“City of Lost Souls” at ATA, and “Awkward Dinner Party” at the EXIT Theatre, subverted the Valentine spirit.
Talk about a hot mess. The florid, fluid, City of Lost Souls (1983), Rosa von Praunheim’s seldom-screened, "transgendered ex-pat food-fight sex-circus musical extravaganza" begins with a motley cast of unapologetic misfits sweeping up a trashed-out Berlin burger joint, the “Hamburger Königin” (Burger Queen). Shimmying on the counter, falling out of her lingerie, punk rock’s first transwoman cult darling, Jayne County, belts out “The Burger Queen Blues” while her fellow wage slaves, Loretta (Lorraine Muthke), Gary (Gary Miller), and Joaquin (Joaquin La Habana) gyrate suggestively across the linoleum until the boss-lady, Angie Stardust (as herself), a regal, “old school” transsexual wrapped in an enormous fur coat, curtails their goofy antics with a whistle and megaphone.
In stern German she orders them back to work—preparing for the next round of abusive food fights, which characterize the “service” at her uniquely unappetizing restaurant. A Theatre of the Ridiculous-style foray into the secret lives of gender outlaw ex-pats in flirty, dirty Berlin, “Lost Souls” isn’t your typical romance—but it’s a love story all the same.
Added to that, the hate-spreading publicity junkies known as the Westboro Baptist Church announced they would be staging a protest in front of the event with their usual "GOD HATES FAGS" signs, which in turn inspired Smith to stage his own protest of the Kansas-based church as a self-proclaimed "FAG ENABLER," which in turn inspired hundreds of people from Park City to make their own signs. Tickets to the movie were rumored to have been scalped for close to a thousand dollars, and the buzz surrounding the situation was truly something I have rarely felt at Sundance.
No film at this year's festival encountered as much controversy as Craig Zobel's Compliance. At the first public screening, an all-out shouting match erupted, with an audience member yelling "Sundance can do better!" You can't buy that kind of publicity. Every screening (public and press) that followed was jam-packed with people hoping to experience the most shocking film at Sundance, and the film does not disappoint. (Beware: every review I have happened upon has unnecessarily spoiled major plots in the film, which is based on true events.)
What is so impressive about Zobel's film is how it builds up a sense of ever-impending terror. In fact, I would go as far as to say that the film steps into Psycho (1960) terrain, specifically in the final act of the film. Compliance aims to confront a society filled with people who are trained to follow rules without questioning them. Magnolia Pictures, which previously collaborated with Zobel on his debut film Great World of Sound (which premiered at Sundance in 2007), picked up the film for theatrical release; if you dare to check it out, prepare to be traumatized. You'll be screaming about one of the most audacious movies of 2012 — and that's exactly why the film is so brilliant.
Park City at Midnight is what excites me most about each Sundance Film Festival. Yet, many other films screen at midnight that aren't technically part of the actual category, which brings up the dilemma of what type of film warrants the designation of "Midnight Movie." Late-night audiences range from the inebriated to the intellectual (and often both combined). This year's crop of midnight films, in and out of the Park City at Midnight category, was genuinely one of the most eclectic and enjoyable group of films presented in years.
Quentin Dupieux's Wrong — his follow-up to 2010's unstoppable cult hit Rubber — is an absurdist journey where everything and nothing can happen, as long as it's what you'd least expect from a narrative. The reactionary rules of this wandering wonder (don't read any spoilers about it!) seem to have expanded David Lynch's quietest, most awkward moments into a web of surrealist silliness that I immediately wanted to watch again as soon as it was over. As audiences were exiting at two in the morning, half of them were bleary-eyed from laughing hysterically, while the other half were in groggy, drunken stupors. For me, this confirms that Dupieux has achieved exactly what he wanted (to make the obvious joke, something so Wrong it's right).
So Yong Kim's character study For Ellen is only 93 minutes long, but the experience of watching it felt like it took an eternity. But — even though the film did not win awards at this year's festival — it resonated; it was filled with many memorable, quiet moments. Paul Dano (never before so vulnerable) takes the reigns as a struggling musician who, while taking a break from touring to sign the papers for his long-overdue divorce, is forced to confront his own selfish tendencies when his custody rights start slipping through his fingers.
Writer-director Kim (2008's Treeless Mountain) uses long, handheld takes that often prevent the viewer from seeing the actual feelings of our anti-hero. This subtle slice-of-life portrait never wavers from its sullen tone, which might explain why many critics seemed underwhelmed after its screening. For Ellen doesn't give its flawed protagonist an easy way out, in a way that's reminiscent of Darren Aranofsky's The Wrestler (2008).
FILM It is close to impossible not to love Carol Channing; those who would protest otherwise are simply heartless. The only adequate response to her is unconditional surrender, as if standing before an oncoming cyclone filled with puppies.Read more »
In a series of posts, Midnites for Maniacs curator-host and Academy of Art film-history teacher Jesse Hawthorne Ficks reports on the 2012 Sundance Film Festival. Check out his first, second, and third entries.
Winner of both the World Documentary Audience Award and the Special Jury Prize for its celebration of the artistic spirit is every musicologist's dream film: Malik Bendjelloul's Searching for Sugar Man. This larger-than-life tale is about obscure Detroit singer-songwriter Rodriguez, who created two brilliant albums, Cold Fact (1969) and Coming from Reality (1971), which some have compared to Bob Dylan's greatest works. Yet virtually no one bought either of the records ... except South Africans. The film reveals a fan base of millions, comprised of multiple generations who have viewed Rodriguez's songs as political anthems for 40 years. And that's just the first 15 minutes of the film!
Rodriguez's lyrics and lifestyle celebrated a working-class hero mentality that seems to be as precious as the songs themselves, and Benjelloul's film about his impact on a seemingly far-removed audience is a standout. But here's a warning: be careful while reading any reviews of this film before you see it! Every single critic I've read has spoiled major dramatic points in the film, so try your best to catch it before you come into contact with any spoilers. Read more »
Showcasing the boldly imaginative and innovative talents of the artisans at the Jim Henson Company, the 1982 fantasy film The Dark Crystal broke new ground when it came to visual special effects and believable creature creations.Read more »
In a series of posts, Midnites for Maniacs curator-host and Academy of Art film-history teacher Jesse Hawthorne Ficks reports on the 2012 Sundance Film Festival. Check out his first and second entries.
Jeff Orlowski's Chasing Ice, which won this year's Excellence in Cinematography Award for a U.S. Documentary, manages to sidestep the frivolous argument between liberals and conservatives as to whether or not the polar ice caps are melting. In fact, this beautiful documentary is so jaw-droppingly visual, you end up interacting with and understanding the planet's ice structures as if they were your own grandparents. Trekking out to the furthest spots in the Northern Hemisphere, National Geographic photographer James Balog, his hard working-crew, and director Jeff Orlowski have created a document that will force the world to actually see what is happening as opposed to arguing assumptions. What I found even more unnerving is how beautiful I found crumbling ice caps to be. Am I part of the problem?
Doc fans will recognize the name Kirby Dick; his previous works include This Film is Not Yet Rated (2006), which exposed the MPAA (the highly-secretive, surprisingly small group which has been censoring cinema since 1968), and his controversial 2009 film Outrage, which aggressively outed closeted gay politicians who have and continue to vote against gay rights.