Film Fests Archive for May, 2011

SIFF Review: The Sound of Mumbai: A Musical

Last Sunday, I took my son Jaxon, aged 11, to see The Sound of Mumbai, which is screening at SIFF in their Films4Families section. Jaxon is on the Films4Families jury this year, which means that for the first time, he’s being asked to view movies as more than just pure entertainment. The Sound of Mumbai was his first real experience with a documentary (other than March of the Penguins, and I’m not sure how much he remembers of that), and I was curious to see how he’d respond to it.

“Is this a real story or a made up story?” he whispered about 20 minutes in, as on the screen we saw the deplorable conditions in which the cheerful main subject lives.
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At SIFF This Weekend — May 20-22

This weekend, the Seattle International Film Festival offers an array of interesting, good films to choose from, which you can view on the handy-dandy fest calendar. Not sure what to watch? You can try out The Siffter for suggestions!

If you’re looking for recommendations, my own picks for Friday would be Submarine (7PM, Egyptian) or 3 (7PM, Neptune), Takeshi Kitano’s Outrage (9:30PM, Egyptian), AND the midnight screening of Trollhunter (midnight, also at the Egyptian). For Saturday, consider checking out Nuummioq, the first feature film out Greenland, at 11AM. The afternoon offers How to Die in Oregon up against Silent Souls — either is recommended.

If you’re over in Renton, which is having its opening night tonight, you can catch SXSW standout Natural Selection and Touch, an terrific little film about the relationship between a manicurist and a mechanic. In some ways, it’s kind of a lighter, funnier version of The Off Hours. which screens later in the fest.

Tomorrow afternoon you could catch The Trip, the hilarious road trip film with Steve Coogan and Rob Brydon, and then check out Miranda July’s excellent, trippy flick The Future. Later tomorrow night, you won’t go wrong with either Perfect Sense or Jess + Moss, and midnight brings another offering: John Carpenter’s The Ward. Bring a friend.

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SIFF 2011: The Preview

Thursday evening, the 37th edition of the Seattle International Film Festival will kick off with a Gala opening screening of The First Grader, followed by a sure-to-be-packed opening party. Justin Chadwick’s charming drama about an 84-year-old Kenyan freedom fighter who decides to take advantage of the government’s free education program by enrolling in his village’s school is an interesting choice for a festival opener: There are no big stars to parade down the red carpet — but then Seattle’s never really been the kind of festival locals flock to because of the stars. It’s a rather innocuous, crowd-pleasing choice, not likely to offend any festival donors — but then, rebellious Seattle isn’t exactly the kind of town where not offending is the first priority.
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“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg