Friday was the day of painfully cathartic films. Two of them dealt in grunge realism (OSLO, AUGUST 31st and JULIA), one in piercing emotional realism related in dizzying theatrical terms (THE BALLAD OF NARAYAMA). Out in the real world, tragedies to rival the movies continued apace.
Saturday was the day of cutting loose. It had rained all week and now the sun was out. Chaz and Tilda Swinton led an all-audience dance, which set a giddy mood. The sight of Professor David Bordwell neck-popping to Barry White is a memory I’ll carry to my grave–as is that of Chaz onstage dancing the way you dance in the living room. Free spirits. “Dancing with Roger!” Tilda shouted while grooving with Chaz.
The films selected for today sustained that giddiness, even as they ventured into deep, dark, disturbing places.
BLANCANIEVES is a magical, morbid and melodramatic antidote to the recent rash of plasticized, trillion-dollar fairy tale movies. Pablo Berger’s radiant persona during the Q&A mirrors the dark glow of his silent/loud film.
KUMARE starts off like a reality TV stunt, punking various New Age acolytes looking for a guru; ends up saying something quite moving about belief, trust, self-perception and self-determination. Did Roger’s selection here anticipate our tireless canonization of him? That would be cool, and quite characteristic of our Movie Savior. All hail.
ESCAPE FROM TOMORROW . Well, Damon Packard’s underground classic REFLECTIONS OF EVIL ventured into this thematic turf first, turning the Universal Studios theme park into a nightmare similar to the one that beseiges this film’s Disneyland vacationers. But that was a decade ago, before cinema-quality cameras were small enough to sneak into theme parks. ESCAPE’s guerilla fantasy-horror is as seamless, as feverishly inventive as BLANCANIEVES.
Writer-Director Randy Moore was reserved about criticizing Disney during the Q&A at first, until insistent questions about Disney-as-Satan prompted him to describe the company’s products as a force that invades every home, indoctrinates every child. He characterized sneaking around in Walt Disney World as a kind of reciprocal home invasion.
Roger once mentioned that TOUCH OF EVIL was a dark and violent film that nevertheless left him feeling happy. Or something like that. I can’t find the quote presently, but here’s a familiar one that gets at why ESCAPE’s intense Freudian horror is so hilarious: “It’s not what a film is about, but how it is about it.”
James Ponsoldt’s THE SPECTACULAR NOW, Saturday’s last film, has been compared to the teen dramedies of John Hughes. I didn’t get to catch the whole thing, but from what I saw of it, John Hughes has never written or directed anything so elegantly, compassionately “kitchen sink.”
B, a volunteer at the fest (U of I economics major/future filmmaker), rushed into the Virginia theater’s back room all choked up, warning me that I was missing “a very, very moving film.” I went back into the theater to witness rare wisdom and tenderness. The beauty of its final scenes are all about the sorrows of missing out on all the good that is in your reach [he typed as the Q&A proceeded without him].