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ICMF-FF5: Programmer's Thread

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zzzorf
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#281

Post by zzzorf »

xianjiro wrote: March 1st, 2021, 9:46 am
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.
Yeah pretty much my thoughts and why I haven't nominated it myself. I also have the issue that I am a major Chloe Grace Moretz fan and have a tendency to rate her movies higher than I should so there is always a problem that I might be a little bit ignorant of its faults.
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#282

Post by beavis »

beavis wrote: January 11th, 2021, 10:20 am Time to keep tabs on what I am committing to see from those nominations!

Gloede
Air Conditioner (Ar Condicionado) 2020
Rage (Raiva) 2018
Red Moon Tide (Lúa vermella) 2020
The Bears' Famous Invasion of Sicily (La fameuse invasion des ours en Sicile) 2019
This Is My Desire (Eyimofe) 2020
Uppercase Print (Tipografic majuscul) 2020
Your Face (Ni de lian) 2018

zzzorf
A Whisker Away (Nakitai watashi wa neko wo kaburu) 2020
Fragtime 2019

Mutant Blast 2018
My Dad Is a Heel Wrestler (Papa wa warumono chanpion) 2018
The Soul Collector (8) 2019

Fergen
M 2018

fban
Dead Dicks 2019
I actually need to update that list a bit, with all the nominations that came after it... And besides A Whisker Away and Fragtime (made bold in the list above) I also watched Away from the nominated movies so far. I myself watched Liz and the Bluebird, and nominated it after I made this post.

But, having just made a watch-list for the coming month (always open to changes according to moods and inspirations), I wanted to chime in again to report that I plan for this month to watch the following nominated movies:

Los Silencios
Carmen y Lola
M
Talking About Trees
Cancion sin Nombre
Judy & Punch
Lua Vermella

and am also planning on watching the following movies, that I might nominate myself if I like them very much:

2018:
Una Vez la Noche
La Ciudad Oculta
Dhalinyaro
Alles ist Gut

2019:
Das Melancholische Madchen
Giraffe
Dreissig
Fourteen

2020:
Dick Johnson is Dead
Window Boy Would Also Like to Have a Submarine

So, you can at least expect a little more input from me this month!!
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#283

Post by xianjiro »

I agree Jinpa is well worth consideration and have given it a 3 for our purposes. It's amazing how similar and different it is to Balloon. Similar in style and sensibility, the slow pace, limited dialogue, acting style (as in, they don't really seem like actors, they inhabit their roles so well). Location shooting? Goes without mention. No studio needed, available, or wanted? Not sure my disc print was the best. The color was a lot more muted than Balloon for much of the movie, but whachagunnado? The mixing of the two stories in Jinpa provides an interesting challenge to the viewer, just like the two Jinpas, and of course the dream. At times the cultural sensibility is harder to grasp - well, at least for me, I've got a sense about Buddhism in general with a tiny understanding of what makes Tibetan Buddhism unique - I felt like I was missing something. If only I was more tuned in to the culture.

I definitely see this as a Chinese Western in the vein of how the Mexican border looks to people from NYC or the Midwest. It's dusty. Vengeance is afoot. The land feels lawless, but there are rules and they ain't too hard to understand. The thing with The Driver and his beer ... lol. This is about the experience, so it works better for people who look for experience more than plot in their film. It's about the feeling, a remote Tibetan feeling. I sorta get the 'noir' component and Noir's also kind of lost on me, but that's my disconnect with the Noir genre, not this film. But there is a darkness, about wild places, where men in leather, shades, and hair that hasn't been washed in a week ride a lorry into the middle of nowhere and meet a man with the same name. Oh, it's fun to let the mind wander over the experience, that's for certain.

Balloon was much more narrative and had a soft commentary about Tibet's relationship with China. The social commentary in JInpa is different: it's about life in the back of the beyond - you know what to expect if you've seen a couple dozen Westerns, complete with flirty barmaid/waitress, though there's a particular Tibetan twist to the ending that's Western and not. (Again, the experience.) Personally, I preferred the narrative, plot-driven nature of Balloon, but that's my preference. I think either (or both) make a great addition to the festival though I'd need a good reason to want to program them both this year. (Suggest we keep Balloon available for next year. Would formally nominating it help that process? I'm happy to do that. Not sure how else to remember for 10 months.)

So yes to Jinpa. Hold Balloon for next year.
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#284

Post by filmbantha »

I watched Judy & Punch at the weekend and thoroughly enjoyed it. It feels eerily similar in tone to the morbid fairy tales that Tim Burton used to make in the 90s (complete with Danny Elfman like score) although it has a charm all of its own. The enchanting set designs and striking puppets work well alongside the colourful performances of Mia Wasikowska and Damon Herriman as the titular characters. Herriman in particular seems perfectly suited to playing a pantomime villain, he always puts forth an engaging turn (I really enjoyed him in 100 Bloody Acres and The Nightingale) and I hope this will lead to him getting more meatier roles in the future. A fine film and one that I would be happy to see in the festival, it gets a 2 from me.

Seeing as we are on to March now, here are my ICMFF stats for Feb:

Potential Nominations watched in Feb: 19
Best Potential Nominations: A Ghost Waits, We the Animals, Queen of Hearts, Adoration, So Long My Son, Saint Maud
Nominations watched in Feb: 11
Best Nomination Watched: A Sun (3) - This gripping crime saga has to make it in the festival, I hope others will seek it out. It's available on Netflix in the UK so may well be readily available in other locations too.
Total Festival Nominations watched so far: 37
Spotlight on one of my nominations that has yet to be seen by another programmer: Leap of Faith: William Friedkin on The Exorcist
This is a remarkably compelling documentary about the work of Friedkin on his horror masterpiece. The insightful interview at the heart of the film delves into all manner of unusual anecdotes about the film-making process and provides us with a glimpse into how a master craftsman works. Whether you are enamoured by The Exorcist or not, anyone who is passionate about films will find a lot to love in this sublime documentary.

As an aside, I watched a very unusual Japanese animated film last night and I can't decide if it would be a good fit for the festival or not. I think you will probably be able to tell from the trailer if it is something you would enjoy, I rented it on Amazon for only 99p so if anyone fancies a bizarre trip into a disturbing nightmare I would love to hear others thoughts on Violence Voyager: https://www.youtube.com/watch?v=9QEzJv8Y4RI
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#285

Post by filmbantha »

zzzorf wrote: February 27th, 2021, 11:23 pm 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/
I spotted Our House on your list and watched that only last week. I thought it was a good film and would support it although I have actually nominated the Director's subsequent film, Come True, for the festival! I'm hoping that if you gave Our House a 3 you will be similarly enamoured by Come True as in my eyes its a huge step up and features more of the nightmarish techno horror that we saw in Our House.

Anthony Scott Burns has said that his work on Our House was taken out of his hands and drastically altered, so much so that the planned soundtrack with Electric Youth (most famous for their work on the Drive soundtrack) was pulled by the band who were unhappy with the changes made. Luckily Burns got free reign to create his brilliant vision on Come True and teamed up with Electric Youth again in what turned out to be a very successful partnership this time round. Come True is being released on Blu-Ray/VOD in a month's time in the UK (I already have the blu-ray pre-ordered) and a quick search indicates it hits Australia on the 17th March so I would love to hear your thoughts on this one if you get a chance to check it out.
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#286

Post by xianjiro »

St. Gloede wrote: January 31st, 2021, 8:49 am Unlike Beavis I'm actually very fond of Diao and I love Black Coal, Thin Ice - which I discovered solely due to ICMFF(F)1. Last year I watch his two first features, Uniform and Night Train - and the bleak, quiet mimimalism won me over again and again. That said, Wild Goose Lake disappointed me quite a bit.

While the cinematography is among the best of 2019, the action seemed unintentionally comical and the plot awkward. It took a strange middle path between the kind of silly-pretty minimalist action - which would have worked wonderfully - and the kind of dark, restrained and bleak crime drama he is used to - and it didn't jive for me. The beauty made the silliness seem so far more out of place - as if it was shouting it from a megaphone. Take the scene where someone is stabbed with an umbrella, it opens on the other side and catches his blood. Stunning, well done, insane moment - that just does not work (for me).

I gave it 6, so would add in a 1 rather than a 0.
I also watched The Wild Goose Lake and would probably give it the slightest 1. IDK, besides the imagery, the story is pretty basic and the characters uninteresting. All it's got going for it is the style. It's well-shot. Not sure I'd say it's edited well since it basically just goes on and on as we wait for some sort of resolution that's hard to care about. But are we supposed to be engaged or is this mostly an effort to see how slick the filmmaker's vision can be? Art for the sake of the artists, refining craft, that sort of thing.

It comes in a string of what I call "other China pictures". Once again setting up in a world that only is paid attention to by the state when it's either renewing or cleansing of it's social ills. It's the seamy underside that is featured in news broadcasts to show how committed and efficient the police are and an example of this is even included in the film. But rather than find the moments of beauty comical - and for me the line dance sequence with the lighted sports shoes stood out, actually lighting is the prime source of beauty throughout the entire film, with the cops seemingly coordinating their color choice in lighted footwear. It's odd, kitschy, fun and the most memorable part for me. It's a reminder that even in squalor, degeneracy, and grinding poverty, people still seek out light and beauty. But this beauty isn't enough to carry the film, say like Sorrentino's best work.

No, it just sort of is and my hope is we can find more engaging work from Asia/Africa.
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#287

Post by filmbantha »

I watched Fire Will Come last night and it gets a 1 from me. I can see why it may appeal to the arthouse crowd, particularly with the arresting shots that bookend the film, but apart from the striking visuals I felt that it had little else to offer.

I also watched The Painted Bird a few days ago which hasn't been nominated but Gloede was considering nominating. This would get a 2 from me, I didn't connect with it enough for me to nominate it myself but it's a powerful film. The episodic narrative was reminiscent of Cormac McCarthy's novels where characters trudge through all manner of strange and horrific encounters. An impressive film with a number of surprising appearances from renowned actors, although it did come close to overstaying its welcome as the story dragged on a little towards the end.
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#288

Post by xianjiro »

Watched Our Blood Is Wine and give it a (weak) 3. It's a fascinating look at Georgian culture through traditional wine making techniques that are vastly different to "modern" wine making. They mix in a bit of history, traditional polyphonic music, and travel in various regions of the country to set the documentary in both place and historical time. It's low budget, but generally doesn't feel cheap. This one is about the subject, not the filmmakers or their craft, but it's interesting and engaging.

There is a bit of weakness here and there and the end feels less coherent than the first three-quarters of the film - as if they didn't really know where they were going with the footage but knew they had to wrap things up. At 77 minutes, it's fairly short and easy to watch. So good scenery, lots of local characters though we don't really get to know anyone very intimately. This is the story of wine and the people are it's servants, not the other way around.

I liked it because it really got me rethinking what has become of wine and lest one think wine is only for the rich or snobs or whatever, this movie puts a different face on it. These are 'average' people who make wine using traditional methods that have survived millennia The biggest disappointment is the film doesn't come with a tasting flight.
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#289

Post by xianjiro »

Finished My Best Friend/Mi mejor amigo a bit ago. At this point, I'm giving it a 2 mostly because I am of different minds about which slate. I prefer it for LatAm. I'm not saying that it's inappropriate for LGBTQ, but it's not strong enough. The ending felt forced. I get that at least one of the two young men is at least questioning, but once again we're faced with bad boys using sexuality in a potentially predatory manner without much critique. I get the whole thing about fluidity, especially at their age, and for the most part, it's all handled quite maturely and with respect - this is why I tend to prefer it for LatAm. It's stronger as a film about growing up in Argentina in my opinion though I'm not really prepared to fight about it at this point: just trying to share my gut reaction that I'm having trouble really pinning down.

The actors do a fine job though some of the plot points, especially with the parents, feel a bit forced as the story progresses. There was also one real problem for me:
Spoiler
Caito takes a pill and can't be woken up the next morning. The adults don't really check that he's okay and they leave the kid "passed out" and get ready to go about their day away from the house. Earlier in the film they're like "don't leave him alone" but then everyone's going to leave this heavily sedated young man alone even though there's a great deal of hand-wringing over the pills. Doesn't seem like too much time has passed and Caito's awake, totally aware, and "normal" and doing something very questionable right before the film ends. Sorry, these drugs don't just disappear from one's system in a couple heartbeats. It's bullshit.
While I get where they were going, just seemed like an awfully sloppy way to get there, especially after the prior 75 minutes or so of fairly good storytelling.

It's beautifully shot and makes great use of the outdoor locations. Just think the writing could have been a wee bit tighter in the third act.
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#290

Post by Fergenaprido »

xianjiro wrote: March 6th, 2021, 8:04 am Finished My Best Friend/Mi mejor amigo a bit ago. At this point, I'm giving it a 2 mostly because I am of different minds about which slate. I prefer it for LatAm. I'm not saying that it's inappropriate for LGBTQ, but it's not strong enough. The ending felt forced. I get that at least one of the two young men is at least questioning, but once again we're faced with bad boys using sexuality in a potentially predatory manner without much critique. I get the whole thing about fluidity, especially at their age, and for the most part, it's all handled quite maturely and with respect - this is why I tend to prefer it for LatAm. It's stronger as a film about growing up in Argentina in my opinion though I'm not really prepared to fight about it at this point: just trying to share my gut reaction that I'm having trouble really pinning down.

The actors do a fine job though some of the plot points, especially with the parents, feel a bit forced as the story progresses. There was also one real problem for me:
Spoiler
Caito takes a pill and can't be woken up the next morning. The adults don't really check that he's okay and they leave the kid "passed out" and get ready to go about their day away from the house. Earlier in the film they're like "don't leave him alone" but then everyone's going to leave this heavily sedated young man alone even though there's a great deal of hand-wringing over the pills. Doesn't seem like too much time has passed and Caito's awake, totally aware, and "normal" and doing something very questionable right before the film ends. Sorry, these drugs don't just disappear from one's system in a couple heartbeats. It's bullshit.
While I get where they were going, just seemed like an awfully sloppy way to get there, especially after the prior 75 minutes or so of fairly good storytelling.

It's beautifully shot and makes great use of the outdoor locations. Just think the writing could have been a wee bit tighter in the third act.
Are you saying that you rate films differently depending on which slate they may be suitable for? Or am I misunderstanding something?

Either way, glad you liked the film. It's been almost a year since I saw the film, but I didn't feel like the bad boy was using his sexuality in a predatory manner; rather if felt like he was somewhat oblivious to the feelings of the other kid. I also don't really remember the scene that you have a problem with. Perhaps I need to rewatch it :D I do agree that it was beautifully shot, and it was nice to see an Argentinean film take place outside of Buenos Aires or the seaside. I'd like to visit that lake in Patagonia one day.
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#291

Post by xianjiro »

Fergenaprido wrote: March 6th, 2021, 8:10 am
xianjiro wrote: March 6th, 2021, 8:04 am Finished My Best Friend/Mi mejor amigo a bit ago. At this point, I'm giving it a 2 mostly because I am of different minds about which slate. I prefer it for LatAm. I'm not saying that it's inappropriate for LGBTQ, but it's not strong enough. The ending felt forced. I get that at least one of the two young men is at least questioning, but once again we're faced with bad boys using sexuality in a potentially predatory manner without much critique. I get the whole thing about fluidity, especially at their age, and for the most part, it's all handled quite maturely and with respect - this is why I tend to prefer it for LatAm. It's stronger as a film about growing up in Argentina in my opinion though I'm not really prepared to fight about it at this point: just trying to share my gut reaction that I'm having trouble really pinning down.

The actors do a fine job though some of the plot points, especially with the parents, feel a bit forced as the story progresses. There was also one real problem for me:
Spoiler
Caito takes a pill and can't be woken up the next morning. The adults don't really check that he's okay and they leave the kid "passed out" and get ready to go about their day away from the house. Earlier in the film they're like "don't leave him alone" but then everyone's going to leave this heavily sedated young man alone even though there's a great deal of hand-wringing over the pills. Doesn't seem like too much time has passed and Caito's awake, totally aware, and "normal" and doing something very questionable right before the film ends. Sorry, these drugs don't just disappear from one's system in a couple heartbeats. It's bullshit.
While I get where they were going, just seemed like an awfully sloppy way to get there, especially after the prior 75 minutes or so of fairly good storytelling.

It's beautifully shot and makes great use of the outdoor locations. Just think the writing could have been a wee bit tighter in the third act.
Are you saying that you rate films differently depending on which slate they may be suitable for? Or am I misunderstanding something?

Either way, glad you liked the film. It's been almost a year since I saw the film, but I didn't feel like the bad boy was using his sexuality in a predatory manner; rather if felt like he was somewhat oblivious to the feelings of the other kid. I also don't really remember the scene that you have a problem with. Perhaps I need to rewatch it :D I do agree that it was beautifully shot, and it was nice to see an Argentinean film take place outside of Buenos Aires or the seaside. I'd like to visit that lake in Patagonia one day.
I did start out thinking that I'd rate it a 3 for LatAm and 2 for LGBTQ so some of that indecision has carried over - but no, I generally don't rate differently on different slates, or at least haven't. But then again, we don't really have any way to capture such preferences outside of this narrative and not everyone is writing about their watches so :shrug: And I did manage to write myself into only voting as a 2 without qualification.

I was trying to figure out if they were near Tierra del Fuego or what - didn't check filming locations though. The first time Caito goes swimming, Lorenzo tells him that there are strong currents and the water's cold. I just assumed it was the ocean and not a large lake, but then again, I was wondering where in Argentina you're close enough to see the Andes and swim at the beach and yet there are forests and "normal" vegetation. Usually Patagonia is shown as pretty desolate - like a cold, arid sort of place but without the usual desert plants. But yeah, it was nice to see a gay positive film made outside of the Great Mate Gourd (or whatever one calls BA - like the Big Apple).

I think Caito's willingness to take Lorenzo's life savings is pretty predatory, but I do get where you're going with being oblivious though he does return the sentiments Lorenzo does share - and not in a "tu mamas guey" way. There is a sense of reciprocity of emotion, but, and it's probably one of things I haven't yet been able to get at, that bothers me. Without defining it more in the film, we're able to let our minds wander and it's not a stretch that our respective pasts will influence that interpretation. If the filmmaker's fine with us having a different response to such an integral part of the narrative, then it's okay, but if he's trying to make a point ... then it's not successful execution of the artistic vision. (As I writer, I'm very open to wildly differing interpretation of my fiction: I try to be clearer with non-fiction though.)

It's easy to harp too much on these couple of perceived deficiencies and leave other readers to think it's not worth checking out - it's also got a 1 - that's not my desire, but especially after that predatory beach "queer" film last year, I'm not eager to make a habit of programming such films. And for the record, while I did like Brokeback, I also saw Gyllenhaal's character as predatory as well - he wanted to be straight but have his fun "fishing" or "camping" or whatever he called it. So this is something I'm clearly a bit more sensitive to in "queer" films.
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#292

Post by Fergenaprido »

xianjiro wrote: March 6th, 2021, 8:55 am
Fergenaprido wrote: March 6th, 2021, 8:10 am
xianjiro wrote: March 6th, 2021, 8:04 am Finished My Best Friend/Mi mejor amigo a bit ago. At this point, I'm giving it a 2 mostly because I am of different minds about which slate. I prefer it for LatAm. I'm not saying that it's inappropriate for LGBTQ, but it's not strong enough. The ending felt forced. I get that at least one of the two young men is at least questioning, but once again we're faced with bad boys using sexuality in a potentially predatory manner without much critique. I get the whole thing about fluidity, especially at their age, and for the most part, it's all handled quite maturely and with respect - this is why I tend to prefer it for LatAm. It's stronger as a film about growing up in Argentina in my opinion though I'm not really prepared to fight about it at this point: just trying to share my gut reaction that I'm having trouble really pinning down.

The actors do a fine job though some of the plot points, especially with the parents, feel a bit forced as the story progresses. There was also one real problem for me:
Spoiler
Caito takes a pill and can't be woken up the next morning. The adults don't really check that he's okay and they leave the kid "passed out" and get ready to go about their day away from the house. Earlier in the film they're like "don't leave him alone" but then everyone's going to leave this heavily sedated young man alone even though there's a great deal of hand-wringing over the pills. Doesn't seem like too much time has passed and Caito's awake, totally aware, and "normal" and doing something very questionable right before the film ends. Sorry, these drugs don't just disappear from one's system in a couple heartbeats. It's bullshit.
While I get where they were going, just seemed like an awfully sloppy way to get there, especially after the prior 75 minutes or so of fairly good storytelling.

It's beautifully shot and makes great use of the outdoor locations. Just think the writing could have been a wee bit tighter in the third act.
Are you saying that you rate films differently depending on which slate they may be suitable for? Or am I misunderstanding something?

Either way, glad you liked the film. It's been almost a year since I saw the film, but I didn't feel like the bad boy was using his sexuality in a predatory manner; rather if felt like he was somewhat oblivious to the feelings of the other kid. I also don't really remember the scene that you have a problem with. Perhaps I need to rewatch it :D I do agree that it was beautifully shot, and it was nice to see an Argentinean film take place outside of Buenos Aires or the seaside. I'd like to visit that lake in Patagonia one day.
I did start out thinking that I'd rate it a 3 for LatAm and 2 for LGBTQ so some of that indecision has carried over - but no, I generally don't rate differently on different slates, or at least haven't. But then again, we don't really have any way to capture such preferences outside of this narrative and not everyone is writing about their watches so :shrug: And I did manage to write myself into only voting as a 2 without qualification.

I was trying to figure out if they were near Tierra del Fuego or what - didn't check filming locations though. The first time Caito goes swimming, Lorenzo tells him that there are strong currents and the water's cold. I just assumed it was the ocean and not a large lake, but then again, I was wondering where in Argentina you're close enough to see the Andes and swim at the beach and yet there are forests and "normal" vegetation. Usually Patagonia is shown as pretty desolate - like a cold, arid sort of place but without the usual desert plants. But yeah, it was nice to see a gay positive film made outside of the Great Mate Gourd (or whatever one calls BA - like the Big Apple).

I think Caito's willingness to take Lorenzo's life savings is pretty predatory, but I do get where you're going with being oblivious though he does return the sentiments Lorenzo does share - and not in a "tu mamas guey" way. There is a sense of reciprocity of emotion, but, and it's probably one of things I haven't yet been able to get at, that bothers me. Without defining it more in the film, we're able to let our minds wander and it's not a stretch that our respective pasts will influence that interpretation. If the filmmaker's fine with us having a different response to such an integral part of the narrative, then it's okay, but if he's trying to make a point ... then it's not successful execution of the artistic vision. (As I writer, I'm very open to wildly differing interpretation of my fiction: I try to be clearer with non-fiction though.)

It's easy to harp too much on these couple of perceived deficiencies and leave other readers to think it's not worth checking out - it's also got a 1 - that's not my desire, but especially after that predatory beach "queer" film last year, I'm not eager to make a habit of programming such films. And for the record, while I did like Brokeback, I also saw Gyllenhaal's character as predatory as well - he wanted to be straight but have his fun "fishing" or "camping" or whatever he called it. So this is something I'm clearly a bit more sensitive to in "queer" films.
I remember being slightly confused about the location too, though I knew it was somewhere in Patagonia. I looked it up after, either by searching for signs I saw in the film or by looking at the filming location listed on imdb. I'm 99% sure it takes place in Los Antiguos, a small town on a sizeable lake near the border with Chile.

Funny, I didn't think Caito returned Lorenzo's sentiments at all. I think they became friends again, but I never got the sense that he was romantically interested in Lorenzo nor that he was trying to lead him on. Some teasing/fooling around on their camping trip, maybe. I agree with the reciprocity of emotion to some extent, but it felt more amicable/filial than romantic/sexual. And to me, Lorenzo was unequivocally gay, not just questioning, but that's my interpretation, not necessarily the filmmaker's intent.

And for Brokeback, did you mean Ledger's character, not Gyllenhaal's? Jake was pretty damn gay for Heath, and wanted them to be together. Also, I make a distinction between "masculine guy taking advantage of feminine guy because he wants to be perceived as straight but still have his fun" and "masculine guy being involved with feminine guy but wanting to be perceived as straight because he's afraid he will be killed".
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#293

Post by xianjiro »

Fergenaprido wrote: March 6th, 2021, 6:00 pm
I remember being slightly confused about the location too, though I knew it was somewhere in Patagonia. I looked it up after, either by searching for signs I saw in the film or by looking at the filming location listed on imdb. I'm 99% sure it takes place in Los Antiguos, a small town on a sizeable lake near the border with Chile.

Funny, I didn't think Caito returned Lorenzo's sentiments at all. I think they became friends again, but I never got the sense that he was romantically interested in Lorenzo nor that he was trying to lead him on. Some teasing/fooling around on their camping trip, maybe. I agree with the reciprocity of emotion to some extent, but it felt more amicable/filial than romantic/sexual. And to me, Lorenzo was unequivocally gay, not just questioning, but that's my interpretation, not necessarily the filmmaker's intent.

And for Brokeback, did you mean Ledger's character, not Gyllenhaal's? Jake was pretty damn gay for Heath, and wanted them to be together. Also, I make a distinction between "masculine guy taking advantage of feminine guy because he wants to be perceived as straight but still have his fun" and "masculine guy being involved with feminine guy but wanting to be perceived as straight because he's afraid he will be killed".
Yeah, I think it said something about Los Antiguos on the father's work truck, but it wasn't a place name I knew. Still, was a great location for the movie.

No, on Brokeback, I thought Ledger was more gullible - he played follow the leader to some extent. Gullenhaal's character had a lot more intention and he intended not being perceived as weak (by being a homo) so he goes out and lands a "trophy bride", not to mention being attracted to her father's financial status. Ledger's character ended up with some girl he slept with back home - the specifics of Ledger's unfortunate female entanglement might be off since it's been a long time since I saw the film and I've also read Prioux's novela on which the movie is based. But it's the intentionality that is crucial to my perception of predatory or at least exploitive behavior.

But it's easy to accept that other interpretations of both movies are possible: I'm only mentioning Brokeback as a well-known reference point with which to compare My Best Friend. It's clear I have a certain bias that comes up with this stuff, but that's because of who I am, not because other people aren't getting the interpretation right - and on top of that, I'm much more equivocal when it comes to artistic interpretation than other people. I get that symbols are used to suggest this or that, but at the end of the piece, unless that artist is speaking about the work, it's still just a viewer's/reader's interpretation.

As I thought about My Best Friend more last night, I found that there were some other things that annoyed me a bit, especially in terms of the LGBTQ themes - for example, when the mother is getting ready to exit the house (and the movie), she asks Lorenzo about his sexual feelings. Of course this is all awkward and clumsy, but it just hangs there awkwardly, unresolved. She states twice that she and her husband are okay with the (implied) possibility, but are they really? Or is this just some shorthand to carry on the theme that the parents are "pretty cool". To work as an LGBTQ movie, for me, I'd have preferred this 'confrontation' to go someplace, if only in Lorenzo's mind. I guess I'd have liked some sort of epilogue although I tend to hate them for the most part since they feel tacked on, but I also don't have a good suggestion of how this could go - endings are so important, and often difficult. It's not that I object to the ending and it may be the best possible given all the moving parts, but as a coming of age flick, he doesn't really, we find him on the cusp of dealing with his sexuality. It's more of an awakening than a coming of age.

This could have been more appropriately entitled "My Only Friend". :lol:
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#294

Post by Fergenaprido »

xianjiro wrote: March 6th, 2021, 7:21 pm
Spoiler
Fergenaprido wrote: March 6th, 2021, 6:00 pm
I remember being slightly confused about the location too, though I knew it was somewhere in Patagonia. I looked it up after, either by searching for signs I saw in the film or by looking at the filming location listed on imdb. I'm 99% sure it takes place in Los Antiguos, a small town on a sizeable lake near the border with Chile.

Funny, I didn't think Caito returned Lorenzo's sentiments at all. I think they became friends again, but I never got the sense that he was romantically interested in Lorenzo nor that he was trying to lead him on. Some teasing/fooling around on their camping trip, maybe. I agree with the reciprocity of emotion to some extent, but it felt more amicable/filial than romantic/sexual. And to me, Lorenzo was unequivocally gay, not just questioning, but that's my interpretation, not necessarily the filmmaker's intent.

And for Brokeback, did you mean Ledger's character, not Gyllenhaal's? Jake was pretty damn gay for Heath, and wanted them to be together. Also, I make a distinction between "masculine guy taking advantage of feminine guy because he wants to be perceived as straight but still have his fun" and "masculine guy being involved with feminine guy but wanting to be perceived as straight because he's afraid he will be killed".
Yeah, I think it said something about Los Antiguos on the father's work truck, but it wasn't a place name I knew. Still, was a great location for the movie.

No, on Brokeback, I thought Ledger was more gullible - he played follow the leader to some extent. Gullenhaal's character had a lot more intention and he intended not being perceived as weak (by being a homo) so he goes out and lands a "trophy bride", not to mention being attracted to her father's financial status. Ledger's character ended up with some girl he slept with back home - the specifics of Ledger's unfortunate female entanglement might be off since it's been a long time since I saw the film and I've also read Prioux's novela on which the movie is based. But it's the intentionality that is crucial to my perception of predatory or at least exploitive behavior.

But it's easy to accept that other interpretations of both movies are possible: I'm only mentioning Brokeback as a well-known reference point with which to compare My Best Friend. It's clear I have a certain bias that comes up with this stuff, but that's because of who I am, not because other people aren't getting the interpretation right - and on top of that, I'm much more equivocal when it comes to artistic interpretation than other people. I get that symbols are used to suggest this or that, but at the end of the piece, unless that artist is speaking about the work, it's still just a viewer's/reader's interpretation.

As I thought about My Best Friend more last night, I found that there were some other things that annoyed me a bit, especially in terms of the LGBTQ themes - for example, when the mother is getting ready to exit the house (and the movie), she asks Lorenzo about his sexual feelings. Of course this is all awkward and clumsy, but it just hangs there awkwardly, unresolved. She states twice that she and her husband are okay with the (implied) possibility, but are they really? Or is this just some shorthand to carry on the theme that the parents are "pretty cool". To work as an LGBTQ movie, for me, I'd have preferred this 'confrontation' to go someplace, if only in Lorenzo's mind. I guess I'd have liked some sort of epilogue although I tend to hate them for the most part since they feel tacked on, but I also don't have a good suggestion of how this could go - endings are so important, and often difficult. It's not that I object to the ending and it may be the best possible given all the moving parts, but as a coming of age flick, he doesn't really, we find him on the cusp of dealing with his sexuality. It's more of an awakening than a coming of age.

This could have been more appropriately entitled "My Only Friend". :lol:
I definitely have a different take on both films :D

Brokeback: I wouldn't consider either one gullible, nor do I agree with your interpretation of the motivations of either character.

Best Friend: I liked that ending with his mother. I felt like she asked him delicately and that it wasn't about his sexual feelings, but more romantic feelings. But I'm also okay with awkward and clumsiness in these situations since they tend to be so in real life too. I do see it as a coming of age film, not necessarily coming out film. As a teenager, he learns to understand his feelings for his friend, how to address those feelings (well, sort of), and he takes on some decidedly adult responsibilities in caring for his friend and making sure he gets up and goes to work etc. At the end, I feel like he's more on solid ground with himself, and he's ready to step into the next chapter of his life.

Speaking of gay Argentinian films, what are your thoughts on Marco Berger? I just realized that somehow I overlooked nominating The Blond One (Un rubio) for the festival, so I'll be doing that. I also plan to see his Young Hunter (El cazador) and Lucas Santa Ana's Memories of a Teenager (Yo, adolescente) (he wrote Young Hunter) this year.
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#295

Post by xianjiro »

Fergenaprido wrote: March 7th, 2021, 1:10 am
Speaking of gay Argentinian films, what are your thoughts on Marco Berger? I just realized that somehow I overlooked nominating The Blond One (Un rubio) for the festival, so I'll be doing that. I also plan to see his Young Hunter (El cazador) and Lucas Santa Ana's (Yo, adolescente) (he wrote Young Hunter) this year.
The names mentioned don't ring any bells, but I've put Un rubio on hold and added Yo, adolescente to my Netflix watchlist. Don't have access to El cazador (yet). Unfortunately, I haven't put much effort into watching LGBTQ cinema - at some point we should talk again about the LGBTQ+ challenge combined list for an update - but you're much more up on queer cinema than I am. I'm always interested in leads though: just have to see if I can access it via the library or Netflix or potentially other grey sources.

In a month or so, I should prioritize movies that need watches and I can order via ILL, so if there's a particular film ANYBODY would like me to see, let me know, okay?
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#296

Post by Fergenaprido »

Cool, I'll keep that in mind. I'm probably not going to start really focusing on festival fare until DTC is over. I've slowed down how many films I watch a week, so I can't fit it all in now (along with the other games and polls on here that I participate in).

I have realized at the start of the year that I was watching too many films simply because I was "supposed to" have seen them already, and decided that was immaterial. So I've started prioritizing films based on whether I want to see them or not, and not about whether I "should have" already seen them or how many lists they're on. This may sound obvious, but I was really letting icm dictate what I watched for a while. I feel more in control again, which means there's been a marked uptick in the number of queer films I see each month (those most aren't on the cross-reference list or the BFI Flare one), and it's making me happy. I've also been acquiring more queer fare as a result, so if there is something you have trouble tracking down, I may be able to help you out.
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#297

Post by xianjiro »

Fergenaprido wrote: March 7th, 2021, 6:15 am Cool, I'll keep that in mind. I'm probably not going to start really focusing on festival fare until DTC is over. I've slowed down how many films I watch a week, so I can't fit it all in now (along with the other games and polls on here that I participate in).

I have realized at the start of the year that I was watching too many films simply because I was "supposed to" have seen them already, and decided that was immaterial. So I've started prioritizing films based on whether I want to see them or not, and not about whether I "should have" already seen them or how many lists they're on. This may sound obvious, but I was really letting icm dictate what I watched for a while. I feel more in control again, which means there's been a marked uptick in the number of queer films I see each month (those most aren't on the cross-reference list or the BFI Flare one), and it's making me happy. I've also been acquiring more queer fare as a result, so if there is something you have trouble tracking down, I may be able to help you out.
Do you know of any Best of 2010s list of queer film?
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#298

Post by Fergenaprido »

xianjiro wrote: March 8th, 2021, 3:00 am Do you know of any Best of 2010s list of queer film?
There's this one from i-D which I think is pretty good. I don't really seek out decade queer lists, as I'm more interested in all-time ones.

There's also this personal list on letterboxd from Erik Swallow, a user I've been following on icm for years. He also has queer decade lists for 2000s, 1990s, and pre-1990s.
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#299

Post by xianjiro »

Fergenaprido wrote: March 8th, 2021, 4:04 am
xianjiro wrote: March 8th, 2021, 3:00 am Do you know of any Best of 2010s list of queer film?
There's this one from i-D which I think is pretty good. I don't really seek out decade queer lists, as I'm more interested in all-time ones.

There's also this personal list on letterboxd from Erik Swallow, a user I've been following on icm for years. He also has queer decade lists for 2000s, 1990s, and pre-1990s.
cool :cheers: many thanks - it's kind of surprising, well, I expected that I'd have seen very little on such lists. Not the case. Lots of queer content in the mainstream now. But a few that I can track down. Even a couple that fall within our date range for this project. :thumbsup:
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#300

Post by xianjiro »

Finally got around to Hatsuoki/First Love (bottom part of spreadsheet). I liked it and will nominate it if there is other interest. Both Beavis and Mighty watched it last year though Beavis wasn't all that impressed from his ranking. I thought it was reasonably fun for a yakuza film and about time I ran across something that flips the tables on the Chinese martial arts films which so often use the Japanese as the foil for the hero/protagonist. While this one doesn't assign the same emotional overtones to the conflict, the yakuza are up against a tong/triad/whatever over some drugs.

The fight scenes were reasonably good (though I don't claim to be a connoisseur) and this could work in Just Before Dawn - maybe even a bit better than on the Asian slate. There is a narrative arc, but it's not especially moving or distracting from the action. Acting fits - some of the gangsters might seem a bit over-the-top, but then again, they aren't always shy and retiring, are they. The boxer has an interesting character arc eve if the outcome is predictable.

So, any others interested in an Asian action flick?
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#301

Post by filmbantha »

xianjiro wrote: March 12th, 2021, 7:15 am
So, any others interested in an Asian action flick?
I am! I have the blu-ray but haven't watched it yet. I only know of it by its English title and didn't realise it was on the bottom part of the list. I'll definitely give it a watch in the coming weeks and will post my thoughts here once I do.
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#302

Post by xianjiro »

filmbantha wrote: March 12th, 2021, 9:35 am
xianjiro wrote: March 12th, 2021, 7:15 am
So, any others interested in an Asian action flick?
I am! I have the blu-ray but haven't watched it yet. I only know of it by its English title and didn't realise it was on the bottom part of the list. I'll definitely give it a watch in the coming weeks and will post my thoughts here once I do.
After you do, we can decide if it's worth morning up. We already have so much to watch, it hardly seems worthwhile adding something no one else is interested in (at least from my point of view, but I don't wish to discourage others if they feel strongly about a film - I'm happy to give things a try!)

I'm not sure where you sit on information before watching, so
Spoiler
don't bring expectation of Miike's work and you'll be better off. While I don't pigeonhole Miike, I think some viewers like his more outlandish movies and are "disappointed" that this one is more straightforward. The violence is proportional to the story - we're talking about a yakauz-tong/triad/whatever gang battle with guns and swords, so of course there's gunna be blood. However, it felt measure and not a bit gratuitous to me and these aren't things I look for in my movies.
Until you have a chance to watch it then ...
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#303

Post by beavis »

As announced, this month I returned to scouting for the ICMFFF. I like to give you an update after the first half.

these are all the movies I watched that could be possible candidates:

Taking the horse to eat jalebis (2019) - 8.0
Casanovagen (2018) - 6.5
La ciudad oculta (2018) - 8.5
Lux Æterna (2019) - 7.5
Lúa vermella (2020) - 8.0 (nominated by Gloede) full support
Liminal (2020) - 7.5
Obscuro Barroco (2018) - 8.0
Los silencios (2018) - 7.5 (nominated by zzzorf) strong support
Canción sin nombre (2019) - 8.0 (nominated by kingink) full support
Una vez la noche (2018) - 5.0
Cemetery (2019) - 7.5
Giraffe (2019) - 7.0
Virndavani Vairagya (2018) - 8.0
Dreissig (2019) - 8.5
Fourteen (2019) - 8.0
Chico ventana también quisiera tener un submarino (2020) - 7.5
Ghost of the Golden Groves (2019) - 6.0
Talking About Trees (2019) - 7.5 (nominated by Fergenaprido) full support

Anything I rated an 8 or higher is under strong consideration for me to nominate, but I want to wait a bit longer with that, because I have a lot more potential candidates lined up, and especially for US Indie I want to see a lot more... before I give away all my spots to great Euro films that wouldn't fit anywhere else in the program ;)

That said, I am ready to add Fourteen immediately as my 21st nomination!

Image
https://www.imdb.com/title/tt9626278
https://www.icheckmovies.com/movies/fourteen-2019/

Combining the feeling of Rohmer and Hartley for narrative rhythms with the minimalist distancing of the Berlinger Schule directors and the "ooh, that is a way more adult attitude than we are used to from these quirky independent movies" temperament from Bujalski in a perfect mix. After now only having seen two of his movies, I can already say that Sallitt is an essential name for the Indie roster!!
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#304

Post by zzzorf »

Well since we are doing updates on our progress this month I guess I better do that too since I have actually did a bit more than I expected for this festival in my trip around the world over on Letterboxd. All the reviews are taken straight from my challenge reviews.

Truth and Justice I was pleasantly surprised by this movie, but then again maybe I shouldn't have been. I have had a history of liking these type of movies, a look at a family trying to make a go of it off the land and this was a really great example of that sub-genre. The misery this family went through was portrayed well by all the actors, definitely well worth the watch. 9/10 and a 3.

Away This was a very unique animation. Yeah the graphics aren't great but the idea is to let yourself be swept up in the sounds which is the true master of this movie. It really lets you immerse yourself in the movie and forget that not once is a word spoken. 7/10 and a 2.

Brothers' Nest While not reaching the critical acclaim of the first partnership of the brother's Jacobson (that being Kenny (2006)) I definitely enjoyed this one a lot more. You could tell the two were channelling their own past history growing up in their performances and their chemistry was something you can only get from their close relationship. The story itself was interesting and the slight turns were enough to keep interest flowing nicely. 8/10 and a 3.

The Awakening of the Ants This was a lovely simple movie, just a look at what life is like for a housewife who needs to make the choice of sacrificing her freedom for the question of another child. Nothing major happened, except for our housewife making up her mind, but it didn't need to as the movie was more about why she needed to make a decision to decide what she wanted to be going forward. While the setting was Costa Rica this movie easily translates over to most modern countries so could be understand in many places. A great way to kill 90 minutes. 7/10 and a 2

A Sun While America makes some great dramas the Hollywood system has a habit of picking some big moments and just over sensationalising the moment. The reactions from characters tend to be extreme and you are forced to remember that moment. So you can understand how much of a breath of fresh air a movie like A Sun was. Very big moments happened in this movie but instead of over the top reactions here they felt genuine, and then life went on. Add to that some on spot acting and you had a recipe for success. 10/10 and a 3
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#305

Post by Onderhond »

I've been completely baffled at the "sudden" popularity of A Sun. I'm glad for Mong-Hong Chung because he really deserves the international recognition, but it only strengthens my belief that it's pretty much a lottery when it comes to seeing your work recognized.
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#306

Post by beavis »

The Oscar nom for Colectiv probably will make this nomination of mine a bit less interesting for our festival...
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#307

Post by filmbantha »

Here is my latest update.

My Best Friend 0
This wasn't a bad film, I just found it fairly average and unremarkable. The lead gave a spirited performance although I don't think that was enough to encourage me to support this for the festival.

Antigone 1
Even though I knew nothing about the Greek tragedy this film is based upon it was still a relatively compelling watch. However, I found some of the changes in tone quite jarring; particularly the heavily edited cuts to music that chime with the modern take on the tragedy but feel out of place with the narrative. I also struggled to buy the complete ineptitude of the prison guards in a certain scene.

This is Not Berlin 2
A vibrant and lurid coming of age tale set in Mexico during the 80s with a sublime soundtrack. I really enjoyed this and could see it fitting in either the Latam or LGBTQ section if it gets enough support. Not quite a favourite but pretty damn close.

Away 1
This was an interesting film. It felt like I was watching someone play a video game or an extended cut sequence in a game. It's certainly impressive that this was created by one animator in his home studio. He has done incredibly well considering his limitations and there are moments of magic just not enough to make the film really shine.

Fragtime 1
Another unusual animation. I loved the concept although the short runtime meant that it wasn't fully explored or developed. A fun little film though not quite festival worthy in my eyes.

Clemency 2
Powerful stuff with some great performances from the leads. The only downside is that this felt eerily reminiscent of Dead Man Walking, whilst not quite reaching the lofty heights of that classic.

I note that our collective votes so far have already surpassed the total votes submitted by the programmer's during last year's prep so we are making great progress! I'm probably going to switch focus to work through some DTC noms over the next month or so but might squeeze the odd ICMFF contender in and will definitely return to the fray once DTC has concluded.

For others who are participating in the DTC challenge, I have nominated A Sun, Beavis has nominated Classical Period and Sol has nominated Brothers' Nest so there are at least 3 ICMFF DTC crossover films to consider so far. I have also watched Kler which is a DTC nomination that I am considering as a nomination for ICMFF. It's a borderline 2 or 3 from me and definitely worth a watch. I would love to hear other's thoughts on it if they decide to check it out.
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#308

Post by beavis »

I'm doing that challenge too... and also will try to check out more! ;)
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#309

Post by Fergenaprido »

Yeah, there a bunch of dtc noms that are also under consideration for icmff, so I anticipate doing a lot of "cross-watching" over the next 6 weeks.
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#310

Post by zzzorf »

I just got a little bored so I decided to make a PTP Collection for the Festival if anyone is in need of ways to find the movies nominated. https://passthepopcorn.me/collages.php?id=8678

To commemorate this I also added a new nomination to the indy/LGBT sections:
The Obituary of Tunde Johnson (2019) - An interesting time-loop (ala Groundhog Day) movie in which sees a Nigerian/American Teen relive the day he comes out only to be shot by police a few hours later.


And I have also managed another Nomination watch:
Liz and the Blue Bird (2018) While I'm not entirely sure if it was intentional (I don't think it was) this movie which was about friendships letting go screamed LGBT tendencies the entire time. From the way characters spoke to each other, to the constant lengthy shots of the skirt area things just kept seeming more than they were. Even without the undertone that might be my imagination more than the directors purpose this was still a good look at how a person can become dependent on a friend and will behave in a way to keep them, to the point of it maybe not being what's best for them. 6/10 and a 1
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#311

Post by xianjiro »

Watched In the Aisles tonight and am giving it a 3. Probably less sure of it than something like Jinpa or Balloon. It's a bit quirky, but then again, they use Forklift Driver Klaus as a 'training film', so ...

There is one scene that's more than a little creepy - the first time Christian visits someone's home - but otherwise I was interested in the characters and what happened to them (story). While the plot is not quite as important as the characters and their relationships, there is still forward movement that was compelling enough to keep one wondering where it was going to go.

While it's probably not for everyone, I think there would be enough interest to at least keep in in the early stages of slate selection. The acting's quite good and both the characters and setting/design are believable, at least to one completely unfamiliar with a German warehouse store off the Autobahn. Still, I felt like I saw a world so completely divorced from my own as to keep it interesting.
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#312

Post by beavis »

second half of March over and another 18 possible candidates watched, making it 36 total, including 7 nominations and 29 I wanted to check out!!

Ilha (2018) - 7.5
A Febre (2019) - 7.0
The Lost Okoroshi (2019) - 6.5
Mamá, mamá, mamá (2020) - 8.0
What We Left Unfinished (2019) - 7.0
Cat Sticks (2019) - 7.5
Egy nap (2018) - 7.5
Figlia mia (2018) - 7.0
Trote (2018) - 7.5
Los conductos (2020) - 7.0
Dhalinyaro (2018) - 7.5
Carmen y Lola (2018) - 7.0 (nominated by zzzorf, in doubt about no or weak support)
Judy & Punch (2019) - 7.0 (nominated by zzzorf, in doubt about weak or no support)
M (2018) - 7.5 (nominated by Fergenaprido, full support)
Cleaners (2019) - 6.5
Amiko (2018) - 7.0
Até o Fim (2020) - 7.5
Shakedown (2018) - 7.5

This set has a lower rating overall, I think this is mostly because I went for movies I expected the most from first and not because of being worn out form a certain type of movie (a lot of recent experimental art-house this month! that can get a little "abstract"... but I can take that). The only one I might consider for nomination myself is Mamá, mamá, mamá.... although... Dhalinyaro was very close to an 8 for me too , and being the first movie from Djibouti already makes it interesting enough to include in out program!! Cat Sticks might have quite a few admirers too, I think some or maybe all of you other programmers might like it, a lot even.

I'm doing the DtC challenge next month, so I'm not sure how much "scouting" I'm going to be doing in the nearest future. I still don't want to spend all my nomination-slots, because I want en need to find some more US-Indie to bring into the mix... but I just cant leave some of the best movies I found this month off the table. So in my following post I will nominate 4 more, to bring my total nominations to 25 out of a max of 30 movies.
Last edited by beavis on March 30th, 2021, 8:59 pm, edited 1 time in total.
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#313

Post by zzzorf »

I just watched Dhalinyaro myself and am on the borderline of nominating for the exact same reason as you.
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#314

Post by beavis »

First I want to recap all movies I have nominated. Since this year all of us decided to not do all of our nominating in our first post, but instead spread it out over time, I think it would be nice and useful if we each could do such a recap at some point (when we're nearly finished with nominating like me for instance), because it is easy for nominations to slip through the cracks in all the pages and in posts that cover other comments besides the nominations too... I think

1 - Classical Period 2018
2 - Promare 2019
3 - Firefly (Jonaki) 2018
4 - Jinpa (Zhuang si le yi zhi yang) 2018
5 - Amanda 2018
6 - The 20th Century (2019, Canada, Matthew Rankin, art/indie/dawn)
7 - Colectiv (2019, Romania, Alexander Nanau, doc/euro)
8 - Tlamess (2019, Tunesia, Ala Eddine Slim, art/AsAf)
9 - Chun Jiang Shui Nuan (Dwelling in the Fuchun Mountains, 2019, China, Xiaogang Gu, AsAf)
10 - Djamilia (2018, Kyrgyzstan, Aminatou Echard, art/doc/AsAf)
11 - Shirley (2020) US https://www.imdb.com/title/tt8430598/
12 - Atlantis (2019) Ukraine https://www.imdb.com/title/tt10749786/
13 - Hellhole (2019) Belgium https://www.imdb.com/title/tt9456372/
14 - Rizu to aoi tori (2018) Japan https://www.imdb.com/title/tt7089878/
15 - Ikiterudakede ai (2018) Japan https://www.imdb.com/title/tt8676984/
16 - Fanny Lye Deliver'd (2019) UK https://www.imdb.com/title/tt5686112/
17 - Vendrá la Muerte y Tendrá Tus Ojos (2019) Chile https://www.imdb.com/title/tt10815648/
18 - Mosquito (2020) Portugal https://www.imdb.com/title/tt5658540/
19 - It Must Be Heaven (2019) Palestine https://www.imdb.com/title/tt8359842/
20 - Liebe in den Gängen (2018) Germany https://www.imdb.com/title/tt6263618/
21 - Fourteen (2019) - 8.0

22 - La ciudad oculta (Víctor Moreno, 2018, arthouse, doc)
https://www.icheckmovies.com/movies/la+ ... ulta-2018/
https://www.imdb.com/title/tt9303764/
Another one for our roster of strong Spanish art-house cinema. This one is not from Galicia, but the producer El Viaje Films has done Galician cinema and work with Mauro Herce, so it feels like part of it. This one is a "ride" through tunnels, sewers, underground systems and other such things that advises you to watch it in complete darkness. An advise that I would like to repeat!
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23 - Obscuro Barroco (Evangelia Kranioti, 2018, arthouse, LGBTQ, doc, LatAm)
https://www.icheckmovies.com/movies/obscuro+barroco/
https://www.imdb.com/title/tt7755520/
Short, but like a dream it sweeps you up, and it lingers. Very strong cinematography again (dark, like I like it) from the director herself. She's been a big discovery for me this month with two movies.
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24 - Dreissig (Simona Kostova, 2019, Euro)
https://www.icheckmovies.com/movies/dreissig/
https://www.imdb.com/title/tt9695764/
I think this "only" qualifies for Europe, which usually offers plenty of options for us, but I found it a very strong movie, a debut no less, and one that became better while thinking about it more... so it touched me, and wanted to share it. Especially since I heard almost nobody about this one (one friend of mine really liked this when he saw it at the IFFR, which is why I made a note of it to watch it, and I fully agree with him, but the only few others who saw it were less convinced...)
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25 - Virndavani Vairagya (Ashish Avikunthak, 2018, AsAf, arthouse)
https://www.icheckmovies.com/movies/vir ... +vairagya/
https://www.imdb.com/title/tt9675282/
As I'm delving a bit deeper into experimental cinema from India, I started to explore the work of Ashish Avikunthak. This is the only one I think that would qualify for the festival and even though it is a bit of a hard sell, I thought it was good (and unique) enough to nominate it. The religious angle, the very stilted and constructed images and some mild erotic content are things that make it both interesting (I think) and a harder sell to a general audience, but I really like what the director is saying with his movies. Curious to see how this work will be received by people who just "stumble upon it"... (probably not so well... but one can try ;))
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#315

Post by beavis »

zzzorf wrote: March 30th, 2021, 8:12 pm I just watched Dhalinyaro myself and am on the borderline of nominating for the exact same reason as you.
If you have plenty of slots left and are running out of ideas...;) ... I would fully support it!
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#316

Post by zzzorf »

beavis wrote: March 30th, 2021, 8:29 pm
zzzorf wrote: March 30th, 2021, 8:12 pm I just watched Dhalinyaro myself and am on the borderline of nominating for the exact same reason as you.
If you have plenty of slots left and are running out of ideas...;) ... I would fully support it!
I'm sitting somewhere close to you on total nominations. I am doing my recap soon so I will see if I add it at the end.
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#317

Post by xianjiro »

Has anyone else seen The Blonde One/Un Rubio (tt9789686)? It's from 2019. Not sure how I ended up getting it - might have been a trailer when I watched something else? It's a rather different "gay" story from Argentina. I would rate it a strong 2 if I were to nominate it, but I'm interested if anyone else thinks it might be right for the festival.

The basic premise is a guy takes a job with a long commute (Buenos metro) so he decides to room with a coworker and they end up involved. While both men have pasts with women and one has a child, the drama comes when the other makes the statement he doesn't want to be looked at funny in public and wants to be 'normal'. He also carries on seeing a woman (and another guy) throughout much of the story.

The pace is slow, dialog fairly spartan, and the director relies more on expressions, looks, and such to move the story. While there's one obvious thing I would have changed - I'd rather not mention it because it's too spoilery and isn't THAT important - I thought it was reasonably well made and much more thought-provoking than preachy, a big plus.

Unfortunately the lack of dialog and such means much of the character development happens in the viewer's mind so once again I felt like the dude with multiple partners was taking advantage of the other one. However the rather swift and brutal climax takes care of that in a way I not only felt acceptable but empowering to a gay audience who can probably identify pretty strongly with at least one character. I think this is a situation that many gay men will understand so the ending works, even if it might not be the resolution some desire.

However, I'm not sure how a straight audience would react. It's possible they will find it just as satisfying but for a different reason. While I would say both main characters are at different ends of the bi spectrum, I'm not entirely sure if straight viewers will connect with the story and the characters' motivations. Yes, it's true that everyone gets into complicated romantic entanglements, so maybe it would be more universal. I'm just not certain. I am also not eager to program LGBTQ movies in which queer characters seem exploited or victimized and for much of the film I was fighting with that notion - as I said, I really knew this situation, maybe a bit too well - and so that really colors my reaction.

For a queer film it's pretty well-rated on IMDb - 7.4 with about 2290 votes - so that's really a plus. Most LGBTQ films seem to score at least a point lower in my recollection. That suggests that the film is finding favor with a non-queer audience as well. It's not been widely lauded on the festival circuit, but has both a best actor award and best LGBTQ prize, but neither are awards I'm familiar with.

I wouldn't consider this one for LatAm - only for the LGBTQ slate. (Not sure how films end up on the main slate - this might be appropriate there if the support was strong.)
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#318

Post by xianjiro »

Unless there's a reason otherwise, could we add a column to the spreadsheet for nominator? It would be easier to track that way and I'm assuming there's a function to count nominations (like in Excel, but since I don't use Docs for anything else, I can't say for certain until I try it).
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#319

Post by St. Gloede »

My nominees so far:

First Batch: viewtopic.php?f=1&t=5265#p681808

1. Longa Noite / Endless Night (2019, Eloy Enciso)
2. This is Not a Burial, It's a Resurrection (2019, Lemohang Jeremiah Mosese)
3. Om det oändliga / About Endlessness (2019, Roy Andersson)
4. Transit (2018, Christian Petzold)
5. Der goldene Handschuh / The Golden Glove (2019, Faith Akin)
6. O que arde / Fire will come (2019, Oliver Laxe)

Second Batch: viewtopic.php?f=1&t=5265#p682206

7. Dylba / Beanpole (2019, Kantemir Balagov)
8. Kız Kardeşler / Tale of Three Sisters (2019, Emin Alper)
9. Le Livre d'image / The Image Book (2018, Jean-Luc Godard)
10. La fameuse invasion des ours en Sicile / The Bears' Famous Invasion of Sicily (2019, Lorenzo Mattotti)
11. Raiva / Rage (2018, Sérgio Tréfaut)
12. Your Face (2018, Tsai Ming-liang)
13. Lúa vermella / Red Moon Tide (2020, Lois Patiño)

Third batch: viewtopic.php?f=1&t=5265&start=80#p683612

14. Ar Condicionado / Air Conditioner (2020, Fradique)
15. Ne croyez surtout pas que je hurle / Just Don't Think I'll Scream (2019, Frank Beauvais)
16. Les hirondelles de Kaboul / The Swallows of Kabul (2019, Zabou Breitman, Eléa Gobbé-Mévellec)
17. Sheytan vojud nadarad / There is No Evil (2020, Mohammad Rasoulof)
18. Eyimofe / This is My Desire (2019, Arie Esiri, Chuko Esiri)
19. Tipografic majuscul / Uppercase Print (2020, Radu Jude)

4th/5th Batch:
viewtopic.php?f=1&t=5265&start=160#p687799
viewtopic.php?f=1&t=5265&start=200#p691213

20. A Metamorfose dos Pássaros / The Metamorphosis of Birds (2020, Catarina Vasconcelos)
21. The Body Remembers When the World Broke Open (2019, Elle-Maija Tailfeathers, Kathleen Hepburn)
-
22. A portuguesa / A Portuguese Woman (2018, Rita Azevedo Gomes)
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#320

Post by beavis »

xianjiro wrote: March 31st, 2021, 8:57 am Unless there's a reason otherwise, could we add a column to the spreadsheet for nominator? It would be easier to track that way and I'm assuming there's a function to count nominations (like in Excel, but since I don't use Docs for anything else, I can't say for certain until I try it).
that sounds like an even better idea to keep track of that!
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