The Melbourne International Film Festival opens this Thursday so I thought I’d share my festival picks, even though they are based on a somewhat random sampling of what I have just happened to have seen. Many of my favourite films in the festival are Shorts and the Next Gen films, but I’ve covered those two programs in detail already. Which brings me to the obligatory disclaimer that I work for MIFF in the programming department so have zero objectivity about the festival. Having said that, all the films discussed here are ones that I had nothing at all to do with selecting.
The textures and colour make this film a visual masterpiece, and when that is combined with an amazing performance by the film’s young star and an emotive coming-of-age tale that incorporates visions of prehistoric times with future climate change catastrophes, the result is a Magical Realist triumph. I cannot wait to see this film again.
I am so thankful that films this playful, provocative and puzzling are still made. The latest by Leos Carax, who is the subject of a retrospective at the festival, is a fascinating exploration of dreams, film genres and the effect that technology is having on the way audiences experience cinema. At least that’s what I took from it.
As two of the three directors on this film are the geniuses behind the deliriously funny A Town Called Panic, I was not expecting it to be a traditional hand-drawn animation that would be so incredibly charming. This gorgeous parable about a mouse and a bear who become friends, despite being told that they should fear and hate each other, is not only funny but so sweet that at moments I was possibly a little misty eyed.
Beautiful shot in black-and-white in 4:3, this mesmerising film set in Portugal and African uses selected techniques from early cinema to create a dreamlike story about illicit love, race, colonialism and melancholy.
While not as strong as the original film, which is one of my favourite contemporary zombie films, this loose prequel is a lot of fun. It does abandon the found footage approach early on, but the resulting wedding-based flesh-eating mayhem is a lot of fun.
A really accessible, in-depth and entertaining look at the way the film industry – on every level – is making the transition from film-based technology to digital. This documentary contains interviews with many of the major players in the film industry and gives voice to a wide range of viewpoints. It challenged and possibly even changed several of my opinions.
A film shot in the first-person about a serial killer who scalps his victims after killing them gets points alone for audacity. This is a slickly made cinematic nasty that I really enjoyed being shocked and disturbed by. There is also some really impressive filmmaking on display, used to mimic the fractured way the delusional and deranged protagonist views the world.
The stunning black and white rotoscoping in this Czech animation perfectly complements the dark and sombre story about a loner train dispatcher whose experiences during World War II come back to haunt him. There is a remarkable sense of stillness in this film, which gives it a beautiful meditative quality.
Like its subject Serge Gainsbourg, this is a rambling film that is sometimes infuriating, something baffling, self-important, self-deprecating, all over the place and constantly fascinating. The combination of archival footage and audio recorded by Gainsbourg provides an impressionist portrait of the man, told out of chronological sequence and far more illuminating than the biopic about him that came out in 2010.
This horror/comedy is a tremendous amount of fun. As the two brothers with a creative solution to making fertiliser, Angus Sampson is wonderfully wicked while Damon Herriman is hilariously endearing.
Have a great MIFF everybody!