Festival du nouveau cinéma 2011: Final thoughts

The Festival du nouveau cinema came to an end last Sunday, the closing film being Monsieur Lazhar, the latest endeavour from director Philppe Falardeau. Between the Seats did not attend the screening, but no matter, the film came out this past Friday in Montréal cinemas. It’s been a while since we’ve posted a Films du fleur de lys column anyhow, so that would be a good excuse for an update, as would recent releases Café de flore and Marécages, both of which have received rave reviews and we have been too lazy to go see.

Festival du nouveau cinéma 2011: Hara-Kiri: Death of a Samurai

Hara-Kiri: Death of a Samurai (2011, Takashi Miike)

The measurement of a director’s strength is a tricky thing. Some directors find a comfort zone, hone their skills and run wild with ideas and talent. Greats like Sergio Leone and John Carpenter are clearly known for working within specific genres and specific actors. Their body of work is excellent, despite them rarely having told stories that were not either westerns or horror. There are other directors who can flow in and out of genres and yet consistently be at the top of their game. Names like Steven Soderbergh and Martin Scorsese come to mind. Then there are those who spend the majority of their careers in a genre or sub-genre, only to suddenly take sharp turn for something different and, despite the stigma attached to them, defy the odds and impress us. Takashi Mike, following years and years of work telling stories that mish-mashed horror, gore-fests and drama, took cinephiles by storm with his remake of 13 Assassins and takes a stab at the samourai film once more with a remake of the Kobayashi 1962 classic, Harakiri.

Blogging Around

Hello readers,

Halloween fast approaches. Soon enough, the ghouls, goblins, Bobo Baggins', Mike Myers', Jason X's and Freddy Mercurys will be knocking at our doors, yelling 'trick or treat!' in unison in anticipation of our hands shelling countless amounts of chocolates, lolly pops and liquorish strings. Halloween specials of your favourite television shows are airing all week and horror films are receiving the spotlight as well. Bloggers are getting in the spirit of things too, listing and reviewing a series of their favourite scary movies. Your very own Between the Seats got in on the action by elaborating on just how horrifying Kotoko was at the FNC 2011. But this space isn't about us, it's about you, the other bloggers who do what we do too, and, as surprising and implausible as it might sound, sometimes do it even better than us. Check out these blogs to help you slip into your Frankenstein blue swayed shoes and get your monster mash groove on:

Festival du nouveau cinéma 2011: Kotoko

Kotoko (2011, Shinya Tsukamoto)

There is nothing more infuriating and disheartening than sitting in a movie theatre and realizing that, barely halfway through the running time, the film simply is not working for them. It is at that specific moment that a big decision must be made. Does one stick around until the very end in a gesture of respect towards to filmmakers’ efforts or maybe even in the hopes that the final lap will prove worthy, or bolt out of the room in order to avoid further ocular pains? Everybody will share his or her own answer and have their own idiosyncratic reasons for behaving as such. As for the editor in chief of Between the Seats, proper conduct, certainly when one anticipates to properly review a movie, is to stay until the oh so bitter end. Despite what one feels towards a film, any film for that matter, one should not forget that ever was put into it, so show a little respect. Still, even that can be a challenge sometimes.

Festival du nouveau cinéma 2011: Hashoter

Hashoter/Policeman (2011, Nadav Lapid)

As I purchased a 6 ticket package for the FNC a couple of weeks ago (for the price of 5! What a deal!), one film among the six chosen that aroused special curiosity was Nadav Lapid’s Hashoter, or Policeman as the English translation goes. It is an Israeli film from a debutant feature-length filmmaker about a group of anti-terrorist policemen who operate in modern day Jerusalem. A propensity to enjoy cop films triggered interest to begin with, but much more about the film’s potential drew me in. Israeli cinema, while earning some respect in recent years for quality filmmaking, does not top a lot of lists of countries who produce many must-see movies. France, Germany, Korea, Great Britain, Japan are all countries, if one discounts the United States, that stir up immediate interest before Israel, and that’s just to name a few. Plus, a film about an anti-terrorist unit working in a country that currently, and what has seemed like forever, is dealing with the threat of terrorism, suddenly made me bubble with excitement.

Definitive Bond Marathon: Goldeneye (1995)

(directed by Martin Campbell)
The Goldeneye mission was a rarity in that the origins of what propelled agent 007 (Pierce Brosnan) into action dated back as far as nine years prior. During the twilight years of the U.S.S.R., agents 007 and 006, Alec Trevelyan (Sean Bean) infiltrated a Soviet energy compound with the objective destroying the production facility. General Ouromov (Gottfried John) and a platoon of soldiers intercepted our men in the field before they could complete the mission. The Russian general murdered 006 in cold clood, leaving 007 to set the explosives for a quicker pace than anticipated and rush to safety in a daring plane escape. As 007 flew away, the Soviet facility erupted into a ball of flames. Little did MI6 know that this was merely the beginning.

Some nine years later. A major terrorist attack occurred on a Russian (post-Soviet Union) computer programming facility in Severnaya with a satellite weapon long since only rumoured: the Goldeneye, a space bound weapon which can emit a supremely powerful electro-magnetic device, causing incalculable damage to whatever target its users order it to focus on. M (Judi Dench) sent 007 to Saint-Petersburg for it was suspected that the Janus group, which centralizes its operation in the historic Russian city, was behind the attack and now in possession of the satellite’s control device. It was there that Bond finally caught up with the lone survivor out of Severnaya, Natalia Simonova (Izabela Scorupco), who would aid 007 for the remainder of the mission. The stakes were raised further still when the true identity of the Janus group’s leader was revealed. On old ‘friend’ from the past had re-emerged in a shocking way...

Festival du nouveau cinéma 2011: Shame

Shame (2011, Steve McQueen)

A movie about sex. What comes to mind when presented with such a topic? Often, the gut responses are pornographic films. Those movies are definitely about sex, even though the physical act is treated as gratuitous and the purpose of which is strictly immediate self-satisfaction, or stimulation, for the viewer.  Sex, the act and everything about it from genitalia, foreplay, to positions is also the butt of jokes in comedies. The American Pie movies immediately spring to mind or the countless other so-called raunchy comedies. Horror films also depict sexual intercourse in gratuitous ways. There are probably not enough films that treat the topic in a serious, honest manner. They do indeed exist, but the mere fact that raunchy comedies, slasher and pornography flicks are a dime a dozen is indicative of how the issue of sex is treated in film today. Now, how about not only treating sex seriously, but more specifically as a problem, a totally uncontrollable one? Englishmen Steve McQueen returns two years after the unforgettable Hunger with Shame,

Festival du nouveau cinéma 2011: The Turin Horse

The Turin Horse (2011, Béla Tarr)

Béla Tarr. The name stirs the passions of many a cinephile. He is an auteur, visual poet, a storyteller who embraces the real, the gritty as well as an element of the fantastical to fully bring his vision to the screen. His reputation precedes him and among his devoted fans, Tarr is of one the best filmmakers working today, especially outside the mainstream. His films can be powerful and beautifully realized despite the often harsh subject matter. Films the likes of Werckmeister Harmonies, one of this reviewer’s all time favourites, is as grim as they come, yet balances that out with some stunning positives qualities. After all this is the man who directed the 7 hour long Satantango. Yes, a 7 hour film about a dilapidated Hungarian village. His latest, The Turin Horse, thankfully nowhere near as long, played at the FNC last weekend.

Definitive Bond Marathon: Licence to Kill (1989)

(Directed by John Glen)

In one of the darker chapters of 007’s (Timothy Dalton) career as a member of the British Secret Service, Bond went rogue to settle an intensely personal matter. The episode began when Bond travelled to Florida’s Key West region to attend the wedding of long time ally and friend, CIA agent Felix Leiter (David Hedison). In an amazing turn of events, it was learned that nefarious drug lord Sanchez (Robert Davi) was operating in the region, and thus, at long last, a prime target for arrest. Bond’s skills proved invaluable in the operation.

It quickly became obvious that Sanchez’s plentiful riches could buy off anybody, which led to his rapid escape from custody. In a shocking demonstration of rage and contempt, the villain hunted down agent Leiter and his wife, brutally murdering the latter and inhumanly injuring the former. News of this tragic event literally enraged 007, who, against orders from M (Robert Brown) himself, opted to travel south and engage Sanchez in a slippery game of wits and deception by infiltration his organization through a friendly façade. Things grew complicated by the presence of two beautiful women. The first was Pam Bouvier (Carey Lowell), a CIA informant working to crack down on Sanchez (for professional reasons, though). The second was Sanchez’s own beautiful girlfriend, Lupe (Talisa Soto).

Festival du nouveau cinéma 2011: Oslo, August 31st

Oslo, August 31^st (2011, Joachim Trier)

To look back on a period of one’s life when things were looking grim, especially if source of the ills was oneself, is never an easy proposition. To come face to face with a past one is attempting to flee can be an even taller order. Think about a former drug addict for instance.  Even despite their greatest efforts, the dark period of their lives will forever haunt them due to the stigma attached to people who have experienced drug related issues. What happens when, upon trying to re-enter the real world, old temptations resurface and ensnare one in a familiar yet frightening comforting embrace? Joachim Trier’s Oslo, August 31^st, which was submitted to both the Cannes and Toronto film festivals and played this week played in Montréal at the Festival du nouveau cinema, is a raw examination of such a whirling adventure.