..Gary Dretzka
..Noah Forrest
..Leonard Klady
..R.J. Matson
..David Poland
..Douglas Pratt
..Ray Pride
..Michael Wilmington

São Paulo

For a movie critic, attending an international film festival is a professional experience similar to a physician attending a conference or a seminar. It represents an opportunity to meet new practitioners, and learn new techniques and approaches that'll help him or her to improve their own work merely by expanding their own horizons regarding what's going on around the world in the profession.

Recently, I attended São Paulo International Film Festival, one of the two major Brazilian movie events (the other being the Rio International Film Festival). During 14 days, I've watched 61 films from countries such as Israel, US, Belgium, Germany, Czech Republic, France, and many others. In this and the next column, I'll write about those films - not in a detailed way, unfortunately (too many movies, after all!), but enough to illustrate what filmmakers all over the world are up to nowadays. I'll also grade the features from 1 to 5 (round numbers only).

The First Thirty Titles ...

All the Invisible Children (Italy, 2005) - It's unavoidable: practically every anthology reveals itself to be an uneven experience, alternating between great and lame episodes. That, however, is not a problem this project has to face: basically, each of its episodes are equally mediocre. While Emir Kusturica's short film is a complete disaster, Spike Lee fails miserably by trying to discuss AIDS with a vision of the 90's, portraying situations that are at least 10 or 15 years late in the way they're discussed here. Meanwhile, Brazilian Kátia Lund's short is above average, not because it's especially good but because it's better than its weak companions. The only episode that truly accomplishes something is the one directed by John Woo, who shows a sensibility that'll certainly surprise the fans of the Mission: Impossible 2 and Windtalkers' director. 2/5.

El Aura (Argentine/France/Spain, 2005) - Director Fabián Bienlinsky (Nine Queens) works once again with the great actor Ricardo Darín in order to tell the story of a taxidermist who daydreams about committing the "perfect crime". During a hunting trip with a friend, he accidentally gets involved with a plan to rob an armored car used to transport money for a casino - which gives him the opportunity to put his "criminal" mind to work. However, he soon realizes that, in the real world, everything is much more difficult than in his head (and there's also the aggravating circumstance of the hero's epilepsy, which subjects him to unexpected fits). With a complex screenplay, the film is interesting and solves its plot in an instigating manner; but Bielinsky, who did an impeccable job in his debut feature, reveals a tendency towards self-indulgency, spending too much time on unnecessary scenes and shots that could have half the length. At 90 minutes, El Aura would be an intense and memorable film; with almost 140 minutes, however, it's a disappointment, although it does bring the always great Darín in one of his best performances yet. 3/5.

Bee Season (USA, 2005) - Good performances do not a good movie make. Although it tries to develop the internal conflicts of every one of its characters, Bee Season isn't a memorable film at all. Especially problematic is its attempt to delve into a spiritual journey during the last act, though it doesn't have anything to do with all that came before. The excellent documentary Spellbound is much more complex and revealing when dealing with themes not directly related to the Spelling Bee contest than this film - which tells us a lot about Bee Season's failures. 3/5.

Before the Fall (Napola, Germany, 2004) - A 17-year-old talented boxer is invited to join a "Napola," a college that specializes in educating and training elite officers for Hitler's army. The boy meets a delicate young man (who has the "soul of a poet"), whose father is an appointed governor for the Führer, and the two students become friends and blah, blah, blah ... the teachers are rigorous, the young men realizes how cruel the officers are, people die, blah, blah, blah. Apparently, there's nothing helmer Dennis Gansel won't do to try to make the audience cry, but the truth is that this mediocre movie is nothing more than a manipulative and melodramatic Dead Nazis Society. 2/5.

Breakfast on Pluto (Ireland/England, 2005) - Funny and irreverent, it stars Cillian Murphy as a transvestite full of life that never lets anything get him down - even serious incidents, as being mistaken as a terrorist from IRA. The great soundtrack, associated with the always interesting direction of Neil Jordan, turns this film into a great experience, introducing the audience to a larger-than-life character. 4/5.

Brokeback Mountain (USA, 2005) - Sensitive, courageous and benefited by stupendous performances, the film's only sin is to deny the audience the emotional impact of a certain plot point during the third act. It's a good thing not to be overly melodramatic; however, we should at least feel something about what happens to a character. This single mistake is enough to diminish the power of the story. 4/5.

Broken Flowers (USA, 2005) - Jim Jarmusch's new film stars Bill Murray and became the new "darling" of the North-American independents in 2005. It is a good movie in fact, but that's all. Murray is irreproachable (he's even better than in Lost in Translation), but the screenplay is self-indulgent and the editing irritates by excessively repeating themes and visual rhymes. Yes, I understand what Jarmusch intended to accomplish, exposing (among other things) the insipidity of the protagonist's life, but I can't really say I admire the way he accomplishes his goal - and he does accomplish it. 3/5.

The Child (L'Enfant, Belgium/France, 2005) - This masterpiece, directed by the Dardenne brothers, is a carefully done work that excels in the way it observes its characters, occasionaly reminding us of the seminal Nouvelle vague classic from Godard, À bout de souffle. However, The Child manages to escape from comparisons and is able to establish itself as a commanding and powerful film. One of the best of the year. 5/5.

Czech Dream (Cesky sen, Czech Republic, 2005) - Undoubtedly one of the best of the festival, this documentary follow two Czech filmmakers who try to analyze the way in which publicity affects our lives and, to do that, they decide to advertise a supermarket that doesn't exist (they build its front and that's it). During the film, we follow all the phases of the campaign's development, from the designing of the company's logo to the creation of banners, tv ads, flyers and so on (they even hire a research team that, using computers, can tell them how much time our eyes spend in each section of a printed advertisement). Extremely funny, the documentary presents us with a scary portrait of how much people are willing to let publicity control their lives - and the "consumer's" reaction after crossing the façade of the supermarket and facing absolutely nothing is not only an intelligent metaphor, but also an absolutely hilarious moment. 5/5.

The Fall of Fujimori (USA, 2005) - This documentary about the 10-year period of Alberto Fujimori's presidency on Peru is a deep portrait of his accomplishments and, of course, his absurd mistakes, including his surprising electoral win (the "tsunami Fujimori"); his fight against Sendero Luminoso and MRTA; the State-sponsored terrorism of his main ally Vladimiro Montesinos; his self-"inflicted" coup d'etát; his two other elections; the invasion of the Japanese embassy; and, of course, his eventual escape to Japan. Furthermore, Fujimori himself gives a long testimony to American filmmaker Ellen Perry, revealing a charismatic personality that partially explains his popular appeal. It's a documentary that tries very hard not to take sides, limiting itself to only report the facts - but there's no way of denying the astounding violence of the Fujimori period on Peru. 4/5.

Imaginary Heroes (USA, 2004) - I confess I'm weary of the so-called "deep films" some independent North-American filmmakers commit about the human experience. For every brilliant Crash, Magnolia and even Me and You and Everyone We Know (see below), there's a hundred of All the Real Girls, Bee Season and, yes, Imaginary Heroes. This movie by Dan Harris has on its side only the great performances by Sigourney Weaver and Jeff Daniels; the rest is unspeakably stupid: pretentious and silly dialogues, an annoying "hero" (the equally flat Emile Hirsch) and empty discussions (that the film considers to be complex) about human nature make the experience almost unbearable. Weaver and Daniels deserved better. 2/5.

Man to Man (France/England/South África, 2004) - The screenplay's intent is interesting, trying to follow the gradual perception an anthropologist gains about the humanity of two "savages" captured on Africa (who he initially considered as little more than monkeys). Unfortunately, the film crumbles in its last act, turning the hero's antagonists into caricatures and trying to create cheap drama. It's also curious to observe the many similarities the film has with Escape from the Planet of the Apes. 3/5.

Me and You and Everyone We Know (USA, 2005) - Most times, when the "independent" North-American filmmakers try to make movies about the human condition on Earth, the results are simply too juvenile (All the Real Girls) - and, in fact, this can be observed during certain points of Me and You and Everyone We Know. However, its characters are likeable and the screenplay by director-star Miranda July also has its good share of inspired moments. 4/5.

Moon of Avellaneda (Luna de Avellaneda, Argentine/Spain, 2004) - Director Juan José Campanella joins once again with the superb Argentinean actor Ricardo Darín (they worked together on the marvelous The Son of the Bride) and makes another film that's able to move us and make us laugh at the same time. His characters are always admirable on their humanity, which makes them flawed and real. 5/5.

Mrs. Henderson Presents (England, 2005) - Inspired by a true story, the film stars Judi Dench as Laura Henderson, a rich widow who, in 1937, buys a theater in the London West End and decides to produce shows starring naked young women. Entertaining and beautifully shot by Stephen Frears (the costumes - the irony - are a sure-thing at the Oscars), the film sole mistake lies on trying to add dramatic touches during the third act, becoming artificial specially by solving the conflicts in an equivocal way. Still, the dynamic between veterans Bob Hoskins and Judi Dench makes Mrs. Henderson Presents a must-see. 4/5.

My Summer of Love (England, 2004) - In many aspects, this a story similar to Peter Jackson's superb Heavenly Creatures. The difference is that, in this case, the tone is much lighter - which doesn't make it bad, only more "accessible" to the average viewer. I particularly enjoyed the way the actress' costumes reflect their personalities, changing to different tones according to their emotional and psychological changes. 4/5.

My Wife, My Friends and Me (Meine Frau, meine Freunde und ich, Germany, 2004) - This Germany-produced disaster tries desperately to adopt a tone of black humor while telling the story of a TV actor who loses, during the same day, his wife, his job, his friends and his money. However, what could certainly lead to a somber comedy similar to After Hours ends up wearying up the audience thanks to the incompetence of its director-star Detlef Bothe and to the aversion he makes us feel for most of the characters, including the "hero". 1/5.

Nine Emotions (Navarasa, India, 2004) - Although it has some primitive elements, such as its editing and its soundtrack (it's not a coincident the production company is called "Handmade Films"), the films tells an interesting story and, after a silly first act, it reveals itself to be a manifest in defense of Indian transvestites and homosexuals, portraying their fight for recognition. Besides that, the legend about Lord Krishna and Mohani is fascinating, serving as a religious basis for the aravanis (transvestites). To make things even better, the little girl who stars the movie is extremely lovable and full of energy. 4/5.

Nine Lives (Spain/Italy, 2005) - Colombian director Rodrigo García, son of writer Gabriel García Márquez, wrote and directed nine short stories starred mainly by women which has, each one, about 10 to 12 minutes - all shot in single takes. Benefited by fantastic performances (specially by Robin Wright Penn and Lisa Gay Hamilton), each story works as an interesting character study, becoming even more powerful thanks to their open endings. If I was forced to point out a problem with the film, however, I'd say that the insistence on interlinking the stories by making some characters show up in different episodes is unnecessary, trying to emulate a Short Cuts/Magnolia vibe that is only distracting. Still, it's a memorable movie. 5/5.

Oliver Twist (France/England/Czech Republic, 2005) - One of the most disappointing experiences of the festival. Roman Polanski, after the marvelous The Pianist, does a bureaucratic job starring a young individual without any charisma. In the matter of fact, Polanski doesn't even find the appropriate tone for the story. 2/5.

Paradise Now (Palestine/Netherlands, 2005) - Two Palestine friends are chosen to commit a suicide bombing and, through the hours leading to the action, they live experiences that can either make them change theirs minds or reinforce them. It's a well-told story that shines an interesting light on the motivations behind attacks like this (which makes those attacks even more regrettable) and, besides being very tense, it's also a beautiful calling for peace. 4/5.

Private (Italy, 2004) - Initially nominated by the Italians as their Oscar contender, it was rejected by the Academy on the grounds it's main spoken language was not the Italian. The fact is that Private is only an "ok" film. It presents a tense and explosive situation, but it ends up repeating itself too many times, and, dramatically speaking, it never finds its way. 3/5.

Le Promeneur du Champ de Mars (France, 2005) - Directed by Robert Guédiguian, the film follows a journalist who is invited by president François Miterrand to write his memoirs. Young and idealist, the journalist finds himself hypnotized by the politician's eloquence and experiences - something that becomes even more significative thanks to Michel Bouquet's magnificent performance (in a fair world, the Academy would already have sent the Oscar to his house). Intelligent and instigating, the film deals not only with emotions, but with ideas, leading its protagonist into an ideological crisis that serves as the core of the narrative. 5/5.

Sentenced to Marriage (Mekudeshet, Israel, 2004) - Another important documentary, this time, from Israel. In a country that doesn't see any distinction between Church and State, the women who want a divorce from their husbands are submitted to revolting abuses, only having their wishes granted if the husband allows them to go (by "kindness" or after receiving a high amount of money). Dominated by chauvinistic laws and magistrates (the divorces are judged by a "rabbinic court"), women are victims of all kinds of restriction, while their husbands are even free to marry other women. It's a pity that because of its short length (65 minutes), the film doesn't touch some questions that deserved more profound discussions, such as the complications caused by a woman's decision of leaving her religion of even the country. And the documentary would also benefit if it had followed a greater number of cases. 4/5.

The Squid and the Whale (EUA, 2005) - This is the film Imaginary Heroes and Bee Season wanted to be. Smart, sophisticated and with beautiful acting, the movie deals with the disintegration of a family in a sensitive manner, spending enough time with each character and never sounding artificial or manipulative. And it must be said: Jeff Daniels is having a great year. 4/5.

Stay (USA, 2005) - Full of elegant scene transitions and with an evocative photography, Marc Forster's film proves its director's versatility and presents Ryan Gosling in another great performance (he's going places, this boy). Unfortunately, this is the thousandth time this kind of story is told, allowing the audience to anticipate exactly where all the "mystery" is leading us to. 3/5.

The Tunguska Project (Canada, 2005) - I admit I'd never heard about the Tunguska event, a mysterious explosion that destroyed part of Siberia in 1908. And I'm sure it could result in a fascinating movie - but not here, considering this documentary focuses on Floyd Favel, a playwright who seems determined to turn his research into an extremely boring and egomaniacal journey. Besides being boring, Favel is also presumptuous, unpleasant and unstable. And the film follows his lead. 2/5.

The Wild Blue Yonder (USA, 2005) - I love Werner Herzog. He's usually a surprising director, capable of making films as different as The Mystery of Kaspar Hauser, My Best Fiend, Kalachakra and even showing up as a different kind of action hero in Incident at Loch Ness, by Zak Penn. However, this film is unbearably boring and pretentious. Using images from a space mission provided by NASA and others made undersea, Herzog tries to create a poetic experimentation capable of putting anyone to sleep. 1/5.

Winter Soldier (USA, 1972) - There are certain films that shouldn't be evaluated by their artistic merits (or demerits), but only by their relevance. That's obviously the case of this documentary produced in 1972 and that presents testimonies from many Vietnam veterans about the atrocities they witnessed during the war. Extremely important in its time, the film remains relevant and frightening, considering the continuing belligerent policies from Washington D.C.. 5/5.

The World´s Fastest Indian (New Zealand, 2005) - I won't be surprised if Anthony Hopkins is nominated for a couple of acting awards for this work, considering he creates an absolutely lovable character; a man positioned on the opposite spectrum of Hannibal Lecter. The movie itself is fine, but that's all. Director Roger Donaldson tries too much to create little dramatic moments, forcing his hand and overusing the almost omnipresent musical theme. 3/5.

November 16, 2005

October 21, 2005 - Sons of Brazil
September 24, 2005 - Fighting For Scraps
August 30, 2005 - A Brief History of Recent Brazilian Cinema

Films released in Brazil since the last column: Saw II (US); Cidade Baixa (Lower City, Brazil); Danny the Dog (US); Elizabethtown (US); The Merchant of Venice (Italy/US); Habana Blues (Spain/Cuba); Corpse Bride (England); Flightplan (US); The Transporter 2 (US/France); Lords of Dogtown (US); The Legend of Zorro (US); Crash (US); 18-J (Argentine); The Man (US).

Pablo Villaça is the editor of the Brazilian film publication Cinema em Cena and is a member of the Online Film Critics Society. You can e-mail him at pablo@cinemaemcena.com.br.

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