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ICMF-FF5: Programmer's Thread

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St. Gloede
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#241

Post by St. Gloede »

Quick, odd note: 5 of the 6 most supported films were nominated by me (and I was considering nominating the 6th).
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#242

Post by beavis »

I think you're hitting that sweet spot of well reviewed art house movie, seen by a lot of us but not yet widely seen by the public at large... or you're long reviews with pictures are doing the trick!
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#243

Post by zzzorf »

I just pulled some data from the spreadsheet just to see how we are progressing in these early stages.

Currently of the 112 nominated movies, 39 have qualified.

Individual Slates Qualified/Nominated:
Animation 3/12
Art House: 12/29
Before Dawn: 8/22
Documentary: 5/17
LGBT: 3/15

Indie: 4/18
Euro: 16/44
Asia/Africa: 13/34
Latin America: 3/12

2 of the LatAm and LGBT are the same, thus putting their slates even lower. More will of course qualify down the months but hopefully this will help people prioritise their potential watches better.


Edit: It is funny how two of us decided to pull stats, though different ones, at about the same time from the spreadsheet.
Last edited by zzzorf on February 17th, 2021, 9:43 am, edited 1 time in total.
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#244

Post by beavis »

As I've been looking into Dan Sallitt's lists yesterday, I wanted to share his 2018 cinema top list here (at least he loves Classical Period too ;))

quote from: http://sallitt.blogspot.com/
WEDNESDAY, MARCH 13, 2019
2018 One-Week-Run Manhattan Premieres
I thought I was going to catch up with a few more 2018 films before making this list, but one day I looked around and the films were all gone from theaters. So here are my favorite films that played at least one week in Manhattan for the first time in 2018, in approximate order of preference:

1. The Day After (Hong Sang-soo, South Korea)
2. Classical Period (Ted Fendt, USA)
3. Western (Valeska Grisebach, Germany)
4. 24 Frames (Abbas Kiarostami, Iran)
5. The Grief of Others (Patrick Wang, USA)
6. Dim the Fluorescents (Daniel Warth, Canada)
7. Support the Girls (Andrew Bujalski, USA)
8. The Banishment (Andrey Zvyagintsev, Russia)
9. Ray Meets Helen (Alan Rudolph, USA)
10. Ismael's Ghosts (Arnaud Desplechin, France)
11. Mrs. Hyde (Serge Bozon, France)
12. Before We Vanish (Kiyoshi Kurosawa, Japan)
13. On Body and Soul (Ildikó Enyedi, Hungary)
14. Notes on an Appearance (Ricky D'Ambrose, USA)
15. Dovlatov (Alexey German Jr., Russia)
16. Rodin (Jacques Doillon, France)
Last edited by beavis on February 17th, 2021, 10:13 am, edited 1 time in total.
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#245

Post by St. Gloede »

Brilliant, thank you zzzorf! I was worried about calculating those as it seemed you had to scroll back and forth for every entry. How did you manage this so quickly?

Edit: Ah, it was a coincidence! That's incredible!
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#246

Post by beavis »

zzzorf wrote: February 17th, 2021, 9:41 am Indie: 4/18
I don't have the spreadsheet open at the moment, but I recall that there were two African movies labelled as Indie, which I think won't hold up... are there really 18 nominated Indie movies?? I need to look into this. Chances for Classical Period are getting dimmer now, so I have hopes for Dan Sallitt's Fourteen (yes, I really want to promote Sallitt today :))
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#247

Post by zzzorf »

St. Gloede wrote: February 17th, 2021, 9:45 am Brilliant, thank you zzzorf! I was worried about calculating those as it seemed you had to scroll back and forth for every entry. How did you manage this so quickly?
Didn't take me to long, only been working on them over the last hour (before the other stats dropped). Just copied pasted each qualified movie to my own spreadsheet and put them through counts. It should be easy to add a special count to the main spreadsheet but I didn't want to mess its current look up.
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#248

Post by St. Gloede »

I think This Is My Desire is a good choice for the Indie section as it is an example of the emerging independent Nigerian cinema (i.e. beyond Nolliwood) and is entirely in English.

Air Conditioner is in Portuguese though, so if we are going back to English Language Independents, it should be cut.
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#249

Post by St. Gloede »

zzzorf wrote: February 17th, 2021, 9:48 am
St. Gloede wrote: February 17th, 2021, 9:45 am Brilliant, thank you zzzorf! I was worried about calculating those as it seemed you had to scroll back and forth for every entry. How did you manage this so quickly?
Didn't take me to long, only been working on them over the last hour (before the other stats dropped). Just copied pasted each qualified movie to my own spreadsheet and put them through counts. It should be easy to add a special count to the main spreadsheet but I didn't want to mess its current look up.
Brilliant, hopefully, this will make it quicker to pull future information.
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#250

Post by zzzorf »

beavis wrote: February 17th, 2021, 9:45 am
zzzorf wrote: February 17th, 2021, 9:41 am Indie: 4/18
I don't have the spreadsheet open at the moment, but I recall that there were two African movies labelled as Indie, which I think won't hold up... are there really 18 nominated Indie movies?? I need to look into this. Chances for Classical Period are getting dimmer now, so I have hopes for Dan Sallitt's Fourteen (yes, I really want to promote Sallitt today :))
Yes currently 18 nominated. There are 2 from Africa, 1 of which isn't in English. There are also 2 from Quebec.
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#251

Post by beavis »

sounds good!
I will keep a closer eye on that section because I feel not a lot of what to my eyes would be true "indie" films are nominated (a lot of docs for instance... yuck ;)) and it was the least satisfying in the program last edition. I just added "Light from Light" a 2019 film by Paul Harrill to my watchlist!
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#252

Post by beavis »

St. Gloede wrote: February 17th, 2021, 9:51 am I think This Is My Desire is a good choice for the Indie section as it is an example of the emerging independent Nigerian cinema (i.e. beyond Nolliwood) and is entirely in English.
I'm not quite up to date with Nigerian cinema, but what is called "Nollywood" is in essence independent cinema too right? Or is it actually comparable with anything like a studio system / state funded thing? But it being in English language does make it a potential contender, the section need not be limited to the USA
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#253

Post by St. Gloede »

beavis wrote: February 17th, 2021, 10:06 am
St. Gloede wrote: February 17th, 2021, 9:51 am I think This Is My Desire is a good choice for the Indie section as it is an example of the emerging independent Nigerian cinema (i.e. beyond Nollywood) and is entirely in English.
I'm not quite up to date with Nigerian cinema, but what is called "Nollywood" is in essence independent cinema too right? Or is it actually comparable with anything like a studio system / state funded thing? But it being in English language does make it a potential contender, the section need not be limited to the USA
I have not seen any Nollywood productions to be frank, but from what I have read it is comparable to the studio system in the US. In the past they were known for shoestring-budget films going straight to video, but today they have upped budgets and go for a cinema that is comparatively big-budget (sometimes called New Nollywood/New Nigerian Cinema, a change starting in the late 00s and changing the game entirely in the 2010s). Most of what they do seem to be comedies, with things like OMO Ghetto, The Wedding Party and The Wedding Party 2 topping their box office. The Wedding Party 2 trailer:



Looked at the trailers for the top-grossing films, similar production values and energy. Looks pretty similar to the type of high grossing US films I generally ignore.
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#254

Post by Fergenaprido »

beavis wrote: February 17th, 2021, 9:42 am As I've been looking into Dan Sallitt's lists yesterday, I wanted to share his 2018 cinema top list here (at least he loves Classical Period too ;))

quote from: http://sallitt.blogspot.com/
WEDNESDAY, MARCH 13, 2019
2018 One-Week-Run Manhattan Premieres
I thought I was going to catch up with a few more 2018 films before making this list, but one day I looked around and the films were all gone from theaters. So here are my favorite films that played at least one week in Manhattan for the first time in 2018, in approximate order of preference:

8. The Banishment (Andrey Zvyagintsev, Russia)
Is this right? That's a 2007 film. His latest film, Loveless, is from 2017, but could have been screened in 2018 for the first time.
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#255

Post by zzzorf »

I just played around with the spreadsheet to add the row to point out how many movies have qualified overall and from each particular pool. If this isn't wanted or looks wrong please feel free to return it to the previous version.
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#256

Post by Fergenaprido »

Looks fine zzzorf :)

Just to reiterate, though, just because a film has "qualified" doesn't mean it will automatically be in the festival. It just means that the more films that qualify, the more robust our pool of options will be when deciding the final slates. Films that don't qualify may still be included in some slates if there are fewer options available (though that doesn't look likely this year with all of the activity going on, which is great!).
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#257

Post by St. Gloede »

Love it, zzzorf! Not sure about the need of "red", but that's hardly a major complaint. This makes everything easier!
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#258

Post by zzzorf »

St. Gloede wrote: February 18th, 2021, 8:33 am Love it, zzzorf! Not sure about the need of "red", but that's hardly a major complaint. This makes everything easier!
I only did the red to differentiate the numbers, happy to change them if preferred
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#259

Post by xianjiro »

Just finished Promare and I'm exhausted. I can't decide: is it for or from Generation Meth? It's interesting for the animation though the story feels like so much of the manga/anime I've been exposed to: it's not bad, it's just not terribly original. I'm giving it a 2 for now though I imagine I'll be very supportive of its inclusion in the festival since it's hard to imagine a more immersive animation experience.

There were a couple other things I wondered about: were the two characters that "kiss" at the climax mostly male? And was there intention for this to be 3D? So much of the time it looked like that weird color thing that happens in 3D though I've never been able to enjoy the experience due to vision problems. It might also be that a normally-sighted person has a much different experience than I did. Who knows.

I'm too wiped out to contribute much more.
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#260

Post by xianjiro »

Has anyone else watched Hotel by the River/Gangbyeon hotel. Released in 2018, has 1100 ratings on IMDb and 110 checks. It's one of those "typical" Korean dramas set in restaurants and hotels and always seems to have a director or writer with some sort of problem fitting in. I thought it delivered a fairly decent emotional punch at the end even though it was slow to get going and I honestly thought "oh no, not another one of those Korean ... "

Can't say I'm over the moon for it or anything, but it certainly would fit an Asian slot if others were interested in it. It's quiet, understated, maybe a tad manipulative, but mostly thoughtful and introspective.

I'm not nominating it at this point - just curious what others think.
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#261

Post by xianjiro »

Just suffered through the holdover Braid, one part tries way too hard and another part disjointed mess meant to be horror. Gave it a 0 for our purposes. Two former programmers gave it a 1 and 2, so I'm guessing it has some appeal with the Just Before Dawn crowd and it's clearly meant to be horror (and fairly independent at that). Granted, if we're really desperate ... but otherwise the only reason I'd think of including it is if we were focusing at least some slots on women directors across all slates and didn't have a better Jb4D film from a woman.

Will say that, relatively speaking, production values were high/decent and the acting was fine though way over the top in spots, but the circuitous plotting just made it seem silly and then there are these silly sub-plots that we're supposed to decide if it was real or just a dream. A mélange, that's for sure, and maybe some will see promise in this young director, I guess it would come down to things like budget, timeliness, and how much they made, but with a 5.3 on IMDb, it's clearly not a missed hit. Interestingly, it seems to do better with young boys and older women, so maybe something resonates with that latter crowd.
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#262

Post by xianjiro »

Okay, this is going to be a note since I see we already have an open nomination by the same director (that I promise to get to this week). I'll wait until I've seen it before deciding if the following also deserves a nomination.

Just finished Pema Tseden's Balloon https://www.imdb.com/title/tt10703752/ and while not a masterpiece, it's a good, relatable film set in Tibet (as I said, we've already got one, so I'll wait until I see which I prefer). Balloon is subtle, quiet, and both easily relatable and uniquely Tibetan. While most reviews will give away much more of the plot that I'm comfortable doing, I will say it's a family drama. Their belief set is different, but most of us know people who are similarly 'conservative' though for different religious reasons. It's a fascinating look inside a Tibetan family of sheep farmers and while it provides subtle but undeniable commentary on the clash between Tibetan cultural tradition and Chinese societal modernity, it's not preachy or obnoxious.

It's not free of criticism though one point - color palette - might be a function of what I was able to watch and not entirely as intended but I'm not sure that's really true. I think the colorization is intentional and helps carry the emotional payload. The plot takes a bit to develop though when we get to the conflict, a lot more makes sense, still there is a side-plot that is only danced around obtusely involving a sister who's left to be a nun (Buddhist, just to be clear), but we can pretty much figure out what happened. Still, as a foreign viewer not well versed in the ins and outs of Tibetan culture, a tiny bit more information would have been appreciated.

Thought the acting was fine (not over-the-top or stilted) and didn't see any obvious problems with direction or editing. Pacing is slow for most modern, Western audiences but will probably be appreciated by a good set of our festival attendees. The soundtrack worked well, which for me usually means it didn't call way too much attention to itself nor was it used to provide emotions not delivered by the narrative structure.

As I've alluded, if we didn't already have a movie by Tseden under consideration, I would whole-heartedly recommend this one for inclusion in the Asian slate. If nothing else, it could also be considered next year as well.
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#263

Post by beavis »

just chiming in to say, I am reading your posts :)
don't have much to reply on them, since it is all so tentative (not relating to actively nominated films or films you actually want to nominate), but I do appreciate it!

but now I'm here, you did realize that these "another one of those Korean ..." films are probably all by the same director, Hong, who makes more or less the same movie multiple times a year? ;) We even had one in the last festival... wasn't the biggest success there... https://www.icheckmovies.com/movies/geu-hu/
I am interested in his work though, if only because most of them end up on the Cahiers list ;)
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#264

Post by xianjiro »

beavis wrote: February 22nd, 2021, 9:06 am but now I'm here, you did realize that these "another one of those Korean ..." films are probably all by the same director, Hong, who makes more or less the same movie multiple times a year? ;) We even had one in the last festival... wasn't the biggest success there... https://www.icheckmovies.com/movies/geu-hu/
I am interested in his work though, if only because most of them end up on the Cahiers list ;)
Yeah, I tried to figure out how much else of Hong's work I've seen and it's a good chunk of it. Is he really the only one making this stuff? Why is it eaten up by critics? I really thought (due to the volume) that there must have been other directors and this was something of South Korean film movement. :o But honestly, can't say I've thought THAT much about South Korean cinema other than the prevalence of this highly self-reflective work when clearly South Korea is putting out so much more that I'm not hearing about. I mean, what's last year's Old Boy or Will Someone Feed My Cat? or that one about the guy living on the island in the river in the middle of Seoul? Not to forget the horror films ...

The more I write the less I want to promote the Hong hotel film even if the hotel is called "Heimat" (a real place I might add).

Can't tell you how disappointed I was after finishing Balloon last night to see we already had one of his films. I really thought I'd "found" something! :P
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#265

Post by xianjiro »

Just finished STYX. It's on the bottom section of the spreadsheet and had some mixed support last year - a 3 and 1. I cut the difference and gave it a 2. It starts out fairly strong: a woman, who works as an emergency medical doctor in Germany, sets out on her 12m/36' yacht for Ascension Island ostensibly to visit a nature reserve set up by Darwin; but after a gale, she encounters an overloaded fishing vessel being used to transport Africans to an unspecified destination. While I applaud the filmmakers' choice of a strong female character to anchor (sorry, couldn't think of a better word) an adventure movie where we'd typically expect to find a man, the film's conflicted ending only points to a problem most are already aware of: people fleeing their homelands in rickety watercraft in an attempt to find opportunity in developed nations. So basically the film tries to make personal the news reports of refugee ships (usually in the Mediterranean though our setting if off the west coast of Africa, midway between the Canaries and Cape Verde).

It's not so much that it's a bad movie, it's just that its resolution leaves one feeling at least as helpless as after being exposed to news reports of a similar nature although now it feels slightly more personal since we have a character who is easy to identify with. My guess is much like the three of us who have rated the film - not to mention the other programmers who haven't watched it - the film would be met with a similar response if we chose to program it. In other words, I don't believe it would be a successful addition to this year's festival and am positive we can find better candidates. BTW, searching last year's thread didn't result in other's commenting on the film so I thought I would add yet another one of my "notes".
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#266

Post by xianjiro »

Seems I'm still working through the first things I was able to put on hold a month ago when I first agreed to be a programmer. I'm guessing neither Kingink or Beavis was thrilled enough with The Whistlers to move it up and I'm not going to disagree with that, at least not at this stage. Much like the ending set in the Garden by the Bay, I thought it was kinda cool, kinda cheesy, pretty much at the same time. My biggest gripe is the characters are underdeveloped and the plotting isn't particularly strong. However the flipside is it's well-crafted and all about the twists, but unlike a discussion that has been unfolding elsewhere on the forum, I'm absolutely all about the story first and foremost (not always, but like 90% of the time - I mean, what story is there in Koyaanisqatsi?) Since the only thing I was invested in is seeing how it would come out, I didn't care what happened to the characters and I had lots of questions especially about the two that make it to Singapore. I gave it a 2 and know some people would really enjoy it if we programmed it and others wouldn't be too impressed. I'd rather wait and keep it in my hand in case we need something for Europe. I wonder if the whole thing was really some sort of code much like the special language that gives the film it's English name. Do think the director is stepping up his game though.
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#267

Post by xianjiro »

Seems I'm still working through the first things I was able to put on hold a month ago when I first agreed to be a programmer. I'm guessing neither Kingink or Beavis was thrilled enough with The Whistlers to move it up and I'm not going to disagree with that, at least not at this stage. Much like the ending set in the Garden by the Bay, I thought it was kinda cool, kinda cheesy, pretty much at the same time. My biggest gripe is the characters are underdeveloped and the plotting isn't particularly strong. However the flipside is it's well-crafted and all about the twists, but unlike a discussion that has been unfolding elsewhere on the forum, I'm absolutely all about the story first and foremost (not always, but like 90% of the time - I mean, what story is there in Koyaanisqatsi?) Since the only thing I was invested in is seeing how it would come out, I didn't care what happened to the characters and I had lots of questions especially about the two that make it to Singapore. I gave it a 2 and know some people would really enjoy it if we programmed it and others wouldn't be too impressed. I'd rather wait and keep it in my hand in case we need something for Europe. I wonder if the whole thing was really some sort of code much like the special language that gives the film it's English name. Do think the director is stepping up his game though and will be worth checking out in the future.
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#268

Post by xianjiro »

filmbantha wrote: February 4th, 2021, 1:38 pm I watched I Think We're Alone Now last night which was an unusually restrained post-apocalyptic film about a lone survivor whose life is thrown into turmoil when he encounters another survivor. Peter Dinklage is on top form here as the misanthropic librarian who has comfortably settled into his new role of tending to the town in which he was once an outsider. The early scenes are reminiscent of I Am Legend (the novel) albeit without the hordes of undead creatures and there are lots of creative ideas on show but the film drifts a little off course towards the resolution as we learn more about the situation. Another good film that gets a 6/10 and a 1 from me.
Finished I Think We're Alone Now a little while ago. Not sure I've got much to add to this quote and I also gave it a 1 for our purposes. If we were selecting movies for a class discussion about how a given film could be improved (or what was wrong with it), I'd be all over this one. But we're not. The big twist (well really a pair of them) ends up just feeling like really poor writing or editing (or both). This is about missed opportunities for some of us, but I think average users will be just plain bored and maybe feel the last 30 minutes are a total WTF - not because we don't understand what happened, but if this is the whole point/purpose of the film - it's certainly the climax - then it should have been handled differently. It really feels like they made a different film, someone important said, we can't market it, you know what you need to do? Add ... and it got tacked on the end. I'm pretty sure that's NOT what happened, but it's my response to what I saw.
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#269

Post by xianjiro »

An accident resulted in someone else's hold being stuck in my stack. A misunderstanding meant it made it home with me. Anyway, some would call that a sign and sho'nuff ...

I'm nominating Blaze (2018) https://www.imdb.com/title/tt6443294 and will add it to the spreadsheet. Directed by Ethan Hawke and in competition at Sundance, this would fit very well into the Indie slate if we don't have other things we like better.
Spoiler
While not perfect, it's an engaging musical biopic about the songwriter Michael David Fuller who 'toured' as Blaze Foley. The music is country heavily influenced by blues and is a very significant part of the film along with the reasonably accurate telling of the story of his adult life and downhome storytelling that might be viewed as humorous.

Based on the book by Fuller/Foley's SO, I found this IMDb Trivia item interesting: "Ethan Hawke decided to make a biopic of Blaze Foley, a musician who was little known in his lifetime, because he found it important to make a point that it is not only the lives of celebrities that are worth showing on the screen." This is that and then some.

Mostly a character study, there is at least one moment of sublimity - the wedding scene which is shot in super slow motion and lacks the usual trappings (though the still doesn't do it justice) - along with the joys, sorrows, and mistakes that make a real life. It's got issues here and there: odd camera movement in a facial close up, sometimes the sound could be better, over-the-top cameos that either work or don't depending on one's POV, and plot points that go unexplained. But this can largely be overlooked and don't make the whole any less worthwhile.

While Hawke's and other names should have attracted a bit more attention, it's probably the fact this isn't a "feel happy" type of film that bothers some. Also, for those who can't step out of their comfort zone, the music is going to be unenjoyable because it's not mainstream. I'm sure the action set also found it boring while the romance crowd won't have their expectations met.

Still, all that aside, the acting's generally fitting, it's well-designed and shot. I'm sure some can find issues with the direction and editing, but that's the case with most movies. I also think it honors a difficult, but not unpleasant, man's memory in an authentic manner while still telling an interesting story. He drinks, uses drugs, chases women, but this is music, would one expect something different?
I believe this would be a good fit - especially since there are a number of music lover's on the forum. My current rating is a 2 since I can leave room for the possibility we'll find better, not because I think it would be a bad choice.
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#270

Post by filmbantha »

I really enjoyed reading through the stats that everyone shared last week, it’s great to see the progress we are making so early on in the year. I’m toying with nominating more films though I still have lots of potential nominations lined up to watch so will hold back for the time being, maybe my next batch of nominations will arrive sometime in March. I’ve watched quite a few of the nominations since my last post so here is my latest update:

Transit: 1 An intriguing mystery with an unusual setup that didn’t quite work for me. I spoke with Gloede about this during a recent podcast recording session for our favourite films of 2018 and I explained how it felt like a missed opportunity. I admire the attempt at realising an adaptation in an unconventional way and I can see why it has garnered praise from some viewers though I can’t include myself among its fans.

The Twentieth Century: 2 I can certainly see why Gloede loves this! It has the feel of a Guy Maddin film though it also brings an ample helping of comedy which is used to wonderful effect throughout. The quirky set designs ooze charm and the vibrant performances from the cast ensure that a film which delves into the world of politics is far from stuffy.

The Heiresses: 1 Aside from the commendable performances from the leads I found this to be a little dry and uneventful. Its depiction of a couple who are facing financial problems is shot well with some beautiful scenes, however, the narrative isn’t particularly engaging, and the film doesn’t make the most of exploring the interesting cross section of Paraguayan society it portrays.

This is Not a Burial, It’s a Resurrection: 2 The striking use of colour in this Lesothian tale of resistance showcases a bold and beautiful vision and a bright future for the Director. I was utterly mesmerised by the evocative narrator to the extent that I wish that the film had spent more time with him. The music and depiction of an unfamiliar culture was also fascinating. This is a strong contender for the festival although it didn’t quite impress me enough to be considered a favourite.

Song Without a Name: 2 This bleak Peruvian drama has an impressive setup though it takes on one to many stories and loses focus towards the latter part. The stark black and white cinematography is beautiful throughout and the lead actress delivers an emotional performance as her character enlists the support of a journalist to track down her stolen baby. It hits even harder knowing that the film is based on a true account, I just wish it had remained attached primarily to the main storyline rather than branching out into other subplots that were less captivating.

This Magnificent Cake: 1 The animation in this anthology film was delightful and the stories were (for the most part) pretty enjoyable. It ended quite abruptly though and the connections between the stories felt a little weak/forced in parts. A fun film that I was glad to have watched, however, I’m hoping we can find better for the animation section in the coming months.

I’m nearing the end of the nominated films that are readily available on my streaming services so if anyone has any nominated films they would like me to check out and are able to help me in locating then please feel free to PM me with details. I will happily watch any nominations that come my way, although documentaries and art house films are probably likely to be last in line :P

Also, thank you for everyone who has offered support for my nominations so far, I'm pleased to see the positive reception to 4x4, Brothers' Nest and Anything for Jackson over the past couple of weeks :cheers:
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filmbantha
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#271

Post by filmbantha »

Onderhond wrote: February 14th, 2021, 9:32 am I'm not actively part of this project but I noticed some worries about anime nominations, people might be interested in checking out Cocolors.
Thanks for the suggestion Onderhond. The film does look intriguing though it was a 2017 release and we are only considering films from 2018 and onwards for this year's festival.
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#272

Post by Onderhond »

xianjiro wrote: February 19th, 2021, 5:48 am Just finished Promare and I'm exhausted. I can't decide: is it for or from Generation Meth? It's interesting for the animation though the story feels like so much of the manga/anime I've been exposed to: it's not bad, it's just not terribly original. I'm giving it a 2 for now though I imagine I'll be very supportive of its inclusion in the festival since it's hard to imagine a more immersive animation experience.
There's a 4D version .... :D
filmbantha wrote: February 26th, 2021, 3:29 pm Thanks for the suggestion Onderhond. The film does look intriguing though it was a 2017 release and we are only considering films from 2018 and onwards for this year's festival.
Ah, oops. It just saw a home release last year I think, but no worries :)
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#273

Post by zzzorf »

OK let's play catch-up on my recent watches again:

A Tale of Three Sisters (2019) - This one took a while to get going but as the story progressed the more intrigued I got with what was happening. I think some loose ends were left open but overall I was quite happy with the direction the movie took. 7/10 and 2 in the spreadsheet.

Anything for Jackson (2020) - This was rather enjoyable and would be a good fit in the Just Before Dawn section. The ending lost me a little but still a decent watch 7/10 and a 2 again.


And a couple more nominations for the weaker pools:

Judy & Punch (2019) - I promised some Australian movies for the indie section so about time I delivered. This movie puts the Punch & Judy puppet show and transform it into the realm of fairy tales. A little bit Black Comedy that makes for an interesting idea.

Our Blood Is Wine (2018) - A documentary that takes a look at the traditional wine making methods of Georgia. Even though I'm not that interested in wine this was still an interesting look at how wine was such an ingrained part of Georgian history.


So I'm running out of nomination room and am slightly regretting going so thick and fast with my first bunch of nominations (something to learn for next year if I'm involved again). Though it is probably for the best as my focus in March shifts a little so I won't be spending as much time focusing on the last few years. I still have movies lined up so I'm not going anywhere I may slow down a bit. My potential nominations list is a bit sketchy at the moment as I haven't been updating it properly so I will work on that now if anyone wants to take a look at anything for their own potential nominations.
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#274

Post by beavis »

Judy & Punch sounds like something I would like. Also don't worry about slowing down, I have been slow for two months now. Next month I'm doing the female director challenge however, and I'm fitting as much possible ICMFFF titles in there as possible!! this one is a good candidate for it too. I'm starting to lose contact with (and miss) recent cinema ;)
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#275

Post by zzzorf »

beavis wrote: February 27th, 2021, 10:07 pm Judy & Punch sounds like something I would like. Also don't worry about slowing down, I have been slow for two months now. Next month I'm doing the female director challenge however, and I'm fitting as much possible ICMFFF titles in there as possible!! this one is a good candidate for it too. I'm starting to lose contact with (and miss) recent cinema ;)
Yeah I do a little in the Female-Directed challenge but my focus for March is on Letterboxd. This is my 4th year involved in their "March Around the World Challenge", basically our "Conquering the World" challenge. 30 new-to-me movies from 30 different countries. I have a few ICMF movies lined up for it but the majority will be from ineligible years (a chance to maybe move up the ranks again with some official checks that I haven't done much of lately).

As to the female-challenge both of mine this time around fit the challenge and at least 5 others do as well so if you get your hands on them you at least have a small head start. :D
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#276

Post by St. Gloede »

Really happy you liked This is Not a Burial, It’s a Resurrection and The Twentieth Century, Filmbantha. The latter was actually Beavis' nomination btw, though ironically (is it ironic?) it is my favourite of all the nominees so far.

Great to see A Tale of Three Sisters get a +2 as well.
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#277

Post by zzzorf »

OK my 2 lists have been fully updated so I thought I would repost them for those that forgot where they were.

iCM list of all nominated movies: https://beta.icheckmovies.com/lists/380 ... ominations

IMDb list of my potential nominees, mixed of seen movies and potential watches: https://www.imdb.com/list/ls084726496/
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#278

Post by xianjiro »

zzzorf wrote: February 27th, 2021, 9:58 pm Our Blood Is Wine (2018) - A documentary that takes a look at the traditional wine making methods of Georgia. Even though I'm not that interested in wine this was still an interesting look at how wine was such an ingrained part of Georgian history.
I actually got this for a different reason but haven't watched it yet. If it's well-done, I'll be happy to nominate it so you can keep space for another title. ;) I'll try to watch it after Jinpa.
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#279

Post by zzzorf »

xianjiro wrote: February 28th, 2021, 4:37 am
zzzorf wrote: February 27th, 2021, 9:58 pm Our Blood Is Wine (2018) - A documentary that takes a look at the traditional wine making methods of Georgia. Even though I'm not that interested in wine this was still an interesting look at how wine was such an ingrained part of Georgian history.
I actually got this for a different reason but haven't watched it yet. If it's well-done, I'll be happy to nominate it so you can keep space for another title. ;) I'll try to watch it after Jinpa.
I've already nominated it so it is up. I've still got a handful of nomination spots if something great comes up so I'm all good.
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#280

Post by xianjiro »

zzzorf wrote: January 31st, 2021, 9:22 pm Here are the two animated movies I was looking at that I deem may be to family-orientated if anyone wanted to check them out. I am happy to nominate them if they gain support but only if they get that support for I'm not overly certain they are what we are after.

Red Shoes and the Seven Dwarfs (2019) - https://www.imdb.com/title/tt4429160/ A Korean film with a different take on the Snow White Fairy Tale.

[...]
Finished Red Shoes... a little while ago and don't have much to add. It's pretty to look at, provides a different take, etc but the animation alone doesn't make it worthy of attention. While some will enjoy it (and may have already), I don't think it's what the ICMFFF crowd is really looking at when it comes to animation. I certainly wouldn't nominate it myself even though I thought it was an average 'family' film.
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