melodrama. Interesting use of different aspect ratio's to tell each of the three parts of the film set in different time periods. I'd also give it bonus points for the title card appearing at least 45 minutes into the film!

johnny_ultimate

Arabian Nights hops back and forth between brilliant and maddening so many times over its immense running time. Some chapters don't work, some just about work, and others again are mini-masterpieces.

Looking back the prologue is an interesting statement of intent, the director reflecting quote directly on the wild contradictions that make the film what it is. While its thematic focal points sometimes ludicrously on the nose, others are incredibly abstract and difficult to parse (if they're there at all). It switches genres and modes repeatedly and fascinatingly, and no doubt whatsoever it continues to surprise over all 390 minutes.

The overall 'Arabian Nights' structure works because this is a film about stories: weird, funny, angry, probing and above all human stories. While it is without question an explicitly political piece of work - the repeated text at the start of each film makes it abundantly clear that Gomes is, understandably, not too pleased with austerity - it is most interested how the sociological context has impacted real people (hence the frequent sojourns into pure documentary). In that sense, it's without question one of the richest, most essential 'post-recession' works I've encountered, with the final words of the film movingly emphasising its value as an attempt to document an era in history and attempt, possibly impossibly, to find some sort of meaning in all of it.

It's a stunning piece of filmmaking, and a testament to the emotive power of film (35mm and 16mm, specifically). There is indeed a lovely texture and richness to the presentation. My favourite chapter was the Scheherazade segment that opens volume three - gorgeously shot, narratively complex and potently poetic. Even in its more understated (or, indeed, overstated) sections it's an expertly crafted piece of cinema, even when the content proves challenging.

Which brings me to the chaffinches. The ****ing chaffinches. You know in Infinite Jest when Foster Wallace directs you to a ten page long endnote in the tiniest possible text to **** with you? That's the last 80 minutes of this film - pure trolling from Gomes. Of course, like those cursed endnotes, this is also where the real meanings of the film start to coalesce and crystallise. It's dense yet subtle storytelling, exploring its concept at such length that one cannot help but stop and think about what's happening and what has already happened. Part of it, naturally, is Gomes taunting the audience the film, not least when he cuts away to another story only to quickly cut back to the ****ing chaffinches. But it's also a deeply impressive, if challenging, examination of these people's lives and what that means in the wider context of this epic. While I won't be complaining if I never hear the song of a chaffinch ever again and it can be extremely testing, that extended chapter is Arabian Nights in a nutshell: brilliant and maddening at the very same time.

e_e

Not at all getting why High-Rise is proving to be so divisive. Found it to be a mostly excellent dysoptian drama, Q&A afterward was fun too.

Decuc500

Land of Mine was an incredibly tense Danish ww2 story. The main actor, Roland Moller, was there for a post film q&a. He was a cool and funny guy to listen to. Very impressive movie.

Walked past the longest queue I've seen in the Lighthouse for High Rise to go see French thriller Disorder. It didn't disappoint. A soldier with ptsd takes a job as a bodyguard to Diane Kruger and dodgy arms dealer husband. Good cast and exciting film with a bit of French flair.

Good day at the festival all round. Q&A's really elevate these screenings to more than just a night out at the movies.

johnny_ultimate

Anomalisa was pretty extraordinary. It's the smallest film Kaufman has ever written, following on from the biggest, but it's mesmerising: a devastating portrait of loneliness that still manages to fit in dildo and sex toy gags with admirable frequency. I think the middle half hour is one of the most remarkable portrayals of crazy, stupid love I've seen - and boasts an astoundingly effective sex scene that's amplified considerably by the fact it's played out by puppets, and made more resonant by what follows. The decision to use puppets is fascinating, marrying perfectly to some of the most accomplished, innovative voice work in any animated films (the voices are the reason this film pretty much must be animated).

Surreal, beautiful, cruel, hilarious, clever, deep, Kaufman.

e_e

johnny_ultimate wrote: »

still manages to fit in dildo and sex toy gags with admirable frequency

I was ready for the above jokes plus a prolonged puppet sex scene from many of the reviews. However I went to see Neon Bull beforehand and was not prepared for a scene in which

a horse is masturbated (erect penis visible and all) and then ejaculates onto a man's face.

. Overall a fun evening. :pac:

Seriously though Neon Bull has been the surprise of the fest for me. The kind of unassuming, slice of life story that is perfect for festivals but also has its own remarkable idiosyncrasies to stand out as something compelling. Speaking of odd double bills both these films films had a scene of fairly graphic intimacy between a couple that far surpassed anything in Gaspar Noe's Love.

e_e

Not going to the surprise but I'm predicting Midnight Special or 10 Cloverfield Lane.

Green Room later should be fun, hoping it'll be this year's The Raid.

Miguel_Sanchez

e_e wrote: »

Not going to the surprise but I'm predicting Midnight Special or 10 Cloverfield Lane.

Green Room later should be fun, hoping it'll be this year's The Raid.

I'm not sure if it'll be fun in the way The Raid was but I'm looking forward to it myself.

Didn't really enjoy Anomalisa as much as I thought I would. I kept expecting it to go 'full Kaufman' but it never did.

It was excellently made and the cast (all three of them) were brilliant. It left me feeling quite depressed though.

Sad Professor

e_e wrote: »

Not going to the surprise but I'm predicting Midnight Special or 10 Cloverfield Lane.
.

I think Midnight Special is our best hope. I'm not sure Cloverfield Lane's marketing campaign is compatible with early previews, not this early anyway.

johnny_ultimate

johnny_ultimate wrote: »

Anomalisa was pretty extraordinary. It's the smallest film Kaufman has ever written, following on from the biggest, but it's mesmerising: a devastating portrait of loneliness that still manages to fit in dildo and sex toy gags with admirable frequency. I think the middle half hour is one of the most remarkable portrayals of crazy, stupid love I've seen - and boasts an astoundingly effective sex scene that's amplified considerably by the fact it's played out by puppets, and made more resonant by what follows. The decision to use puppets is fascinating, marrying perfectly to some of the most accomplished, innovative voice work in any animated films (the voices are the reason this film pretty much must be animated).

Surreal, beautiful, cruel, hilarious, clever, deep, Kaufman.

This is one I've been meaning to watch for a while, really appealed to me but some of what I'd read in a couple of places complain the last half hour or so was not as strong as the rest of the film?

Decuc500

I can't believe I feel this way but after the magnificent Blue Ruin I was left disappointed by Green Room. I kept expecting the film to shift gear and really grab me but it just didn't happen.

It was really well made and looked great but the dramatic turns and fates of the characters left me shrugging my shoulders and thinking 'is this it?'

The experience wasn't helped by sitting near the most ignorant popcorn muncher/paper bag rustler I've ever come across in a cinema. Ah well, a second viewing will be required.

e_e

Loved loved loved loved loved Green Room. As a lover of punk rock the concept of an ultra-violent grindhouse thriller about left-wing vs. far right punks pretty much had me at hello. I actually preferred it to Blue Ruin because it had less redundant vengeance themes and felt like a more like a totally novel concept brought out with such amazing skill.

Also the cheekiness of inserting this song (or at least something very similar) into the central band's live performance was great:

https://www.youtube.com/watch?v=PzHLPnGuVSQ

Even the level of detail like Fugazi stickers and Minor Threat t-shirts endeared me to it more. An amazingly gripping, nasty (can't understate this enough, thought the guy next to me was going to pass out) and satisfying movie.

johnny_ultimate

Was thoroughly underwhelmed by Green Room. A fairly novel setup, yes, but beyond that pretty much nothing I hadn't seen hundreds of times before. It's absolutely serviceable and confident with what it is - but that 'what' didn't amount to a whole lot for me. A fun but featherlight genre effort - although admittedly I felt that way about Blue Ruin too - that sustains its tension but IMO didn't push itself in any particularly interesting direction. That said, I can see it playing well on general release, and you could do a hell of a lot worse. A bonus point for the efficiency of the ending.

Quite liked Mammal - a thoughtfully observed character and relationship study with suitably intimate, emotive direction from Rebecca Daly. It was clunky in parts: like when trying to capture natural or crowd scenes, which came across as overly stage managed. But yeah generally it worked very well, and nice to have an actress as capable as Rachel Griffith managing to pull off the depths the material needs.

****ing bizarre q&a afterwards though, even by bizarre q&a standards. Awkward host, awkward questions and particularly awkward explanation of cat incest from members of the audience.

Decuc500

100 Yen Love was a great end to a long day of movie watching for me. It starts off as a quirky drama about a lazy, overweight girl who's life is going nowhere. As she takes up boxing she transforms herself and the film transforms into something inspiring and exciting. But it's a Japanese, noirish film so you know it's never going to be too sugary sweet. A really gripping film. I loved it.

Earlier on I saw Black, a Belgian gang film. Slightly clichéd love affair between a boy and girl from opposite gangs but the film had so much energy it was easy to get swept into the story.

Summer Solstice was a Polish WW2 film that was quite bleak but beautifully filmed.

johnny_ultimate

I liked 100 Yen Love a lot, even if I don't think it quite nailed the landing. Uncommonly visceral for a modern Japanese film - the music hits like a ****ing sledgehammer at times, which is a neat way to really emphasise the dramatic and emotional beats on a reasonably low budget (not to mention the way it morphs to suit the fluctuating tone of the movie).

It plays with the clichés and tropes of the 'boxing movie' in unique ways, mixing and matching modes - from gritty drama to quirky comedy - in quite a confident manner. It's a 'female empowerment' story that nonetheless staunchly refutes and toys with our expectations of the main character's direction, motivations and ultimately destination (helps that Sakura Ando is superbly understated). Even the use of boxing film shorthand - like a slow motion shot in a fight scene - are subverted in some subtle but clever ways, resulting in a film constantly bounce-stepping between familiarity and unexpectedness. Also some confident mise en scene, with the full frame taken advantage of on quite a few occasions (if only for a gag in the background).

Some of the supporting characters were a bit too broad and exaggerated for my liking, and something about the very final scene didn't quite work for me even if I really appreciated the overall place it ended up. That said, it does manage to extract fresh visual energy from that most well-trodden of cinematic climaxes - the boxing scene - and overall it's engrossing and lively and truly ambitious within its remit. Shame it likely won't see much wider distribution when worthless tripe like Southpaw does, and certainly Ando's performance in particular deserves particular plaudits.

e_e

Decuc500 wrote: »

Earlier on I saw Black, a Belgian gang film. Slightly clichéd love affair between a boy and girl from opposite gangs but the film had so much energy it was easy to get swept into the story.

Saw this at the earlier screening last week and absolutely loathed it. The energy would have been nice if not for the overload of clichés and absolutely repellent and self-consciously "edgy" violence that only served to marginalize its own characters more. It felt like Girlhood's nasty and empty-headed evil twin for me. If it wasn't for the lovely Our Little Sister afterwards it would have soured the festival experience early on for me.

People applauded at the end of my screening though so what do I know... :pac:

Sad Professor

Black is very much part of that urban-ghetto-gangsters genre that City of God and numerous American "hood films" inspired – with a bit of West Side Story and Romeo & Juliet thrown in. I liked it fine for what it was. But yeah Girlhood is definitely on another level, especially in how it deals with gender and patriarchy, which are themes in Black as well but it's too busy being a genre film to care.

ronano

Son of Saul tickets are sold out for Sunday, if anyone has one I'd gladly pay them!

johnny_ultimate

No Home Movie, the final work from the great Chantal Akerman, proved a fitting final film for my ADIFF schedule. At first it seemed ponderous even by Akerman's unhurried standards, but ultimately this portrait of the artist and her dying mother proved a wonder: an immensely understated examination of loneliness, confusion and imminent tragedy. Its rough digital cinematography is as formally accomplished as one would expect, the raw, intimate imagery kept on screen at often great length to encourage the audience to look deeper.

Alas, since somebody was inconsiderate enough to call a general election ahead of the final weekend of the film festival, I'll have to miss out on Victoria tomorrow, but not a whole lot else is jumping off the schedule anyway. Rest assured in the seriously unlikely event Manchester By The Sea is the surprise film, I hate everybody who sees it