Locked Out & Heading South

From the crazy antics of actor/director Albert Dupontel to male prostitution in Port aux Princes, the last night of the festival offered quite a contrasted showcase of the various facets of French cinema.

On a side note, if you attended the festival, you might have noticed how the shorts introducing the films had been finely handpicked, perfectly matching the tones or themes of the main features. Stéphane Le Lay’s The Kiss, adequately opening for the weirdest entry of this 10th edition of COLCOA, proved to be the most imaginative short and my favorite here.

It’s not a secret that I’ve always been a fan of Albert Dupontel — whether as an acerbic stand-up comic, an actor or director — and I was pretty amused to hear that what he had told the program director was exactly what he had told me a few years ago when I met him in Hollywood, that “he felt closer to Hollywood than to the French New Wave” (actually, his exact words were a little more “colorful” at that time).

What’s interesting in Dupontel’s work is his propensity to push the boundaries and that’s exactly what he did in Locked Out, creating a sort of live-action-cartoon — think mean spirited Tex Avery — filled with Buster Keaton-like stunts. Pretty trashy and outrageous, his latest film is certainly not a spectacle with mainstream appeal — some uptight “expats” left during the screening — but I personally find it pretty amusing and more refreshing than any — good or bad — formulaic French comedy I’ve seen here. It’s hard to judge comedies, as humor is more emotional than cerebral, and while Locked Out is not a great movie — by critical standards — this is a unique and original work that is undoubtedly worth seeing. Will you enjoy it? I’m not sure but this one of my two picks at COLCOA this year.

Heading South, a film about middle-aged women going to Port aux Princes to have a good time with the young natives, remains more problematic for me as I still haven’t been able to decide if I liked it or not. Is it a good film? Probably, but I wasn’t able to identify with the point of view of these women — though admittedly it’s pretty hard for a 30-something punk to get into the head of a middle-aged woman and figure out if this film is an accurate portrait or not.

One thing I noticed though — and before entering the screening I had forgotten what the film was about — was the great number of solo middle-aged women who came for this showing. I don’t know if I was still under the influence of the heavy pastis I had just before — I know you’re going to think that I spend most of my time at festivals drinking — but it seemed that the old Hollywood-type woman next to me kept looking at me and tried to make conversation — maybe I could have had the chance to make a few bucks!!

A Q&A with Laurent Cantet followed and it was a treat to see an unpretentious French director who spoke good English and wasn’t afraid to give candid answers to any questions he got (he actually pissed off a woman in the audience). Cantet honestly said that his film aimed at showing the point of view of women but was made from a man’s perspective — his, his fellow screenwriter and the author of the novels that inspired this film — which confirms that a woman, rather than a man, would be a better a fit to fully assess Heading South.

Flying Low with the Film Editor of a local paper

As I was sipping my espresso this morning, I stumbled on a piece in the LA Weekly called "Air France", where its Film Editor encourages readers to go see cinematic slush such as Sky Fighters despite admitting they’re bad. His take is that they’re commercial, accessible and might be turned into Hollywood remakes while he slams other films for being too pretentious. His article ends on a word of praise for his own Black Box — probably the most Americanized film of the festival — that he interprets as a cynical portrait of a corrupt society — I didn’t see that but maybe the subtitles came from a different film.

I don’t know how much of an authority he is on French films — even though he seems to have great credentials — but not only does he not seem to understand the identity of French cinema but he wrongly assumes LA Weekly readers will go to a French festival to see American-style pop-corn flicks rather than — possibly pretentious — psychological works. No, in a city like LA, American film-goers will want to see genres where the French excel: comedies, psychological bores and edgy sex-fueled fares. As for products like Sky Fighters, it’s actually the French who will go see them. So please, stop sending your readers to the wrong films.

Film Noir Night: Don’t put your Hands in The Black Box

Last night was Film Noir night, which has been one of my favorite parts of the festival since I’ve been attending it – I just realized it’s already my 5th year at COLCOA. As usual I missed the 1st screening, as I was stuck in traffic — yeah, I know, I live behind the Orange Curtain.

While the crowds were gathering for Sky Fighters, another “marvel” from the Michael Bay à la française, Gérard Pirès, the smaller theater was showing The Black Box, a dark thriller by actor/director Richard Berry (also starring in The Valet featured at the festival). Even though I’ve never been a fan of Berry as an actor, I was looking forward to this film but ended up fairly disappointed with this David Fincher-style take on loss of memory. Narratively far-fetched and visually impersonal, The Black Box was mostly worth it for another great dark and intense against-type performance from José Garcia, probably the best comedic talent coming from France. Mr. Berry was there to introduce the screening but nowhere to be found for a Q&A. Before the screening he stated that “he makes films because he doesn’t like to make speeches”, which I understand — others use words in songs, websites and blogs to say what they have in mind! — but when a festival flies you from The Land of the Never-ending Strikes to introduce your film, the least you could do would be to answer questions from the audience afterwards, rather than sipping champagne in the VIP area.

After sacrificing myself and hitting a couple of glasses of champagne, tartare toasts and a cigarette during the break, I was going back for a Noir encore with Anne Fontaine’s In His Hands starring the great Benoît Poelvoorde and the always cute Isabelle Carré. This thriller centered around the unexpected affair between a young married woman and a middle-aged weirdo, with a serial-killer sub-theme in the background was the highlight of the night, focusing on this woman’s dark attraction to danger, rather than on exploitation-type scenes. Some people, who were probably expecting a slasher-type thriller full of Paris Hilton-like bimbos in short shorts getting slaughtered, were complaining that the film dragged. But since it was aiming at offering a different angle from the victim’s perspective without any judgmental consideration, the film was exactly in the right format and delivered what it was supposed to.

As I always look for recurrent themes in films and programs — not that I’m one these 60 year-old pseudo-intellectual bores, it’s just that here at Plume Noire we read films rather than review them — the new thread that came to mind is to wonder what makes French-speaking best comedic talents such as José Garcia, Benoît Poelvoorde and Albert Dupontel so good for these dark and intense roles? (If Berry had done a Q&A, as an actor/director he could have answered that question.)

How Much Do You Love Monica Bellucci?

Wednesday night offered the opportunity to experience two styles of French comedy, the light tones of the Parisian show-biz world with Orchestra Seats and notorious director Bertrand Blier’s poetically wacky take on the inner nature of women as prostiutes in How Much Do You Love Me?

After watching The Valet a couple of days earlier, it was refreshing to see a mainstream Parisian comedy which succeeded at alternating between cuteness and humor, mostly thanks to its writing, fueled with gentle irony and its enticing gallery of characters embodied by great actors such as Valerie Lemercier, Albert Dupontel, Cécile De France and—director—Sidney Pollack among others. A Q&A with Writer/Director Danièle Thompson followed the screening.

While I didn’t know what to expect from Bertrand Blier’s new film, especially after his indigestible Côtelettes, I was highly disappointed to learn he wasn’t going to attend the screening as planned, since I was looking forward to the Q&A with my bag of tricks. However, his new film was far from being disenchanting. On the contrary, it showcased a softer side of the controversial filmmaker who offered a beautiful but rough hymn to the beauty of women. There certainly isn't a better choice to incarnate women than Monica Bellucci—probably the most beautiful woman in the world—but his ode certainly had a sharp edge: “les femmes sont toutes des putes” (all women are whores) while real prostitutes at least assume their true nature.

While I won’t comment on this, especially after having experienced dating in Orange County, I was kinda amused to notice a similarity in themes between The Valet, How Much Do You Love Me? and Orchestra Seats, these 3 films emphase that women can be bought; I remember asking the program director if there would be a theme to the festival this year but I’ll guess I’ll have to ask again, just to make sure!

COLCOA 2006 Opening Night Gala

City of Lights, City of Angels: French Film in Los Angeles
COLCOA's opening gala on Monday night featured Francis Veber’s The Valet. While I won’t be able to comment on the food, wine or some cool encounters I could have had, as I got there an hour too late because of some excess baggage — by that I mean "guests" of mine who kinda invited themselves to come along and will now be added to my notorious do-not-invite-black-list — , the festival was introduced by a few significant personalities, from great director Michael Mann to Los Angeles Mayor Antonio Villaraigosa. Followed by several tedious speeches, which left yours truly with enough time to go out for cigarettes and chit-chas and come back just in time for The Valet, an amusing, cute but fairly weak and lazy entry in Veber’s filmography— compared to his major works, this one definitely had a TV-movie feel. Veber and his star were there for a Q&A, and their French wit certainly provided more entertainment than the dull self-important questions from the audience.

Awards

JURY AWARDS

:. Grand Feature Jury Prize: Winter Kiss
:. Documentary Jury Prize: The Refugee All Stars
:. Short Jury Prize: Delivery

AUDIENCE AWARDS

:. Best Feature Film: Tsotsi & C.R.A.Z.Y.
:. Best Documentary Film: Through The Fire
:. Best Short: Delivery

Aspirins, Voyeurs, Orgies & Christmas

Cinema, Aspirin and Vultures, a Brazilian road-movie centered on the unexpected friendship between a local and a German entrepreneur, offered a fine character study, without ever falling into pathos. Talking about pathos, Merry Christmas, a French film set during World War II about the fraternization between enemies on Christmas Eve is without a doubt a great showcase for clichéd cinema and cheesy melodramas, providing plethora of unintentional laughs – something tells me the average American audience will love it while real cinephiles shouldn’t get fooled by such a screenwriting trickery. Mexican entry Stories of Disenchantment, one of the most provocative and experimental films I’ve seen in a while, should mostly appeal to fans of Fernando Arrabal, Guy Maddin & Abel Ferrara. But the highlight of the day – and one of the strongest moments of this festival -- was certainly Hidden, which marks the return of Michael Haneke at the top of his art, following the failure of Time of the Wolf.

Libertine

The presence of Johnny Depp at the festival on Friday night provided a few moments of frenzy, from the flock of girls desperately waiting for an autograph to a few weirdos dressed as Jack the pirate, without forgetting a couple dozens rude photographers for whom I have as much respect as for a group of cockroaches.

Following a tribute where he seemed bored by a series of dull questions, Depp as well as John Malkovich and Samantha Morton introduced The Libertine, the adaptation of a play which mostly acts as a showcase for Depp’s talent, here exploring new territories.

Hell

If hell means being with Marie Gillain, Emmanuelle Beart and Carole Bouquet, I'm signing up right away. Directed by Danis Tanovic (No Man's Land), this adaptation of Krzysztof Kieslowsky's novel centers around 3 sisters and their failed relationships with men. Heavy, tortured and finely acted, this will appeal to fans of French films and Kieslowsky's work.

The Refugee All Stars

In The Refugee All Stars, documentary filmmakers Zach Niles and Banker White show how artists, in this case musicians from Sierra Leone, keep culture alive and in the process begin to heal their own wounds as they bring moments of joy to their fellow refugee camp inhabitants and plan their return home to Sierra Leone. Like Back To Bosnia, the journey of those returning home is arduous and bittersweet: filled with extreme joy and extreme pain.

Dark Horse & Dirty Cops

An absurd and poetic comedy shot in black & white, Dark Horse by Dagur Kári -- of a Nói albínói fame -- is another exploration of characters who do not fit in society, with a different stylistic approach -- and another Plume Noire pick.

If you've never seen the TV series The Shield or the film Training Day, you might find Dirty original and gritty. Despite a great effort in terms of authenticiy, most of this picture is a mess and somebody should have reminded Cuba Gooding Jr that saying "mutherfucka" every 2 words doesn't make you a more convincing tough guy and actor -- it's like an imitation of a gangster for a boat trip spectacle.

Bam Bam and Celeste & Back To Bosnia

The powerful documentary Back To Bosnia grabbed everyone by the heart and placed us on the streets of Banja Luka, director Sabina Vajraca's hometown. She returns with her parents to document life after war, as the family goes back to reclaim their home. The scene in which they confront the family that has been living in their home, with their belongings still inside, is difficult to explain and impossible to understand for someone that has never been through it. We also witness the exhumation of a body and the painstaking work of those trying to piece together the past. A stunning debut that shines a light on a part of the world we know very little about.
Anji Milanovic
ProducerAli Hanson, Sabina's mother and director Sabina Vajraca at the premiere of Back to Bosnia.

Anyone hopelessly in love with Margaret Cho will enjoy Bam Bam and Celeste, a campy romp from the cornfields of Illinois to the streets of New York under the guise of an ugly duckling tale. It's not perfect, but it's a lot of fun.
Anji Milanovic

Addicted to Fuck

Fuck, a documentary about the origin and various uses of this colorful four-letter word was a hit with a packed audience. Filled with humor and amusing guests – from Hunter S. Thompson to Ice-T – the film touches on socio-political issues and follow the multiple incarnations of the F-word, from the street to the big screen. See it before it gets censored by your local multiplex.

Talking about fucking, Addiction, a Finnish entry about a woman’s descent into sexual addiction, provided a fresh feminine perspective on the subject. Treated with subtlety and supported by a strong cast, this fine character study avoided gratuitous voyeurism and pathos to focus on the irreversible mechanism of addiction.

Transamerica = Festival Favorite

The screening of Transamerica on 11/06/05 was a delightful surprise. Felicity Huffman of Desperate Housewives fame (I've never seen the show) gives a stunning performance as a man about to undergo a transgender operation. Bree gets a call that she fasthered a son some years back, and he is now male prostitute in New York. She goes to get him. Hardly the usual Americana road movie, Transamerica is a mix between Me, You and Everyone We Know and Happiness. Witty and beautiful dialogue coupled with performances that are so natural and so human but edgy enough to keep the film's tender conclusion gratifying. Felicity's husband produced the film; he happens to be William H. Macy...This is a film for those who have delayed becoming adults as much as possible.

Screaming Masterpiece & (Un)Forgettable Films

What makes Icelandic music so beautiful? That’s the question Screaming Masterpiece answers while offering us a portrait of a burgeoning music scene, which broke through internationally thanks to The Sugarcubes, Björk & lately, Sigur Rós. From pagan music to rock, punk and hip-hop, this small country doesn’t lack talent and this documentary successfully brings its chilly harmonious beauty to the screen. A Q&A with the director followed the screening. Fred Thom

From reading the program and listening to the programmers, The Gigolos, a British comedy about a couple of average looking guys selling their services to old women, promised to be fresh and funny. Featuring a series of dull characters and a frigid narrative, this vaguely amusing film didn’t go anywhere and made me regret not having seen the Desperate Housewives posing next door. Fred Thom

Originally, I wasn’t planning to go see Ripley Underground with Barry Pepper -- of Battlefield Earth fame -- in the title role. While quite fun, the result looks more like the kind of film you would watch on a plane – or video -- than a production made for the big screen; which brings me to the point: “what were the programmers thinking by proudly premiering this film at AFI?” That’s certainly not the kind of entry that increases your credibility on the festival scene. Actors Alan Cumming and Claire Forlani introduced the screening. Fred Thom

Canadian entry Life With My Father started off my Sunday with a meditation on family, the battle between brothers fighting for their father's love, and the loss of dignity that death inevitably brings. Like Barbarian Invasions, director Sebastien Rose shows the Canadian health system in the worst light possible. Though it dragged on a bit, there were some tender scenes of familial love. Also, 3 men living in a dilapidated house with a beautiful woman inevitably brings jealousy and humor. Anji Milanovic

The super- quirky Czech film Wrong Side Up proved to be a lot of fun, from footage of Fidel in Cuba to life in a post-Socialist Czech Republic where men dress up mannequins in their wive's clothes and neighbors pay you to watch them have sex. Actor Ivan Trojan showed his eclectic humor in the face of adversity in a way that makes him totally sympathetic and not totally idiotic--even when he ships himself off to Cuba and not to his girlfriend's house.

Pablo- The Poet's Lives proved tedious. Footage of abandoned mines in Chile coupled with interviews of those who knew him (along with a lot of interviews with people who did not know him but were influenced by him) didn't create a compelling documentary of one of the world's best-loved poets. Some re-created scenes of Pablo's young life just seem out of place. The ultimate goal of filmmaker Dario Baldi is never made clear.

Ghosts & Cuba

Directed by and starring Andy Garcia, The Lost City offered a look at the Cuban revolution through the eyes of a club owner. While the story proved to be interesting, the film suffers from awkward moments – both visually and thematically.






Looking for some real chills? I hadn’t be scared by a horror movie since age 10 and American Haunting scared me from the opening to the end; and by looking at the number of people who left during the screening or jumped in their seats, I wasn’t alone. Do I need to say more?

Burning Man

South-African entry Tsotsi was a great way to start this festival, both cruel and tender at the same time (review). Director Gavin Hood was there for a Q&A afterwards.

Drums, electronica, dancers and Burning Man aficionados had gathered on the AFI rooftop for a party celebrating the premiere of the documentary Burning Man: Beyond Black Rock.

To tell you the truth I hadn’t see so many freaks since Halloween in West Hollywood, but knowing my picture was taken several times at the party, I assume I kinda fit in J That’s also probably the first screening I attended where spectators were asked to keep their clothes on – unfortunately the gang of creepy male bunny rabbits next to me wouldn’t follow the rule.

Pele Forever Screens at AFI Fest 2005

Pele Forever, a documentary aout legendary soccer player Pele, screened last night at AFI Fest 2005. At the press conference, Pele and director Anibal Massaini Neto discussed the project over 5 years in the making that recounts the legend's triumphs in "The Beautiful Game".

Pele introduced the film to a full house at Arclight in Hollywood and accepted a City of Los Angeles proclamation naming November 4th as "Pele Day". What followed was a film that will regale soccer lovers with goal after goal and play after play from "The King".

AFI Fest 2005

From November 4th to November 13th, Plume Noire covers AFI Fest, live in Hollywood