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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Looks Like a Swell Swell Season

The film I most wish I was seeing at Tribeca right now is Swell Season, which Peter Knegt just wrote up for indieWIRE. The doc follows Once duo Marketa Irglova and Glen Hansard (my super-secret musician boyfriend) during their three-year tour following their Oscar win, in a film that started out to be a doc about musicians who won an Oscar, and ended up capturing the end of Irglova and Hansard’s personal relationship in the whirlwind aftermath of that glory.

I’m hoping (fingers crossed, fingers crossed) that Swell Season will be playing at SIFF next month, and that I’ll be able to write it up from here. Given that SIFF runs for something like 89,000 days, I should be able to squeeze it into my schedule, if it’s on their slate (which is due to be announced May 5, I think).

For now, though, here’s the trailer for Swell Season. A good trailer is about setting up the the story and creating a desire for “more” without being too long or giving away too much. And for me, the trailer for this little film does that just about perfectly.

More, please.

Also, if you’re interested in hearing about the behind-the-scenes action, here’s a video of the post-screening Q&A from Tribeca, from indieWIRE’s Peter Knegt:

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch