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    New York Film Festival 2011




    MISS BALLA, Gerardo Naranjo

    New York Film Festival 2011

    Welcome to Filmleaf's Festival Coverage thread for the 49th New York Film Festival, fall 2011, put on by the Film Society of Lincoln Center. The site's General Film Forum discussion thread for the NYFF begins here.

    INDEX OF LINKS TO REVIEWS

    4:44 Last Day on Earth (Abel Ferrara 2011)
    Artist, The (Michel Hazanavicius 2011)
    Carnage (Roman Polanski 2011)
    Corpo Celeste (Alice Rohrwacher 2011)
    Dangerous Method, A (David Cronenberg 2011)
    Descendants, The (Alexander Payne 2011)
    Dreileben (Christian Petzold, Dominik Graf, Christoph Hochhäusler 2011) [NYFF Special Events]
    Footnote (Joseph Cedar 2011)
    George Harrison: Living in the Material World (Martin Scorsese 2011)
    Goodbye, First Love (Mia Hansen-Løve 2011)
    Kid with the Bike, The (Jean-Pierre and Luc Dardenne 2011)
    Le Havre (Aki Kaurasmäki 2011)
    Loneliest Planet, The (Julia Loktov 2011)
    Martha Marcy May Marlene (Sean Durkin 2011)
    Melancholia (Lars von Trier 2011)
    Miss Bala (Gerardo Naranjo 2011)
    My Week with Marilyn (Simon Curtis 2011)
    Once Upon a Time in Anatolia (Nuri Bilge Ceylan 2011)
    Pina (Wim Wenders 2011)
    Play (Ruben Östlund 2011)
    Policeman (Nadav Lapid 2011)
    Separation, A (Asghar Farhadi 2011)
    Shame (Steve McQueen 2011)
    A Dangerous Method (David Cronenberg 2011)
    Skin I Live In, The (Pedro Almodóvar 2011)
    Sleeping Sickness, The (Ullrich Köhler 2011)
    Student, The (Santiago Mitre 2011)
    This Is Not a Film (Jaafar Panahi 2011)
    Turin Horse, The (Bela Tárr 2011)
    We Can't Go Home Again (Nicholas Ray 1972/2011)




    GOODBYE FIRST LOVE, Mia Hansen-Løve
    Last edited by Chris Knipp; 12-02-2016 at 08:36 PM.

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    PRESS SCREENING SCHEDULE Sept. 16-Oct. 14, 2011


    Friday September 2, 2011

    All screenings and press conferences will take place in the Walter Reade Theater, (165 West 65th Street) unless otherwise noted
    Wednesday September 14th Noon-5pm -- credential pick-up

    MONDAY SEPT 12-THURSDAY SEPT 15
    NO PRESS & INDUSTRY SCREENINGS

    FRIDAY SEPT 16

    10AM-11:13AM THE WOMAN WITH RED HAIR (73 min) (Nikkatsu Centennial)
    11:45AM – 12:50PM INTIMIDATION (65 min) (Nikkatsu Centennial)
    1:30PM – 3:30PM MUD AND SOLDIERS (120 min) (Nikkatsu Centennial)

    MONDAY SEPT 19

    10AM-11:53AM THE LONELIEST PLANET (113 min) *Press conference to follow
    1:00PM- 1:48PM YOU ARE NOT I (48 min)

    TUESDAY SEPT 20

    10AM-11:43AM LE HAVRE (103 min)
    12:15PM – 1:48PM WE CAN’T GO HOME AGAIN (93 min)
    2:30PM- 4:10PM CORPO CELESTE (100 min)

    WEDNESDAY SEPT 21
    10AM-1:43PM GEORGE HARRISON: LIVING IN THE MATERIAL WORLD (208 min)
    *Intermission for 15 minutes
    2:15PM- 3:43PM MUSIC ACCORDING TO TOM JOBIM (88 min)

    THURSDAY SEPT 22

    10AM-12:15PM MELANCHOLIA (135 min)
    1:00PM-2:22PM PATIENCE (82 min)
    3:15PM- 4:45PM TAHRIR (90 min)

    FRIDAY SEPT 23

    DREILEBEN – Part 1, 2 and 3 (88, 89, 90 min)
    10AM- 11:29AM PART 1
    11:45AM-1:14PM PART 2
    1:45PM-3:15PM PART 3
    3:45PM-5:10PM ANDREW BIRD: FEVER YEAR (80 min)

    MONDAY SEPT 26
    10AM-11:26AM TWO YEARS AT SEA (86 min) (Views From the Avant-Garde)
    12:00PM – 2:26PM THE TURIN HORSE (146 min)
    3:00PM- 4:25PM 4:44 LAST DAY ON EARTH (85 min)

    TUESDAY SEPT 27
    12:30PM – 2:23PM MISS BALA (113 min)
    *Location: Beale Theater, Elinor Bunin Munroe Film Center (144 West 65th Street)
    **Press conference to follow
    3:30PM – 4:50PM CARNAGE (80 min)

    WEDNESDAY SEPT 28

    10AM – 12:03PM A SEPARATION (123 min)
    *Press Conference - TENTATIVE
    1:15PM- 3:04PM TWENTY CIGARETTES (99 min) (Views From the Avant-Garde)

    THURSDAY SEPT 29
    10AM-11:50AM THE STUDENT (110 min)
    12:30PM- 2:04PM RETALIATION (94 min) (Nikkatsu Centennial)
    2:45PM-3:50PM OPENENDED GROUP: UPENDED IN 3D (65 min) (Views From the Avant-Garde)

    FRIDAY SEPT 30
    10AM-11:31AM SLEEPING SICKNESS (91 min) *Press conference to follow
    12:30PM – 3:00PM ONCE UPON A TIME IN ANATOLIA (150 min)

    SATURDAY OCT 1
    10AM - 1:43PM GEORGE HARRISON: LIVING IN THE MATERIAL WORLD (208 min)
    *Location: Beale Theater, Elinor Bunin Munroe Film Center (144 West 65th Street)
    **Intermission for 15 minutes
    ***Press conference to follow

    MONDAY OCT 3
    10AM-11:39AM A DANGEROUS METHOD (99 min)
    *Press conference to follow
    1:00PM-2:36PM MY WEEK WITH MARILYN (96 min)

    TUESDAY OCT 4
    10AM-11:15AM THIS IS NOT A FILM (75 min)
    12:30PM- 2:11PM MARTHA MARCY MAY MARLENE (101 min)

    WEDNESDAY OCT 5
    10AM-11:27AM THE KID WITH A BIKE (87 min)
    *Press conference to follow
    1:00PM- 2:46PM PARADISE LOST 3: PURGATORY (106 min)

    THURSDAY OCT 6
    10:00AM-11:39AM SHAME (99 min)
    12:30PM – 2:16PM PINA (106 min)
    3:00PM-4:40PM POLICEMAN (100 min)

    FRIDAY OCT 7
    NO SCREENINGS

    MONDAY OCT 10
    10AM – 11:46AM FOOTNOTE (106 min)
    *Location: Gilman Theater, Elinor Bunin Munroe Film Center (144 West 65th Street)
    **Press conference to follow

    TUESDAY OCT 11

    12PM -1:57PM THE SKIN I LIVE IN (117 min)
    *Press conference to follow

    WEDNESDAY OCT 12
    10AM-11:35AM CORMAN’S WORLD (95 min)
    *Press conference to follow
    1:00PM-2:33PM VITO (93 min)
    *Press conference to follow

    THURSDAY OCT 13
    10AM – 11:50AM GOODBYE FIRST LOVE (110 min)
    *Press conference - TENTATIVE

    FRIDAY OCT 14
    10AM-11:40AM THE ARTIST (100 min)
    *Press conference to follow
    1:00PM- 2:55PM THE DESCENDANTS (115 min)

    Last edited by Chris Knipp; 08-05-2014 at 08:08 PM.

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    Julia loktev: The loneliest planet (2011)

    JULIA LOKTEV: THE LONELIEST PLANET (2011)


    GAEL BARCÍA BERNAL, BIDZINE GUJABIDZE AND HANI FURSTENBERG IN THE LONELIEST PLANET

    Two paths diverge in the wild

    Hardy and sophisticated offbeat travelers both, Nica (Hani Furstenberg) and Alex (Gael García Bernal), who are to be married in a few months, take a camping trip through the Caucasus with a Georgian mountain guide, Dato (Bidzina Gujabidze). Along the way -- at the film's midpoint -- an incident happens that breaks the cozy mood between them, possibly forever. After Alec makes a split decision that shocks Nica, the two become distant. The title is perhaps a mocking reference to the rough tour guide series, "Lonely Planet." Nica and Alex seem to be intimate and perfectly matched and the trip is gong pretty smoothly, but it all seems to turn into a subtle psychological hell.

    This is the sophomore feature of Julia Loktev, who was born in St. Petersburg, Russia, and grew up in the US, studying film at NYU. Her first film was a documentary, Moment of Impact, which focused on the consequences of a near-fatal car accident that her father suffered. Her first fiction feature, Day Night Day Night (shown at Lincoln Center's New Directors/New Films series in 2007), was about a would-be suicide bomber in Times Square. The director has also exhibited art pieces at Tate Modern and P.S.1, and recently received a Guggenheim Fellowship.

    Loktev achieves great immediacy in the way she shoots the pair early on bathing, cuddling, and making love in rough surroundings, seemingly in perfect tune with each other. Israel-based, NY-born Furstenburg has luminous skin and flaming red hair; García Bernal has his usual charisma and charm. The pair are almost too clearly cast for each having both playful and melancholy sides: it's almost as if they play only in those two keys. Gujabidze has no particular charm, and his English is a bit rough. But that's the point. He's a real mountaineer and guide, not an actor, and his presence adds to the documentary feel. The other player is the grass-covered, beautiful Khevi region of the Caucasus, which helps mitigate the monotony of an adventure that for the viewer is lacking in much of interest, unless reviewing Spanish verbs, crossing a stream, or doing tricks with a string fascinate you.

    The film uses much more limited material and more rudimentary dialogue, but plays with space and time in ways that might suggest the Antonioni of L'Avventura. And in both films events lead up to an event that changes things and that's never fully understood. Whatever the mid-point event in Loneliest Planet means to the characters, they don't discuss it.

    Loktev works well in her harsh style. For me, a richer and more nuanced study of the decline of a seemingly perfect relationship between two young people can be found in Maren Ade's Everyone Else, which was part of the 2009 NYFF, and got a limited US theatrical release in 2010. I reviewed it as part of the NYFF. For some, The Loneliest Planet is a maddening snooze-fest, yet another example of how an art film can be like watching paint dry. But for the attentive, adventurous festival viewer, its fresh, raw approach offers stimulation and food for thought.

    The Loneliest Planet is a an exhausting, intense watching experience, all the more focused for its vivid immediacy and lack of many plot or dialogue guidelines. It's a taut, effective film, with some pure landscape moments enhanced by Richard Skelton's spare, shimmering music. But Loktev doesn't make as good use as she might of the rearrangement of sensibility. She tends to rely too much toward the end on randomly accumulated material, and the last two sequences are weak. The way Nika and Alex are thrust upon us without backstories, along with the lack of discussion of events, contributes to a mystery that makes this a movie audiences will want to debate. For me the situation suggests a failure of nerve, the kind of thing you might find in a Hemingway short story about a couple game hunting, though his famous "The Short Happy Life of Francis Macomer" is almost the reverse of this tale, which is freely adapted from the story, "Expensive Trips Nowhere," by Tom Bissell. In the wild, with a guide, an urban civilized man's courage may be more sorely and starkly tested. Maybe this story could take place anywhere. Loktev has tried to eschew pretty-pretty effects, but the lush, wide-open Georgian landscape is still a bit too distracting. However she is true to the original story: Bissell's fiction generally transpires in Central Asian settings.

    The Loneliest Planet was shown at Locarno and Toronto and will be shown at the New York and London festivals. Seen and reviewed as part of the New York Film Festival at Lincoln Center. No US distributor at present.
    Last edited by Chris Knipp; 02-11-2019 at 08:06 PM.

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    Aki Kaurismäki: Le Havre (2011)

    Aki Kaurismäki: Le Havre (2011)


    ANDRÉ WILMS AND BLONDIN MIGUEL IN LE HAVRE

    Play that old tune again, Aki

    Kaurismäki adheres strictly to his signature style here, the usual actors, the deadpan dialogue and sad sack characters, the bright colors, emphasis on blues and greens, direct lighting on actors, sharp images, ironically clear camerawork and editing. But there's something awry: the gloom is missing. The director has said he alwys wanted to have been born earlier to have been active in WWII resistance, and to evoke that, using many references to films of the period like Porte des Brumes and Casablanca and classic directors like Marcel Carné (references in the protagonists' names), Jean-Pierre Melville, Robert Bresson and others. But on its own terms, "Le Havre" is a continual pleasure, seamlessly blending morose and merry n, he filmed a story about a down-at-the heels Frenchman, reduced to shining shoes in the railway station, who becomes a clandestine working-class hero by hiding a young African illegal. For the dyed-in-the-wool Kaurismäki fan there are many little pleasures here but the big pleasure of bathing in a negativism so austere it makes you shiver -- that is totally lacking. Maybe the New York Film Festival jurors picked Le Havre because it's such a homage too French film classics. It's even got an aging Jean-Pierre Léaud in it, as a bad guy, an informer.

    Kaurismäki's films always have an out-of-time retro style, which makes the evocation of the French resistance in a modern time setting not a stretch for him. He puts together one of his Finnish regulars, Kati Outinen, as the wife, Arletti, who takes ill but then miraculously recovers, and a French one, Andre Wilms, who was featured in three of his previous films, as the hero, Marcel Marx. Marx and a Vietnamese cohort are getting fewer and fewer shoe shining jobs since everybody is beginning to war sneakers. The camera opens up with a shot of arriving railway passengers' legs, all ending with sneakered feet. In a typically deadpan Kaurismäki sequence, one of Macel's customers gets gunned down after a shoe shine but Marcel only says, "well, at least I got paid first." Kafkaesque menace abounds here (with Kafka even red from to the ailing Arletti), but the horror is distinctly muted.

    Hence when a container is found that's been left sitting for a week or two, and it turns out to have a group of African stowaways in it, they are all sitting around in the box, perfectly well, still, nicely lighted. One of them is a young boy, Idrissa (Blondin Miguel), who bounds out of the box and runs away. Marcel is destined to find him and save him and see that he gests to go to London where the waylaid container box was headed and where he has family. After finding him hiding in the water and bringing him food, Marcel protects Idriss at his house. His wife has gone to the hospital due to an undefined but possibly fatal illness (she never looks sick, nor will she allow the old, burt-out looking doctor to tell Marcel that it's serious). Idriss stays hidden without any problems, shining shoes or washing dishes when needed. He also speaks perfect French.

    Marcel gets help from his shopkeeper neighbors, who forgive his debts more willingly now in complicity against the mean police. But nothing must help it, Marcel needs to raise 3,000 euros to pay a man to take Idriss to London illegally. To raise this sum he gives a charity concert. This droll event features an aging rock musican-singer with a puffy head of white hair called Little Bob (Roberto Piazza).

    It's a pleasure -- chiefly visual, but otherwise cinematic -- to watch Kaurismäki at work. His bright colored yet restrained style, and his use of cameraman Timo Salminen and editor Timo Linnasalo show a look and rhythm that are elegant and consistent. Everything he includes in a film becomes Kaurismäki. And there are those that will like the director even more with an ubeat, updated theme. However, it's really not the same without the pessimism. Without it, the drollness loses its edge. Hard to see the point, really, or at least the necessity of showing this in as selective a film festival as New York.

    Le Havre was included at Cannes and Toronto as well as the NYFF (and other festivals); it will be released theatrically in France, Sweden, and Slovenia in December 2011. Screened and reviewed as part of the New York Film Festival at Lincoln Center. Janus Films has acquired tis film for US release October 21, 2011.
    Last edited by Chris Knipp; 10-09-2011 at 06:35 PM.

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    Nicholas Ray: We Can't Go Home Again (1972/2011)

    Nicholas Ray: We Can't Go Home Again (1972/2011)


    OVERLAPPING IMAGES FROM WE CAN'T GO HOME AGAIN

    Shattered mirrors

    It's for the experts, notably among them Jonathan Rosenbaum, to describe the relationship between this film by Nicholas Ray and his State U. Biningham students, and his wife, and its other versions and another film or other films that relate to it or grow out of it. The consensus is that the orginal We Can't Go Home Again was "finished" in 1972, and shown at the Cannes Festival in 1973. But it wasn't satisfactory, and it wasn't shown under satisfactory conditions, being screened at the end of the festival when everyone was too tired to take it in. There have been various versions since. This current new version, carried out under the supervision of Ray's widow (and fourth wife) Susan and completed this year under the auspices of the Nicholas Ray Foundation, The EYE Institute of the Netherlands, and the Academy of Motion Picture Arts and Sciences Film Archive, adds new voiceover material provided by Ray himself replacing a student's voiceover, and there are other improrovements, notably a ditigalizing of the images.

    We Can't Go Home Again is by and about NIcholas Ray and his film students in New York State at that time in the early Seventies, and all the things that were going on in their minds and in their lives at that moment, including their love affairs; the state of mind and professorial voice of Ray over ten years after stopping to make movies in Hollywood; the Vietnam War; the Seige of Chicago; the dynamics of a film class focused on making a film; and so forth.

    To do justice to all this complexity, Ray and his collaborators use an interesting, alternately separate and overlapping, multiple screen technique. It's not at all a aslick, symmetrical split-image setup, but something more complex, sui generis, and expressive. The whole screen sometimes is used as a framework showing the Binghamton campus, with the various films the students shot set, small, a little to one side, within that big frame. Sometimes there are several or multiple frames in the big frame. Sometimes the film takes over the whole screen like a conventional motion picture. And the frames within the frame are of different formats. There are also different sound tracks that overlap while different frames are unreeling on parts of the big screen.

    I liked this. It seemed a good way of capturing the effect of a chaotic collaborative effort. Ray himself dominates, along with several of the students, such as Leslie and Richard, a twenty-something couple who are both students in Ray's class. Ray is always puffing on a cigarette, usually wearing a black eye patch (though sometimes not, and once he's asked why and he says, in effect, that it just gets too damp and icky sometimes), and he's also seen wearing a red jacket.

    Ray is wearing the red jacket, which Jonathan Rosenbaum says "inevitably recalls James Dean’s in Rebel [without a Cause]," in a long sequence out by a barn, where he goes aloft with a rope, aiming to hang himself, and in the course of botching the job, uttering the immortal line, ”I made 10 goddam Westerns and I can’t even tie a noose!" Ray doesn't die. He lived on to die of lung cancer in New York City in 1979.

    It is essential to We Can't Go Home Again that it should be a mess and that it should have no definitive version. It's a monument to Ray's final years and to the sprirt of the early-to-mid Seventies. Ray had drug and alcohol problems; he later joined AA. He used drugs with his Binghamton students (it was the Seventies). The style of We Can't Go Home Again is very Seventies and very druggy. The film is also a remarkable expression of an intimate collaboration -- no doubt in a sense much too intimate -- between an arts teacher and his passionate young students, who challenge him in this film but also love him.

    In his August 2011 discussion of this film on his blog, Jonathan Rosenbaum sums up We Can't Go Home Again using a comparison drawn from what for me is Ray's most haunting, and drug-trance-like, Hollywood film: "The multiple images that were combined via rear projection photography are often extraordinary, and the total effect of this graphic, innovative, agony-ridden document seems to be somewhere between the Guernica of disaffected America that it clearly aims for and the shattered bathroom mirror in which James Mason examines his fragmented features and identity in Bigger Than Life, his most disturbing Hollywood film. The dialectic between cracked self and atomized other is a central theme throughout."

    This restored version of Nicholas Ray's collaborative We Can't Go Home Again (1972/2011) was premiered at Venice and also included as a sidebar item of the New York Film Festival at Lincoln Center in 2011. It was screened at Lincoln Center for this review, with a Q&A including Susan Ray.
    Last edited by Chris Knipp; 10-09-2011 at 06:42 PM.

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    Alice Rohrwacher: Corpo Celeste (2011)

    Alice Rohrwacher: Corpo Celeste (2011)


    YLE VIANELLO AND ANITA CAPRIOLI IN CORPO CELESTE

    Coming of age in Calabria

    Italian director Alice Rohrwacher's debut feature is obviously not going to be just a a quiet, understated study of a pre-teen girl's first experiences of religion, a new environment, and sex, though of course those are heady topics anyway. That's clear from the opening scene, a hand-held depiction (shot by excellent French cinematographer Hélène Louvart) of a realistically kitsch outdoor saint ceremony, complete with unappealing priest and recalcitrant speaker system, that is already something out of a latter-day Fellini. And where is all this happening? In a studiously rendered, newly rebuilt Reggio Calabria, which looks like a garbage dump and a highway, and whose newer church interiors look like cineplexes.

    But tendentiousness is avoided by having everything that will follow filtered through the lens of almost-13-year-old Marta ( a limpid and picaresque Yle Vianello), the protagonist, who has recently been brought back to Calabria with her childish young mother Rita (Anita Caprioli) -- uisually exhausted from working at an industrial bakery -- and her annoyingly bossy and condescending 18-year-old sister after they'e all come back from ten apparently fruitless years in Switserland. It's Marta who get sent to a confirmation class to meet other kids and, I suppose, get with the local scene, in which a giddy pop, plastic version of catholicism is a central feature. "Seeing the Spirit is like wearing really cool sunglasses," is one of the slogans the kids are sold. Marta doesn't even know how to do the dign of the cross. But she's a quiet and perceptive child.

    Rohrwacher, whose older sister Alba is a famous Italian actress, is content with crowded vérité sequences of relatives and neighbors and the jaw-dropping confirmation classes for a while. Pasquilina Scuncia is strong in these scenes as Santa, the unctious, goading teacher who's obsessed with the priest, whom she's either having an affair with, or would like to. But then the writer/director embarks on a lengthy fugal passage that touches some profound and shocking chords. Marta runs far out of town pursuing a man on a vespa who's been sent to kill some neworn kittens found in the churchand dump them in the river. So much for Christian kindness coming out of this church, which is big and ugly and has a futuristic neon cross of the altar that looks vaguely corporate and commercial.

    Woven in and out of the whole film is the stunningly unappealing local priest, Don Mario, played by Salvatore Cantalupo, who in Gamorrah was the tailor who stupidly thought he could outwit organized crime. Don Mario is similarly doomed, and venial. He thinks he can force signatures from obedient parishioners to help get himself promoted to a more important church that might step him up to bishop. There is not one ounce of authentic religiosity in the quietly creepy Don Mario. Somehow he winds up finding Marta on her useless kitten-saving odyssey, and taking her along in the SUV when he goes to his village church to collect a large wooden crucifix, which is meant to be a central part of the confirmation ceremony that is to take place any minute. The crucifix won't make it. But while the priest isn't looking Marta gets to fondle the carved muscles of the wooden Jesus, her sexual and religious explorations momentarily dovetailing.

    In the little church, grabbing the carved Jesis on the cross, Mario clashes with an older priest who might be his own father. Smoking a cigarette in the hurch the older man gives Marta a lesson about another Christ, not simple and good but misunderstood and angry. When Marta tells Don Mario about this Christ, it makes him run off the road and the wooden Jesus falls down into the river.

    Outlines this way, these events may seem overly pointed, but Rohrwacher makes them work, partly by cross-cutting with preparations for the confirmation, which is supposed to take place now, and partly because everything is beautifully filmed. Don Mario is very late because he has stopped to eat a good meal in a seafood restaurant, while Marta stands around waiting. At some point in this extraordinary afternoon Marta has her first period. Maybe Rohrbacher loads her dice pretty heavily, but her use of the local trappings of modern, kitsch, uglified Calabria, her staging of birthdays and confirmation classes and creepy encounters with various church officials, not to mention the trip to the outlying town and the "authentic" older priest, as staged with great energy and assurance, Vianello, Scuncia and Cantalupo are all pretty memorable, and one has the feeling that Rohrbacher really cares about this stuff. The way things are lately, an Italian film this good is cause for celebration. The place and the child are quite memorable.

    Corpo Celeste/Celestial Body debuted in the Directors' Fortnight at Cannes this year and is part of the main slate of the New York Film Festival, where it was screened for this reveiw. Film Movement has bought Corpo Celeste for North American release.
    Last edited by Chris Knipp; 10-09-2011 at 06:46 PM.

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