Saturday, January 25, 2014
On the wings of Icarus . . .
While Sundance continues to rage on for another week of servitude and art, the time has come for me to say my final goodbyes. The atmosphere remained thick with endless movies and fellow volunteers sent cheery well-wishes with the hopes that we would all return the next year for another eventful cinema season. Of course, it is always difficult to leave the feeling of euphoria, understood only when you know you belong to a particular thing. In my case, it was Sundance 2014. My knowledge of the world and its relation to art is all the better for having spent the last five days in the frigid mountains of Park City, Utah. So even though the plane has landed on a chilly runway in Nashville, Tennessee, my heart still lingers in a town that made it possible for me to realize that there are people in the world who appreciate film the same way I do. And nothing can be more magical than realizing that even when you have flown that close to the sun, you have forever learned how to fly.
Friday, January 24, 2014
Batter Up!
As for documentaries at Sundance, THE BATTERED BASTARDS OF BASEBALL stepped up to the plate and made a grand slam! What could be more perfect than an underdog story? Nothing really. Even the birth of America is one and henceforth, it has become a trademark that generations have identified with. This tends to be particularly expressed through sports, and with the invention of baseball, there has been little else to rival the title of America's favorite pastime.
Surrounding the creation and success of the 1972 independent baseball team, the Portland Mavericks, co-directors and brothers, Chapman and Maclain Way, brought to life the story of one of the most controversial teams in baseball history, proving that "stealing chances and being reckless" is the only way to play true baseball. Actor and professional baseball player, Bing Russel (you may know him best from his long-running stint in westerns), moved from California all the way to Oregon after the league had recently pulled the professional grade Beavers from the area. His goal? To make a team that could stand independently from a regimented set of rules and regulations and produce talent that understood that playing baseball was all about having fun. Bing's son, Kurt Russell (an obvious well-known name in Hollywood) also played on the team with his father before moving on to the big leagues. Interviewed in the documentary as an obvious homage to his father, Kurt made it quite clear that his father wanted nothing more than to make his players and the city of Portland feel like a family.
Even with Bing's death eleven years ago, the legacy of life and baseball that he created, thrives through this film. This resonates even deeper since the directors are actually the grandsons of Bing Russell. And yes, while it's undeniably true that the documentary is about baseball, it is more than that. It is about the American dream--it's about supporting something that you believe in. And who doesn't like a story about that?
Surrounding the creation and success of the 1972 independent baseball team, the Portland Mavericks, co-directors and brothers, Chapman and Maclain Way, brought to life the story of one of the most controversial teams in baseball history, proving that "stealing chances and being reckless" is the only way to play true baseball. Actor and professional baseball player, Bing Russel (you may know him best from his long-running stint in westerns), moved from California all the way to Oregon after the league had recently pulled the professional grade Beavers from the area. His goal? To make a team that could stand independently from a regimented set of rules and regulations and produce talent that understood that playing baseball was all about having fun. Bing's son, Kurt Russell (an obvious well-known name in Hollywood) also played on the team with his father before moving on to the big leagues. Interviewed in the documentary as an obvious homage to his father, Kurt made it quite clear that his father wanted nothing more than to make his players and the city of Portland feel like a family.
Even with Bing's death eleven years ago, the legacy of life and baseball that he created, thrives through this film. This resonates even deeper since the directors are actually the grandsons of Bing Russell. And yes, while it's undeniably true that the documentary is about baseball, it is more than that. It is about the American dream--it's about supporting something that you believe in. And who doesn't like a story about that?
Listen Up Philip
The last film I saw for Sundance 2014 was director, Alex Ross Perry's, third feature film: LISTEN UP PHILIP. Arising early for this 8:30 showing, I was on an extreme edge to be enlightened by the sarcastic wit and talent that only actors like Elisabeth Moss and Jason Schwartzman can deliver. But, movies have a funny way of surprising you, and not always for the better. This was, unfortunately, one of those times.
This was probably the first film that I have been exposed to with a completely voiced over narrative. Perry felt that emotions of the mind can only told, not showed, which resulted in an adult form of a picture book. Instead of the audience imposing their own meaning on the actions of the characters, they were directly informed of what was happening with a droning monologue of convoluted and, at times, pretentious vocabulary. And to top it off, every male character was entitled, emotionally disconnected, white, and rich.
Philip (Schwartzman) begins the story with an attempt to get his second novel published in a wide and mainstream pool of recognition. Shortly after, he teams up with popular culture writer of the late sixties and seventies, Ike (played by Jonathan Pryce--a non-surprising role), where the two spend the entirety of the film feeding off of each other's narcissism and mediocre success. Nothing really ever happens in LISTEN UP PHILIP except for watching these two men antagonize and belittle everyone around them, especially the women in their life. They are incapable of love, even for themselves, which allows them to spiral endlessly into loneliness and self-deprecation. And even though the women who come the closest to experiencing their love (Elisabeth Moss, Krysten Ritter, and Josephine de La Baume) were almost just as pathetic, since they kept trying to give their hearts to men who clearly should not and could not reciprocate the feeling. There were very few moments of redemption and you certainly couldn't help laughing at the way Philip spoke so freely to people, but no matter how hard you tried, there was no way to save Philip from the world of depressing crass that he had created for himself. And, of course, this is how it ended.
But what was most fascinating, perhaps, is that the Q&A after the film with the director, illuminated the serious relation between him and the main character. In fact, he almost confessed that the majority of the film was autobiographical, a concept that I don't believe even Perry had realized until his arrival at Sundance. He wanted to write a piece that would expose those who lived their lives in a self-serving manner--and it certainly excelled as an artistic work of expression. However, I walked away from the whole event feeling depressed that there are people who choose this to be their story.
This was probably the first film that I have been exposed to with a completely voiced over narrative. Perry felt that emotions of the mind can only told, not showed, which resulted in an adult form of a picture book. Instead of the audience imposing their own meaning on the actions of the characters, they were directly informed of what was happening with a droning monologue of convoluted and, at times, pretentious vocabulary. And to top it off, every male character was entitled, emotionally disconnected, white, and rich.
Philip (Schwartzman) begins the story with an attempt to get his second novel published in a wide and mainstream pool of recognition. Shortly after, he teams up with popular culture writer of the late sixties and seventies, Ike (played by Jonathan Pryce--a non-surprising role), where the two spend the entirety of the film feeding off of each other's narcissism and mediocre success. Nothing really ever happens in LISTEN UP PHILIP except for watching these two men antagonize and belittle everyone around them, especially the women in their life. They are incapable of love, even for themselves, which allows them to spiral endlessly into loneliness and self-deprecation. And even though the women who come the closest to experiencing their love (Elisabeth Moss, Krysten Ritter, and Josephine de La Baume) were almost just as pathetic, since they kept trying to give their hearts to men who clearly should not and could not reciprocate the feeling. There were very few moments of redemption and you certainly couldn't help laughing at the way Philip spoke so freely to people, but no matter how hard you tried, there was no way to save Philip from the world of depressing crass that he had created for himself. And, of course, this is how it ended.
But what was most fascinating, perhaps, is that the Q&A after the film with the director, illuminated the serious relation between him and the main character. In fact, he almost confessed that the majority of the film was autobiographical, a concept that I don't believe even Perry had realized until his arrival at Sundance. He wanted to write a piece that would expose those who lived their lives in a self-serving manner--and it certainly excelled as an artistic work of expression. However, I walked away from the whole event feeling depressed that there are people who choose this to be their story.
Wednesday, January 22, 2014
Only Lovers Left Alive
It's hard to say exactly when I fell in love with this film. Perhaps it was when I discovered that Jim Jarmusch was writing and directing a comfortably cool romance about Adam and Eve, who have relied on their love since nearly the beginning of time. Perhaps it was when Tom Hiddleston's name was announced for the leading male role. Or perhaps it was the opening scene of the movie that stole my breath and my heart. It is difficult to pinpoint these thoughts because ONLY LOVERS LEFT ALIVE transformed from what I thought would be my favorite movie of the year, into a beautifully moving reminder of why I love the cinematic art form.
As the opening credits roll, we are immediately introduced to our main vampire lovers, who are symbolically joined in their emotional passion for music. Through the deep thrum of classically mellowed rock and roll, I became completely aware of the connection Adam and Eve shared as though they were existing through one soul. Even though they were living at opposite ends of the world, they seemed content with their status and untainted by nothing but their need for blood, music, and one another. However, we quickly notice that perhaps living for an eternity is not quite the freedom it seems. Their breed is dying out, and despite their attempts to co-habitate with humans, whom they lovingly refer to as zombies, Adam and Eve grimly realize that they are rapidly claiming the title of the only lovers left alive.
On an impulsive whim, which is more accurately labelled as intuition, Eve rejoins Adam in Detroit, Michigan where the couple reconnects on a level of intimacy that few will ever have the honor to understand. They have reached a place, not only in life but in their relationship, where they know each other so fully that it becomes effortless to think and breathe. Yet, they maintain the essence of who they are--or so it seems.
Adam (Tom Hiddleston) is a dark and Gothicly romantic vampire who is stuck in the musical legends of the sixties and seventies. Although he adamantly denies ever having heroes from the centuries of living with famous writers and scientists, his unconventionally alluring wife, Eve (Tilda Swinton), discovers his portrait-covered wall, illuminating his hidden admiration for those who have made the biggest impact throughout his life. His brooding concerns her and she gently encourages him to live every day with happiness. This becomes increasingly alarming when she discovers a wooden bullet in the chamber of a gun that he had made specially for his potential suicide, resulting in a real death. Pulling him back into her love, Eve reminds him of what he is living for, saying "My dear, how can you have lived for so long and still not get it . . . always dance." And so they do. Even when the zombies continue to force their way through the vampires' world and all hope seems lost, it is the prospect of a million more dances with one another that sustains them. This becomes their mantra as they battle the wilds of family, endless existence, and the very immanent threat of extinction. But even despite their inability to remain completely secluded from the world's peering eyes, they remind each other of the beauty that exists all around them. It may seem simple or boring to the couples born in a modern age of sex and a false sense of self, but Adam and Eve strengthen their love from the cultures of a lifetime. They simply exist as the only true lovers left alive on Earth.
As the opening credits roll, we are immediately introduced to our main vampire lovers, who are symbolically joined in their emotional passion for music. Through the deep thrum of classically mellowed rock and roll, I became completely aware of the connection Adam and Eve shared as though they were existing through one soul. Even though they were living at opposite ends of the world, they seemed content with their status and untainted by nothing but their need for blood, music, and one another. However, we quickly notice that perhaps living for an eternity is not quite the freedom it seems. Their breed is dying out, and despite their attempts to co-habitate with humans, whom they lovingly refer to as zombies, Adam and Eve grimly realize that they are rapidly claiming the title of the only lovers left alive.
On an impulsive whim, which is more accurately labelled as intuition, Eve rejoins Adam in Detroit, Michigan where the couple reconnects on a level of intimacy that few will ever have the honor to understand. They have reached a place, not only in life but in their relationship, where they know each other so fully that it becomes effortless to think and breathe. Yet, they maintain the essence of who they are--or so it seems.
Adam (Tom Hiddleston) is a dark and Gothicly romantic vampire who is stuck in the musical legends of the sixties and seventies. Although he adamantly denies ever having heroes from the centuries of living with famous writers and scientists, his unconventionally alluring wife, Eve (Tilda Swinton), discovers his portrait-covered wall, illuminating his hidden admiration for those who have made the biggest impact throughout his life. His brooding concerns her and she gently encourages him to live every day with happiness. This becomes increasingly alarming when she discovers a wooden bullet in the chamber of a gun that he had made specially for his potential suicide, resulting in a real death. Pulling him back into her love, Eve reminds him of what he is living for, saying "My dear, how can you have lived for so long and still not get it . . . always dance." And so they do. Even when the zombies continue to force their way through the vampires' world and all hope seems lost, it is the prospect of a million more dances with one another that sustains them. This becomes their mantra as they battle the wilds of family, endless existence, and the very immanent threat of extinction. But even despite their inability to remain completely secluded from the world's peering eyes, they remind each other of the beauty that exists all around them. It may seem simple or boring to the couples born in a modern age of sex and a false sense of self, but Adam and Eve strengthen their love from the cultures of a lifetime. They simply exist as the only true lovers left alive on Earth.
The Signal to leave . . .
Are you agitated??
I certainly was. After having waited in line for almost two hours, I had hoped that William Eubank's second sci-fi adventure would deliver as an epic journey of love, wit, and the chance to beat the ticking time-bomb against the explosion of something terrible. The blurb written to promote the film under it's official documentation for Sundance, left me with the impression that I would be entertained, possibly surprised with a fast-pace and high-stakes story-line, and leave the theater with the understanding that I had once again been subject to a "non-conventional" love story. This was obviously not the case.
THE SIGNAL begins with a road trip as three college friends travel cross-country to help the only female of their group settle into a new life in California. Having attended MIT, the boys re-encounter a hacker who framed them for committing an inside job on the school's servers, almost expelling them permanently. He (or she) constantly messes with their minds, sending cryptic codes and messages including a repeat of the question: Are you agitated? They are finally able to pick up a signal and trace this mysterious "Nomad" to an abandoned house out in the middle of the Nevada desert. Sounds promising right? I was mentally strapped in to encounter a whole series of horrors that would take them on an unforgettable chase to the truth. Well, I was sort of right . . .
This is where the first major twist in the movie appears, and the audience realizes they are now dealing with something supernatural. Alright . . .still believable. They black out and awake inside a low-efficient government lab who experimentally determine that they have been contaminated and must be rid of any connection with e.b.e. or extraterrestrial biological entities. This is taken one step further when they each realize that a part of their body has been technologically modified, leaving the main character, Nick, with bionic legs of steel, his best friend, Jonah, with the same set of titanium appendages (except for arms), and we never really find out what the love interest, Haley, has gained during her time in the underground bunker. In fact, we never truly learn the answer to anything. The entire rest of the movie is spent trying to escape their captors, determining that they must be living proof that Area 51 exists, and that if they only drive a little farther, they will reach true civilization. Wrong.
Each scene simply continued to stitch together a series of ridiculous and weird scenarios, including a never-ending reel of slow motion shots that accomplished nothing but slowing the movie down even further. Although, we never returned to what happened out in the desert, we are given several flashbacks into their lives as friends before they were affected by the world and its life-ruining powers. But rather than clarifying any one of the fifty million questions and unending loopholes that abounded, each scene cuts short before revealing anything of meaning. By the end of the film, Nick is able to "break the barrier" that he believes is holding everyone into this insanity. He does so only to realize that he merely opened the door to the entire construct that is labeled as Area 51: a sparkly spaceship that floats infinitely into space.
Even during the Q&A with the director/ writer and the actors, it was clear that he saw a connection between the entire movie that just simply wasn't there. Several audience members begged him to explain, but his only answer was, "The answer is in the fish." Needless to say, he lost his entire audience. The only uptake was that the acting was pretty decent. Did I mention that Laurence Fishburne played the bionic lab director who not only chased them the entire movie but also turned out to be Nomad? Yeah, it's probably not worth mentioning since the arguable "King of Sci-fiction" delivered a highly underwhelming performance that only enhanced my frustration and the rest of the amateur acting.
Of course, there is always some sort of hidden meaning that can be derived from THE SIGNAL. Perhaps it was all just some giant metaphor for life and, as the director suggested, we are each supposed to impose our own meaning on the symbolism placed in front of us. Personally, I think that's reading way too far into what the screenplay actually is. The worst part is that Eubank fully intends to create a sequel. Perhaps then we will be able to finally decode the meaning of the fish and Area 51 and aliens and the meaning of life and whatever else that movie was about! So, now, let me ask you: Are you agitated??
I certainly was. After having waited in line for almost two hours, I had hoped that William Eubank's second sci-fi adventure would deliver as an epic journey of love, wit, and the chance to beat the ticking time-bomb against the explosion of something terrible. The blurb written to promote the film under it's official documentation for Sundance, left me with the impression that I would be entertained, possibly surprised with a fast-pace and high-stakes story-line, and leave the theater with the understanding that I had once again been subject to a "non-conventional" love story. This was obviously not the case.
THE SIGNAL begins with a road trip as three college friends travel cross-country to help the only female of their group settle into a new life in California. Having attended MIT, the boys re-encounter a hacker who framed them for committing an inside job on the school's servers, almost expelling them permanently. He (or she) constantly messes with their minds, sending cryptic codes and messages including a repeat of the question: Are you agitated? They are finally able to pick up a signal and trace this mysterious "Nomad" to an abandoned house out in the middle of the Nevada desert. Sounds promising right? I was mentally strapped in to encounter a whole series of horrors that would take them on an unforgettable chase to the truth. Well, I was sort of right . . .
This is where the first major twist in the movie appears, and the audience realizes they are now dealing with something supernatural. Alright . . .still believable. They black out and awake inside a low-efficient government lab who experimentally determine that they have been contaminated and must be rid of any connection with e.b.e. or extraterrestrial biological entities. This is taken one step further when they each realize that a part of their body has been technologically modified, leaving the main character, Nick, with bionic legs of steel, his best friend, Jonah, with the same set of titanium appendages (except for arms), and we never really find out what the love interest, Haley, has gained during her time in the underground bunker. In fact, we never truly learn the answer to anything. The entire rest of the movie is spent trying to escape their captors, determining that they must be living proof that Area 51 exists, and that if they only drive a little farther, they will reach true civilization. Wrong.
Each scene simply continued to stitch together a series of ridiculous and weird scenarios, including a never-ending reel of slow motion shots that accomplished nothing but slowing the movie down even further. Although, we never returned to what happened out in the desert, we are given several flashbacks into their lives as friends before they were affected by the world and its life-ruining powers. But rather than clarifying any one of the fifty million questions and unending loopholes that abounded, each scene cuts short before revealing anything of meaning. By the end of the film, Nick is able to "break the barrier" that he believes is holding everyone into this insanity. He does so only to realize that he merely opened the door to the entire construct that is labeled as Area 51: a sparkly spaceship that floats infinitely into space.
Even during the Q&A with the director/ writer and the actors, it was clear that he saw a connection between the entire movie that just simply wasn't there. Several audience members begged him to explain, but his only answer was, "The answer is in the fish." Needless to say, he lost his entire audience. The only uptake was that the acting was pretty decent. Did I mention that Laurence Fishburne played the bionic lab director who not only chased them the entire movie but also turned out to be Nomad? Yeah, it's probably not worth mentioning since the arguable "King of Sci-fiction" delivered a highly underwhelming performance that only enhanced my frustration and the rest of the amateur acting.
Of course, there is always some sort of hidden meaning that can be derived from THE SIGNAL. Perhaps it was all just some giant metaphor for life and, as the director suggested, we are each supposed to impose our own meaning on the symbolism placed in front of us. Personally, I think that's reading way too far into what the screenplay actually is. The worst part is that Eubank fully intends to create a sequel. Perhaps then we will be able to finally decode the meaning of the fish and Area 51 and aliens and the meaning of life and whatever else that movie was about! So, now, let me ask you: Are you agitated??
Monday, January 20, 2014
To love infinitely . . .
I thought it only fair to start this post with the mild disclaimer that due to the holiday and an insane work schedule, I was only able to attend one feature film. I had to choose wisely and based on my luck from the past couple of days, I decided to attend the premiere of INFINITELY POLAR BEAR, written and directed by newcomer, Maya Forbes. Although she has managed to write the screenplays for a couple of well-known children's films, including DIARY OF A WIMPY KID: DOG DAYS and MONSTERS VS. ALIENS, this is Forbes feature film debut. No pressure right?? Especially with backing from industry tycoons like J.J. Abrams and Mark Ruffalo (who is also the main character of the film), Forbes certainly had the resources at her fingertips to produce a work of notoriety. And boy did she deliver . . .
Based on her own childhood, Maya reconstructed what it was like to grow up in a household with a manic-depressive father (also known as bipolar disorder) and interracial parents, during the late 70's. Forbes' real life sister, who attended the premiere as her first time viewing the final product, spoke openly to the audience, saying, "It was like a photo album come to life." While it was quite obvious that the main topic of discussion was mental illness (something that is foremost evident from the title), the movie generated discussion about sexism, against both males and females, interracial marriage, experimental drug treatments, single parent homes, the ups and downs of childhood and life, and, above all else, the power of love.
Despite what everyone has experienced in their own lives, almost all of us know what it is like to love or be loved by someone despite or through adversity. Perhaps it is the most powerful type of love because the battle we fight to give and receive can be enormous and many times life-changing. For INFINITELY POLAR BEAR, Mark Ruffalo executed this flawlessly. At the beginning of the film, we get a candid glimpse at what it's like to live surrounded by the scale of drastic mood swings that accompany bipolar disorder. As the father in this story, Ruffalo makes it abundantly clear that he wants nothing more in life than to be a part of a family and be involved with his kids as much as possible. After a major manic episode and a long stint in a mental institution, Cameron Stewart (Ruffalo) is rapidly forced into a new, and rather intimidating, routine when his wife, Maggie (played by the gorgeous, Zoe Saldana), accepts a student position at Colombia's business program in New York in order to provide a better life for her daughters. Of course, all hell breaks loose when Cameron decides that he no longer needs to stay medicated on Lithium and determines that he functions better on an even-keeled diet of beer and cigarettes. Needless to say, his precious daughters, Amelia and Faith, are taken on an adventure that they would eventually come to call "their life."
The film followed the timeline of each season as they paralleled the major shifts in mentality that Cameron's disorder expressed, leaving the audience both entertained and emotionally bereft. Cinematographer, Bobby Bukowski, created a vibrant atmosphere of colors that popped in every scene to emphasize the larger than life feeling each character felt at some point in the movie. But what broke me in POLAR BEAR was the writing for Cameron Stewart's character. He was funny and intelligent, and rather than making the film focus on a man with a disability, Forbes truly fleshed out a man who loved past his inconsistencies. He was a character who was extremely aware of his issues, telling his daughters, "Don't not have friends because of me." And for me, that was enough. It was obvious that everyone in the theater identified with some part of this theme and that is what made it truly great.
And, as usual, the Q&A at the end of the screening consisted of Maya Forbes and Mark Ruffalo, who discussed their inspiration for the emotion of the film, and its correlating shots, and how they were able to delve so deep into the life of a man so few understood. Brilliant from start to finish, it's clear that Mark's talent is being vastly underscored by his recent choice of films and it will be a great beauty to see what he will contribute to the world in future festivals and mainstream theaters.
Based on her own childhood, Maya reconstructed what it was like to grow up in a household with a manic-depressive father (also known as bipolar disorder) and interracial parents, during the late 70's. Forbes' real life sister, who attended the premiere as her first time viewing the final product, spoke openly to the audience, saying, "It was like a photo album come to life." While it was quite obvious that the main topic of discussion was mental illness (something that is foremost evident from the title), the movie generated discussion about sexism, against both males and females, interracial marriage, experimental drug treatments, single parent homes, the ups and downs of childhood and life, and, above all else, the power of love.
Despite what everyone has experienced in their own lives, almost all of us know what it is like to love or be loved by someone despite or through adversity. Perhaps it is the most powerful type of love because the battle we fight to give and receive can be enormous and many times life-changing. For INFINITELY POLAR BEAR, Mark Ruffalo executed this flawlessly. At the beginning of the film, we get a candid glimpse at what it's like to live surrounded by the scale of drastic mood swings that accompany bipolar disorder. As the father in this story, Ruffalo makes it abundantly clear that he wants nothing more in life than to be a part of a family and be involved with his kids as much as possible. After a major manic episode and a long stint in a mental institution, Cameron Stewart (Ruffalo) is rapidly forced into a new, and rather intimidating, routine when his wife, Maggie (played by the gorgeous, Zoe Saldana), accepts a student position at Colombia's business program in New York in order to provide a better life for her daughters. Of course, all hell breaks loose when Cameron decides that he no longer needs to stay medicated on Lithium and determines that he functions better on an even-keeled diet of beer and cigarettes. Needless to say, his precious daughters, Amelia and Faith, are taken on an adventure that they would eventually come to call "their life."
The film followed the timeline of each season as they paralleled the major shifts in mentality that Cameron's disorder expressed, leaving the audience both entertained and emotionally bereft. Cinematographer, Bobby Bukowski, created a vibrant atmosphere of colors that popped in every scene to emphasize the larger than life feeling each character felt at some point in the movie. But what broke me in POLAR BEAR was the writing for Cameron Stewart's character. He was funny and intelligent, and rather than making the film focus on a man with a disability, Forbes truly fleshed out a man who loved past his inconsistencies. He was a character who was extremely aware of his issues, telling his daughters, "Don't not have friends because of me." And for me, that was enough. It was obvious that everyone in the theater identified with some part of this theme and that is what made it truly great.
And, as usual, the Q&A at the end of the screening consisted of Maya Forbes and Mark Ruffalo, who discussed their inspiration for the emotion of the film, and its correlating shots, and how they were able to delve so deep into the life of a man so few understood. Brilliant from start to finish, it's clear that Mark's talent is being vastly underscored by his recent choice of films and it will be a great beauty to see what he will contribute to the world in future festivals and mainstream theaters.
Sunday, January 19, 2014
House of Stars
An early start to a long day is almost always indicative of a productive time. Today was certainly no different. With the anticipation of viewing the new Ryan Reynolds' film, THE VOICES, about a man who seeks help from his dog and cat after murdering a female co-worker, my friends and I trumped out towards Main Street which houses the ever-alluring Egyptian Theater.
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However, our torch was quickly extinguished when we were told that there would be almost no room for anyone once the press had set up shop. "But no need to worry," our handy-dandy volunteer guide, Ross, said. Pointing to the Sundance Channel Headquarters next door, Ross, in his perfectly adorable Mike Wazowski winter hat, informed us that we could get a hot cup of Joe and perhaps sit in on a panel for the mini-series about to premiere, starring the lovely Maggie Gyllenhaal. THE HONOURABLE WOMAN surrounds Ness Stein (Gyllenhaal) as she attempts to assert her knowledge and intellectual prowess into the political upheaval of arms dealing in order to procure some sort of peace between the Israelis and Palestinians. Needless to say, we were not disappointed.
Upon arrival, we grabbed a free cup of java and meandered our way towards the back where, to our surprise, we saw not only Maggie Gyllenhaal, but Paul Reiser and GAME OF THRONES heart-throb, Jason Momoa. The trio discussed their upcoming work with Sundance, leaving Maggie to close the "Sundance Channel Coffee Talk" (motto: #ownyourstory) with some parting words of wisdom: "Get a camera and make a little something. Make it interesting and inspiring." Short and sweet, just like her.
However, our day was just beginning! We scurried off to the The Yarrow Theater just in time to sit in on the Docs Shorts Program II where we watched three of the festival's top documentary short picks of the year. The first one titled, I THINK THIS IS THE CLOSEST TO HOW THE FOOTAGE LOOKED (directed by Yuval Hameiri) was drastically simple but overwhelmingly powerful. A look at the true story of how he accidentally erased the last footage of his mother before she died, Yuval uses household objects and remnant videotape footage to recreate what he believed it would look like if the proof still existed. The second film, NOTES ON BLINDNESS, used an audio diary from writer, John Hull, who officially lost his eyesight in 1983, to narrate what he must have been visualizing as he spoke. The cinematography was impeccable and directors, Peter Middleton and James Spinney, knew they had a masterpiece on their hands. The last film of the trio however, sparked the most interest from the audience. REMEMBERING THE ARTIST: ROBERT DE NIRO SR., took an intriguing inside look at the famous actor's father. As a product of New York City's European Avant Garde movement, the HBO op-doc (opinion documentary), took a special look at De Niro Sr.'s outstanding artwork and the lack of recognition it received despite the obvious and vigorous talent he presented. With heartfelt interviews by friends and, of course, Robert De Niro Jr., it was really no surprise when Robert De Niro showed up and addressed the Q&A, himself.
Even though Robert De Niro respectfully denied that the making of this film changed how he viewed his family or his father, it was impossible not to notice the couple of times that his eyes welled in longing memory, both on and off the screen. Simply put, it was the perfect way to end a day of fun with a house full of stars under the sun. But with the fast approaching dawn, a new adventure peeks its head, promising to expose even more surprises.
We Only Go Up From Here!
Snow crunches under the shoes of thousands of passersby, making a euphonious melody of an every day pattern. Trees are lit brightly with their twinkling lights. Buses crank their angry tune and everyone huddles for warmth, releasing puffs of hot air like dragons. Olympians talk with volunteers and Slamdance rockers tell mellow stories to those just arriving. This is Sundance. The atmosphere is incredible and everything reeks of opportunity and excitement. From the outside observer, things may appear hectic but it is only the hustle and bustle of anticipation for the never-ending line of activities, including movies, panels, writing and music workshops, concerts, and a whole lotta' fun.
Nestled just inside the Wasatch and Oquirrh mountain ranges, Park City, Utah runs parallel to Salt Lake City, using the wide mountain pass as the favorite and only go-between. Although fellow Nashvillians may have been privy to a good snow-fall in the past few years, there is nothing as breathtaking as the fresh powder that seems to simply sit atop every peak, ski run, building, and sidewalk. It is deep but not dangerous. Even my group of bandits was able to walk the short mile from the grocery store to our condo without a single snafu. As we hunkered down between the warm sheets, we slept restlessly, awaiting the new morning of the first day of movies and first set of work shifts. We can only go up from here and never has Sundance seen excitement like ours before!
Nestled just inside the Wasatch and Oquirrh mountain ranges, Park City, Utah runs parallel to Salt Lake City, using the wide mountain pass as the favorite and only go-between. Although fellow Nashvillians may have been privy to a good snow-fall in the past few years, there is nothing as breathtaking as the fresh powder that seems to simply sit atop every peak, ski run, building, and sidewalk. It is deep but not dangerous. Even my group of bandits was able to walk the short mile from the grocery store to our condo without a single snafu. As we hunkered down between the warm sheets, we slept restlessly, awaiting the new morning of the first day of movies and first set of work shifts. We can only go up from here and never has Sundance seen excitement like ours before!
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