MVFF41 starts Thursday—¡VIVA EL CINE! showcases 15 award-winning Latin American and Spanish language films with many special guests
Special guests make a film come alive. Cuban actor Héctor Noas will attend MVFF41 as part of ¡Viva el Cine! Noas plays Russian cosmonaut Sergei Asimov in Ernesto Daranas Serrano’s drama Sergio and Sergei, set in 1990 Havana, and based on a real incident. Photo: Ernesto Daranas
The forty-first edition of the Mill Valley Film Festival (MVFF41) kicks off Thursday (Oct 4) with two big opening night films—Matthew Heineman’s bio-pic, A Private War, starring Rosamund Pike as tenacious Sunday Times war correspondent Marie Colvin and Peter Farrelly’s drama, Green Book, which takes us on a tense 1962 concert tour in the American South with Mershala Ali (Moonlight, MVFF2016) as black jazz pianist, Dr. Don Shirley, and Viggo Mortensen as Tony Lipp, his Italian-American chauffeur and bodyguard. Starting full force Friday and running for 10 days, MVFF41 delivers an exciting line-up of the very best and latest in American indie and world cinema, with more than 300 guests in attendance. Special events—Centerpiece and Closing Night Presentations, Spotlights, Tributes, Special Premieres, the Mind the Gap Summit, Behind the Screens Panels and intimate parties and receptions—bring the films to life, fostering engaging discussion about issues and art.
The festival’s wonderful ¡Viva el Cine! series, programmed by MVFF Senior programmer Janis Plotkin with the help of Claudia Mendoza Carruth, turns five this year. The line-up has doubled to include 15 award-winning Latin American and Spanish language films and there’s even a new ¡Viva el Cine! Launch Day that brings a fiesta to the Smith Rafael Film Center. With films from Argentina, Chile, Colombia, Cuba, Ecuador, Mexico, Spain and the US, the series’ spellbinding storytelling and special guests make it an increasingly influential forum for the exploration of history, culture and identity.
¡Viva el Cine! Launch Day: Sunday, October 7
Coco / Walt Disney Pictures / Pixar Animation Studios
It all begins Sunday morning at the Smith Rafael Film Center with a family-friendly fiesta with live mariachi music, Day of the Dead face painting, fresh churros and hot chocolate. At 11 am, on Smith Rafael 1’s big screen, is the first Marin-ever screening of Coco, the Oscar-awarded, Pixar family favorite in Spanish with English subtitles, so that all children attending can both listen and read it.
Running concurrently in Smith Rafael 3, is the acclaimed coming of age drama, Too Late to Die Young (Tarde para morir joven), directed by Chilean Dominga Sotomyer, who will be in attendance. This is Sotomayer’s second feature film and its set in 1990 Chile, with three main characters, ages 10, 16 and 16, who experience the pain of unrequited love and begin in their own ways to relate to the complexities of their parents’ world, all against the back-drop of a society reeling from Pinochet.
In Alonso Ruizpalacios’ Museo, Gael Garcia Bernal, plays thirty-something veterinary student, Juan Nuñez, who takes a job at the Anthropology Museum in order to support his marijuana habit. He learns enough about the museum to come up with a plan to rob it with the help of his best friend. Image: Courtesy Alejandra Carvajal
At 2 p.m., Mexican Director Alonso Ruizpalacios will be in attendance for the screening of Museo, an art heist thriller with Gael García Bernal, based on the 1985 robbery of more than 100 Mesoamerican and Mayan artifacts from Mexico’s National Museum of Anthropology. Winner Best Screenplay award at the Berlin International Film Festival.
At 8 pm, Argentinian director Luis Ortega’s fourth feature, the engrossing biopic, The Angel (El ángel), presents a dramatized true story of angelic-looking, baby-faced young sociopath, Carlos Robledo Puch, aka “The Death Angel,” who in the 1970’s embarked on a murder spree across Argentina.
Centerpiece: Roma, Monday, October 8
A scene from Alfonso Cuarón’s Roma. Image: courtesy MVFF
Alfonso Cuarón’s Roma, his first film shot in Mexico, since Y tu mamá también (2001) is a meditative masterpiece on the meaning of family that screens as the festival’s Centerpiece. Cuarón will be in attendance for an extensive on-stage conversation about this film, awarded the Golden Lion in Venice for best film and Mexico’s foreign language Oscar submission. Set in 1970’s Mexico City, Roma follows the life of a quiet live-in indigenous housekeeper, Cleo (Yalitza Aparicio), and the upper middle class family that employs her. Through a series of small moments, both humorous and poignant, there’s a slow build to mounting crisis for both Cleo and her employers. Gorgeously shot in black and white. Every scene and every woman seem steeped in personal memory and deep reflection. Roma is Cuarón’s follow-up to Gravity (2013), awarded Academy Awards for directing and editing.
Harvest Season: World Premiere, Sat, October 13
Napa Valley Latina viticulturist, Vanessa Robledo, is profiled in Bernardo Ruiz’s Harvest Season. Image: Roberto “Bear” Guerra
¡Viva el Cine! also includes films produced in the U.S. that are relevant to Latinos’ experiences here. Benardo Ruiz’s documentary, Harvest Season, set and filmed in the Napa valley, has its world premiere at MVFF41 on Sat, October 13. Through four stories, the film addresses the Latino and Mexican-American entrepreneurs and activists involved in the production and harvest of the grapes that go into premium California wines, small players with fascinating insights. Shooting began in December 2015 and continued during the 2017 harvest, one of the most dramatic grape harvests in decades. Filmmaker David Ruiz, Producer Lauren Capps, and subjects Vanessa Robledo, Maria Robledo, Angel Calderon and Gustavo Brambila will be in attendance. Screens: Sat 10/13 and Sun 10/14.
6 must-see films:
For recommendations, I went to Claudia Mendoza Carruth, who helped program ¡Viva el Cine! She is well-respected for initiating and running the Sonoma International Film Festival’s Vamos Al Cine and she regularly attends Havana’s Festival Internacional del Neuvo Cine Latinoamericano (or Havana Film Festival). (Read ARThound’s review here) This year, she brought some of the best films from the Havana festival to MVFF and is especially excited to screen the Cuban film Sergio and Sergei with Cuban actor Héctor Noas to MVFF for an audience discussion.
“I’ve always marveled how Cuba, with all its limitations can produce such incredible cinema,” said Carruth. “It’s always been thought that it was difficult to impossible to bring Cuban films and actors here. It’s not easy, but my attendance every year at the Havana Film Festival has enabled me to see the immense scope of films that come out of this island and the region and make connections. I hope to really help develop MVFF’s programming.”
Sergio and Sergei
In Sergio and Sergei, Cuban actor Tomás Cao plays a ham-radio buff and downtrodden professor of Marxism in Havana who unexpectedly makes a connection with a Russian cosmonaut stuck in space. Image: Ernesto Daranas
One of the first films to come out of Cuba that has outer space effects, Ernesto Daranas Serrano’s Sergio and Sergei, is a story of human communication between Earth and the Russian Mir space station. The engaging and very funny satirical drama is set in 1991, during a period of economic hardship for both the unraveling USSR and Cuba. Sergei (Héctor Noas) is stranded satelliting Earth on Mir space station, unable to descend and, by chance, communicates with Sergio (Tomás Cao), a ham-radio buff and professor of Marxism in Havana who is unable to support his family. A friendship forms as both men realize they share feelings of geopolitical isolation. The film is shot in Havana. Héctor Noas in attendance. Screens: Tues 10/9 and Wed 10/10.
Los Adioses
Mexican actress Actress Karina Gidi plays feminist writer Rosario Castellanos in Natalia Beristáin’s Los Adioses. Image: courtesy MVFF
Mexican filmmaker Natalia Beristáin’s second feature, Los Adioses, is a superbly acted portrait of Rosario Castellanos, one of Latin America’s greatest 20th century writers. A poet, novelist, and essayist, Castellanos was an early supporter of women’s rights in postwar Mexico when the society was extremely patriarchal. Her style was vulnerable, revealing, self-searching. She struggled with balancing how to be happy in a love relationship, how to be a mother and, at the same time, how to work and assert her thoughts about the struggles of being a woman into her work. Actress Karina Gidi, who plays the older Rosario, took home the Best Actress trophy at the Ariel Awards, Mexico’s equivalent of the Academy Awards®. Screens: Tues 10/9 and Thurs 10/11
Virus Tropical
In Virus Tropical, Colombian-Ecuadorian cartoonist Power Paola takes ownership of her life story, working with Colombian director and artist, Santiago Caicedo, to adapt her 2011 graphic novel to an animated film with exquisite, emotive black and white drawings. Image: Courtesy of Timbo Estudio/Santiago Cacedo/Powerpaola
Colombian-Ecuadorian cartoonist and Power Paola (the pen-name of Paola Gaviria) is well-known for addressing themes of sexuality, feminism, family and personal identity in her graphic novels (Por Dentro, Todo Va a Estar Bien). Her animated autobiographical film, Virus Tropical, is an adaptation of her 2011 graphic novel of the same name. This coming- of-age tale, set in middle class Quito, Ecuador, and Cali, Colombia, is focused on family dynamics from the perspective of Paola, a very self-aware young girl, who is the youngest child in a close-knit family of three girls. There are intimate scenes from family dinners where she is picked on, moments of pain and loss as she confronts the shock of her father’s suddenly moving back to Colombia and reflective moments such as her sister’s wedding. It took Paola roughly five years to create the 5,000-plus detailed black-and-white line drawings that comprise the novel. Video artist and animator Santiago Caicedo, who previously worked with Paola on the short film Uyuyui! (2011), has beautifully transferred these to the screen. Filmmaker Power Paola in attendance. Screens: Sat 10/13 and Sun 10/14
Amalia, the Secretary
Colombian actress Marcela Benjamin in a scene from Colombian director Andrés Burgos’ comedy, Amalia the Secretary (Amalia, la secretaria, 2017). Image: courtesy MVFF
Colombian Director Andrés Burgos has hit the sweet spot with his comedy Amalia, the Secretary (Amalia, la secretaria, 2017) played to pitch perfect rigidity by Marcela Benjamin. The story is about Amalia, who runs the office by taking passive-aggressive swipes at everyone who crosses her path until she meets Lazaro, a maintenance temp who so intrigues her that she creates more and more work for him by breaking things. “It’s so rare in Latin America to have a very well-crafted comedy that has people doing belly laughs,” said Claudia Mendoza Carruth. “One of my favorite scenes involves Amalia, this very very rigid woman, attempting yoga. The way her character evolves and she asserts herself in almost every situation is really special.” Director Andrés Burgos in attendance. Screens: Thurs 10/11 and Fri 10/12
Birds of Passage
A still from Birds of Passage. Image: Quinzaine
Birds of Passage (Pájaros de verano), a crime epic, co-directed by frequent collaborators Cristina Gallego and Ciro Gallego, portrays the slow and steady destruction of a close-knit native family who gets caught up in the marijuana export business in the 1970s, and the beginnings of Colombia’s burgeoning narco-trafficking industry. The film, selected as the opener for Cannes Directors’ Fortnight, is a bit of ethnographic thriller as well introducing the Wayúu, Native Americans who live in North part of the country, in the deserts of the north-western Guajira peninsula, that many people, even native Colombians, know very little about. At its heart, this is a family story that involves power, legend, culture, money, greed and the difficulty of honoring ancestors and customs in an increasingly modern world. Cristina Gallego has accolades as a producer and this is her directing debut, while Ciro Guerra has global acclaim. His Embrace of the Serpent, co-produced by Guerra, (2015, MVFF38) won the Directors’ Fortnight prize at Cannes and was the first Colombian film to be nominated for the foreign language Oscar. Screens: Wed 10/10 and Thurs 10/11
Ernesto
Japanese actor Joe Odagiri as Japanese-Bolivian medial student, Freddy Maemura Hurtado, in a scene from Junji Sakamoto’s biopic Ernesto (2018), screening twice at MVFF41. Photo: @2017 ‘Ernesto’ Film Partners
It’s a rare that one encounters a portrait of Che Guevara from a Japanese perspective. Junji Sakamoto’s biopic Ernesto (2018), a very rare Japan-Cuba co-production, tells the story of idealistic Japanese-Bolivian medial student, Freddy Maemura Hurtado (Japanese superstar Joe Odagiri), who travels to Cuba in 1962 to become a doctor but instead joins Che Guevara’s guerilla army. He becomes a very serious revolutionary who idolizes Che and becomes vehemently anti-war and outraged with American aggression in the Cuban missile crisis. The films traces Hurtado’s life from the time he sets foot in Havana in 1962 to his violent end in the jungle. Shot mainly in Cuba. Screens: Thurs 10/11 and Fri 10/12
Details:
For full descriptions of ¡Viva el Cine!, click here. MVFF41 is October 4-14, 2018. For full schedule and to purchase tickets, click here. Advance ticket purchase of films is essential as they sell out.
The 40th Mill Valley Film Festival opens Thursday—¡Viva El Cine! features prize-winning Latin American and Spanish language cinema
Janis Plotkin, MVFF senior programmer, curated the festival’s ¡Viva El Cine! series—eight prizewinning Latin American and Spanish language films with stories from Argentina, Brazil, Chile, Columbia, Cuba, Spain, Venezuela, and the US. ¡Viva El Cine! is in its 4th season and MVFF40 marks Janis’ 14th season with MVFF. MVFF40 is Oct 5-15, 2017. Image: Geneva Anderson
The fortieth edition of the Mill Valley Film Festival (MVFF 40) gears up this evening with three big opening night films–Joe Wright’s, Darkest Hour, intense Churchill drama; Jason Wise’s Wait for Your Laugh, a soulful profile of comedian Rose Marie; and Dorota Kobiela and Hugh Welchman’s Loving Vincent, an astounding animated portrait of Vincent van Gogh. Starting Friday and running for the next 10 days, MVFF40 will offer an exciting and eclectic line up of the very best in America independent and world cinema, with more than 200 filmmakers in attendance. There are several special seminars, panels and musical performances as well. For me, the biggest draw is the world cinema and some 50 countries are represented this year. Experiencing the world from someone else’s point of view can be life changing and the exceptional storytelling that characterizes MVFF’s foreign lineup always tends to be full of unexpected twists.
Recently, I spoke with senior programmer Janis Plotkin who curated the festival’s ¡Viva El Cine! programming—eight prizewinning Latin American and Spanish language films with stories from Argentina, Brazil, Chile, Columbia, Cuba, Spain, Venezuela, and the US. At MVFF, I often find myself in a theater with Janis and her film introductions are always packed with insight and a pure passion for cinema. I’ve come to consider her as my MVFF person–if she’s in the room, I’m probably going to love the film. MVFF40 marks Janis’ 14th season with MVFF. From 1982 through 2002, she was the executive artistic director of the San Francisco Jewish Film Festival and was renowned for showing great films and building community. When I learned that Janis programmed this influential Latin American film series, I couldn’t wait to discuss it with her.
¡Viva El Cine! launched in 2014 and has continued to grow in scope and attendees. In 2016, at MVFF39, more than 4,000 patrons attended screenings, which included a series of new works from Mexico as well as seminal films from Peru, Chile, Argentina, and Spain—and a very special musical performance by the Alejandro Escovedo Trio at the Sweetwater Music Hall as part of the MVFF Music program.
Chilean director Marcela Said’s Los Perros is set in post-Pinochet era Chile and is galvanized by Antonia Zegers’ (El Club, MVFF2015) performance as Marina, a wealthy forty-something equestrian whose riding instructor is charged with human rights abuses stemming from the Pinochet era. The film thrillingly tackles issues of class, power, and historical culpability. Los Perros is also part of the festival’s Mind the Gap Initiative which promotes female filmmakers and the portrayal of strong leading female characters in film.. Image: courtesy MVFF
ARThound: What is special about ¡Viva El Cine! and how did it get its start?
Janis Plotkin: Four years ago, we received a grant from the Marin Community Fund to support programming efforts to reach out to Marin’s Spanish speaking community. At that time, Spanish speaking people were one of the largest growing groups in the county and this was our response. We also did some community organizing by bringing together a group of community advisors to see what type of films the community was interested in and to help get the word out. Last year, we had Mexican actor, director and producer, Gael García Bernal visiting with two of his films and that was a kind of benchmark in terms of aspiration. We sold out all those shows and it was very satisfying for us and for the audience.
This year’s films reflect the vitality and high quality of the Latin American film world which is producing really excellent work on both the artistic and technical sides. We have new films from Argentina, Brazil, Chile, Brazil, Venezuela, Spain and Cuba.
Tension and apprehension flow like a river in the drama El Amparo, based on a 1988 incident on the Venezuela/Colombia border, where two men were accused in the disappearance of 12 of their fellow fisherman. In this debut feature, Venezuelan director Rober Calzadilla focuses his lens on tenderness and vulnerability as a weapon. Image: courtesy MVFF
ARThound: The storytelling is amazing too. You picked some fine examples.
Janis Plotkin: I tend to enjoy most world cinema because I feel these films aren’t under the same pressures that US films are for commercial viability. They are made for the art of film and yet the story telling is very good, with historical or present day issues impacting all social strata. Rober Calzadilla’s El Amparo, from Venezuela, for example, is done with non professional actors and tells a true story of what happened when 12 fisherman disappeared in 1988 and it’s from the point of view of the victims. This a film full of dignity, truth telling and fighting for justice. I would rather see and hear it from their point of view, the point of view of the people, rather than a sensationalized version of the government actions. We don’t often get to hear stories like this, so this was one of the first films I looked for the series.
ARThound: When do you start preparing for MVFF and for this series?
Janis Plotkin: Officially, I start on May 1, but I went to the Berlin International Film Festival (Berlinale) with Zoe (Elton) in February and saw Vazante and A Fantastic Woman and that was how it began. We also do a lot of research with interns who scour every country’s national cinema and we try to find the best films. It’s a lot of watching and eliminating. We have weekly meetings where we present and discuss films and we’re looking to have a balance of themes as well as making sure that we have 50/50 by 2020. In ¡Viva El Cine!, you’ll see we have lots of talented women.
Esteban is Cuban director Jonal Cosculluela´s debut film. It is an intimate drama about a ten-year-old boy who discovers his musical talent and falls for the piano. This is a story about dreams, about not quitting, about doing something every day to achieve your goals. Much of the music in the film is by the legendary Chucho Valdés. Image: courtesy MVFF
ARThound: Special guests really make a film come alive. Who are you bringing in this year?
Janis Plotkin: This year, we are expecting Jonal Cosculluela, from Havana, the director of Esteban, his first feature film. All screenings of this film are at rush and we’ve got educational screenings planned too, so I am very excited about this. We just heard that the US embassy’s staff in Havana was being cut by 50 percent and we still don’t know how that will impact Jonal’s visa interview, which was delayed initially by hurricane Irma. Barring these political and weather-related issues, we hope to see him here. This is a very special story about a child who basically has no resources but he is passionate about playing the piano and he has real talent and his persistence wins over his teacher and his family. We’ve also got Santiago Rizzo and the cast of Quest attending.
ARThound: I saw Esteban last December in Havana at the International Festival of New Latin American Cinema and Reynaldo Guanchein, who is nine and plays the child prodigy, Esteban, gave an amazing performance. He took on the entire project with just three month’s training in acting. There’s something so special about children who can play the part of a child in very precarious circumstances and yet what shines through is their beautiful spirit and innocence.
Janis Plotkin: We also have some amazing child actors in Summer of 1993, Spanish director Carla Simón’s feature debut film set in Spain’s Catalan region. This film is from the point of view of an orphaned little girl who has lost both of her parents. We assume it’s from drug use and AID’s-related but it’s never made clear. The story deals with how she comes to adjust to a new life while living with her aunt and uncle and her realization that her life has changed forever. It’s also about her relationship with her three-year-old cousin. Carla Simón is known for her ability to work with children and these three and six-year-olds are quite spontaneous and natural. The film received the first best film award in Berlin and went on to win many awards.
ARThound: I have discovered from Havana that there is an entire genre of Latin American films that reflect back on the atrocities of past regimes as a form of truth-telling, honoring victims and societal healing.
Janis Plotkin: Los Perros reflects on the post-Pinochet era and how the next generation either is or is not dealing with it. This 40ish woman (Antonia Zegers) who comes from privilege did not know that her father was involved in the anti-Pinochet actions and she has a fascination with her older riding teacher who turns out to be one of the generals who was in charge of disposing of pro-Pinochet leftists. It’s really about her specific emptiness, a specific type of apathy and denial and what a privileged life in Chile looks like. She’s so spoiled and without empathy for what happened. Antonia Zegers is the actress who was in El Club who played the housekeeper and nun who stole babies and she is very icey here too.
ARThound: The segment also introduces us to Latin stars who really aren’t on our radar like Chilean actress Paulina Garcia (Gloria, MVFF 2013) who stars in The Desert Bride.
Janis Plotkin: The Desert Bride is Argentinean directors Cecilia Atan and Valeria Pivato’s first feature. It was launched at Cannes to very favorable reviews and is anchored by Garcia’s performance. She was the main character in Sebastián Lelio’s Gloria (2013), where she played a lonely and sympathetic divorcee, and she won the Berlinale’s best actress prize. In The Desert Bride, her character— a housekeeper—is also at the center of everything and she pulls off a subtle performance. After a rather closed and cloistered life as a housekeeper, she goes on a trip to another part of the country. Through small moments and encounters that she has on her way, she starts to open up and her transition mirrors the dessert and mountainous landscape of rural Western Argentina that she is traveling across.
Daniela Vega plays Marina, the transgender heroine of Chilean director Sebastián Lelio’s A Fantastic Woman. Marina is young, beautiful, enigmatic, and plunged into a precarious situation after her middle-aged boyfriend dies unexpectedly in her company. As she struggles with her own grief, social prejudice and ostracism, she must summon her own inner strength to survive. Image: courtesy MVFF
This year, we have another incredible performance by Daniela Vega, a Chilean transgender actress in her breakthrough role in in A Fantastic Woman. This is Sebastián Lelio’s latest film and it is getting lots of attention. In comparison to The Danish Girl (MVFF38), where we had Eddie Redman— a man playing a male transgender who transitions to a woman—here we actually have a transgender actress playing herself. Her performance actually walks through the kind of walls that she faces with the family of her beloved who dies suddenly and his family who won’t let her grieve. It’s how she finds her dignity in fighting them all the way through . Daniela Vega gives an outstanding performance and the script itself won a prize in Berlin.
Daniela Thomas’ period drama, Vazante, is set in 1821, when Brazil was on the verge of independence from Portugal. Brazil was one of the last countries to officially abolish slavery in 1888 and Vazante relives the tale of a wealthy slaveholder who marries his young niece. Photographed in black and white, the film was shot on rugged locations in the craggy and wild Diamantina Mountains. Image: courtesy MVFF
ARThound: You have what sounds like an amazing Brazilian period drama in Vazante.
Janis Plotkin: Vazante is a real work of art and tells a transitional story of Brazil in the death throes of colonialism and the desperate efforts of a wealthy plantation owner to sire a child after his wife and baby die in childbirth. He marries his 12-year-old niece and the story is about what happens and it’s also a racial story of the plantation owner’s relationship to the slaves that work on his plantation. It’s shot in black and white and very naturalistic. Daniela Thomas, the director, was a protégée of the great Brazilian filmmaker Walter Salles (Central Station (1988), Motorcycle Diaries (2004)) and has been engaged in the best of Brazilian cinema and this is her first outing as a director. This is the kind of film that needs to be seen on a big screen.
Filmmaker Santiago Rizzo and most of the cast of Quest will attend the film’s three screenings at MVFF40. Quest is set in 1995 Berkeley and tells Rizzo’s own heart-breaking and life-affirming story of his relationship with a teacher who took such an interest him that Rizzo’s life took an completely unexpected course. Gregory Kasyan, above, plays Rizzo, his first lead role in a feature film. Image: courtesy MVFF
ARThound: Quest, produced by Santiago Rizzo does not have Latin American theme; it is not in Spanish; and he is living in the US. Why is it in this series?
Janis Plotkin: We like to include films that are produced in the U.S. that are somehow relevant to Latinos’ experiences here. Last year, we screened Rodrigo Reyes’ Lupe Under the Sun, which was set in Modesto and used migrant workers to tell a story about life in the fields of the Central Valley. Quest is a new American indie film by Los Angeles-based Santiago Rizzo that is set in Berkeley in 1995. Rizzo is Argentinean. He was raised in Berkeley and went to Berkeley Middle School. This film tells his own story and the story of a teacher who mentored him and basically saved his life, enabling him as a high school student who was fast on his way jail to instead becoming a such a good student that he got into Stanford. When he graduated from Stanford, he went on to become a very successful hedge fund manager. He made a commitment to himself and to his teacher to tell the story. This Bay Area set film is the end result. I was very moved by all aspects of it. Rizzo and most of the cast will attend and that will make for a very exciting program.
ARThound: Stepping outside of ¡Viva El Cine!, what are the highlights of MVFF40?
Janis Plotkin: MVFF is operating on all cylinders: it has its upper crust strata of big films that are going to be presented in 2017-18 but it’s got this depth of inquiry that’s going on with its Mind the Gap program which looks at the intersection of women in film and women in tech and compares the experience of female directors to those of leaders in tech. To me, that’s spectacular and very important.
In terms of films, Guillermo del Toro’s film, The Shape of Water, just won the Golden Lion at Venice and should be a huge winner at the Oscars. On the big picture level, this is the one to see—the quality of his film-making and humor which is so satirical about the Cold War era, CIA operations and politics. There’s also the whole magical aspect of a creature that a deaf woman falls in love with and their relationship, so it’s a love story. It’s very special.
MVFF40 details:
MVFF 40 runs October 5-15, 2017. Main venues this year include: CinéArts@Sequoia (Mill Valley), Christopher B. Smith Rafael Film Center (San Rafael), Lark Theatre (Larkspur), and Cinema Corte Madera.
¡Viva El Cine! programming
General Public tickets during the festival available online (with convenience fees of $3.75 per order) or in person (no fee) at Smith Rafael Film Center Box Office (1114 Fourth Street, San Rafael) or Mill Valley Chamber of Commerce, 85 Throckmorton Ave.) Tickets will be available 1 hour before the first screening of the day to 15 minutes after the last show starts. Rush tickets: rush line forms outside each venue roughly 1 hour before show time. Rush tickets are sold on a first come, first sold basis roughly 15 minutes before show time. Patrons have a 90% chance of getting into a show by using the rush line.
Lines during the festival: CFI (California Film Institute) Passholders get first dibs in lines in order of their pass status. Premier Patron, Director’s Circle, Gold Star. Non-pass holding CFI members and general public enter the theaters last.
The 38th Mill Valley Film Festival starts tonight and runs through October 18─here are ARThound’s favs
The Indigo Bunting, a small songbird in the Cardinal family, sings with gusto. The male is all blue and looks like a slice of sky with wings. The plight of songbirds is the subject of Su Rynard’s documentary, “The Messenger,” which screens twice at the 38th Mill Valley Film Festival. Gorgeously photographed, with stunning super slo-mo shots of birds in flight and plenty of exquisite melodies, this thoughtful film celebrates these glorious magicians and explores their rapidly shrinking global populations, calling for drastic action to save them. image: MVFF
The 38th Mill Valley Film Festival (MVFF38) is upon us─it kicks off this evening with two opening night films─Tom Hopper’s The Danish Girl and Tom McCarthy’s Spotlight─ and an always opulent gala afterwards at Marin Country Mart. The festival runs full force (11AM to 10PM) for the next 10 days at several Marin venues, all within close range of Sonoma County.
Even with the catalog in hand, a 60 pager, redesigned to make it easier to figure out, it takes time and planning to decide which of the 170+ films and special programs to attend. Long-time programmers Zoë Elton, Janis Plotkin and Karen Davis are so tuned in to our North Bay tastes, every film is a de facto good choice but I’ll point to some standouts.
I have a soft spot for world cinema that delivers a great story (the quirkier the better) and takes me to a (beautifully-filmed) place I’ve never been. I also love documentaries that expose and inspire. There are always a handful of films from Cannes and some that represent foreign language Oscar nominees. As for the tributes and special programs, if you have the time, go to as many as possible. Every special program I’ve attended at this festival has been well worth the extra money and I’ve been inspired to do wonderful things as a result. In 2012, after seeing Luc Besson’s amazing bio-pic, The Lady, and hearing guest Michelle Yeoh interviewed about playing Burmese activist, Aung San Suu Kyi, I visited Myanmar for two weeks and experienced it on the brink of its transformation. I got involved with supporting a school and I visited Suu Kyi’s family home in a posh suburb of Yangon─it was surrounded a high wall─and left flowers in tribute.
These are my recommendations for this year’s not-to-miss films and events─
Embrace of the Serpent:
Ciro Guerra’s “Embrace of the Serpent,” won top prize at Cannes’ Directors’ Fortnight and is Columbia’s submission to foreign-language category for the Academy Awards. Image: MVFF
Thirty-four year-old Columbian director Ciro Guerra is no stranger to Cannes. His 2009 drama The Wind Journeys, which competed in the Uncertain Regard category, was filmed in some 80 locations all over Columbia and tracked a musician’s restorative journey to return an accordion. His Embrace of the Serpent took this year’s Directors’ Fortnight prize at Cannes which is the top Art Cinema prize and it’s Columbia’s submission to foreign-language Oscar category. Rich is the only way to describe the rare Amazonian languages you’ll hear and the exquisite black and white photography of fabled Amazonian landscapes. The story unfolds from point of view of European explorer and a Shaman who work over the course of some 40 years to search for a sacred healing plant. The thoughtful film delivers a fairly comprehensive critique of the destruction of indigenous cultures at the hands of white invaders. Cast member Brionne Davis in attendance. (Ciro Guerra, Columbia, Venezuela, Argentina, 2015, 125 min)
Golden Kingdom:
“Golden Kingdom” is American filmmaker Brian Perkins’ first feature film and it has its US premiere at the 38th Mill Valley Film Festival. Image: courtesy: Brian Perkins
The first feature film shot in Myanmar and a first feature for it its director, Brian Perkins, too, Golden Kingdom is a prescient widow into the culture of this remote fabled land. This is the story of four young boy monks, all orphans (played by non-professional actors), who are left alone in a monastery in Shan State in Northeast Myanmar when their elderly head monk receives a letter and takes off on a journey. The film cleverly uses the Buddhist motif of pursuit of enlightenment and knowledge and traditional Burmese storytelling to explore the unknown and overwhelming new world the boys encounter as they decide to leave and venture out into the countryside, only to encounter a land that is still engaged in remnants of a violent separatist uprising. (Brian Perkins, US, 2015, 103 min) in Burmese (10/13 5PM; 10/15 2PM Sequoia 1)
Rams:
In Grímur Hákonarson’s “Rams,” two peculiar brothers in a small Icelandic farming community, who haven’t spoken in 40 years, are forced to come together in order to save what’s dearest to them – their sheep. Image: MVFF
When’s the last time you saw a film from Iceland or heard their language, Íslenska (Icelandic), spoken? Grímur Hákonarson’s Rams, winner of the Uncertain Regard Prize at Cannes, weaves the story of two brothers, both single and getting on in years, who compete fiercely each year for valley-wide recognition for having the best ram. They haven’t spoken in 40 years but are forced to come together in order to save what’s dearest to their hearts—their sheep. Shot in remote lush valleys of Iceland, with added color in the peculiar characters of the two brothers, the film is also infused with some Norse humor. (Grímur Hákonarson, Iceland, 2015, 93 min)
Mustang:
Five beautiful sisters on the verge of womanhood in an Anatolian village by the sea suffer from their guardians’ attempts to lock them away to protect their virginity. image: MVFF
We’ve all heard of young girls cloistered away to protect their virginity and make them marriage worthy by their tradition-bound families. Here’s Turkish female director Deniz Gamze Ergüven’s take on this. Mustang weaves a story of five young carefree Turkish girls, all orphans, who under the “protection” of their grandmother and uncle, are punished severely for being seen at the beach interacting with boys in what is interpreted as an indecent act by townspeople who report them. One moment they are free and then they are not. They are subjected to virginity tests, beaten and then essentially locked up until it is time to try and marry them off. They don’t go down without a fight though and thus the aptness of the title–these gorgeous young mustangs, with their amazing flowing hair, yearn for the very freedom that defines them. The filmmaker has crafted a potent critique of the suppression and demonization of female sexuality that is alive and well in Turkish society. Mustang (Deniz Gamze Ergüven, France, Germany, Turkey, 94 min)
The Messenger:
Filmmaker Su Rynard’s “The Messenger” screens twice at MVFF38 and she will be at both screenings. Making a documentary is a labor of love that often takes years to realize. To understand what was happening with global populations of songbirds, Rynard and her team followed the seasons and songbirds on three different continents. Along the way, she met many people who shared her concern for the plight of these glorious musicians of nature. image: Su Rynard
The message of Su Rynard’s riveting documentary, The Messenger, is urgent─songbirds are disappearing and many species are in serious decline. Changes in our world have brought utter catastrophe to theirs and soon they will be gone. Each year, twice a year, songbirds embark on a dangerous and difficult migratory journey. Every species has its own story to tell but the resounding commonality is that songbirds are in danger. Whose song will we hear when they are gone? The film is full of gorgeous shots of birds and clips of bird songs. Director Su Rynard in attendance. (Su Rynard, Canada, France, 2015, 90 min)
Son of Saul:
Géza Röhrig is Saul Auslander in Laszlo Nemes’ holocaust drama, “Son of Saul.” image: MVFF
First time director László Nemes’ Son of Saul (Saul Fia) is a Holocaust film that won the Grand Prix at this year’s Cannes Film Festival and everyone’s buzzing about. (Earlier this week, NPR’s Terry Gross devoted a full hour to the film, click here, to read or listen to her interview with the director.) The dark story is centered on Saul Auslander (Géza Röhrig), a Hungarian Jew Sonderkommando at Auschwitz-Birkenau who is forced to assist the Nazis with the killings of Jews and the gruesome disposal of bodies afterwards. In exchange, he is given some special privileges. When he spots a young boy’s body that he believes is his son, he sets out to give him a proper burial. The film captures the organization and chaos of the camps like no other film has and, at its core, it is the story of one man’s brave rebellion and humanity. The camera rarely leaves his face in which there are worlds of grief. The story is based on the actual testimonials, the so-called Scrolls of Auschwitz. (László Nemes, Hungary, 2015, 107 min) image: MVFF
Amnesia Centerpiece Presentation, October 13:
Crafted from events in his mother’s life, Swiss filmmaker Barbet Schroeder’s “Amnesia” stars German icon Marthe Keller as a German expat hiding out in idyllic Ibizia whose cage is rattled by a young German man who is her new neighbor and it’s not just because he falls in love with her. Image: MVFF
An interesting take on a Nazi story and moral culpability by Swiss director Barbet Schroeder. Amnesia is set in picturesque Ibizia and the story involves a younger man’s attraction to an older woman, who is hiding the fact that she is German, and much more, from him. The young DJ tries to crack this hard nut by peeling away her layers. Writer/director Barbet Schroeder in attendance (Barbet Schroeder, Switzerland, France, 2015 96 min)
At RUSH but keep your eyes out in Bay Area theaters for─
The Assassin (Nie Yinniang) (Hou Hsia-hsien, Taiwan, 2015, 105 min) spectacular Ibizan landscape (Thurs 10/8 6:16 PM; Sat 10/17 8:30 PM─both screenings at Rush)
Carol (Todd Haynes, 2015, 118 min) (Sun 10/11 5:30PM; Wed 10/14 4 PM──both screenings at Rush)
The Dressmaker (Jocelyn Moorhouse, Australia, 2015, 118 min) (10/16 7PM; 10/18 11AM─both screenings at Rush)
Details: MVFF38 is October 8-18, 2015. Screening venues include: Christopher B. Smith Rafael Film Center (1118 Fourth Street, San Rafael); Century Larkspur (500 Larkspur Landing Circle); Lark Theater (549 Magnolia Ave., Larkspur), Century Cinema (41 Tamal Vista Blvd, Corte Madera); CinéArts@Sequoia (25 Throckmorton Ave., Mill Valley), Throckmorton Theatre (142 Throckmorton Ave, Mill Valley) and other venues throughout the Bay Area.
Online ticket purchase is highly recommended (click here to be directed to film descriptions, each with a “Buy Ticket” option. (Online purchases have a $1.75 per film surcharge). There are also several box offices for in person purchases, offering the advantages of getting your tickets on the spot, no service fee, and picking up a hard copy of the catalogue—
SAN RAFAEL
Smith Rafael Film Center 1112 Fourth Street Sept.19-Oct 7, 4–8 pm (General Public)
MILL VALLEY
Mill Valley Chamber of Commerce & Visitor Center, 85 Throckmorton Ave, October 7, 11 am–3:00 pm; Oct 8-18, 10 am to 15 min after last show starts
Chamber of Commerce & Visitor Center 85 Throckmorton Ave October 1, 11:00 am–3:00 pm October 2–12, 10:00 am to 15 minutes after last show starts
The 34th Mill Valley Film Festival starts Thursday, October, 6, 2011—ARThound looks at the lineup
Glenn Close opens the acclaimed Mill Valley Film Festival this Thursday in “Albert Nobbs,” where she tackles the role of a woman who has skirted poverty in mid-19th Century Dublin by dressing and working as a man. Close is also the subject of a festival Tribute event on Saturday night. Photo: Patrick Redmond
In the world of film and film festivals, each season has its delights. While there may be as many as a dozen mini-fests set to launch in the Bay Area, October always belongs to the Mill Valley Film Festival (MVFF). Now 34 and considered in the top lists of festivals worldwide, its organizers and programmers —Mark Fishkin, Zoë Elton, Janis Plotkin (to name a few)—have hit on a winning formula. The 11 day festival will present some 120 films that include Academy Award hopefuls, tributes, emerging talents, documentaries, children’s programming, and world cinema. MVFF34 all takes place north of the Golden Gate at CinéArts@Sequoia, Mill Valley, and Christopher B, Smith Rafael Film Center, San Rafael, and other convenient Marin locales.
Singing the Praises of WOMEN—actresses, directors, thematically
“When we looked at what seemed strong, it became quite apparent at Cannes that there was an incredible wealth of excellent performances by women,” said Zoë Elton at the festival’s September press conference. “We have a lot of these Oscar worthy women in the festival.” The lineup includes films featuring Glenn Close, Michelle Yeoh, Tilda Swinton, Susan Sarandon, Ellen Barkin, Michelle Williams and emerging actresses like Elizabeth Olsen and Antonia Campbell-Hughes. Ironically, one of the two opening night films, Albert Nobbs, is a gender-bender drama starring Glenn Close as a woman who has skirted poverty in mid-19th Century Dublin by dressing and working as a man—a shy butler. Close, well-known for her performances in films such as Fatal Attractions (1987) and Dangerous Liaisons (1988) is attending the festival and is the subject of a special Tribute event on festival’s second night.
The programming also reflects a strong interest in the portrayal of women in various cultures. A number of films weave mythology and ritual with the complex contemporary reality of women’s lives. Moroccan director Mohamed Mouftakir won the Golden Stallion (top prize) at this year’s FESPACO (2011) for Pegasus, the story of a young Moroccan woman (Sadia Ladib) who is found on the streets, wounded and with no memories of her past–but with visions, flashbacks, evidence of trauma, and the belief that she has been impregnated by “The Lord of the Horse.” The fragmented plotline which echoes David Lynch and Iranian director Mohammad Rasolof (The White Meadows, 2009), weaves her journey to self with the experiences of her therapist, Dr. Zineb, who is treating her and on her own psychic quest. (Screens Friday and Sunday)
SEPCIAL DAYS: OPENING NIGHT
The festival opens Thursday evening with two films that are sure bets to be included among the top independent releases of 2011. Albert Nobbs, starring Glenn Close, who will attend, will be screened at the Christopher B. Smith Rafael Film Center at 7 p.m. Jeff Who Lives at Home will have its U.S. premiere at CinéArts@Sequoia in Mill Valley at 7 p.m. and 7:15 p.m. This film, which won’t hit the theatres until March 2012, stars Jason Segal and Ed Helms with Susan Sarandon and Judy Greer. It is the story of Jeff, a sympathetic 30-year old unemployed pot head who lives in his mother’s (Susan Sarandon) basement and rewatches Signs while nurturing anxiety about clues the universe is dropping about his destiny. The story all transpires over an afternoon of misadventures culminating in a fate-directed universe rattling ah-hah moment. Directors Jay and Mark Duplass will also be in attendance. After the screenings, the Opening Night Gala kicks off at the Mill Valley Community Center at 9 p.m. and goes until midnight.
CLOSING NIGHT
Closing Night will feature a special screening of The Artist starring Jean Dujardin (Cannes Best Actor), Bérénice Bejo, John Goodman, James Cromwell, Penelope Ann Miller and Missi Pyle. Directed by Michael Hazanavicius, who is expected to be in attendance, The Artist is an endearing black and white homage to the world of silent film that tells the story of a silent-film star resisting the transition to sound set in 1927 Hollywood. Just as his star wanes, another’s starlet’s rises who represents Hollywood’s new direction. After the film, the Closing Night Party will take place at Albert Park/San Rafael Community Center from 7-10 p.m.
Michelle Yeoh and David Thewlis in “The Lady,” which screens this Saturday at the 34th Mill Valley Film Festival. Yeoh plays Myanmar prodemocracy activist and Nobel laureate Aung San Suu Kyi and will be the focus of a special Spotlight program. Photo: Magali Bragard © 2011 EuropaCorp – Left Bank Pictures – France 2 Cinéma
TRIBUTE AND SPOTLIGHT EVENTS
In addition to honoring Glenn Close’s career, MVFF34 is celebrating actress Michelle Yeoh and West African director Gaston Kaboré. On Saturday, October 8 at 7:30 p.m. a Spotlight honoring Michelle Yeoh, one of Asia’s best known actresses, will take place at the Smith Rafael Film Center with a Q&A and screening of her new film, The Lady, already generating quite an Oscar buzz. The Lady is an intimate chronicle of the life of Myanmar prodemocracy activist and Nobel laureate Aung San Suu Kyi who spent 15 years under house arrest before her release last year. The Lady follows Suu Kyi starting in 1988 when she returned to Myanmar, formerly Burma, to care for her ailing mother and soon became iconic in the battle against the military dictatorship. The story focuses on her family life–her marriage to British academic Michael Aris and their two sons. Aris, an Oxford professor, strongly supported Suu Kyi’s decision to stay in Myanmar, raising their children and playing a pivotal role behind the scenes in campaigning for her Nobel Peace Prize. This decision, for the greater good, entailed years of separation and was a tremendous burden yet it was mutually agreed upon and seemed to cement their courageous love. Yeoh attends MVFF with Luc Besson, the film’s internationally acclaimed director and producer. (click here to watch trailer) After the program, the evening will continue with dinner at Frantoio Ristorante & Olive Oil Company in Mill Valley.
The first weekend of the Festival culminates on Sunday, October 9 at 4:30 p.m., with an MVFF Tribute to West African director Gaston Kaboré, honoring his remarkable career and contribution to African film including an onstage conversation and rare screening of his 1982 classic Wend Kuuni (God’s Gift), the endearing story of a mute boy found in the bush and adopted by Mossi villagers whose love and tenderness help restore his voice. Afterwards, the evening continues with dinner at Acqua Mill Valley, catered by Delicious! Catering.
ARThound’s top five:
Coriolanus: Actor Ralph Fiennes makes his directorial debut a modern adaptation of William Shakespeare’s war tragedy “Coriolanus” set in war-torn Bosnia with chilling urban battle scenes. Fiennes also stars as Caius Martius, or Coriolanus, a powerful general at odds with the City of Rome, a role that Fiennes played on the London stage. Coriolanus is a riveting drama about the relationship of authority, power, and the emotions that drive them and should play well reconfigured in the hotbed of the Balkans. Martius meets his old enemy Tullus Aufidius (a very macho Gerard Butler) on the battlefield and returns to Rome as a hero. Reveling in his triumph, he is elected to the governing consul but is soon opposed by the citizenry. His anger at the public’s disfavor leads to his expulsion, and in desperation he turns to his sworn enemy Tullus, with whom he takes revenge on the city. Vanessa Redgrave is Coriolanus’s iron-willed mother and Jessica Chastain is his trophy wife. Directed by Ralph Fiennes (UK, 2011) (122 minutes). Screens: Friday, October 7, 2011 at 9 p.m. at Sequoia Theatre, 25 Throckmorton Street, Mill Valley and Saturday, October 8 at 7:30 p.m. at the Smith Rafael Film Center, 1118 Fourth Street, San Rafael, CA. Tickets: $13.50. www.mvff.org
Granito: How to Nail a Dictator: Documentary filmmaker Pamela Yates has passionately been involved in investigating genocide and war crimes for over 25 years. Her 1984 film, When the Mountains Tremble, made when she was just out of college, is one of the only documentary records of the brutal Guatemalan civil war between the U.S.-backed military junta and the indigenous peasant revolutionaries who were systematically killed in a scorched earth campaign. A few top generals, notably Efraín Ríos Montt and Kjell Eugenio Laugerud García, were behind that slaughter of an estimated 200,000 Mayan and the disappearance of another 40,000 indigenous persons and Ms. Yates interviewed these leaders in 1982. Granito tells the story of how some 25 years later, Yates was asked to join a team of forensic experts and lawyers and Mayan survivors in a human rights case against Guatemala’s former juntas and how her first film footage became the evidence that led to the indictment of Montt in Spain’s national courts for his attacks on Maya. The powerful and idealistic film uses the connected stories of five people─they are the “granito,” or tiny pieces of sand─whose destinies all collide around that distant Guatemalan war, to weave an epic tale of justice. Though somewhat narrowly focused, the film is monumental. It is also an inspirational look at the career of a brave filmmaker who has dedicated every ounce of her being to seeing that justice is served. (US, 2011, 104 min) Screens: Friday, October 7, 2011 at 6:30 p.m. at the Smith Rafael Film Center, 1118 Fourth Street, San Rafael, CA and Sunday, October 9, 2011 at 5:45 p.m. at the Sequoia Theatre, 25 Throckmorton Street, Mill Valley. Directors Pamela Yates and Paco de Onis will be present at both screening and will conduct a post-film discussion and Q & A. Tickets: $13.50. www.mvff.org
In Gao Xiongjie’s “The Butcher’s Wife,“ which has its North American premiere at the MVFF34, the struggle between a new-married Chinese couple about what they should expect from life is a tragic critique of China’s rapid modernization and the tremendous pressures it creates on those not living in urban areas. Image courtesy: MVFF
The Butcher’s Wife: North American Premiere (China, 2011, 119 min)(Mandarin with English subtitles) Epic in scale, this new drama tells the intimate story of a newly-married young couple in rural China facing big life decisions against the gripping backdrop of modernization that threatens to leave all but urban dwellers behind. Months have passed and Liang, a kind and simple butcher, and his wife Qiao have not consummated their marriage because she fears pregnancy will squash her dream of entering college and starting a new life in the city. She’s already failed the exam three times and feels intense pressure to start the life she imagines she will have. Lang can’t bear the situation and wants intimacy and, humiliated, sends his wife to stay with her mother. Qiao leaves for the big city to get her dream underway and it quickly turns into a nightmare. The fictional film, a parable for any rapidly modernizing society, draws us into the hard and fractured lives of a young couple, both unfulfilled and both with reasonable expectations, for which there seems to be no easy answer. Through its intimate portrayal of the aspirations and anguish of two individuals, the film asks us to consider what really matters most in this life and what it means when achieving that is not possible. (contains graphic images of pig slaughter) Directed by Gao Xiongjie. (China, 2011, 119 min)(Mandarin with English subtitles) Screens: Friday, October 7, 2011 at 8:30 p.m. at the Smith Rafael Film Center, 1118 Fourth Street, San Rafael, CA and Sunday, October 9, 2011 at 3:45 p.m. at the Sequoia Theatre, 25 Throckmorton Street, Mill Valley. Tickets: $13.50. www.mvff.org
Argentinean Director Paula Markovitch’s “The Prize” coaxes an emotionally rich performance from Paula Galinelli Hertzog, as Ceci, a 7 year-old girl on the run with her mother from Argentina’s repressive military regime. The film won the prestigious Silver Bear award for outstanding artistic achievement at the 61st Berlinale (Berlin International Film Festival). Image courtesy: MVFF
The Prize: Argentinean Paula Markovitch’s impressive autobiographical feature debut is about vivacious 7 year-old Cecilia, (Paula Galinelli Hertzog) who is asked to keep a big secret about her family but can’t possibly understand the implications of that secret. It’s the 1970’s and Ceci and her mom are living out of suitcases at a desolate and ramshackle abandoned beach town, hiding from Argentina’s repressive military and what will come to be called its “dirty war.” If asked, Ceci is instructed to tell people only that her mom is a housekeeper and her dad sells curtains. Ceci soons befriends her schoolmate, Lucia, but it becomes very difficult for her to particpate in activities like writing a school essay about her family and, when she does, she comes close to jeopardizing everything. Paula Galinelli Hertzog delivers an astounding performance as a young girl trying to understand what she can believe in the adult world and struggling to feel secure in the certitude of her mother’s love when everything else seems to be shifting. (Mexico/Germany/France/Poland, 2011) (103 minutes) In Spanish with English subtitles. Screens: Wednesday, October 12, 2011 at 8:30 p.m. at the Smith Rafael Film Center, 1118 Fourth Street, San Rafael, CA and Sunday, October 16, 2011 at 5:45 p.m. at the Sequoia Theatre, 25 Throckmorton Street, Mill Valley. Tickets: $13.50. www.mvff.org
Old laws clash with the modern world in Joshua’s Marston’s “The Forgiveness of Blood” staring Albanian actor Tristan Halilaj as 17 year-old Nic who is trapped inside his home in rural Albanian because his family is embroiled in a blood feud. Beautifully photographed on location by cinematographer Rob Hardy. Image courtesy MVFF.
The Forgiveness of Blood: A mesmerizing drama from Justin Marston, the producer of Maria Full of Grace (2004) shot entirely on location in rural Albania that explores that small Balkan country’s insular clan culture through the story of a teenage boy and his sister. When Mark (Refet Abazi) gets embroiled in a land rights squabble that escalates to his killing his neighbor, legal justice takes a backseat to Balkan oral code of the Kanun. This traditional Albanian law, pre-dating the 15th century, states that when a murder is committed, the family of the deceased are warranted to get retribution by taking the life of a male in the offending clan’s family. Mark goes into hiding but his 17 year-old son, Nik (Tristan Halilaj), is essentially doomed to indefinite confinement at home, the only place considered safe ground. Nic leaves his high school life of video games and flirting and becomes a volatile and stir-crazy prisoner at home while his resourceful 15-year-old sister, Rudina (Sindi Lacej), takes over her family’s bread delivery business but is soon knee deep in threats herself. As Nic feels increasing pressure to find a solution to this blood feud, his actions escalate such that his entire family is jeopardized. In Albanian with English subtitles, the film boldly contrasts the resurgence of antiquated traditions with the lives of young people in the country’s first post-totalitarian generation, whose bright future is put at risk by these practices. Directed by Joshua Marston (2011) (109 minutes) Screens: Thursday, October 13, 2011 at 4 p.m. and Saturday, October 15, 2011 at 12:15 p.m. at Sequoia Theatre, 25 Throckmorton Street, Mill Valley. Tickets: $13.50. www.mvff.org
Details: Presented by the California Film Institute, the 34th Mill Valley Film Festival runs October 6-16, 2011 at the CinéArts@Sequoia (25 Throckmorton Avenue, Mill Valley), Chrisopher B. Smith Rafael Film Center (1118 Fourth Street, San Rafael) and other venues. Tickets are $13.50 (CFI Members, $11), unless otherwise noted, and may be purchased online at mvff.com. Additional information: www.mvff.com or call 877.874.6833
ARThound 