More capsule reviews from the 2010 Melbourne International Film Festival.
“The Killer Inside Me”
Michael Winterbottom’s adaptation of pulp writer Jim Thompson’s eponymous novel is a grim, darkly humorous and captivating look into the mind of a seemingly normal small town cop with an innate psychopathic and murderous personality. Casey Affleck is sublime in the lead role — a man flirting with a debilitating insanity — helped on by a strong supporting cast including Elias Koteas, Ned Beatty, Kate Hudson and Jessica Alba. It’s a real shame the quality of the film and performances will long be overwhelmed by the reported controversies surrounding misogynistic violence which we thought was overstated. Or perhaps we’ve just been desensitized from all the talk about it. [A]
“Adrift”
A slow, meditative study of the Vietnamese male psyche, Bui Thac Chuyen’s first feature film follows the story of a newlywed left wanting by a loveless union and a husband unwilling to consummate their marriage. Set up with the sexually electric but empty Tho, our protagonist Chuyen (Do Thi Hai Yen) finally fills the void in her life but finds herself stuck in a dichotomy seemingly indicative of a greater social predicament that’s tackled in subplots involving more interesting, more greatly inflicted supporting characters — all of whom earn a measly mention in a concluding montage of empty, unhappy characters. Pic does feature beautiful even if somewhat excessive cinematography but also has a horribly distracting score. [C]
“Lola” (“Grandmother”)
Brillante Mendoza’s latest follows the unique and poignant story of two grandmothers on either side of a robbery-manslaughter incident in the slums of Manilla. Struggling to overcome not only the emotional turmoil but the financial strain and hurdles after a death, both are required to step outside their comfort zones and take care of the sudden debacle whilst holding their remaining family together. It’s an acting tour-de-force by the two leads, Anita Linda and Rustica Carpio, with their eventual union a delightful scene to behold. Mendoza’s gritty, documentary-style shooting and loud street ambiance does irritate on occasion but that may have had more to do with our late screening. [B+]
“Welcome To The Rileys”
There’s nothing really profound with the story for this gritty film but it’s the acting trio of Kristen Stewart–who evinces once again that her acting abilities go far beyond that of one teen vampire series– James Gandolfini and Melissa Leo that makes the directorial debut of Jake Scott (son of Ridley). Three lost souls, a grieving couple and a young abused stripper/prostitute, converge by pure coincidence and are able to fill the long-empty void in their lives with the thespians playing their suffering characters with heartfelt emotion and understandable angst. The platonic relationship between Gandolfini’s Doug and Stewart’s Alison is the driving force behind the film and a delightful watch. [B-]
“The Tree”
The sudden passing of a father and husband leaves a family, residing in the Australian countryside, and led by Charlotte Gainsbourg, paralyzed and in despair months after the death. As one daughter, Sophie, finds a connection to her father through a massive oak tree outside the family home, things slowly pick up as her enthusiasm and joy bleeds through to her mother, who herself finds solace (even if somewhat selfishly) with a local employer, to Sophie’s dismay. Julie Bertucelli’s film also features some lovely photography throughout but is somewhat carried away with the nature takes it’s course message involving the natural disaster. [C+]
“Flickan” (“The Girl”)
Fredrik Edfeldt’s tale of childhood isolation and growth is a heartwarming feature which we literally stumbled upon, sitting in the wrong theater. Left on her own by an AWOL free-spirited aunt as she and parents explore Africa for the summer, our subdued lead is overwhelmed by the lack of supervision, enjoying a life of malnourishment, tadpole breeding and journeying around — but not before learning about a few of the harsh realities in life. Shot by “Let The Right One In” DP Hoyte Van Hoytema in the Swedish countryside, it’s visual delight with the vast, sun-drenched environment contrasting with the closely-framed world of unnamed lead played by Blanca Engström. [B-]
“Honey”
Centering on a reserved six year old boy living in the mountainous region of Turkey with his beekeeper father and laborer mother, Semih Kaplanoglu’s poetic, endearing tale explores the life of our protagonist, Yusuf, as he suffers in his devotion to his father. Excelling in his company, skilfully able to name flowers and their properties on sight, Yusuf is adversely unable to read in front of his class members to earn the merit badge he strives for. So what then when his father fails to return from a routine trip and he must reconnect with his mother? Like “Flickan,” the world of the child and the expansive environment that surrounds them is hugely contrasting but a stunning dichotomy. [A-]
“Lebanon”
The gritty, claustrophobic thriller is set not only during the Lebanon War but entirely within the four walls of a tank. Starting as a newcomer shooter joins the crew of a tank on the dawn of war, a routine mission quickly goes awry as inexperience, withheld information and misinformation leads them straight into enemy territory and a desperate fight for survival and sanity. Tense throughout with a surprisingly detailed exploration of relationships within the tank, the film does however dwell with a heavy hand on greater political issues — something it’s fellow Golden Lion winner Kathryn Bigelow’s “The Hurt Locker” did so well avoiding with profound effect. [B+]