AFI Dallas Gets All Environmental (Well, Its Films Do Anyway)

A welcome growing trend at film festivals worldwide has been presenting films dealing with environmentally conscious themes. AFI Dallas has actually created an entire block, dealing solely with environmental subjects ranging from the world-wide water problem to the coal industry. The following two films were both hits at Sundance and although I missed them there, I was lucky enough to catch them here, at AFI Dallas. Both of these films deal with the subject of water. While Up the Yangtze focuses on a microcosm, Flow: For Love of Water focuses on the global issue (and even references the particular issue dealt with in Up the Yangtze). Watching either one of these films should drastically change your views on water conservation and modern industry as a whole. Rightly so, Up the Yangtze has received a limited theatrical release and hopefully more screenings will be available in the future. Flow: For Love of Water has also received some limited screenings and will most-likely be distributed as well.

A breathtaking cinematic experience, Up the Yangtze visually displays the problematic nature of industry and technology along the river Yangtze in China. Upon completion, the Three Gorges Dam will be the largest hydro-electric power station in the world. But the ramifications are catastrophic: over 1,500,000 people have been, or will be, relocated; cultural and archaeological sites will be flooded and destroyed; and the negative effects on the habitat of the region is impossible to avoid, due to the dramatic environmental change.

Filmmaker Yung Chang shows the devastating effects the dam has had on the surrounding community. Whole cities are being drowned and their inhabitants forced to relocate. Many families have been promised prosperity by government officials, and yet they tell tales of being beaten and dragged from their homes. The impoverished, though they can't afford to move, are forced to. They can no longer farm because of the vast changes of the land and their homes are going under water. Some, ironically, choose to work on the dam; others, on luxury cruise liners carting rich foreign tourists along the river, as if the destruction of all this geography and civilization were merely an amusing spectacle.

Chang follows two teenagers in particular, who choose to work on the boats: sixteen year old Shui Yu (or "Cindy") and nineteen year old Bo Yu Chen (or "Jerry"). They are given "American names" for the benefit of the tourists. As a footnote, they're also not allowed to talk about current politics or anything that might make the Americans more uncomfortable (particularly, anything related to the independence of Canada, the struggle in Northern Ireland, and the monarchical system of the United Kingdom). Shui Yu comes from an impoverished family who's had to build a hut from scraps because they cannot sustain themselves in the city where you have to buy vegetables and pay rent. Because her family is so poor, Shui Yu really has no choice but to work. She must forget about attending high school (she used to dream of being a scientist, but knows that fantasy is an impossibility). Bo Yu Chen, on the other hand, aspires only to have a lot of money and holds solely himself in esteem. His selfish behavior gets him into trouble, however, and because of it, his success is fleeting.

Clearly an ironic metaphor for what's happening to the region, these two teens, along with their fellow co-workers, sleep under the main decks in rooms filled with bunks and lacking air-conditioning, while the tourists marveling at the changing environment enjoy fine dining and all the amenities of a luxury cruise line. The metaphor becomes clear towards the end of the film when an elderly man stands on the dam and stares out over the drowned cities and flooded landscapes and notes only his amazement with the Chinese government, for its ability to split the gigantic river in two. He smiles faintly, as we linger on his brittle face. A similar sentiment earlier in the film gives us a downtrodden man attempting to defend the actions of the government, but in the end, finds himself weeping uncontrollably.

Martin Heidegger was deeply concerned with man's relationship with nature, specifically when dealing with the question of Being. He wrote that man's increasing technological quest was directly changing his relationship to Being. That man is concerned only with conquering nature, severely alters his ability to be harmonious with nature. In this passage from his essay entitled, "The Question Concerning Technology," Heidegger describes the hydroelectric power station on the Rhine river:

The hydroelectric plant is set into the current of the Rhine. It sets the Rhine to supplying its hydraulic pressure, which then sets the turbines turning. This turning sets those machines in motion whose thrust sets going the electric current for which the long-distance power station and its network of cables are set up to dispatch electricity. In the context of the interlocking processes pertaining to the orderly disposition of electrical energy, even the Rhine itself appears to be something at our command.^[1]

The problem has been festering for some time now. Where so many philosophers have argued in favor of conquering nature to suit our own practical needs, others have found that view point problematic from the start. Aristotle, for example, was largely concerned with merely understanding nature, while Descartes, the "Father of Modern Philosophy," wished to "render ourselves masters and owners of nature" (cf. Descartes' Discourse on Method). As Descartes' view of the world became the prevailing and popularized view of the world, at least when dealing with Western philosophy, Heidegger warned us of it's consequences, from a purely philosophical perspective. Now, we're seeing the practical complications of technology and industry, as such.

Up the Yangtze ends with a joke told by one of the inhabitants of the river Yangtze, a worker on one of the luxury cruise ships:

Two leaders, one an American and the other Chinese, are riding along in a car. They come to a fork in the road. To the right is the way of capitalism. To the left is socialism. The American leader suggests they go right. The Chinese leader agrees; though he suggests they do so, but turn on the left blinker.

^[1] Martin Heidegger, "The Question Concerning Technology," Basic Writings Ed. David Krell (New York: HarperCollins Publishers, 1993), 321.

***
Director Irena Salina deals with the global issue surrounding the need for water conservation, due to the shortage of water world-wide, the social and political ramifications of privatization of water control, the startling realization that water all over the world is basically unsanitary, and the negative impact of water bottling.

Not only are governments building enormous dams, largely funded by the World Bank, that displace millions of people, but most of the world's water goes largely unchecked--both out of the tap and into the bottle. Millions of Americans, for example, get sick every year due to the stuff found in the water supply. And bottling companies are doing immense damage by sucking out all of the water in local areas and destroying the habitant and natural environment of nearby inhabitants. Far worse, they're taking all of the water and, in cahoots with government officials, forcing the poorer people to pay for the water that's already theirs.

The film focuses a great deal on local, community water sanitation systems in India that are affordable and practical. One of the neatest systems referenced in the film, is basically a merry-go-round for children. When the children spin each other around, the machine goes to work. Many governments shut these systems down, however, and substitute largely inefficient and costly systems, at the expense of the local community. The locals then have to walk several miles and pay a ridiculous amount for the water. Most of them cannot afford to pay, so they take their chances on the polluted river water.

What really made me cringe, however--and what really hit close to home--was the facts presented about major bottling companies and their practices. It's fairly common knowledge now that most bottled water is not from the springs or mountain valleys or whatever; but mostly just tap water. Many people that I've talked to about bottled water, say they drink it because, even though it's tap water, it's filtrated and more reliable than city water. Yet there's really no evidence to substantiate this. Unfortunately, there really is no regulation in the industry; and what little regulation there is, largely goes unchecked due primarily to a lack or resources. So, the bottled water you're drinking could actually be worse than the city tap water freely available at home.

Both of these films deal with the harsh realities of privatization of industries and the drastic negative effects they've had worldwide. The fact is that this is, and will remain, a global problem. No government or company should ever claim ownership or control the water supply, as it is necessary and essential for human survival. When President Skroob sucks the air out of a can (see Spaceballs), we all had a laugh because it was a parody: no one would ever really own air, would they? But corporations and governments currently own water and manipulate the water supply to suit their needs. Let's stop this before the slippery slope continues. Sign the petition to add a 31st article to the Universal Declaration of Human Rights, establishing access to clean water as a fundamental human right (thank you Flow: For Love of Water's website for making this accessible).

SXSW.08: This Is What Filmmaking Is All About

Benny & Josh Safdie

Man, I really like the Safdie's. I remember seeing Josh's short, We're Going to the Zoo, at SXSW last year. I also just recently saw Benny's short at Slamdance in January. What's really great about these guys is their natural eye for beautiful shots. They shoot on film--16mm no less--which is refreshing and daunting at the same time. In The Pleasure of Being Robbed, I found myself falling for Josh and his friend Eleanor, as they steal a Volvo and take a long drive to Josh's apartment. Even though I should probably be upset with the moral character of these two, I can't help but find them innocent and lovely.

There's a beautiful scene where Eleanor frolics with a man in a polar bear suit in a river. It could have been silly, but the film literally dances along the screen, in rhythm with the river and the trees. Josh Safdie's eye for cinematography is calculated and capricious at the same time. It's this sort of filmmaking that inspires me to make films myself.

The beauty in The Pleasure of Being Robbed isn't in the story or the dialogue or the setting. The narrative or moral conundrum is really arbitrary, with perspective for the whole scheme of things. It's all of the visual matter that holds everything together--and if that isn't pleasurable, I don't know what is.

***

Matthew Lessner

Matthew Lessner recently emailed me this marvelous picture of himself (he's the dude). Along with several others, he was chosen to judge the shorts competition this year at SXSW (his short By Modern Measure played last year).

One film in particular really blew me away. Glory At Sea is an amazing narrative which takes an entirely different look at tragedy. The film deals with flooding in New Orleans, but it's almost a Outopia ("no place"). The dramatic element of the film isn't specifically limited to those who have suffered losses due to natural catastrophes. Instead, it's very human and corporeal. It's almost as if you can reach out and grab it.

There were some intense under water shots that boasted a whole new, peaceful world. It was really surreal for me and difficult to comprehend how I was feeling after-the-fact, but the enticement of the film is still a sparkle in my eye. It's spiritual and noble and true and bold. Somehow, for me, it was both highly--and necessarily--ambitious, yet subtly quixotic at the same time. A quest of a film that mounts on the absurd in a romantic way that casts off any doubt that the events in the film are really happening. As utterly believable as Eleanor and her polar bear, I truly found myself in an under water graveyard, surrounded by hopeful and glorious individuals with Glory At Sea.

SXSW.08 Docs: Not Your Typical Bigfoot Movie, Woodpecker, & Of All The Things

Not Your Typical Bigfoot Movie was totally miscategorized this year at SXSW. Thrown into the 'Round Midnight category (a category reserved for all things horrific and scary), NYTBM tells the tale of two Bigfoot believers, Dallas Gilbert and Wayne Burton. Throughout the film, we see all sorts of research techniques--rarely scientific.

This isn't a hybrid documentary, and you certainly never see the elusive mythical beast. Instead, you find yourself absorbed in the lives of two close friends who are following the American Dream--a prevailing theme in many decent documentaries--however screwed up and silly it all seems to be.

The film is not deep or meaningful; nor is it inspirational or really even all that informative. But for some reason, I was momentarily charmed and mildly interested by the subject matter. This story doesn't need to be told, but I'm certainly happy to have spent the hour or so listening to it.

***
Okay, so Alex Karpovsky's Woodpecker isn't really a documentary. It's considered a hybrid documentary--in this case, perfectly defined by the film's synopsis: "From its documentary underpinnings to its narrative arc, all truth becomes subjective in this existential tragicomedy about hope, perception, and some very very strange birds."

The problem with most hybrid documenteries, mockumenteries, and other films of that ilk, is that, by and large, the film's narrative suffers, due to the fact that the documentary portion of the film is largely unbelievable, or simply badly written. Generally, I don't have a whole lot to say about these types of films. In Karpovsky's case, however, I was more than charmed or interested--I was sutured in and completely willing to go along for the ride.

The story takes place in the Arkansas bayou, where we follow fictional characters, Jonny and Wes, in search of the real Ivory-Billed Woodpecker, a bird thought to be extinct. The dynamic between Jonny, the outspoken goof ball, and his silent sidekick, Wes, is crack-up funny and really fun to watch. At one point we see Jonny tarred and feathered, in an effort to scare off a crazy environmentalist (who doesn't recycle).

Karpovsky takes us in and out of reality and I found myself not really knowing what was real and what wasn't. More importantly, I didn't quite care. The story stands on its own merit. A beautifully shot sequence where Wes travels alone to a local roller rink is just good filmmaking. And that's really what makes this film work.

***
Of All The Things tells the story of singer/songwriter, Dennis Lambert, a man who doesn't have a Wikipedia article yet has managed to write some of the greatest pop songs of all time (e.g., "Rhinestone Cowboy," "Ain't No Woman (Like The One I've Got)," and "We Built This City"). And, apparently, he's frickin' huge in the Philippines. His one chart-bottoming album, Bags and Things--a complete failure in the United States--was a pinnacle success in the Philippines. Oddly enough, Lambert was only recently informed of this phenomena by a pop disc jockey in the country. This documentary takes us on Lambert's tour of the Philippines, even after giving up the music business altogether (Lambert is now living in Boca Raton and serving as a luxury real estate agent).

I don't like the titular song "Of All The Things" at all. In fact, I didn't really like any of the songs I heard Lambert sing throughout the film. But the story of this guy is amazing. That he's been a huge sensation in the Philippines for so many years now, coupled with the fact that he only recently found out about it, and in response, packed up and toured the country, is really a fantastic undertaking. The film inspires by telling an informative, heartfelt story of successful re-emergence and the positive vibe on a small family, and also a fairly large country.

SXSW.08: Wrap Up, "Burger Hut" Trailers, Yeast

Purposeful graffiti in the Epoch Coffeehouse, Austin, TX
***
The city of Austin, TX has seen rapid growth and prosperity in the last few years. Part of that falls between March 7th and March 17th of each year. The South By Southwest Film, Interactive and Music Festival has seen the same exponential growth as the city itself. I remember last year's festival being amazingly jammed (especially when the film & interactive portions were fading into music). This year, however, has been a staunch increase. According to a local bartender, his restaurant has averaged one-thousand more dollars a day during the festival than last year.

Keeping that in mind, I've tried to stay off the beaten path these last few days. When the music guys come in--due to the extremely large influx of people--the whole vibe of the festival changes. The days seem to get hotter; the streets trashier; the venues louder.

In general, I did a lot less partying and gallivanting--and even movie going--in exchange for intimate discussions in relatively quiet atmospheres. I also spent a great deal of time walking. As many of you already know, I broke my collar bone while snowboarding in Keystone, so I couldn't drive to the festival. Instead, I flew one-way and have been experimenting with various forms of public transportation. All-in-all a positive for the environment, but not so much for convenience. Tomorrow, I'll be riding back to the Dallas-Fort Worth area with David, leaving this great city behind.

***

Kent Osborne outside the Alamo Ritz

Mumblecore ruled SXSW this year; and it all started with the trailers. This year, SXSW brought back the Burger Hut trailers (originally from the 2002 festival), starring Kent Osborne. This year's mockery include: a "mumblecore" theme party (Kent confuses it with "Dumbledore" theme party), and spoofs of 300, Close Encounters of the Third Kind, and Glengarry Glen Ross.

***
The art of filmmaking is convoluted and complex. The naked and unguarded rarely receive the accolades they deserve because mainstream cinema is far more concerned with feeling good. Call me masochistic, but I don't want to feel good after leaving a film. Sure, if it's a Sunday afternoon and I want a cheerful cry as I laze around the house in boxers, reminiscing my old high school days and eating ice-cream, I may want to pop in a feel good comedy. Alright, those feelings actually surface a great deal--I won't lie to you. But when I'm at a film festival, I want to view films that impact me, that send shivers down my spine. I want to cry because it hurts. I want to cringe and laugh and then cringe again. I want intensity and experimentation. I want to learn something. And I don't want everything to be happy-go-lucky.

Mary Bronstein's Yeast is an intense look at friendship human beings. At its core, Yeast tackles the juvenile nature within us all. You may not want to admit it, but there's often been times you've wanted to slug someone you care about because, at the moment, you feel nothing but loathsome disgust for them. When everything they say or do grates on your eyeballs.

Bronstein's character, an extremely selfish control freak is extremely unlikable and irritating to the core. Her "friends," Amy Judd, a stubborn, immature brat and Greta Gerwig, a gadfly obsessed with the need for attention, both show me new flavors of puke. Watching them should bring me to convulsions. But again, I'm strangely attracted...

Yeast is a claustrophobic rage of a film. Largely shot by filmmakers Sean Williams and (really nice guy) Michael Tully, the film stays close to its subjects--oftentimes too close for comfort. Bronstein totally trumps any film dealing with jealousy and obsession. It's real, it's nasty and it's uncomfortable. You won't necessarily enjoy the experience of watching the film, but you'll certainly appreciate it for its honesty.

But then again, you may prefer the sugar-coated blandness of Hollywood and you may care nothing for truth or genuineness. If that's the case, go watch "Friends" or something. And stop reading my blog.

There Will Be Blood

Photo courtesy Cinetext
I don't know about you, but I always had the above image in my head when I thought of an "oil man." The greedy visage of J. R. Ewing, with his ten-gallon cowboy hat and his repugnantly two-faced smile that stretches from cheek-to-cheek. He was, above-all, a businessman, whose money-hungry mindset and morally reprehensible extracurricular activities were the epitome of all that was selfish and vile in a human being. And then I met Daniel Plainview. And J. R. Ewing really didn't seem that bad anymore.

Loosely adapted from Upton Sinclair's "Oil!," Paul Thomas Anderson's new, epic film, There Will Be Blood, is an intense and thought-provoking tale of selfishness and greed during the oil boom at the turn of the nineteenth century. Daniel Day-Lewis plays the character Daniel Plainview, a man both charming and malicious simultaneously, who's built up an intense hatred for society and other human beings. It's as if he's ready to break in every scene of the film--and sometimes he does. Plainview is quite reminiscent of Dostoevsky's Raskolnikov in that he's arbitrarily placed himself above all others; another misguided member of the Übermensch party.

If there were one actor all others should strive to be, it would be Daniel Day-Lewis. Yet, although respected he may be, I'm quite certain many actors fear his methodology. Day-Lewis becomes so engrossed in his characters. He's so focused and determined to understand the character's plight or well-being. He's so intent on becoming these characters, that he loses a sense of 'self.' His remarkable portrayal of Plainview is no different in this respect. His look, his voice, his composure: all carefully calculated. And demonstrated perfectly, not only via memorization or through his ability to act; but because he truly becomes Daniel Plainview, and he has suffered and suffers and loathes and strives only to succeed, on his own, and at any expense.

However, Daniel Day-Lewis isn't the sole actor in the film who gives his most. Supporting cast-members Paul Dano, who plays Plainview's evangelical arch-nemesis Eli Sunday, and diamond-in-the-rough Marfa resident, Dillon Freasier, who plays Plainview's "son and partner" H. W., both shock and impress as their respective characters. Paul Dano's on-screen composure is fiercely demonstrated and strikingly right-on. So much that I'm more frightened of Eli Sunday, a fictional character, than I am of Jimmy Swaggert, Robert Tilton, and Jerry Falwell combined. Newcomer Dillon Freasier, with no formal or amateur training whatsoever, is remarkable as (young) H. W. Plainview. I was amazed as I witnessed his relationship with Daniel Plainview grow throughout the film.

The film also relies on some downright chilling sequences from Radiohead's Johnny Greenwood, who's created superb sequences of bizarre and irresistible scoring in a successful effort to score the film in its entirety. Yet another potentially dangerous risk taken by Paul Thomas Anderson. The harsh, uncomfortable sound effects--particularly during the fifteen minute, wordless opening--mar the score in an unpleasant way that are both creepy and delectable at the same time.

But it's really this opening that's the foundation of the terseness of this film. We see Daniel Plainview as he really is: a man of stern, isolated will. If he works with others, it's only to manifest his own greedy goals. And those goals seem to discreetly change throughout the course of the film. In the beginning, it seems he merely prospects for silver in order to finance other opportunities in digging. Later, we see he's also concerned with power and manipulation. And by the end, he's become some sort of insane, wretched miser, who revels in the failures of others--especially if he's had some sort of hand in their folly.

I'm not certain how I feel about the extreme flash-forward in time towards the end. A great deal of the novel has been left out (or so I hear; I haven't actually read the book) and clearly, a great deal of the story as well. The viewer has to fill in the blanks and really sort of finishes the story for himself. And I suppose it's no great tragedy, but for some reason I'm left feeling a bit taken advantage of. It's as if I've been able to experience a great work, but somewhere in the middle I fell asleep. That being said, it's excusable only because of the very last sequence, where we see Plainview's teetering on the edge of complete, self-indulged mindlessness. I imagine him quite like Napoleon, exiled on the island of Saint Helena: his grandiose ideals of power and success spoiled only by the sheer fact that his influence has been stricken. Plainview is obviously physically unfit and mentally unstable; yet it is at this point that we see his hatred boiling to a pinnacle point. He is fixated on destroying not only the livelihood of his rivals, but of his loved ones as well.

There Will Be Blood is a bold step for Paul Thomas Anderson. His transformation from film-to-film, and his ability to reinvent the filmmaking process over and over, displays his true artistic talent. After digesting this particular film for about a day and a half, I've really begun to appreciate it even more on a multitude of levels. I remember spending several weeks dissecting Taxi Driver for a film class back in college, and watching the film over and over again opened all sorts of new ideas and clues as to the essence of Travis Bickle. I firmly believe this film is be similarly as in-depth a character study.

In fact, There Will Be Blood is as important a character study as other great films with similar iconic and bold characters. Characters who are so transfixed on one particular goal--whether good or bad, noble or ruthless--that it is all encompassing and typically their downfall. But it's really the monstrous characters--those sinister individuals who we perceive as soulless beasts--that we make every attempt to empathize with. Daniel Plainview is no different. Despite his supremely ignoble actions and loathsome quality, I desire to know and understand him on a human level. I want to know what he's thinking and I want to reflect upon his deeds.

I never really cared to know J. R. Ewing on any human level. The man was strictly business, much like Daniel Plainview, and his actions were less than desirable. But there really wasn't much more to him--underneath he was merely flesh and bone. And so is Plainview. But Plainview's flesh is scarred and his bones are fractured. He has guts and all sorts of knotted up and twisted insides that bring substance and grit to his character. His visceral organs are real inside and, despite my best instincts, I've managed to continually dissect him inside my head. There Will Be Blood strives for boldness, and succeeds. It certainly cuts, and it certainly bleeds.^[1]

^[1] A playful jab at Stephanie Zacharek's review.

Austin Frownland Screening & Cinematexas "Viking" Funeral

Yesterday, David and I drove down to Austin to check out Ronnie Bronstein's Frownland at the Alamo Drafthouse, courtesy of the Austin Film Society and Cinematexas. As all of you already know, I first saw Frownland at South By Southwest in March and have been a fan ever since; so, I was happy to make the drive down to Austin to see it again on the big screen and hang out with Ronnie and friends.

Arriving several hours before the screening, David and I hooked up with David Redmon and Ashley Sabin (Kamp Katrina, Mardi Gras: Made in China) at Mother's Café & Garden for a late lunch. I had the Spinach Lasagna because of the frank menu description: "Our #1 recommendation for first-time customers." Quite a treat with a glass of red wine, however, it weighed me down a bit--especially after a late night on Saturday seeing Curtis Glenn Heath play at The Ginger Man and then heading over to my favorite Fort Worth haunt, The Chat Room Pub.

***

Following the linner or dunch, or whatever you want to call it, we all headed over to Spider House Patio Bar & Café to meet up with Ronnie and Noah Stroehle, a freelance writer. Having never been to Spider House, this was a pleasant experience for me, as it's got to be one of the coolest coffee and beer spots in Austin. Boasting a large patio with sporadic tables and chairs, miscellaneous decorative artifacts and a bluntly honest wait staff, Spider House is certainly a hangout I'll revisit. For some reason--perhaps the tiling--I was really drawn to the urinal:


Discussions ranged from Frownland to The Silent Movie Theater in L.A. to The Marx Brothers until we had to scoot to the screening at the new Alamo Drafthouse Cinema.

***

Before the screening, Bryking Poyser introduced Frownland and the critically acclaimed short Everything Will Be OK to accompany it. The Viking helmet was worn to mark the Viking Funeral of the Cinematexas Film Festival, to follow the screenings at The Moose Lodge.

***
Despite the fact that Don Hertzfeldt's Everything Will Be OK has screened at just about every film festival there is, I hadn't had the opportunity to catch it on the big screen, so I was really excited when I found out it would be screening prior to Frownland. As to be expected, I was immediately sutured in to the experience. The short makes you laugh and cry, it's heartfelt and moving; and ultimately, it's somehow banally uplifting.

Hertzfeldt's animation is amazing beyond words and should be experienced by everyone! (Check out Rejected on YouTube, and buy Everything Will Be OK on DVD if you haven't had a chance to see it.)

***


If you get a chance to see Frownland when Ronnie is in attendance, it's imperative that you stay for the Q & A session, following the film. Ronnie's got a sincere sense about him that resonates throughout the theater. I don't care if you love or hate the film, you're going to appreciate Ronnie's attitude towards the subject and his attitude towards film, in general. He's also very approachable and genuinely gracious, so have a few words with him, if given the chance.

On a side note, Frownland screens at The Silent Movie Theater in L.A. on December 29th. Oddly enough, along with Garbage Pail Kids.

***
After the screening and the Q & A session, everyone mentioned thus far, plus a handful of other local filmmakers all congregated at The Moose Lodge for some drinks and discussion and then for the Viking Funeral of the Cinematexas Film Festival.


David really got into the spirit!
***

Friends gather to celebrate Cinematexas
***
And then, around 3am, David and I drove back to my place and crashed. Certainly a worthwhile experience--and I'm never against excusing myself to Austin, if only for an evening.

Enchanted & The Mist Double Feature!

The pictures above--being my friends, David Lowery and Yen Tan at the Cosmic Cup and me and Yen on a trolley, respectively--were actually taken several days before seeing these films last night. But I just thought they were cool and decided to post them.

***
David, Yen and I did catch two films last night, however. Of course, being the sneaky fools we are, we only paid for one. Tee hee. For some reason, David thought it would be humorous for the three of us to all watch Enchanted together. I'm not sure if that should be embarrassing, but how about the fact that all three of us actually enjoyed it? Anyway, here's the breakdown:

Let me first preface that I have a predisposition for enjoying Disney animated films. I'm not sure if its the child in me, or the fairy-tale stories, or what; but for whatever reason, I have a rather large soft spot for them. Enchanted is no different and has not swayed me from my position a bit. It left me wanting so much more. At first I was concerned with how the transition from animation to live action would really look like on screen, but my fears soon faded away the first time I saw Amy Adams pop out of a sewer in a giant wedding dress. How marvelous and enchanting she truly is, I thought; and how animated! How absolutely animated she is! It's really as if the cartoon has come to life--as if the New York City backdrop is just that, a fabricated, foreign backdrop. And then she started talking... And her voice, her facial expressions, everything: completely animated. After the film, David and Yen told me I absolutely had to see Junebug, and I certainly will after this performance. She shined the entire time on screen and she sold me. I actually believed she was really from some fairy-tale, animated world where dreams come true and everyone lives happily ever after. I loved her so much, I'm not even going to mention the other performances other than to say they were adequate and took nothing away from the film. I'll also note that the Central Park musical number is to die for.

I will, however, take a brief look at the story as well. I know what you're thinking: some cheese ball romantic-comedy mush that's over-the-top and kid stuff, right? Well, think again. This story is all grown up, philosophically and realistically. I really liked the existential observations the characters made, being in this odd conundrum. Both they and we learn something about love and fairy-tales; about reality and fantasy; but above all, we learn that it's ultimately a compromise between the two that finds us all true genuine happiness, forever... and ever.

***
There's always certain characteristics in a Stephen King adaptation that never seem to change. For one thing, you can always count on a decent story and on top of that, you typically develop some emotional concern for the protagonists along the way. The Mist doesn't veer from those characteristics. And, while I haven't actually read Stephen King's novella, I'm sure I would enjoy it after seeing the film adaptation. As a whole, however, I really didn't like the film at all. I really thought the screenplay was amateur and hokey, when it clearly wasn't trying to be. The film really wanted to be intelligent and even eminent, I think. I mean, the underlying morals and lessons are all too important and certainly a bit urgent, given the world we live in currently. But with the dialogue so badly written, I really can't give it the benefit of the doubt.

At first I thought it was the acting, but after some deliberation, I've come to terms with the fact that it's completely the fault of the writers. The circumstances and logical conclusion the characters come to in certain key instances really seem flawed and misguided. There's nothing more irritating than watching characters in films who are clearly supposed to be logical and reasonable, make illogical and unreasonable decisions, even though the film seems to think they made the right decisions. I'm not sure if any of that really makes any sense, but the bottom line is there's a fine line between creating a character who makes mistakes and a character who makes mistakes but those mistakes are totally ignored by all other characters, circumstances in the film and the film itself.

And for those of you who have seen it--or if you haven't, take a second look at this after you have--I suppose you think I'm mostly talking about the ending. But I'm not because the ending works. It doesn't matter what I would do or you would do, or what the right thing to do is done. That's not what's important. What's important is whether what was actually done is believable, or not. In this case, the ending was believable. I believed all the characters involved in the final climatic scene were truly to that point. Would I have made that decision? Probably not. But the fact that they did didn't brush me the wrong way whatsoever. It was a shock and I was certainly surprised, but it worked really well and I think without that final scene, the film would have been a complete flop. So, I suppose it goes without saying, if the mistakes and/or illogical or unreasonable decisions are ignored, the film simply doesn't work (and there are a lot of points in the film that I feel didn't work for this very reason); but on the other hand, if the mistakes are acknowledged, then the film generally works because of it. By and large, this film just didn't work for me.

Southland Tales

Being a dedicated fan of Richard Kelly's breathtaking Donnie Darko, I was intensely hoping that I'd disagree with all of the negative reviews I'd seen for Southland Tales; I was intensely devastated when I quickly realized the negativity was justified. The over-blown, convoluted plot is nothing short of audience abuse. The story is trite and cliché and utterly boring; and far too pretentious and egotistical. I'm certain if I look hard enough, I'll find reviews labeling it an intelligent film, demanding multiple views and an open-minded audience. But I'd rather bathe in lye than watch this monstrosity of a film ever again. It's not that the film is difficult to understand, in theory, it's all the bullshit that I have to sift through to get to that basic story that's problematic. We have wannabe witty repartee, mostly with sexual connotations and innuendos, oozing with intentions to shock, but really just annoy; bombastic characters with little substance or structure whatsoever; unbelievable story-lines, even in the fantasy setting that is this film; and artificial television news programs that really do nothing for the story but interrupt descent cinematography. Yes, the film does have some decent cinematography, but that's about it. Unless you're into audio and visual masochism, I'd venture as far away from this film as possible.

Beowulf in 3-D!

After seeing the trailer for Beowulf, I decided I had no interest in seeing the film. However, after the screening last night, in 3-D at an IMAX theater, I'm glad I did. Other than the character names, places and objects, and some of the sequences that take place, the film is nothing like the epic poem. In fact, the underlying premise of the entire movie is completely made up and found no where in the poem. It's certainly sexed up and modernized, Hollywood style, to make it more accessible. And while I think it works well for the film, I certainly hope no ninth grader deems it a substitute for reading the actual epic. I actually pulled a copy myself from my library to re-read.

But who really cares about the poem, right? Haha, I jest! The story's the same as all the trumped up warrior movies of late (compare "I...Am...BEOWULF!" with "This...Is...SPARTA!"): heroic, sexy, hedonistic and violent. The monster Grendel is a foul ravaging, pus-ridden beast who towers over men with ease and rips their heads off like twigs. Liberties were taken, however, to make him also meek and hesitant, and clearly existentially bewildered. This gives the character soul and compels the viewer to find humanity in the creature. I really liked Grendel's mother, I must admit, even though creative license took her far beyond the original character in the poem. The cartoon version of Angelina Jolie arouses just as well, if not better, than the real thing (I could have lived without the high heels though). If I were Brad Pitt, I'd be quite jealous of cartoon Ray Winstone!

It's a cool movie and definitely worth watching, but more so because of the technology, and less so about the story. You've got swords and blood and waves and stones and spears and beasts all coming at you at once! It's like you're in this foreign world battling right along with our hero! Alright, it's not that impressive, but it's certainly worth a movie ticket to check it out. I really can't say for sure how I'd feel about the film if I'd seen it in traditional two dimensional style on a normal movie screen... But then again, I'm not reviewing that experience, now am I?

LSIFF.07 Day Five: Awards Brunch, Badlands, Low and Behold, and The Theater Fire Live!

The awards brunch at the Worthington Renaissance honored a number of filmmakers and festival films, including my friend, Bryan Poyser (pictured above left with his girlfriend--the other picture's a guy named Martin Sheen).

This has been quite a week for Bryan; for, along with his "Up and Comer" award at the Lone Star International Festival and his birthday, his intensely provocative and personal look at pornography, Dear Pillow has been officially released on DVD as of yesterday. What I really liked about Dear Pillow is Bryan's sincere look at the dirty, perverse aspect of it that we like to hide underneath our beds. Where do we draw the line between the sensual and the perverse? Is there a point at which we've become far too enthralled with the process of pornography itself and not so much with sexuality? I really think Bryan's film is especially important currently, due to all the sexual outlets currently available. Like a voyeur, Dear Pillow peeps into that seedy world we'd all just as soon leave in the closet or under the mattress.

Dear Pillow also features Bryan's shorts, Grammy's and Pleasureland.

Buy Dear Pillow here: http://hereticfilms.com/indie/films/dp/index.html

***
I vaguely remember watching Badlands on television when I was a kid. I don't remember my reaction much, but I'm quite sure I wouldn't have liked it back then. Of course, anything formatted for my TV, edited and chock full of commercials isn't really worth seeing anyway. What really impressed me was Martin Sheen's brief speech before the film where he mentioned he was most proud of his work in this film, above all, including Apocalypse Now. Although, the only copy available was on DVD (Sheen wasn't too happy about this), I'm really glad I caught it on the big screen. It's really one of those films that needs to be seen, so if you haven't seen it, go rent it. After seeing the film as an adult, I suddenly found myself wondering what all the fuss was about with Natural Born Killers, for after viewing this film, you just don't need the Oliver Stone film. It's entirely unnecessary and arbitrary by comparison.

***

I was really excited about finally seeing Barlow Jacob's Low and Behold, given its subject matter. Barlow plays a confused young man, Turner Stull, who travels to New Orleans after Hurricane Katrina, to help his uncle adjusting hurricane claims. Working as an independent adjuster, Stull finds himself in a foreign, tragic environment full of hostile individuals who have lost all of their worldly possessions and homes, and some, even their families due to the catastrophe of Hurricane Katrina.

Apparently, Barlow actually worked in Florida--not New Orleans--as an adjuster; and I've been told he really didn't like it. Due to the nature of my business--I'm in storm restoration--I quite related with the film, and although Barlow takes comedic license with his portrayal of adjusters and their practices, the responses met are probably quite true. I actually worked in Florida as well, although, I did not work in flood areas and my customer's were far better off than the ones portrayed in this film.

I'll actually be working with Barlow, who will star in an upcoming music video this weekend in Dallas. David Lowery is producing the project and I'm helping out. More details on that later.

For more information on this film, go to: http://www.lowandbeholdmovie.com/

***

After the film, we all headed over to The Flying Saucer for the closing night party, featuring The Theater Fire! Everything I said about them before, still applies. They are absolutely the best thing going in Fort Worth right now. Each of the seven members are so talented when it comes to instrumentation. Most of them can--and do--play multiple instruments and a lot of times, uncommon and interesting ones. The melodic mixture of sound, coupled with the folksy vocals and daring lyrics, is really quite jaw-dropping. Many of the filmmakers and several of the celebrities I spoke to were going on and on about them. I really hope to see these guys succeed! Shout outs especially to Curtis and Jesse, my friends from way back (Jesse way, way back)!

***
Fort Worth really needs this event. The Lone Star International Festival proved to be a success, according to all the filmmakers I spoke to, the sponsors, the celebrities and the hard-working volunteers who made sure the festival went off with a bang. There really weren't too many flaws or late-starting films. In fact, the worst I heard was a print for Da was lost and, oddly enough, Barak Epstein (who also worked on The Stranger and is currently in post for his feature, Blood on the Highway) ended up picking up a, get this, VHS copy at Premiere Video in Dallas. Other than that, the festival really seemed to take off without a hitch, and I'm really looking forward to it next year!

LSIFF.07 Day Three & Four: The Education of Charlie Banks, Float, The Good Life, and The Rumblers Live!

Unfortunately, I didn't get to the festival until about 2:00pm on Friday. I'd missed several films that I wanted to see and decided simply to hit the Lounge for some drinks and a rare chance to check my email. Clay met me over there and wished me a happy birthday by buying me lunch (thanks Clay!). Somehow I spent the entire day there until The Education of Charlie Banks.

***

The Education of Charlie Banks marks the film debut of Fred Durst of Limp Bizkit. And what a remarkable debut it is! The film's themes deal with love, change and facing one's fears. Durst really makes the characters come to life and, despite many films of the same ilk, creates a likable antagonist--albeit a brutally violent one--who proves to be human, despite all his flaws. Jason Ritter plays a fearsome character, but just as the protagonist, Charlie Banks, expressed his need to "protect" him, I too sensed something in him that was precious. Unlike Variety magazine, who said Ritter "simply lacks sufficient menace and charisma," I find Ritter to be quite right for the role. In fact, the next day, I met him at Club Embargo and asked him not to beat me up! The real star, however, is Jesse Eisenberg, who plays the lovable Charlie Banks. His sincerity and genuine concern for others rightfully took an emotional toll on me as I sat in the theater. Tom Huckabee mentioned the film ought to be up for an Oscar nomination. I think I could agree with that.

For more information on this film, go to: http://www.charliebanksmovie.com/

***
After the screening, I caught a ride over to the Longhorn Saloon for the Friday night party in the Stockyards. I was wearing a t-shirt from the 2000 Fort Worth Film Festival, and coincidentally ran into the artist who painted the graphic for the shirt, Nancy Lamb.



***
After the party, a large group of us went back to The Flying Saucer and closed down the bar.

The next morning... er...afternoon, I barely made it to the Mumblecore panel. Mostly made up my DIY friends and colleagues, the panel went over the basics of Mumblecore--what it is, what the movement represents and how it helps independent filmmakers. It all goes back to a community of talented individuals all helping each other in an effort to get the word out about decent films. That's the movement's foundation, whereas the specifics of the movement (if you can really call it that), rely on the types of films being made: late twenty-something white people--primarily straight--in quirky relationships, where, the films focus on dialogue--usually fairly unscripted--between non-professional actors. As a side note, many of the actors tend to be filmmakers themselves.

After the panel, we all hit The Flying Saucer for lunch and then I caught a movie!

***
Calvin Simmons' Float is a quixotic tale of a wannabe Hollywood director, Paul Greene, and his foolish pursuit at fame, fueled by his great idea. There's only one problem, his "great idea"--creating an all female prison on a ship--is absolutely ridiculous! Greene, however, will stop at nothing to get his film made. After pitching a big studio executive, played by Joshua LeBar, Float is a go, until his sudden termination. Losing his multi-million dollar budget, Greene must now figure out how to raise the money on his own and film the movie independently.

Intermixed with a workable romantic story, Float proves more than humorous. As Simmons mentioned in the Q&A after the film, the viewer doesn't necessarily relate to or want to be Paul Greene, but is sympathetic to his plight. His character, played by the writer, Paul Kolsby, is a likable--albeit pathetic--gem. I want to see more of his adventures! Float certainly doesn't inspire the independent filmmaker--nor should it--but it does laugh at the expense of Big Hollywood.

***
After Float, I decided to check out The Good Life, a film where Bill Paxton served as executive producer. I had been wanting to catch this movie, based on Bill's own comments about it at a Dallas Producer's Association meeting, where he was the keynote speaker, just before AFI Dallas. I spoke to Bill after the meeting (that's where the picture was taken) and left with such a warm feeling in my chest. Bill is probably the humblest "celebrity" I've ever had the pleasure of meeting. He has a sincereness about him I can only describe by saying that when he speaks to you, he never looks past you... Many people do that. They look at the other person, but glance off in the distance, as if to make sure they're not missing something better. Bill, on the other hand, wants to make sure he's not missing anything from you.

I haven't blogged about the incident after the DPA meeting, so I'll presently take the opportunity. As I left the restaurant--I think it was Sambuca?--I gave my ticket to the valet and he brought up my truck. Another valet brought up a Corvette and, for whatever reason, accidentally put the vehicle in reverse, hitting the front of my truck. As traffic accidents really aren't a surprise to me anymore, I remained calm and immediately snapped some photos of the damage. The Corvette driver, however, wasn't quite as calm. In fact, he was quite livid. He was lambasting the valet service, the restaurant and anyone else within ear shot. It was really annoying and was creating quite a scene out front. Anyway, Bill Paxton comes out and inadvertently calmed the whole scene when he jokingly expressed his desire to park the cars himself: "You should have hired me to park the cars," he said. So the story was relayed to Bill at the Saucer during the Thursday night after party, and he laughed about it and remembered me and I was giddy. Alright, alright, on to the movie.

Given there's already quite a number of reviews of The Good Life--it did play at Sundance, after all, I'm not going to discuss the plot of the film, except to briefly say that it's a film about the suffering and isolation of one man, Jason, in a town he's trapped in for all the wrong reasons. He is surrounded by deceitful and manipulative individuals who do nothing but bring him down and pull him further and further into desolation. That is, except for his one true friend, Gus, an old man who owns a neighborhood theater. The film deals with themes and perspectives and actions viewers don't typically find appealing on screen--and it is largely depressing. Reviews are mixed for this film, as to be expected. Some find the film hopeful or inspiring at the end--I just see it as survival.

The well-fleshed out characters in this gloomy tale are all impressively played. Mark Webber's performance as Jason is incredibly riveting and believable. As for Chris Klein, I agree with some critics who believe this might be his best role yet. Zooey Deschanel manipulates me into loving her once again. Bill Paxton's character is quirky and odd and gay, and Bill pulls it off perfectly. Gus, however, is probably my favorite character. I kept looking over at Harry Dean Stanton, who gives a heartfelt performance as a dying man, wondering, as the film progressed, how he felt watching himself play this character--at his age--and how it effects him. Of course, he's far more active than Gus...


Professional skateboarder Stephen Berra has written and directed a truly important film, built on decent story and cemented together with remarkable performances from the actors. Berra's portrait of small town America manufactures a painful environment which grabs the viewer by the throat. The film doesn't necessarily say anything new or even profound for that matter, but it's certainly an emotional experience I won't soon forget.

***
After an interview outside Club Embargo, I made my way inside. Already incredibly inebriated, I proceeded to the bar and ordered several margaritas at the time and shots of Patron for me and my friends. Although not a huge fan of the venue, it seemed a decent stage for The Rumblers, featuring Robert Rodriguez and Johnny Reno, to play the soundtrack of Road Racers. The party was fun and I met a lot of people, but once the band was offstage, I was ready to go back to the filmmaker's lounge for a quieter setting, where I would meet a few more people and really, the rest of the evening is top secret.

We left in style:

LSIFF.07 Day Two: Tijuana Makes Me Happy, Orphans, and Texas DIY Shorts!

Tijuana Makes Me Happy is a coming of age story shot with unprofessional actors in a quasi-documentary style. In the short span of time the film covers, fifteen year old Indio has to make decisions regarding sex, crime and friendship (with a rooster). The plot details are fairly simplistic and linear, but that certainly doesn't take away from the film in any way. That the film seemingly has no moral perspective about the dubious activities in the film, really gives the film more credit in my mind. It's light-hearted approach to activities such as cockfighting, prostitution and drug trafficking seems far more realistic and gripping when told by the amoral eye.

Perhaps I'm partial to films photographed in Mexico, however, given my love of Central America in general. Even the most ordinary scenes give me great pleasure when I see them on the screen because they are so different than America. I did appreciate the story (although, I could have lived without the spelling errors in the subtitles), but the vision of Tijuana and its inhabitants reeled me in.

For more information on this film, go to: http://www.tijuanamakesmehappy.com/

***
Aside from the final sequence of Orphans, I felt Ry Russo-Young's film was a brilliant piece of cinema. The story follows two very different sisters who reunite for a birthday party and rehash their childhood. They discover how they really feel about each and justify why they moved apart in the first place. The dynamic between the two characters really makes this a great film--especially a dance sequence smack dab in the middle of the film which is utterly amazing. What I didn't like about the film was the director's choice to make something like a MADD commercial at the end of the film. And, especially, the choice to have one of the sisters actually talk to a grave. Other than that, I adored the film for its style and grace, it's zany character design and phenomenal performances by the actors, it's realistic dialogue and its gritty sense of direction.

For more information on this film, check out: http://www.orphansmovie.com/

***

The Texas DIY ("Do It Yourself") Program consisted completely of filmmakers I've found friendship with over the years. I helped produce one of the films in the program and am working with several of the other artists as we speak. James M. Johnston programmed this particular block of films primarily due to the artistic connection between filmmakers. Before the program, he talked about the devotion we all have to each other and the film making process. I remember when *my* particular circle within this group of people, rested solely in Irving, TX... And then it spread to Fort Worth, and then into Dallas as well. And then into Austin. And now, it's nationwide. Over the years I haven't been readily available to help these guys out on a lot of their freshman and even sophomore projects. Presently, I'm remedying that. And now, the films:

Anytime I feel awkward during a screening due to its content usually means I'm engaged in a film worth viewing. Lions' Den is one of those films. Frank Mosley has created an intense fifteen minutes of film that shames and embarrasses the audience. These emotions compel the viewer to continue watching... Just as long as no one else is looking.

The haphazard photography intensifies the situation with its blurring images and gritty movement. What's really amazing about the short however, is that it was completely improvised--a method of film making that's becoming more and more popular these days. But while many films lack substance due to their unscripted dialogue, Mosley's seems to be more refined, due to its extreme realism. Mosley's ability to create such a stressful tone with his film is truly right on. Check out Lions' Den, if you have the stomach for it.

For more information on Lions' Den, check out: http://www.myspace.com/backyardmovies

***
According to filmmaker Bryan Poyser, Grammy's was really just an excuse to put Joe Swanberg and Rusty Kelly together. In a SXSW interview, Poyser explains that he actually organized a benefit screening of Swanberg's Kissing on the Mouth and his own Dear Pillow, which Rusty Kelly stars in. Joe Swanberg, a Chicago based DIY filmmaker, plays a likable, straight-as-arrow dork, while Rusty Kelly plays his obnoxious, jaded younger brother. When Swanberg's character attempts to set up a fishing trip on private property, in a pathetic attempt to bond with his brother, the two find themselves in a world of trouble.

The set of events that follow get funnier and funnier the more I watch the film. There's masturbation! There's sadomasochism! There's thievery and back-stabbing! Grammy's is quite a lot of fun. But what's really neat is how it's such a fine example of what DIY'ers are doing these days. Independent filmmakers are putting each other in their films, propelling each other instead of competing against one another. This is exactly what the DIY experience is all about and what makes it so important to current indie filmmakers. So go on and enjoy the film--just don't forget your wallets on your way out. We wouldn't want you to get into any trouble.

***
When David Lowery's The Outlaw Son was slated to play at the Sarasota Film Festival, he expressed an interest in the film festival's blurb of the film. The blurb isn't really important, but his reaction to it is. "I love it," Lowery stated, "because it's an interpretation that I'd never have thought of myself, but that's entirely applicable to the film all the same." That's really the magic of this high-concept, experimental narrative with absolutely no dialogue--save three words at the very end of the film. It's the subtle placement of things, the body language and facial expressions and a mood created by lighting, sound and music (in this case, The Theater Fire!) that tells a story. The fact that there are no words and that the audience can take away their own interpretations of the film, really adds to its essence. Much like a painting in a museum, The Outlaw Son relies on its audience to complete the story.

Currently, David and I are in pre-production for his next feature, St. Nick, which will rely as much on imagery as The Outlaw Son does. I'll discuss that more later.

For more information on the film, check out: http://www.road-dog-productions.com/films/outlawsonmain.html

***
Yen Tan's Coda is an incredibly short film which creates quite an impact. Much like The Outlaw Son, the film does not rely as much on dialogue as it does the photography and sound design. Coda features Frank Mosley, as a guy taking his dog out for a final, quiet walk. The bond the two have creates quite an impact and its difficult not to rub your eyes at the end.

***
A shocking coincidence at a party sets an uncomfortable tone in James M. Johnston's GDMF. The film playfully begins with an exotic dancer describing an odd fetish of one of her clients. Certainly setting the awkward tone at the beginning, GDMF proves to take its uneasiness even further with an accidental act that makes her professional line of work seem just the same as any cubical jockey's. Interestingly enough, the act itself isn't enough for Johnston, as he shows us the unlikely aftermath which compels the viewer to question who really is or is not the victim of this bizarre tale. The gritty look of the film and the slamming music of Top Secret...Shhh really fits the overall design of the film as a whole. And the cinematography at the end, with a scene involving a mother and a daughter, is absolutely perfect.

For more information on this film, check out: http://www.myspace.com/gdmffilm

***
Although I hate to admit it, Yen Tan's second short of the program, Booty Recall, really hit home with me. I mean, it's happened to everyone. You're just out of the shower, ready to get dressed and head out, when you find out the person you're planning on meeting has other plans. It's Saturday night and you want to head out! So, you get on your cell phone and start dialing. Name after name... Dismissal after dismissal. Until finally, you start calling people you haven't spoken to in years and people you really don't want to hang out with anyway. It's really just pre-drunk dialing and Yen Tan captures it perfectly. Beyond that, the film takes a lonely Saturday night to quite a few other levels like drinking wine out of a beer mug and watching gay porn just because it's there. The film stars Sean French of The Theater Fire!

***
Clay Liford's The Stranger--based on Camus' work of the same title--packs a hilarious punch and marked a great way to end a series of fantastic DIY films. I helped produce the eleven minute short and loved every minute of it. What's really amazing, however, is the editing Liford did in post. The finished product left the entire audience--including myself--seamlessly laughing out loud. Erotic and sensual, The Stranger strokes the viewer at his very core. It's a story of love and obsession. Or, maybe it's just a cool way to jerk off.

A new soundtrack for the film is currently being worked on. I'll keep you posted on any updates and additional releases. No website is available for the film at this time.

***
Here are a few more stills from The Stranger.


***
After the films, James persuaded all of us to go eat at The Spiral Diner. Little did we know that Spiral was later catering the Thursday night party at Encore Lounge! What a sly, capitalist dog!

Here's patriotic Clay, cramped in the back of Barak's car on the ride over to Spiral!


After the party, a few of us went back over to the filmmaker's lounge at The Flying Saucer for many more libations, perfect to fuel next morning's regrets...

LSIFF.07 Opening Night.: Kabluey, and Brave Combo!

Driving into Sundance Square is always a treat; with its sparkling gold lights, the glimmer of movie theaters and pubs, and the faint artistic air. Fort Worth is the slowly becoming more and more like my true love, Austin, TX. I'm really excited about the Lone Star International Film Festival because it brings an important film event back to Fort Worth. But unlike its predecessor, I think this one--by the grace of Bill Paxton--will continue to be an annual event.

***
The really amazing thing about Kabluey is the celebrity cast Scott Prendergast puts together. Not only is the film made on a shoe-string budget (no trailers or amenities folks!), but this is Prendergast's first feature length film! Topping that, he writes, directs and stars in it! After the film ended, Prendergast tells us that his co-star, Lisa Kudrow, actually phoned him up one morning and told him in person she'd do the film. He'd sent her a script directly. Apparently, after she signed on, several other stars (including Teri Garr and Christine Taylor) followed suit.

Not only is the cast of characters spot on, but the film itself certainly delivers a wide spectrum of joyous emotions. I felt joy throughout the film, but that joy ranged from laugh-out-loud funny, to giddiness, to emotions that made me feel like I should cry but still made me feel happy. Either way, I was quite amused and had a smile on my face the entire time.

The quirky concept of the film is an oddball kind of guy, Salman, trying to help his sister-in-law with her two, non-stop ruckus driven brats, while her husband is away in Iraq. Salman ends up getting a seemingly useless job as a guy who dresses up in a huge blue, faceless suit and hands out flyers promoting office space for rent at a glorious expanse of a building so large and magnificent and yet, so empty. I asked the writer/director about the company during the Q&A session and he said he'd manufactured it after these grand buildings owned by bankrupt and defunct dot com companies, who'd busted.

Prendergast finds humor in so many ordinary parts of life. This, coupled with his ability to tell a story by only showing its aftermath, makes me think we'll be seeing quite a bit more of him on screen and behind the scenes. Prendergast received a round of applause when he announced Kabluey had been picked up and will be distributed, with a theatrical release, sometime next year. It's blurific!

For more information on the film, go to: http://kabluey.com/

***

Nothing starts a festival off right like an opening party with Brave Combo headlining. Hailing from Denton, TX, this polka/rock band has certainly impacted the North Texas music scene for over twenty-five years now. Any UNT student (and I was one!) should know Brave Combo!

After the party, a few of my friends and I hit that fabulous neighborhood bar in Fort Worth, The Chatroom Pub for a few after-party cocktails and fun. What makes the Chat Room so great is its co-owner, Brad. The first time I went in there, I was amazed at his service and genuineness. In fact, he didn't charge me all night (I suppose it was because who I was with), but I made up for it in tips! He's remembered my name, and always has a follow question for me the moment I walk into his bar, ever since.

Alright, so I'd had enough to drink and had water. What are you gonna do about it?! Either way, the first day packed a punch and I'm ready to experience the rest of it! Bullocks! I'm late for a film... I'm off!

Lars and the Real Girl

Upon seeing the trailers for Lars and the Real Girl, I figured I'd be walking into a semi-charming, obscure romantic comedy. Perhaps it would warm my heart or tickle me in a light-hearted way. But would I walk out of the theater in a different manner than how I'd come in? Probably not. Or, so I thought. Unlike most of the theater audience, Lars rarely made me laugh out loud and never really shocked me in anyway. I did find myself warmed and stricken with joy as the plot unfolded before me. This film is probably one of the most human I've seen in quite sometime. The critics seem to agree that the miracle of the film is taking an otherwise disturbing premise and making it something charming and intelligent. I don't see it that way at all. Instead, I find the real miracle of the film is that for 106 minutes, I regained a newfound faith in humanity.

SXSW.2007 Day Six: Crazy Sexy Cancer, Big Rig, Call of the Hummingbird, The King of Kong

The most important aspect of Kris Carr's Crazy Sexy Cancer is that it doesn't dwell on the disease. It's about living and not about dying. Anyone--with Cancer, or not--can gain a great deal from this film. It's about taking every moment and cherishing it like there's no tomorrow. It's about eating well and exercising and finding peace with yourself and your environment. It's about being able to rock the world no matter what stands in your way. It's as much a film about hope as it is utter resolve in the face of opposition.

As Carr travels throughout the country in search of an alternative "cure" for her disease, she finds herself, she finds her soul mate, and she finds true meaning in life. This uplifting documentary will certainly change your viewpoint on the big "C"; and might even change your outlook on life. Don't expect the usual pathetic terminal disease dribble; and check your pity at the door.

For more information on this film, go to: http://www.crazysexycancer.com/

***
Big Rig is the story of the people who make up the subtle backbone of America: the truck drivers. We see the problems that arise on the road, the inherent dangers of the industry, and the lowering of wages due to higher gasoline costs. We also see the drivers behind the wheel in their most intimate moments and we see a positive spirit in them that we wouldn't normally expect. Probably the most important statement in the film is made by a trucker in a diner who says that if all the trucks stopped, America would shut down in three days. So, next time you're driving down the highway and feel like cutting off a trucker just because he or she's not going ninety miles an hour, remember that you depend on them making it to their destination everyday.

***
Call of the Hummingbird is Alice Klein's look at an eco-friendly group of people in Brazil who aspire to perfect sustainable living during a thirteen day informative celebration something not unlike "Burning Man" (without the large burning... man). It's all geared towards learning to live within the physical environment without destroying it (what a concept).

However, like anything else, it has its pitfalls. The film shows us that even like-minded, goal-oriented people can easily be sidetracked. We see that some help far more than others and some really do more harm than good. While the effort of sustainable living is a valiant one, this film shows that it's never going to happen unless people really start caring and want to exert an effort to make our home a better place to live.

For more information on this film, go to: http://callofthehummingbird.com/

***
The King of Kong was easily one of my favorite films of the festival. It documents the struggle one man undertakes in competing for the world record of a popular arcade game: Donkey Kong. Steve Weibe takes on this challenge head-on against his mulleted adversary: Billy Mitchell. But where is Billy Mitchell? He's constantly onscreen acting the buffoon, but he never really publicly accepts the challenge. He's portrayed as the villainous cretin who's already won and thusly cowardly backs off from any opportunity to lose his acclaim as the Donkey Kong world champion. He recently came out to MTV as if he were a victim in all of this. What's really amusing, however, is that he still refuses to see the film itself. He's relying solely on what critics and independent filmmakers are saying about the documentary. Of course, this is par for the course for Mr. Mitchell.

The really important aspect of this film is the dichotomy of the two main characters involved. As several critics have already stated, it's really like Rocky Balboa and Apollo Creed. The selfless underdog who's got to prove himself over and over verses the ego-driven champion who's lost sight due to his clouded vision of reality. And this film could have easily been about boxing or any other competitive sport, as much as it is about competitive arcade gaming; which makes it all the more accessible.

Unfortunately, I missed the premiere of the film, but was told that Steve Weibe was present in the audience, and after the film received applause and a five-minute standing ovation from the crowd.

For more information on this film, go to: http://www.thekingofkong.com/

Enter Emo Spidey: A Response to Spider-Man 3

The basic moral of Spider-Man 3 dances around the existentialist idea of choice and consequence. We all have choices and those choices affect the environment around us. As Stan Lee states (the obvious) when pointing to a picture of Spider Man passing by on a bus: "one person can make a difference." In the final scene of the film, Peter Parker must make a definitive choice as he faces a personal opponent. In writing this response to the public premiere of Spider-Man 3, I too must make a definitive choice. And for me, it's also quite personal. I choose not to forgive Sam Raimi for this film. I choose to stew in my intial reaction to what has just been presented to me onscreen.

I remember riding my bike week after week to Lone Star Comics when I was twelve years old, just to pick up the latest issue of Venom. The store would call me at home and I'd pedal on over there just as fast as my little legs would carry me. For me, Venom was the pinnacle of all supervillians. Spider-Man 3 has ruined that experience for me.

In fact, Spider-Man 3 has ruined quite a lot comic book experiences for me. The total hack job that Raimi has put together reeks of stock action sequences, scattered with misplaced character portraits and loose-ended plot developments. There's really no story here, just a lot of hyped up super-inflated, ego-driven madness. And on top of all that silliness, the film envelopes itself in cheese, but leaves out all the camp. I won't bore you with details, but the film just takes itself way too seriously, and by doing so, turns the audience against it. The film, in essence, disrespects and abuses the audience with scenes so godawful one can't help to boo at the end--and that's exactly what happened after the premiere tonight.