It's a film Van Peebles made in France in his early years.
And there is also the legendary "Sweet Sweetback's Baadasssss Song."
"Confessionsofa" is nothing like the descriptions friends of mine have given about "Sweet ..." These women don't know each other: one is a black photographer; one is a white lawyer; neither is easily shocked or offended. But they didn't like anything about "Sweet Sweetback."
Still, I want to see it -- all the more now.
Sunday, May 4, 2008
Melvin Van Peebles' film is brilliant
The first night of the Maryland Film Festival, Barry Levinson reminded the audience that no matter how much film has evolved, it's still about storytelling, and "Confessionsofa Ex-Doofus, Itchy-Footed Mutha" is a new kind of cinematic storytelling.
Van Peebles came from New York to attend the screening, fresh from rave reviews at the Tribeca Film Festival. He told the audience last night that he made this film because the technology has evolved enough to give him the precision and control he had always longed for in the editing process -- his favorite part of filmmaking.
The technology allows him to manipulate images, add hand-painted (by him) elements to give scenes a magical quality with saturated colors, and slow or speed up the film for effect. It's a masterful film.
I'm providing a link at the top left of this page, to MFF director Jed Dietz's spot-on program notes for this film.
I love the fact that, at 75, Van Peebles plays the main character as a little boy and young man, as well as the old man telling the story in flashback. It works, because he uses the script to remind you his character is not as old as the actor. And it's a lot like real-life storytelling. When my grandmother told me stories of her youth, I imagined her as a child looking just like she did as a gray-haired old woman, but smaller. And that's what Van Peebles does with his character. I think he used that technology to make his character appear smaller when he's "the kid."
There's no way a verbal explanation can do justice to the way in which he pulls this off. You just have to see it.
Van Peebles came from New York to attend the screening, fresh from rave reviews at the Tribeca Film Festival. He told the audience last night that he made this film because the technology has evolved enough to give him the precision and control he had always longed for in the editing process -- his favorite part of filmmaking.
The technology allows him to manipulate images, add hand-painted (by him) elements to give scenes a magical quality with saturated colors, and slow or speed up the film for effect. It's a masterful film.
I'm providing a link at the top left of this page, to MFF director Jed Dietz's spot-on program notes for this film.
I love the fact that, at 75, Van Peebles plays the main character as a little boy and young man, as well as the old man telling the story in flashback. It works, because he uses the script to remind you his character is not as old as the actor. And it's a lot like real-life storytelling. When my grandmother told me stories of her youth, I imagined her as a child looking just like she did as a gray-haired old woman, but smaller. And that's what Van Peebles does with his character. I think he used that technology to make his character appear smaller when he's "the kid."
There's no way a verbal explanation can do justice to the way in which he pulls this off. You just have to see it.
Where else would a conversation like this start up?
The line to get into the closing night film was already pretty long when I arrived, and it wasn't moving. I decided to make a few notes because of something John Waters said Friday night when he introduced "Story of Women," which is a movie about abortion. As was "4 Months, 3 Weeks and 2 Days," released earlier this year.
"It's practically a trend," Waters said. "Maybe we should have an abortion film festival."
I'm not planning a festival, but I did start making notes on other films in which the issue, or a particular abortion, are a critical element.
The man behind me in line said, "I'm not trying to read your notes, but I couldn't help noticing ..." And he offered up "Vera Drake," starring Imelda Staunton.
It was Christopher Reed, assistant professor of film and video at Villa Julie College.
We came up with a few more abortion films, and then passed the time (the wait ended up being an hour) thinking of the best female-friendship films, which I had been thinking about since seeing "Yeast" at the festival. He noted that "4 Months ..." is also a study of female friendship.
"It's practically a trend," Waters said. "Maybe we should have an abortion film festival."
I'm not planning a festival, but I did start making notes on other films in which the issue, or a particular abortion, are a critical element.
The man behind me in line said, "I'm not trying to read your notes, but I couldn't help noticing ..." And he offered up "Vera Drake," starring Imelda Staunton.
It was Christopher Reed, assistant professor of film and video at Villa Julie College.
We came up with a few more abortion films, and then passed the time (the wait ended up being an hour) thinking of the best female-friendship films, which I had been thinking about since seeing "Yeast" at the festival. He noted that "4 Months ..." is also a study of female friendship.
Alex Gibney, the most prolific guy in the room
As if it isn't hard enough to choose between the films, the MFF also has an ongoing schedule of filmmaker panel discussions and workshops. This morning, I sacrificed "Underworld" with the Alloy Orchestra to sit in on a talk with documentary filmmaker Alex Gibney, director of the Oscar-nominated "Enron: The Smartest Guys in the Room," Oscar-winning "Taxi to the Dark Side" and "Gonzo," which is screening at the festival this year.
When someone asked him what he's working on now, he rattled off four or five projects, including a film he just finished on Jack Abramoff. It sounds great!
Listening to what became a conversation between him and the half-dozen or so others in the tent, I could appreciate the film I saw later in the afternoon with perspective on the style. Gibney chose and hosted this rare screening of "WR: Mysteries of the Organism" (1971) by Dusan Makavejev ("Montenegro"). When it was released, as now, it was too arty and sexually explicit for wide release. Gibney saw it in college at a film society screening.
What it shares with Gibney's style is a strategic juxtaposition of two elements to tell a story. In "Enron," Gibney cut between the extreme-sports obsession of a lot of the Enron executives and the financial risk-taking and eventual ruin of the company.
In "WR," it's between sex and politics (or, more specifically, political ideology).
I was unable to see "Gonzo" yesterday. But it will surely be released theatrically, so I'll see it then.
When someone asked him what he's working on now, he rattled off four or five projects, including a film he just finished on Jack Abramoff. It sounds great!
Listening to what became a conversation between him and the half-dozen or so others in the tent, I could appreciate the film I saw later in the afternoon with perspective on the style. Gibney chose and hosted this rare screening of "WR: Mysteries of the Organism" (1971) by Dusan Makavejev ("Montenegro"). When it was released, as now, it was too arty and sexually explicit for wide release. Gibney saw it in college at a film society screening.
What it shares with Gibney's style is a strategic juxtaposition of two elements to tell a story. In "Enron," Gibney cut between the extreme-sports obsession of a lot of the Enron executives and the financial risk-taking and eventual ruin of the company.
In "WR," it's between sex and politics (or, more specifically, political ideology).
I was unable to see "Gonzo" yesterday. But it will surely be released theatrically, so I'll see it then.
Mumblecore
I have to admit the "mumblecore" tag given to a certain trend in independent filmmaking didn't sound all that appealing to me. Not all the filmmakers who get tagged with it have selected it for themselves, said Mary Bronstein, and a few of them feel it pigeonholes them.
But most, she said, believe it might get their films more attention on the festival circuit than if they were just one of the many. After all, festivals usually have far more entries than any one person can see, and anything that helps a film stand out can help.
Bronstein said the mumblecore movement is broader than just the collective of filmmakers that includes her husband Ronald Bronstein, Joe Swanberg, Greta Gerwig and others in their circle of friends and colleagues. A sound man for another independent filmmaker coined the phrase, Bronstein believes, and it usually indicates that a film was shot with a hand-held digital video camera for very little money, with natural lighting, containing a good amount of improvisational dialogue and having an intimate style.
"My film does have a similar style, but I feel like there's a separation in the themes," Bronstein said of "Yeast."
"I feel like the emotional level of my film is very intensified," she said. "All the 'mumblecore' films are very different."
But the natural lighting and small budget applies here. "My film cost fifteeen hundred dollars," Bronstein said. "That's just production, not counting transfers and taking it to festivals."
She's able to do this only because she and her colleagues work on each other's films, for no money. They all have other jobs. In addition to a degree in drama from New York University, Bronstein has a psychology degree, and works as a play therapist for a hospital.
"Nights and Weekends," by Joe Swanberg, has much more of subdued quality than "Yeast." It's a moving depiction of a long-distance relationship in a difficult and awkward stage. Swanberg co-stars with Greta Gerwig, who is also in Bronstein's film.
If you attended last year's festival and saw "Frownland," by the way, Bronstein played the female love interest of the main character. "Frownland" was directed by her husband, Ronald Bronstein. While it could be called a "mumblecore," it was shot on film, she noted.
But most, she said, believe it might get their films more attention on the festival circuit than if they were just one of the many. After all, festivals usually have far more entries than any one person can see, and anything that helps a film stand out can help.
Bronstein said the mumblecore movement is broader than just the collective of filmmakers that includes her husband Ronald Bronstein, Joe Swanberg, Greta Gerwig and others in their circle of friends and colleagues. A sound man for another independent filmmaker coined the phrase, Bronstein believes, and it usually indicates that a film was shot with a hand-held digital video camera for very little money, with natural lighting, containing a good amount of improvisational dialogue and having an intimate style.
"My film does have a similar style, but I feel like there's a separation in the themes," Bronstein said of "Yeast."
"I feel like the emotional level of my film is very intensified," she said. "All the 'mumblecore' films are very different."
But the natural lighting and small budget applies here. "My film cost fifteeen hundred dollars," Bronstein said. "That's just production, not counting transfers and taking it to festivals."
She's able to do this only because she and her colleagues work on each other's films, for no money. They all have other jobs. In addition to a degree in drama from New York University, Bronstein has a psychology degree, and works as a play therapist for a hospital.
"Nights and Weekends," by Joe Swanberg, has much more of subdued quality than "Yeast." It's a moving depiction of a long-distance relationship in a difficult and awkward stage. Swanberg co-stars with Greta Gerwig, who is also in Bronstein's film.
If you attended last year's festival and saw "Frownland," by the way, Bronstein played the female love interest of the main character. "Frownland" was directed by her husband, Ronald Bronstein. While it could be called a "mumblecore," it was shot on film, she noted.
Friendship break-ups
If you find the all-too-rarely explored topic of friendship break-up interesting, note that two films at this year's MFF explore that. One is "My Effortless Brilliance," about two men, but I couldn't get into that one during the unfairly short time I had to watch it.
I found "Yeast," about three female friends, much more riveting. It's emotionally intense, with unpleasant characters -- not for everyone. As for me, I had to leave after the first 20 minutes or so yesterday -- ONLY because I had to get to the screening of "Waiting for Hockney," but I plan to catch the rest of "Yeast" during the final screening at 4:30 p.m. today.
I had the benefit of interviewing "Yeast" director Mary Bronstein just now, and I'll be posting more later on how she was inspired to make "Yeast," and her insight into whether the "mumblecore" label hurts or helps the films that get tagged with it.
Link to Bronstein's myspace page to learn more about the movie.
I found "Yeast," about three female friends, much more riveting. It's emotionally intense, with unpleasant characters -- not for everyone. As for me, I had to leave after the first 20 minutes or so yesterday -- ONLY because I had to get to the screening of "Waiting for Hockney," but I plan to catch the rest of "Yeast" during the final screening at 4:30 p.m. today.
I had the benefit of interviewing "Yeast" director Mary Bronstein just now, and I'll be posting more later on how she was inspired to make "Yeast," and her insight into whether the "mumblecore" label hurts or helps the films that get tagged with it.
Link to Bronstein's myspace page to learn more about the movie.
Saturday, May 3, 2008
Subject and Director
Yesterday's screening of "Waiting for Hockney" was packed with the families and friends of artist Billy Pappas, left, and Julie Checkoway, the film's director. (The photo was taken by Gary Vikan, director of the Walters Art Museum and a mentor to Pappas, at the Tribeca Film Festival.) Checkoway, a former English teacher at the Gilman School, now lives and works in Salt Lake City as a journalist and filmmaker, with her husband, Lee Thomsen.
While no more showings are scheduled at the festival, it's likely this film will be back for a screening in some way. Read more about it at the Film Festival site, and at the film's website. (The link is at the top left corner of this page.) The site also includes a recipe for Cookie Pappas's poppyseed cake. The cake was one she made for artist David Hockney for agreeing to meet with her son.
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