Daily Archives: April 19, 2013

BIFF 2013 #19: Life Doesn’t Frighten Me (Canada 2012)

Jade Aspros as Esther and Igor as King Henry

Jade Aspros as Esther and Igor as King Henry

BIFF19logoI’ve watched quite a few of the shorts at BIFF this year, but most of them haven’t really caught my imagination. This one did. It has a genuine story – an incident with an outcome and recognisable characters. Esther Weary doesn’t enjoy her birthday, which falls on a schoolday that is also Halloween. She imagines herself being persecuted — and then she is. Her nose is too big according to a dreadful little princess. To her consternation her first period arrives on the same day . When she gets home her family are waiting for her. There’s King Henry the pug and her grandfather (played by the great Canadian actor Gordon Pinsent), who is kind and thoughtful but seemingly isn’t prepared for menstruation. All will be well because Esther isn’t ugly and her family love her. That’s it really, except that the story is told again through an animated pop-up picture book which forms the basis of the credits. It’s 14 mins long and director Stephen Dunn tells the story with real imagination and most of all through images. That’s what I want from a short – a whole story, told with imagination in as short a time as possible. I don’t mind a little sentimentalism thrown in as well if it’s tempered by the dark stuff.  Most of the other shorts I’ve seen in BIFF are either avant-garde formal experiments (fine in their own right but not always a good complement to a feature) or they are good ideas without a story or a story without good ideas.

Here’s the lovely trailer:

BIFF 2013 #18: Faith, Love and Whiskey (Bulgaria/US 2012)

Eli and Val – lovers re-united?

Eli and Val – lovers re-united?

BIFF19logoIt’s the second year of the New European Features competition at Bradford and just like last year there is a Bulgarian entry. The two films are remarkably similar in institutional terms if not in plot and narrative. Avé last year had a director with some US background/training, a young woman with some international experience and a story concerning a journey and decisions about where she wanted to be in the future. All those three elements are also present in Faith, Love and Whiskey. The director is Kristina Nikolova and this is her first feature – although she has been working as a cinematographer for ten years. Her co-writer and editor is Paul Dalio. They met on a course at New York University Film School (there are several stellar names on the film’s “thanks to” list).

In the interview below, posted on YouTube, Kristina Nikolova tells us that the film is partly autobiographical and its title refers to a Bulgarian saying in which ‘Faith, Love and Hope’ is altered to replace ‘Hope’ with ‘Whiskey’. The film marries two strong ideas. One is universal – a romance about a young woman who must choose between security and passion. The director tells us that she thinks the film is more ‘mainstream’ than it is a ‘festival film’. I think that she is right but the specific Bulgarian flavour makes it special. She tells us that many young people leave Bulgaria looking for a better future but that they return each summer to spend a few weeks drinking like crazy and enjoying meeting old friends. I’ve forgotten the reference but I also read a review of the film that quoted an Economist article claiming that Bulgaria was the ‘unhappiest country’ in the world when income levels and happiness indices were correlated. I also found this entertaining article which suggests that the Bulgarian problem is a combination of poverty (comparing income to other EU countries) and a native ‘superstition and fatalism’. It’s easier to be miserable and to avoid problems by going out and getting smashed. Looked at this way, the film’s narrative makes a lot of sense.

Eli (Ana Stojanovska) is a vivacious and attractive young woman who has a relationship in New York, but who has come back to Sofia to see old friends. She meets them in a bar and goes clubbing and soon finds herself back with the wild and romantic Val with whom she takes a trip into the beautiful countryside. Back in Sofia, however, her American fiancée has arrived and is looking for her. On a basic plot level it’s all very straightforward. The romance is well presented. It’s sunny and hot, there are cool streams for bathing and the booze flows freely. The film was shot on Super 16 with saturated colours and it looks great. I also liked the music, much of it guitar music reminiscent of deranged surf guitar or the work of Link Wray. Val (Yavor Baharov) is a charismatic romantic lead on the edge of oblivion and John Keabler is the stuffy but wealthy American. The local culture is represented in several ways that recall Avé. Eli has lost her parents (there is an interesting reference to her mother) and the one person she really cares about is her grandmother who brought her up. Bulgaria seems to be a society of the aged waiting for the return of the young – there doesn’t seem to be a generation between.

One of the best scenes in the film, which seems to sum up the whole narrative, doesn’t involve Eli. She has gone out and left both John and Val with her grandmother. Val is forced to translate for the old woman and the American. We feel for Val who must tell John, in English, how delighted the grandmother is that Eli has found her rich American. The subtitles tell us that Val is translating correctly, avoiding the opportunity to damage his rival. Then at one point he forgets which language he is using and has to stop to correct himself. It’s a brilliant piece of cinema with so many issues about identity compressed into facial expressions and a slip of the tongue.

This is another shortish feature running just 75 minutes and therefore difficult to place into distribution. I think I read that the film was likely to get distribution in Bulgaria but I think it is unlikely in the UK. I decided on reflection (and thinking about the migration issues) that I liked the film a lot. The plot is simple, the theme is important and the execution is very good.

Interview with the filmmakers at Slamdance, February 2012:

BIFF 2013 #17: What Happened to This City? (Kya Hua Iss Shaher Ko, India 1986)

Deepa Dhanraj from the Berlin Film Festival site

Deepa Dhanraj from the Berlin Film Festival site in 2013

BIFF19logoThere is a long story behind this film and watching it was a strange experience for me. I’m not sure what sense I made of it but the film was impressive formally and important as a historical document. What it means in terms of contemporary India is less clear and I would need a great deal of research to offer even an outline response. In his introduction, Festival Director Tom Vincent explained that he and his co-director had wanted to include a politically committed documentary as part of their 100 Years of Indian Cinema Anniversary and that when this film appeared at Berlin earlier this year, they sought it out.

This is a documentary, mostly in the form of eye-witness statements with a brief historical background and some ‘live coverage’/reportage of events in Hyderabad, Andhra Pradesh in 1984. Over three summer months communal riots in the city left 41 dead, many critically injured and hundreds of shops and homes looted, wrecked and in some cases set on fire. The main conclusion of the film is that these riots were orchestrated by the various political parties in the state as part of their jostling for power. The police seemed to have either turned away from the trouble or simply established curfews which made it impossible for poor people to earn a living and who therefore suffered real hardships. Only a few of the perpetrators were ever prosecuted. Before the film, Tom read out a statement by the director Deepa Dhanraj who suggested that her film was prophetic about subsequent communal riots in Mumbai and Gujarat. It’s dispiriting to think that she was right. Even so there are some positives to take away from the film.

The poor archiving facilities in India mean that films have been lost. A healthy stock of archive film helps younger filmmakers to explore the past and the issues at stake in this film depend on knowledge of Hyderabad from its days as a princely state with Muslim rulers throughout the British Raj and how that change after 1947 with the absorption into the Union and the changes in power in Hyderabad city. The most devastating part of the film for me was the demonstration in the closing stages of the ways in which the different parties (from communist to nationalist to conservative) were prepared to instruct their supporters just to vote on religious/sectarian lines. Democracy becomes farce on this basis. Can social documentaries like this change opinions by exposing these kinds of issues. It’s interesting to reflect on the impact of popular cinema addressing similar issues and the ‘New Bollywood’ film Kai po che based on Chetan Bhagat’s novel approaches the issue with its references to the communal riots in Gujarat.

What Happened to This City? also has a value as a historical document about India in the 1980s. It’s a good-looking film. Shot on 16mm, it was , like many Indian productions of the period, not properly archived but a print turned up in the Arsenal Cinema in Berlin and this print along with a negative from India enabled a German project to produce a new HD digital print. The results are surprisingly good. For me, images of 1980s India came flooding back, especially with key landmarks such as the Charminar in Hyderabad. India in those days had few cars (and those mostly old-fashioned Ambassadors) and no US branded goods. It was a less materialist and supposedly more ‘planned’ society, but corruption was rife and the police didn’t have a good reputation. Deepa Dhanraj was a brave young filmmaker. In this interview in Jump Cut magazine in 1981 she describes the ecology of political filmmaking at the time and her own work in a group making socialist-feminist films. It’s sad to think that one of the films she was making then was about piecework for women working at home that paid low rates for beautifully made garments then sold cheaply in the stores of Europe and North America. Not much changes.

The question I can’t answer is whether the appearance of this restored film on the festival circuit has any relevance for politically-committed documentary films in contemporary Indian film cultures. The industry is now more corporatised, there are co-productions and filmmakers returning from abroad. There are dozens of television channels in a more pluralistic media ecology but are there enough committed filmmakers able to fund themselves to make films like What Happened to This City? It’s good that Anand Patwardhan is still very active but I don’t know enough about what else is happening. Seeing this film has energised me to look out for more documentary material. I found this document on ‘FilmIndia Worldwide‘ published to cover the Indian entries in both Berlin and Rotterdam Festivals this year useful in providing some more names and ideas.

Bravo to BIFF for screening this film. Can we have more like it please?