Film and Video

Still from Good Cats (Hao Mao), 2008

As attested by the remarkably choreographed festivities at the 2008 Beijing Olympics, the Chinese know how to party—and nothing was spared for the recent celebration of the People’s Republic of China 60^th Anniversary party on October 1, with special attention paid to showcasing military strength. This momentous occasion marks the longest Communist party rule in history, and although the last 60 years have been met with much criticism and unease, and marked by intense economic, political, and cultural growing pains, China’s unique blend of communism and capitalism is undeniably large and here to stay. Chinese filmmakers (those both inside and outside of the border) are in a unique position to process and reflect their current cultural moment. Many different Chinese film programs around the world are running this fall to celebrate and recognize these filmmakers and this unique and important time in history, including our own film series, The People’s Republic of Cinema which runs November 4-23.

In the scheme of things, 60 years is a drop in the bucket for China’s immense history as one of the oldest civilizations on the planet, but the transformations the “New China” has undertaken are radical on a global scale. The process of modernizing an ancient culture coupled with an inflexible political climate, an environmental crisis, a growing consumerist culture, the tension between Eastern and Western values, a construction zone taking over every major city, and a new generation striving for individualism and creative freedom present enormous challenges.

I experienced this first hand in 2006 on a study trip through the School of the Art Institute of Chicago. Spending time with Beijing and Shanghai art students, hip-hop artists, and filmmakers allowed a privileged glimpse into the tensions they experience and make work about. I met some boys in Shanghai who strongly identified with American hip-hop and had started a group that traveled throughout southern China and rapped in Mandarin, Japanese, and English. (Most of the music they knew about had come through Japan, as the Japanese have an easier time finding American music and have been interested in hip-hop culture and paraphernalia for quite some time now.) The 021Crew, as they call themselves, recognize the challenges referenced in hip-hop music (the struggle for self-expression, distrust of government transparency, freedom, individualism, social and class distinctions, and the tension between generations) as parallel to their own. A few of them had studied abroad in Toronto and London, and were presented with new visions of China then the ones they had grown up with. None of them knew about the Tiananmen Square incident in 1989 (it is impossible to find information about this when in China, as it is a restricted online search), nor did they feel comfortable discussing it in public. In fact, after learning about it, they said, “That’s not my China!” And although they felt extreme pride in their country, they longed to experience different freedoms they felt were denied them. Through hip-hop they are able to express themselves and their ideas in ways they couldn’t otherwise. To them, it is a platform of revolution, but the difference is the prescribed action. As language and the written word are the embodiments of knowledge and the foundation of Chinese culture (traditionally, at least), I wonder if in some strange way Chinese hip-hop is an attempt to be a contemporary equivalent.

My Chinese painting professor who led the trip had grown up in a much different China. In fact, as a young boy he had left school to become part of the Red Guard and march all over southern China with other boys his age. The changes he has seen in his lifetime, although subjective and unique, chart the transformations (I struggle to use the word progress) many have experienced on a large scale.

Here is a list of some other festivals celebrating and recognizing the “New China,” and although there probably won’t be fireworks or choreographed parades, I hope you can make it out.

The People’s Republic of Cinema

Walker Art Center

Minneapolis, MN

November 4-23, 2009

http://calendar.walkerart.org/canopy.wac?id=5308

China Independent Film Festival

RCM Museum of Modern Art

Nanjing, China

October 12-16, 2009

http://www.chinaiff.org/html/EN/

LENS ON CHINA

Portland Art Museum Northwest Film Center

Portland, Oregon

September 24-November 5, 2009

http://www.nwfilm.org/screenings/21/207/#1379

NYFF Masterworks: (Re)Inventing China
A New Cinema for a New Society, 1949 – 1966
Film Society of Lincoln Center

New York City

September 26 – October 6, 2009

http://filmlinc.com/nyff/china.html

China Classic Film Festival

Confucius Institute, University of Wales Lampeter

Wales

October 1-31, 2009

http://www.chinaclassicfestival.com/

2009 Tokyo China Film Festival

Tokyo International Film Festival

Tokyo

October 18-25, 2009

http://www.tiff-jp.net/en/lineup/title_24.html

New Zealand Chinese Film Festival

New Zealand’s Pacific Culture and Arts Exchange Center

New Zealand

October 15- November 8, 2009

http://www.nzcta.co.nz/events/

FILMING EAST FESTIVAL

British Academy of Film and Television Arts

UK

October 3-31, 2009

http://www.filmingeast.org/

www.bafta.org/whats-on/global-spotlight-china,828,BA.html

RAINDANCE FILM FESTIVAL

UK-China Film Association (UCFA)

London

October 3-10, 2009

http://www.raindance.co.uk/site/index.php?aid=3797

VISIBLE SECRETS: HONG KONG’S WOMEN FILMMAKERS

Cornerhouse

Manchester, England

October 9 -November 3, 2009

www.cornerhouse.org/visiblesecrets

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Jesikah Ruehle bio:

+Loves being an intern in Film/Video at the Walker

+Graduated last year from the School of the Art Institute of Chicago with a BFA in Fiber and Material Studies and Film/Video

+Loves to ride her bike and experiment in the kitchen

+Is a hairstylist at FIVETWOSIX salon in St. Paul

+Some of her favorite filmmakers are Chris Marker, Shirin Neshat, Doug Aitken, and Stan Brakhage

+Is an escapist and consequently spends a lot of her free time looking up places to travel to

Formally, the film is deep-dish pleasure. Cinematographer Ed Lachman (using the Red camera system) enables Solondz to raise his visual game to a new level; the richly colored compositions are as bold as the dialogue. —Variety

After a four year hiatus from filmmaking, Todd Solondz is back with his latest feature Life During Wartime. Not to be confused with the Talking Heads song, Life During Wartime is an un-sequel (more of a variation to) Happiness because it stands alone as a singular body of work. Solondz (who made quirky indie favorites like Welcome to the Dollhouse, Storytelling, Happiness, and Palindromes), does not stray too far from his prior films in regards to his controversially dark themes (child abuse, suicide, incest, etc), but does in the regard of compassion. The characters in Life During Wartime have undergone life and the most brutal of its hand, and the way in which Solondz depicts them is with utmost honesty. His ability to tactfully comment the less than savory elements of human behavior—although at times uneasy and unsettling in nature—solidifies the understanding of the people in the film, of society’s capacity of growth and compassion.

While it is not necessary to see Happiness before seeing this film, there are subtle and very funny references to the previous film for those who are familiar with this work. The same characters, played by different actors, have moved on. Their lives have changed, but the memory of something terrible from the past lingers as three distant sisters reconnect and create a portrait of those seeking love and rebuilding family, all to the backdrop of mounting fear of terrorists.

The Walker will be hosting a sneak preview of Life During Wartime on Wednesday October 28^th at 7:30 pm.

As part of the celebration of the Walker’s 50^th Regis Dialogue and Retrospective event—Joel and Ethan Coen: Raising Cain—we asked local and national film critics (many of whom have been Regis Dialogue interviewers themselves) and film exhibition programmers to weigh in: In 25 words or less, what is your favorite Coen brothers’ film, and why? As you’ll see below, the question was so intriguing that several could not limit their answer to 25 words. Every person we asked chose a different film to laud—certainly a testament to the breadth and depth of the Coens’ work.

The 13-film retrospective kicks off on September 18^th with the directors’ cut of Blood Simple, for which we are pleased to be screening the Coens’ own personal print. Following the film, the entire audience is invited to a reception in the Bazinet lobby. I’m confident this question of favorite Coens film will arise many times that night!

I have a special dark place in my heart for Blood Simple. It’s a magnificent first movie, filled with tension and glorious, murderously flawed individuals. —Euan Kerr, Senior Editor, Minnesota Public Radio News

Miller’s Crossing: “Simply a great gangster movie.”—Florence Almozini, BAMcinématek Program Director

“Like the underdog protagonists in so much of their work, my favorite Coen Brothers’ film is an underdog black comedy with a less than appealing title—Barton Fink. It’s not the most entertaining of their films (Fargo, hands down) nor their most innovative (O Brother, Where Art Thou?), but it remains their only film to date situated in the belly of the beast—Hollywood. It features a Harold Lloyd-bespeckled John Turturro in the titled role as a successful dramatist lured by the promises of studio system only to end up saddled with writing a wrestling picture. Barton Fink is, in other words, an allegory of the treacherous artistic journey that the Brothers, themselves, must navigate each time they begin a new feature project.”—Bruce Jenkins, Professor, Department of Film, Video, and New Media School of the Art Institute of Chicago, former Curator of the Walker Film/Video Department. Regis Interviewer for The Brothers Quay: Alchemists of Animation, 1996 and Stan Brakhage: The Art of Seeing, 1999.

The Hudsucker Proxy: “The Coens’ first big-budget effort is no studio picture compromise. It’s an unclassifiable, deliriously funny riff on 1950s workplace dramas, hula hoops, the clockwork machinations of fate, and karma, the great circle of life. You know, for kids!”—Colin Covert, film critic, Star Tribune

“I’m going with Fargo. I think it’s their most humanistic film, and those devastating final scenes with Marge feel like the perfect/bewildered response to the Reagan/Bush era.”—Chris Hewitt, film critic, Pioneer Press

The Big Lebowski: “Whether it’s because the Coen Brothers hail from these parts, the expression of true feelings has never been their characters’ strong suit—or their own. But as The Big Lebowski’s climactic bear hug signals direct communication more warmly than anything in their oeuvre, I’d say the Coens have finally looked into their heart.” —Rob Nelson, film critic, excertped from City Pages (publication date: 1998).

O Brother, Where Art Thou?: “The Coens’ decision to treat traditional American music as a living presence makes this eccentric, picaresque period comedy perhaps the warmest production in their entire repertoire. And the music is superb, which doesn’t hurt.”—Kenneth Turan, film critic, Los Angeles Times. Regis Interviewer for Alexander Payne: A Sideways Glance at America, 2005.

The Man Who Wasn’t There: “You will not soon forget Ed Crane (Billy Bob Thorton), the antihero and narrator of the Coen brothers’ unforgettable neo-noir, with its sharp black-and-white photography and nonjudgmental tone.”—Howard Feinstein, New York-based film critic and a selector for the Sarajevo Film Festival (excerpted from the 2001 Sarajevo Film Festival catalogue). Regis Interviewer for Bela Tarr: Mysterious Harmonies, 2007.

“Fargo is my absolute favorite, but Burn After Reading has grown on me the most. What seemed initially as silly and slapdash, a retro take on the ’60s Cold War spy movie, now feels like an entertainingly astute and up-to-date crafting of movie stars, genre storytelling, and satire that outshines most other recent attempts to re-invent the espionage film.”—Scott Macaulay, editor Filmmaker Magazine, co-editor FilminFocus.com. Regis Interviewer for Gus Van Sant: On the Road Again, 2003.

Despite the fact that his internship long since lapsed, he has been immersed in post production on his own feature film, and puts in 40-60 hours every week at his day job, our friend Evan Drolet Cook was kind enough to put together this trailer for the Joel and Ethan Regis Retrospective that opens here at the Walker on September 18th with a screening of Blood Simple.  Take a look:

Tony Manero is not a name often associated with Chile’s dark days under Pinochet’s regime. For those unacquainted with the 1971 film Saturday Night Fever, Tony Manero is the charismatic character John Travolta plays.

Naturally the question to consequently follow is how exactly do the dots of Saturday Night Fever and Pinochet connect? In a simple response, through Pablo Larrain’s latest feature Tony Manero. But in actuality, the answer is not that easy.

Derived by both Larrain and actor Alfredo Castro, Tony Manero makes political and social commentary on Chile (and the United States, simultaneously). Released in 1978 in Chile, Saturday Night Fever came about in one of the bleakest and most miserable times during General Augusto Pinochet’s rule. Director Pablo Larrain and actor Alfredo Castro shared the role of writer, and as the film shows, were able to develop a story that not only exists in allegorical, but also in literal terms.

On the surface, it seems that the film is merely about a social outsider who is unable to break his obsession with Saturday Night Fever and consequently the American Dream. Because of his deep commitment to the film, he finds himself in a routine of watching it in the local theatre repeatedly, auditioning for Chile’s version of Saturday Night Fever, and eventually embodying a dark mutilated version of the character Tony Manero and perhaps Pinochet himself.

With the historical understanding of Chile and the time period, Tony Manero embodies the psychological process of living in a country that undergoes a deep cultural change, which defines how citizens act and relate to the world.

The film has garnered quite a bit of attention as of late. In a recent article from the Village Voice, J. Hoberman writes,

“Impassive but alert, Raúl not only internalizes Tony’s version of the American dream, but memorizes Tony’s lines for use in the four-actor version of Saturday Night Fever he’s staging, with an inexplicably adoring cult of losers, in a grungy Santiago cantina. Raúl’s obsession is complemented by a total disinterest in any human contact… Feasting on this bizarre fascist posturing, Larrain suggests that, with his sordid charisma, Raúl is a miniature Pinochet—reproducing the brutality of the state in his willingness to steal, exploit, betray, and kill in the service of a fantasy.”

Larry Rohter from the New York Times also did a piece on the film that is worth checking out.

As Pablo Larrain stated in an interview,

“I wanted to tell the little story of a man obsessed with what is foreign to him, who lives in a country going through the cultural process which defined our actual way of acting and relating to the world. A prowl on the process of a common man and what surrounds him; or as well, a fragment of something bigger that cannot be seen, because finally, the dance of Raul Peralta’s is, to me, the dance of all Latin-Americans. The dangerous air of underdevelopment and it’s delirious wild abandon that saw itself very much exposed and threatened during the seventies, in the middle of the military dictatorships that struck our region.” (Tony Manero Press Packet)

And that he does.

Tony Manero screens as a part of the Premieres: First Look Series in the Walker Cinema September 11, 7:30 pm, September 12, 4:00 pm, September 12, 7:30 pm, September 13, 3:00 pm. For more information, visit the Walker website.

I ran across a website with an impressive collection of movie title stills. I love that moment occurs either right at the beginning of the movie, after some credits, or after an introductory scene, when you already have a feel for the movie, where the title hits the screen, either boldly or subtly or somewhere in between. If you don’t have a feel for the movie yet, the  movie title screen should probably help you out with that. Really good ones do.

I collected the near-complete stills of the Coen Brothers’ movies, from Blood Simple to Burn After Reading. We are missing The Hudsucker Proxy and The Ladykillers. I’ve got to say…the typography on Blood Simple really blew me away. Take a look and a trip down memory lane.

The retrospective begins (as did the Coens’ career) with Blood Simple on September 18.

Something kinda nerdy. Look at Blood Simple and Fargo next to one another. BEAUTIFUL!

Everyone loves free stuff, regardless of what the free thing is. In my humble opinion, free art, especially free film screenings, is even better. Film/Video has two events coming up, both of which are at no cost.

The first takes place on September 15th as a part of the “A Think and a Drink” member program with the screening of Herb and Dorothy, a documentary about the legendary art collecting couple the Vogels. Herb and Dorothy, he a retired postal worker and she a retired librarian, have built one of the most influential and extensive modern art collections to date. The documentary features a handful of artists the couple has collected from and consequently developed a relationship with over the years.

This event is free to Walker members.

Walker Film/Video is also pleased to announce, as a part of the Premieres: First Look series, the screening of No Impact Man on September 16^th in the cinema. The documentary is based around author Colin Beaven’s (and consequently his wife and daughter) 2007 initiative to live a no-impact lifestyle. What started as perhaps a farfetched idea spiraled into a high-traffic blog, news stories, and documentary film, but ultimately the transformation from the Manhattanite lifestyle Beaven and his wife Michelle were accustomed to.

Co-Directors Laura Gabbert and Justin Schein followed Beaven’s family as they changed habits and adapted to their new lifestyle. The film and blog have created quite a stir, not only about the concept of living a no-impact lifestyle, but also around Colin Beaven’s motives (rumored as a gimmick for his new book). Regardless of your take on the issue,  it seems best to actually see the film and decide for yourself. Viewers have reacted across the spectrum, from being moved by the lifestyle concept, to not being sold on the Manhattanite’s motivation. And now it is your turn to see the film (for FREE!) and make your own mind up.

Co-Director (and native Minnesotan) Laura Gabbert, who has a lush history with Walker Film/Video (participating in Women with Vision and other programs) will be in attendance for the screening along with a Q&A session following the film.

Check out the No Impact Man blog and/or book for more background on the project.

No Impact Man will be playing at the Landmark Cinema beginning October 2nd.

Fargo

The Walker celebrates the 50th Regis Dialogue and Retrospective with Minnesota’s own Joel and Ethan Coen in the 25th-anniversary year of their stunning debut, Blood Simple, and prior to the release of their 14th feature, the locally filmed A Serious Man.

A Regis Retrospective will run from September 18 – October 17 and feature 35mm prints of all 13 films the Coens have written, edited and directed, including: Blood Simple; Raising Arizona; Miller’s Crossing; Barton Fink; The Hudsucker Proxy; Fargo; The Big Lebowski, O Brother, Where Art Thou; The Man Who Wasn’t There; Intolerable Cruelty; The Ladykillers; No Country for Old Men; and Burn After Reading.

More information can be found here.  The complete retrospective schedule (as well as tickets for all of the screenings) will be available there by August 18.

I couldn’t resist sharing some of the incredible pictures shot by Walker staff pohotographer Cameron Wittig at last Monday’s Music and Movies in the Park.  Come out next Monday for Roma di Luna and Hud. Click on the thumbnail below to see a full-size image.

The “Legendary William Klein”. You have never heard of him?

Start with this interview:

If you don’t have time, continue.

Have you ever seen the photograph of a model, fifties black eyeliner, painted nails, flowery hat and the face obscured by smoke wafting from the cigarette in her fingers? The one you know is from Vogue, without being labeled?

You probably know this image without knowing the man behind the camera. This “brainy and pugnacious” artist made a good living with these images, (as well as commercials) but he never stopped taking shots at the fashion industry. He made two films, just to set the record straight – exposing the vapid nature of the fashion model in Who Are You, Polly Maggoo? (Qui êtes-vous, Polly Maggoo?) in 1966 and in 1985 in with Mode En France. (The Walker program also includes a documentary In and Out of Fashion -covering all his work.)

But what is his legacy? Legendary? Surfing the world between being the artist creating fashion images and the street photographer of raw reality; or between the auteur of non-narrative image films, gritty documentaries capturing the Zeitgeist of the revolutionary sixities, and socially critical pop-narrative films. His work is all over the place, and the influence it had is equally pervasive, even if you don’t know the man behind the camera.

His first feature film job as so called “co-director” as he says, was with Louis Malle on Zazie dans le Metro, giving it style Malle didn’t seem able to maintain without Klein. He was a friend and cohort of Alain Resnais, and Chris Marker. Name dropping without context can be frustrating, but Klein and this whole generation of French filmmakers made an indelible mark on the next generation of filmmakers – both popular and independent, Terry Gilliam and David Lynch certainly spring to mind. Marker also published Klein’s first book of photography. These French filmmakers were Klein’s contemporaries and co-conspirators in the sixties.

Without Klein’s Mr. Freedom (1969), I would argue, we might not have Robocop, Rambo, or even Iron Man. The image of the shoulder padded (or buff) male figure crashing through a wall in the name of self-righteous American values, bigger than life. This parody and social criticism – created during the upheaval and revolutionary sixties-has remained relevant, as Klein mentions repeatedly, thanks to Bush’s ascendancy.

Obscure as Mr. Freedom may be, in 1999, singer Beck paid tribute in his music video for the song Sexx Laws (pay attention to Jack Black in the opening sequence)…

His film The Model Couple, might be interpreted as a precursor to reality TV – “With televised fanfare and an overabundance of scientific zeal, Jean-Michel (Andre Dussollier) and Claudine (Anemone) are installed in an antiseptic “happiness capsule,” an apartment in which every aspect of their lives can be monitored.” -described in the New York Times in 1990.

As for his documentaries, he was often astoundingly at the right place at the right moment in history. No one else captured the fervor of the Black Panther and Black Power movement as he did. With Muhammad Ali The Greatest, begun when he was still Cassius Clay, and Eldridge Cleaver, Black Panther, filmed when he happened to be in Algiers where Cleaver was on the run. His film on Little Richard captures the musician’s decline, and again, another piece of history.

Broadway by Light and Messiah are both lyrical, driven by music and the motion of the imagery. If you enter the viewing experience without expecting a narrative, or expecting you will be able to verbalize a plot you will enjoy it. Atmosphere and style reign.

Auteur films, as Raymond Durgnat said in a piece originally published in Film Comment, can’t be defined by their plots, but mainly by “atmospheres generated by style.” And in the end, if we give the viewer a rapid succession of interesting images , they won’t care if they get a plot.

Before William Klein himself comes to the Walker, make sure you take advantage of this chance to see his movies. (and maybe do some research about his legacy issue, there is more to be found)

William Klein is coming to the Walker for a Regis Dialogue. He will be talking with Paulina del Paso, filmmaker and associate programmer for FICCO 2009 (Festival Internacional de Cine Contemporáneo de la Ciudad de México).