San Francisco International Film Festival 2009

[oscar jubis]

According to IMdb, Miguel Gomes's MY BELOVED MONTH OF AUGUST had its US premiere at the 2009 SFIFF. I think it is a very important movie because it heralds the emergence of a director with a fresh vision from a country that has been traditionally neglected in the US. I plead guilty as far as not paying much attention to Portiguese films, except for those of Oliveira, who became known over here only when he made movies that feature international stars (Mastroianni, Malkovich) and thus managed to attract the interest of distributors. Chris, you have introduced me to Portuguese films shown at festivals you cover but I have yet to check them out (with exceptions). Films like TABU, which I just purchased on BluRay (encouraged by the unique, rich, and delicious experience with "August"). I know you could not cover the fest this year, but did you see "August"?

[Chris Knipp]

The title is OUR BELOVED MONTH OF AUGUST (see SFIFF 2009 listing). No, I have not seen itm though it is available on DVD from Netflix. Porguguese films neglected? Well, there is João Botelho. I recall reviewing his THE NORTHERN LAND (nyff 2008). Recently I reviewed Paulo Rocha's 1966 CHANGE OF LIFE (Art of the Real, FSLC 2014), I have written about Pedro Costa's COLOSSAL YOUTN (SFIFF 2006) and NE CHANGE RIEN (NYFF 2009). As you mention, I wrote about Miguel Gomes's TABU (NYFF 2012). I wouldn't say OUR BELOVED MONTH OF AUGUST is Gomes' "emergence," since TABU got plenty of reviews in this country, discussing it from all angels, 17 reviews listed on Metacritic, though A.O. Scott's was not as favorable as most of the others, for good reasons. I think there are others, though I can't think of them, and of course Oliveira is by far the most admired internationally. I've reviewed his BELLE TOUJOURS (NYFF 2006), ECCENTRICITIES OF A BLOND HAIR GIRL (NYFF 2009), and THE STRANGE CASE OF ANGELICA (NYFF 2010). There are quite a few Porguguese directors listed in the Wikipedia article on them: are they neglected just in the US or internationally?

TRue I couldn't cover SFIFF 2009 because I got minor surgery for a meniscus tear right when it was on. But I may have made up for it this year since of SFIFF 2014 I've seen 17 new films and had already reviewed 25, and 42 is pretty good. Though as I said, there were some high profile films this year I'd like to have seen but couldn't make it to the screenings of. Some of them will be coming out soon anyway though, like Linklater's BOYHOOD. I saw a trailer for it today and it looks cooler than I'd thought from what I'd heard, if only just due to the time lapse. Also though I missed WE ARE THE BEST! twice, it's coming to Landmark Theaters.

[Chris Knipp]

Oscar,

I recommend the recent interview with Cahiers du Cinema's editor Stéphane Delorme in 'Bomb' by Nicholas Elliott. He talks about Miguel Gomes and of course lots of other directors and we're reminded what Cahiers is about and why it's still important.

[oscar jubis]

I will search for The Northern Light and Change of Life. I've seen the others, except Tabu, which I have been holding up until I watch the shorter films available on the "August" dvd. Our Beloved Month of August precedes Tabu, hence my calling it his breakthrough. I also have older Oliveira films (on DVDs made in Spain) waiting their turn.
Such a coincidence that a colleague had just sent me a link to that same interview when you posted your link. I guess it is desirable for a publication such as Cashiers to be opinionated, and for the editor to be so precise about the types of filmmaking they advocate, the films and filmmakers that receive the support of the journal, and the space they devote to what they don't like or support. She is specific that's for sure.
PRO:Experiential/sensorial films, Carax's Holy Motors, Melancholia, films "that provide powerful emotions", hybridity, Malick, films that are difficult to categorize or pin down, E.T., Garrel, Hong Sang-soo, Weerasethakul's Uncle Boonmee
AGAINST: Cynicism, formalism, Dardenne Brothers, clever or "smart cinema", Haneke's Amour, Bela Tarr, narrative and genre conventions, Claire Denis' Bastards .

[Chris Knipp]

Against auteurism, which helps explain Dardennes fatigue. They have been repeating a formula lately. Also Bela Tarr's Turin Horse. He explains very clearly why. (Delorme is a he not a she. )