Film Fests Archive for January, 2009

Santa Barbara Dispatch Day Two

santa_barbara_sign.JPGMy first full day at the Santa Barbara International Film Festival proved to be both busy and well worth the time invested in watching four films. We dragged ourselves out of bed in time to score a massive caffeine dose before the 8:15AM screening of Poppy Shakespeare, which is having its US premiere at the fest after having premiered at the Karlovy Vary Film Festival last July and a run on Brit television.
The darkly comedic (emphasis on the “darkly”) film, adapted from the novel of the same name by Clare Allan, examines the institution surrounding mental health care in the UK through the eyes of N (Anna Maxwell Martin), a long-term vet of the Dorothy Fish Day Center mental health facility and Poppy Shakespeare (Naomie Harris), a former ad agency receptionist ordered to spend a month attending the day center even though she swears she’s perfectly sane. N, who’s spent the past 13 years jumping through the hoops of madness to continue receiving state benefits, is assigned to mentor Poppy who, in order to get a state lawyer to prove she’s not insane, must first prove that she is in order to receive the state benefit “mad money” that qualifies her to get the legal help she needs.

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Santa Barbara Dispatch Day One

santa_barbara_palms.jpgDue to being busy with our Sundance coverage, immediately followed by a need to spend a few days with my kids between travels, I just got into Santa Barbara yesterday in time to cover the last five days of the Santa Barbara International Film Festival. I’ve never covered this fest before, but now that I’m here I’m thinking it won’t be the last.
Much as I enjoy Sundance, Cannes and Toronto, those fests are exhausting to cover. Three-four hours sleep a night, so many films a day they start to all blur together, because you know however many you see, you’ll still end up missing some great films for the sake of mediocre ones. I wish I could clone myself for those major fests and have enough time to see everything I want, write all of it up, and still get sleep.

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Sunrise, Sunset

santa_barbara_sunrise_2.jpgsanta_barbara_sunset_2.jpg

Nifty and useful things learned at the Santa Barbara Film Festival:
because of the geography of Santa Barbara, we can see both the sunrise and sunset over the ocean across from our hotel. Pretty cool.

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Proud Mama

I have to just take a moment and a little blogspace here to say that my almost-12YO daughter, Neve, found out this afternoon that she’s been accepted as a juror for the Seattle Children’s Film Festival. To apply, she had to write a list of her top ten films, giving specific reasons why she liked them and talking about the elements that make a good children’s film. Added bonus? It counts on our homeschooling SLP!
With Neve’s permission, here’s her list, right after the jump…

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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