Lynne aka MondoGhosto has taken time out of her self imposed exile, where she protects us all from the dark creatures from beyond, to share her thoughts on some of the films from this years EIFF.
What’s that ghostly noise coming from the video tech lounge? Oh it’s just that daft redhead rustling a packet of ‘Mr Bump’ jelly sweets…
I had attempted to do individual reviews of everything I caught – but due to time constraints, starting a new job, and the fact that I seem to be hopeless at writing anything these days…my Edinburgh International Film Festival experience shall be shortened to some mini reviews of the good stuff! That’s what’s really important anyway, isn’t it? The good stuff.
Award for the most relentless stream of madness and mayhem definitely goes to Alex de la Iglesia’s The Last Circus, a non-stop ride of violence, horror, tragedy and subtle humour.
Mixing in real life pivotal events in Spanish history, The Last Circus tells the story of Javier (Carlos Areces) from the moments that stripped him of his childhood to his present day as Sad Clown sidekick to the sadistic Sergio (Antonio de la Torre). A withdrawn soul – haunted by loss of innocence at the hands of Franco’s reign in power – Javier finds himself drawn into a bizarre love triangle after witnessing Sergio’s mistreatment of beautiful circus acrobat, Natalia (Carolina Bang). Taken over by love and anger, the true impact of Javier’s formative years is displayed in spectacularly horrifying fashion by Iglesia.
While it may not be to all tastes, the perfect blend of the beautiful and the grotesque, the colourful and the grimy – mixed with hopeful promise and inescapable tragedy – made The Last Circus an out and out winner for me. Almost has to be seen to be believed.
Winner of the ‘Oh ye fucking Gods, it’s Vincent Cassel being a magnificent bastard’ award goes in the direction of Romain Gravas debut feature Our Day Will Come – part road movie, part what the hell are these mad bastards up to?
Starting off as what you think may be some gritty social realism, Our Day Will Come veers off into strange territory. Falling under the spell of charismatic – but rather unhinged – psychoanalyst Patrick (Cassel), quiet loner Remy (Olivier Barthelemy) goes on an odd voyage of self discovery which ultimately leads down a destructive path in which the pair attempt to start some form of ‘redhead revolution’. I can dig that. With their roles being reversed at some point, the journey of each character makes for fascinating, and at times uncomfortable, viewing.
Stand out scenes for Cassel to shine in, showing off both his versatility and the brave role choices he makes. Damn fine stuff. Even if there does seem to be no real point or ultimate goal to their quest. A definite must-see.
“My hair bothers you, I’ll let it grow. My exploits, my attitudes, disturb you? Then I’ll intensify them. And when, under your torrential sarcasm, I remain indifferent before you, and can finally be true to myself, despite the disgust, despite the shame…
Despite all that, you will love me for what I am.”
Tell it, Vincent. Tell it. Now get in the Jacuzzi and do your worst…
Winner of most pleasing film of the festival – for me anyway – was Andre Ovredal’s debut feature, Troll Hunter. Pure entertainment from start to finish. A fun ride of a mock documentary that has proved so successful in it‘s native country of Norway, the rights have been bought by Chris Columbus for an American remake.
While investigating a series of bear shootings in Norwegian forests, a trio of student film makers happen upon lone hunter Hans (Otto Jespersen), and decide he would make a good documentary subject…but Hans is no ordinary hunter. No, he works for the Troll Security Service…
Jespersen’s portrayal of gruff and grizzly Hans is at times hilarious, and if audience reaction is anything to go by – you cannot miss this when it goes on general release.
Troll Hunter is great mock-documentary, with some cracking effects work. Fucking fantastic. No other words.
At the more quiet end of the scale, Baldvin Zophoniasson’s Jitters, gave a nice picture of young adulthood, following Gabriel (Atli Oskar Fjalarsson) and his group of teenage friends as they make their way through life’s ups and downs.
Whilst dealing with his own newly discovered sexuality and relationship with Markus (Haraldur Ari Stefansson), Gabriel still has to keep up the support role he seems to have been given within his group. Everyone calls him for advice, everyone needs him in a crisis, he is the subject of unrequited love and the ever-reliable shoulder to cry on.
Jitters is an authentic portrayal of that strange and confusing landscape which is being a teenager, with all of the relationships shown having an effortless, ‘real’ feel to them.
Only touching lightly on the back story of each character – without melodrama or any deep and meaningful revelations – Zophoniasson’s film has a strange air of ‘dealing with the shit stuff then getting on with it’ if that makes any sense. Quietly beautiful.
Another low key hit for me was Celine Sciamma’s Tomboy. In a world where films are overloaded with subplots and twists, Tomboy was a simple story, beautifully told.
On moving to a new home, ten year old tomboy Laure (Zoe Heran) is mistaken by new friend Lisa (Jeanne Disson) for a boy, and decides to introduce herself as Mikeal. Hiding behind her new persona, Laure carves a role for herself among the boys, becoming a star player in their games, while cultivating a blossoming relationship with Lisa.
With fantastic performances all round from the kids involved, most notably Laure’s knowing little sister Jeanne – played to perfection by the young (Malonn Levana) – Tomboy was one of the best films of the festival. Amazing stuff.
Alix Delaporte’s Angele et Tony was another winner for me. A nice little story of convenience turning to love.
Desperate to win custody of her son, the mysterious Angele (Clotilde Hesme) places a personal ad for a husband. Fisherman Tony (Gregory Gadebois) – needing someone to help his mother and his fishing boat following the death of his father – responds.
The slowly building relationship is quite affecting. The stark contrast between the opening scene in which Angele is – to put it plainly – ‘had up against a wall’ in return for an Action Man for her son, and her eventual love making with Tony, shows the growth of feeling throughout the film.
Angele takes to the role of fisherman’s wife in an unexpected way, and if Tony can overcome the events of her past…who knows? With some genuinely sweet moments, Angele et Tony proves an antidote to the standard romance.
Moving to the world of real life, Dominic Allan‘s CALVET was the stand out film of the whole festival for me at least.
A quietly touching and inspiring true story of one man’s journey to make up for the failings of his past. Having run away from responsibility into the path of self-destruction, artist Jean Marc Calvet recounts past mistakes and faces his failings head on with extraordinary honesty in this stunning documentary. Finding salvation from his demons through art, Calvet undergoes a massive change of life, ending with the decision to track down the son he left behind years ago.
Handled with extreme sensitivity by the film makers, the whole thing is as moving as hell without once intruding on those involved.
CALVET is the proof that it is never too late to build bridges, it is never too late to fix your mistakes, and art is the saviour residing within us all. Time, patience, and putting the feelings of others before yours can rescue the most fucked up of situations.
Featuring some fantastically detailed artworks from Calvet himself, I can honestly say I would watch this every day if I could.
Exploring the world of voyeurism and secret recording, Matthew Bate’s Shut Up, Little Man made for interesting viewing.
On moving to San Francisco in the late eighties, Mitch D and Eddie Lee Sausage found they had ended up next door to a couple of raging alcoholics. Rather than express any concern, they chose to record the arguments, taunts and abuse thrown around the apartment, and these recordings eventually gained a life of their own.
While some of the exchanges between the drunken Ray, Peter and occasional lodger Tony may be funny…the question of exploitation rears its head more than once. Who, if anyone, actually owns the rights to the recordings? Is it ethical for Mitch and Eddie to make money from these poor bastards? And what right does anyone have to copyright the voice of the unknowing victim of a hidden microphone? Fascinating stuff.
Winner of the heart-warming documentary award shall definitely be going to Jeanie Finlay’s Sound It Out, a cracking Indiegogo funded feature focussing on the last remaining record store in Teesside, Stockton’s Sound It Out Records – store where they genuinely care about their customers, and have an owner with a passion for music that shines like a beacon amid a dying industry.
Going into the homes of the most loyal and interesting of customers, and getting to the root of their record obsession, Sound It Out covers not only how important music can be, but the community aspect of an independent store like the one looked after by the amazing Tom. This guy provides a haven for many whose only source of joy and hope comes from that which they listen to.
He’s a legend in his own town, and hopefully now he shall be a legend everywhere else. Top bloke.
If you care one tiny shit about music, you will love the hell out of this.
The last film I caught, Nikolaj Arcel’s Truth About Men became one of my personal favourites of the festival.
Following the story of disillusioned screen writer Mads (Thure Lindhart) as he reappraises his life and walks out on his relationship of ten years on the back of reading a letter he wrote to himself aged seventeen. Embarking on what his mother calls his ‘self-realization project’, Mads heads off in search of the love of his life, and inspiration for his art.
Trying to make sense of the events of his life via the medium of his writing – obsessing over finding his five main plot points – the realization of where he has gone wrong, the mistakes he made and the problems he could have averted proved quite heartbreaking at times.
Yes, I’ll admit, there are many parts of the story I identified with, even though I assume the target audience is mainly men undergoing a life crisis. Ah hell, it was lovely.
Like CALVET, I can’t stop thinking about it.
Say what you like about the politics and the programming, I can’t fault half the films I was exposed to. And for that, I’m thankful. Maybe I’ll even make it next year, but who can tell what the future holds for EIFF?
And there you have it.
Not much to go on, but sometimes – even though I hate to say it – real life is more important than films.
Love always,
Glad to back for a second, and hopefully getting her shit together soon.
