59th BERLIN FILM FESTIVAL 2009
Published in the journal Sequences
Quebec was rather quiet at the last Berlin Film Festival. Still, It was not me, I swear! Philippe Falardeau got away with two awards in a parallel section, while the documentary River Encirclement Richard Brouillette caught the attention of critics. It is in these parts peripherals the real discoveries are taking place.
Panorama and Forum sections are the two most searched for anyone wishing to identify emerging talent in Berlin. The 2009 selection of alternative programming was not often live up to expectations, although some titles have managed to capture the attention of critics, festival programmers and international buyers. Some familiar names like Catherine Breillat, Julie Delpy, Michael Winterbottom, Tom DiCillo and Hans-Christian Schmid was the game, but did not generate the interest that their status as authors anticipate export permit.
The Danish Lone Scherfig (Italian for Beginners ) is returned to the United Kingdom turn once again in the language of Peter Brook, seven years after the mixed Wilbur Wants to Kill Himself to adapt a novel endorsed by the popular Nick Hornby sought ( About a Boy, High Fidelity ). Relying on a cast of hell - the redoubtable Peter Sarsgaard, Alfred Molina, the hilarious, the discreet Emma Thompson and especially the dazzling Carey Mulligan, monitor - Scherfig chose the wise reading a sex scandal of the 1960s unbridled that may alarm many more parents, especially in America, despite the draining of the controversial elements calculated by a direction of actor and treatment provided in good taste.
a spade a spade, the fourth feature from actress Sophie Fillières, seduced as he seemed enraged the public, in the tradition of Ouch, his only film distributed in Quebec. Chiara Mastroianni A reinvigorated squatting all plans for this not always happy fantasy in which a writer tries to find inspiration in spite of a fan a little too insistent.
Rhythm uneven distributed that sometimes falls flat and other deformities in cinema French undermined what could have still be a very pleasant walk in the imagination of the filmmaker's real left field, to be classified as Valeria Bruni-Tedeschi as the first Bruno Podalydès.
So Yong Kim took the platform in Germany to present his second film, Treeless Mountain , but his first shot in his native South Korea. Near the heart of Nobody Knows by Kore-eda's film So Yong relies entirely on two girls under the age of 7, whose mother disappears and their alcoholic aunt let them wander alone through Seoul to the whereabouts of their father, they have never known. Co-production between Korea and the United States, Treeless Mountain builds memories of the filmmaker as the spontaneous play of his young actors, both non-professional, and the proximity of the camera in the mode of cinema verite .
Two films are nevertheless able to really stand out of the lot this year, unexpected works of several signatures overly tight ( Land of Scarecrows Roh Gyeong the Korean Tae-top). Figurehead Renewal indie emerging from Austin, Texas where Richard Linklater seems to have sown the seeds of a movie 'neo-slacker, just as radical in its infancy, Andrew Bujalski has unpacked the hilarious Beeswax to Berlin four years after having consumed his honeymoon with U.S. criticism following Mutual Appreciation .
The film, which could be easily confused with a year long student of his bill by casting technique and its low profile, is characterized by a sluggish use of transitions, while the pace and story seem to constantly jostled by the front, but by his allegiance to the movement 'mumblecore', or 'mumble extreme', in which the members exchange roles and responsibilities of a production to another, creating a sexy little movie voluntarily, with hesitation and deluge of dialogue are common features.
The real surprise came, however, another American production, the feature documentary Sweetgrass Lucien Castaing-Taylor and Ilisa Barbash, best known art dealers or anthropology departments as festival-goers. Inspired by art videos preparatory about the latest herd of sheep in the Midwest, the film shows the daily life of a farm by road through the pastures and villages of Montana, hurtling the Absaroka-Beartooth Mountains for nearly a hundred miles.
With means evoking Pierre Perrault and Albert Maysles, the duo went on plans for a stunning tide of sheep invading the screen, interspersed with moments of intimacy often unusual in the company of herdsmen, who escorted them appear here turn by their animals, sometimes losing control in conditions reminiscent of a Wild West still alive. That is how the documentary manages to deliver the best westerns produced in 20 years.
© 2009 Charles-Stéphane Roy
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