It’s almost Melbourne International Film Festival time, so I’m starting up the MIFF diary yet again. This year I’ll be seeing and reporting on a lot more films than in previous years as I’m taking part in the 60th anniversary MIFF blog-a-thon. The deal is that I need to see and report back on 60 films during the seventeen days of the festival. That’s on average 3½ films per day. It’s a bit daunting to be honest and I’m apprehensive about how much I’ll be able to appreciate all those films let alone write anything intelligible about them! However, I’ve willingly signed on so will give it my best shot.
The good news is that as well as covering the festival here I’ll also be covering it on the Plato’s Cave podcast with my fellow hosts Josh Nelson and Tara Judah. We won’t be doing our usual Monday night/Tuesday morning show during the week beginning 25 July because on Thursday 28 July from 7pm-8pm we’ll be broadcasting a live Max Headroom MIFF special on Triple R. We’ll then upload that show Friday morning, in case you can’t tune on Thursday night, and record a new podcast-only MIFF show the following week at the usual time. We’ll also be discussing our picks of the festival in the next episode (week starting 11 July) so subscribe now if you haven’t done so already.
Speaking of festival picks, I thought I’d share the ten films and three short film packages that have most caught my attention. I’ve tried to pick films that to the best of my knowledge aren’t getting released in the near future, although some do have Australian distributors already. (Cerise Howard has put together a very useful list on her blog along side her intriguing recommendations for what to see.) I’ve actually seen a number of the films already scheduled for a theatrical release this year including Senna and Jane Eyre, which are both excellent films and would certainly be rewarding to see in the festival environment.
Autoluminescent: Rowland S. Howard
I can’t think of any filmmaker more qualified to make a documentary about the great Rowland S. Howard than Dogs in Space director Richard Lowenstein. It’s a perfect combination of director and subject matter. Also, my wife introduced me to Howard’s solo work so this is a bit of a personal pick for me!
Beauty and the Beast
I’ve wanted to see Jean Cocteau’s 1946 avant-garde fairytale film for a long time so having the opportunity to see it on the big screen is an incredible opportunity.
It was a shame that I, like most Australians, didn’t get to see the war documentary Restrepo in the cinema so I’m making sure I see this one, which has been a sensation in Denmark and from all accounts is extraordinary documentary filmmaking.
I really enjoy contemporary South Korean cinema and the promised mix of social critique, complex narrative (I’m expecting not to be able to follow it), dark comedy, tragedy and action sounds so much like my sort of thing.
It’s the latest film by Lars von Trier and that’s enough for me. I haven’t always liked his work, but he is so unpredictable that I always make a point of seeing what he’s done next. Plus, his previous film Antichrist was one of my highlights during MIFF 2009.
Sion Sono is another director that I now always seek out. Love Exposure was another film I saw during MIFF in 2009 and I’ll never forget seeing Suicide Club at MIFF many, many years ago. Sono’s Guilty of Romance is also screening this year and I’ll be at that too.
The Turin Horse
I’ve never seen a film by Béla Tarr, not even his widely acclaimed Werckmeister Harmonies. The Turin Horse is supposedly his final film so I guess better late than never to get on board. It’s reportedly a very meditatively and observational film about peasant life – in other words, the kind of film some people find absorbing while others find dull. I usually fall into the former camp when it comes to such films so I’m really keen to see this.
I like to see a handful of disturbing, bleak and soul destroying films each year and this Russian parable about the collapse of the Soviet Union sounds suitably gruesome, brutal and darkly humorous.
I Am Eleven
This is another very personal choice as I’ve been aware of Genevieve Bailey’s work since the days when I used to be involved in the 15/15 Film Festival. Her films have always possessed a sincerely humanist quality and this documentary (her first feature) sounds no different.
My paranoia with MIFF is that I’ll miss a gem that I can’t see elsewhere and that paranoia was exemplified when I almost didn’t notice this film in the program (thank you again Cerise Howard for pointing it out!) This is the latest by filmmaker/animator Jan Švankmajer who is one of the few contemporary filmmakers that can be accurately described as a surrealist. One of my first ever MIFF experiences was seeing his version of Faust and I’ve loved everything he’s done since.
I’m also going to explore the short film packages this year. Until I was asked to be a judge for last year’s MIFF Shorts Awards, I didn’t really give short films the attention they deserved. I’ve since seen the error of my ways, plus I’ve had a sneak peak on what’s on offer this year, as a result of writing for the program, and there’s some great stuff. All the packages contain films that are worth seeing, but I’ve narrowed it down to the following three:
International Shorts – O Canada!
I’m mainly going to this because it includes Scenes from the Suburbs, the Spike Jonze/Arcade Fire collaboration. From this program I have already seen the very simple single-shot film Sophie Lavoie and was extremely impressed.
International Shorts – Misfits
I’ve seen most of the films in this program but am more than happy to see them again, especially Jonathan Caouette’s All Flowers in Time. However, the two films I haven’t seen are the ones that do sound the most interesting: the South Korean psychological thriller Ghost and the Swedish zombie film The Unliving, which sounds like it may deliver a fun, refreshing spin on the genre.
Experimental Shorts 2
Slave Ship and Another Occupation sound fascinating plus I really want to see Endeavour and Stardust again, but this time on the big screen. Stardust is directed by Nicholas Provost who won the Best Experimental Short Film award last year for Long Live The New Flesh. I think Stardust is even more impressive.
OK, that’s it for now. I can’t make opening night due to a prior engagement and I’m seeing films back-to-back over the first few days, but hopefully diary entries will start appearing soon after the first weekend.