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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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“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller