First official walk out of MIFF 2023. I was tired. It was a dialogue heavy Chinese animation and my eyes closed one time too many. People seemed to be laughing, so maybe it was good. I got to the point where a coffee seemed like my better option than sticking around.
RIDDLE OF FIRE – ★★
I kinda get that they were going for something quirky with this, and maybe someone totally baked would find it great. This picture, which put a fantasy adventure type element into a story of three kids who try and complete a real life quest for a pie so they can play a game console just didn’t hit the mark for me. The acting was poor, and the plot was poorly thought out. Was a good swing, but it was a miss.
THE ADULTS – ★★★☆
American comedy/drama about three siblings coming to terms with the state of their relationship years after the death of their mother and their own directions in life. Very nicely made, well acted, and certainly quirky. Loved the party scene with Men at Work’s “Overkill” playing. If I didn’t give rating in half star increments, I’d probably bump it up to four stars.
This was a documentary about a retreat/resort/camp during the 1960s for cross dressing and trans people who identity as women, and focuses on a few of them. I found parts of it intriguing, learning more about the complexities and difficulties experienced back then, but often felt like the documentary was leaving me behind. It was like I was sitting at a reunion of people talking about the old days, sometimes at length, often flicking through old photos, but not providing a level of context and background that would have made it more relatable to those that weren’t there. I will admit to shutting my eyes at points and letting my mind wander, so perhaps my assessment is unfair.
THE NATURE OF LOVE – ★★★☆
I mostly liked this Canadian romantic comedy; it’s about a female academic in a long term relationship who begins an affair with a builder. The film unsurprisingly explores the … nature of love. It’s interesting from the perspective that it makes one ponder the subject, and includes several philosopher’s thoughts about this throughout.
A Spanish film about an eight year old who is realising that she is a girl born in a boy’s body. Over a holiday with family, both her and her family come to terms with it, at different paces and with different levels of acceptance. An excellent performance by the young actor who played Lucia/Aitor. I got the intent of this film, and applaud it, but I felt that there could have been a little more story in the 125 minute run time.
AUTOBIOGRAPHY – ★★
Indonesian drama about a young servant to an army general who has returned to a village to run for office. I felt the character development of the servant was patchy, and the story uninspired. Didn’t didn’t engage me.
SCRAPPER – ★★★☆
A watchable enough film about a scrappy 12 year old girl whose mother (and sole parent) has passed away. She is attempting to live between the cracks of the system by herself, inventing a fake uncle, until her absent father shows up. It’s a kitchen-sink drama with a lot of comedy injected, so not a very heavy watch – probably worth recommending to young adults who enjoyed Home Alone, where the child character is outsmarting the adults around them (but without the Hollywood story or slapstick/violent acts). The highlight for me was that it was the first time one of my children were able to attend MIFF with me, so it was a joyful moment to be able to share what I love about MIFF (and point out the incredible ceiling of the Capitol Theatre.
A three hour and twenty minute epic Turkish film. I am extraordinarily pleased and surprised that I made it. It was enjoyable on many levels, incredibly filmed and acted. It’s a story centred around a teacher at a small school in a village. It covers a lot of ground, between accusations by a student of improprieties (arms around shoulder, waist), and the friendship of his colleague/housemate and another female teacher from a larger school. Some very deep and rapid conversations covering philosophies of life, that would leave me helpless if I tried to participate. It was a journey, and one that overall, I enjoyed.
PERFECT DAYS – ★★★★☆
A new best of the festival (so far) today. This film by Wim Wenders is set in Tokyo, and about a solitary man who leads a modest life with a regular routine. He cleans toilets during the day, taking great effort and pride in his work, eats at the same haunts, reads, and listens to cassette tapes from 60s and 70s artists like Lou Reed and Patti Smith. He also finds beauty in nature, often pausing to enjoy the view of leaves on trees swaying in the wind, and photographing them. He is content with his life. As the story and pattern of his life progress, we see minor events that give some ideas of his past, and how he handles the lifestyle he leads. I read another review suggesting this is Wim Wenders’ version of Jim Jarmusch’s ‘Paterson’ (from MIFF 2016). I don’t entirely disagree – the feel is somewhat similar, and I loved Paterson, so it’s not surprising I liked this too – even more. Do not miss the opportunity to see this.
Thank goodness for cry-baby sessions. Well done to MIFF for being inclusive and offering these to parents of babies, so they too can enjoy MIFF. I didn’t realise going into it that it was one of these, but it was helpful; the gurgle and noise of the babies was the right amount of distracting to stop me from being far more emotional during this film. It’s primarily set in San Francisco over the 1970s and 1980s, and unlike Fremont the other day, San Francisco had a starring role. Was lovely to see shots of the Sutro Tower and other landmarks. It’s about a widower gay dad raising his daughter, and is based on the memoirs written by the daughter. Scoot McNairy who plays the father was brilliant. I’ve loved his work since his role on Halt and Catch Fire. Sometimes predictable, but didn’t overly sugar-coat and had several scenes that made you laugh, and cry (though not as much, thanks to the crying babies). Probably the best of the festival so far.
THE CARNIVAL – ★★☆
Slightly similar to another documentary, “Because We Have Each Other” from MIFF last year. In this one, it follows an Aussie family who’ve been running a touring carnival for the past century. Similar to last year’s; it’s interesting enough to watch, but I’m not really clear on the intent. And similarly, I think this could have just as easily been an hour long Australian Story episode.
HOW TO BLOW UP A PIPELINE – ★☆
Oh my, this was so bad it was nearly “so bad it’s good”. But, it didn’t get there. For a seemingly well-financed film, they desperately needed someone overseeing the production to say something before it was released as is. It’s the story is about a bunch of young angry folks who want to blow up a (you guessed it) pipeline. Their intent is to make a statement against oil companies. Tries to be a clever heist movie with twists, but takes itself so seriously, with near constant foreboding soundtrack while simultaneously not really delivering. I felt no empathy for the protagonists, and given the purpose of the film, not showing the results of their action was odd. (did they succeed in making a difference? How did the media cover it? And so on). I think I audibly groaned.
SHORTCOMINGS – ★★★☆
After so many films in one day, and knowing I’d have to experience the sub-standard seats and sound of The Comedy Theatre for this one, I’ll admit I was dragging my heels to come to this final session of the day. I almost walked out 2 minutes in, but luckily the opening cliche-ridden, groan-inducing scene was a film within the film. I’m glad I stuck around, as the actual film was pretty good. An American comedy with a predominantly Asian American cast, this appears to be an “Answer film” of sorts to Crazy Rich Asians. it deals with modern relationships and the settings of San Francisco and NYC were nice to see again; seems to have been a theme this MIFF. Several laugh out loud moments, and doesn’t play by the numbers when setting up well used tropes.
