The Malaga Film Festival, or as it's known here the Festival de Málaga, is now in its 27th year and seems a big deal in this exquisite midsize city in southwestern Spain (pop. half a million) and Picasso's birthplace. Now in its 27th year it has the flavor of a mini Cannes, with a huge red carpet rolled out all the way along a central promenade, a grand entrance way, and packed streets with people behind festival barricades around the central cinema, Teatro Cervantes in Malaga’s Casco Antiguo (old town). It ran 11 days in early March and I was happy to catch at least three of the flicks. The festival is a toast to Spanish cinema and so many of the films, especially those made in Spain itself, don't have English subtitles. I of course opted for the few that did, and they were all North American. The first was by veteran Spanish and internationally-acclaimed filmmaker Isabel Coixet's and her Things I Never Told You, part of a retrospective of her work. She attended the screening and it was a kick to see the Spanish paparazzi (or whatever the Spanish term is) out in force to snap pix of the director during her introduction. The 1994 release stars then popular actress Lili Taylor along with Andrew McCarthy and Seymour Cassel. This thoroughly American film, in English and shot in rural Oregon, is about a displaced young woman (Taylor) at wit's end after being dumped long distance by her boyfriend. It was fun to see Taylor again after all these years, whose demeanor was split between subtle sarcasm and calm anger in an obvious character study of the whims of anomie. The second film was Lumbrendream (Firedream) by José Pablo Escamilla of Mexico. Dark both figuratively and literally, this film about the trap of young people with no futures working in the fast food industry, was well acted. But its characters' angst had a repetitive element and the picture, shot in gloomy and tight indoor surroundings, had a claustrophobic quality. Yes, I looked at my watch several times! The third film was, from Cuba, The Wild Woman by Alan Gonzalez. Here we had at least the semblance of a plot and tension, which the last film lacked. Lola Amores as Youlanda, caught in a cycle of violence and on the run, is trying to find her son in the backstreets of Havana's barrio. (The flick had its world premiere last Sept. in Toronto.)....The festival’s central theatre, Cervantes - and a stone's throw from Picasso's childhood home - is a beautifully intimate opera house style historic venue. The Festival de Málaga may not have been Cannes but it had a similar atmosphere on a smaller scale, and, alas, is located on the Mediterranean to boot.
Windsor Detroit Film
Wednesday, March 13, 2024
Tuesday, March 5, 2024
No particular need to hold over The Holdovers
I’m in Malaga Spain and the Malaga Film Festival is on all this week. It's the first time I’ve been here when the festival is on. But to my chagrin the overwhelming number of films are in Spanish (makes sense) and lack English subtitles. But I am going to see an exception tonight, Things I Never Told You, 1996's Spanish director Isabel Coixet's American-based film starring Lili Taylor. It's being screened in the beautiful Cine Albéniz (photo left), right beside the Roman amphitheater and sheltered under the hilltop Alcazaba (fortress) on the edge of the old town, perfect for a scene in a movie.
Monday, February 5, 2024
Anatomy of a Fall, this time with English subtitles
Also on YouTube is Nicole Holofcener’s You Hurt My Feelings (2023), the latest from the director of comedy-dramas about contemporary, female-focused and often overthinking American urban liberals. The focus of the plot is slight but enough to keep your attention on an incident in the marriage of yet another oh-so-modern-couple played by Julia Louis-Dreyfus and Tobias Menzies. I didn’t recognize Louis-Dreyfus because her hair is shorter and she almost looks like Tina Fey. Holofcener is a one time protégé of Woody Allen and it shows, since these neurotic Manhattan characters could be right out of his films. Nothing special here but I can think of worse ways to spend a Saturday night.
The best rebuttal to the “it’s so unfair” chorus that Barbie (Greta Gerwig) didn’t get an Oscar nom for Best Picture and Best Director is Rich Lowery’s NY Post column. Check it out at Margot Robbie's 'Barbie' Oscars snub is no loss for feminism (nypost.com)
I hate to say it. But now when I see minorities in a film I have to wonder if this is because their inclusion is designed to fulfil diversity quotas. Starting with this year’s Oscars a film must meet two of four standards for Best Picture including at least one minority lead actor or significant supporting actors and the main storyline being the same. I never questioned who was in a film previously but now the thought is in the back of my mind.
And I’m still waiting to see Alexander Payne’s The Holdovers (2023) that seems as elusive as the sun these days. It’s getting rave reviews but not available in any theatres nor even to rent online. Wouldn’t it be great if cinemas made available all 10 Best Picture nominees just before Oscar time?
Monday, January 22, 2024
Canada's most politically incorrect film
Monday, January 8, 2024
Doc overturns accepted George Floyd narrative
Saturday, December 23, 2023
Uh, what city was this filmed in?
Wednesday, December 13, 2023
Film clips: Windsor the next Telluride?
The Globe and Mail recently did a story about the Toronto’s film festival’s touring series called the Film Circuit, which distributes TIFF films to communities across Canada. Windsor’s fest director was quoted. “We were part of Film Circuit for 18 years and grew with them, learned from them about building relationships with distributors and filmmakers and how it all works, and now we’re here,” says executive director Vincent Georgie of the Windsor International Film Festival. “We then forged our own path forward, but absolutely with a debt due to TIFF.”
In England, in Exeter in southwest England, there’s a little idiosyncratic gem of a museum at the city’s university, The Bill Douglas Cinema Museum (photo above). Douglas, now deceased, was a British filmmaker and as importantly a major collector of thousands of pieces of cinema paraphernalia. What’s most intriguing is the display of early 20th century and pre-20th rudimentary moving image machines or contraptions that mimicked motion such as mirrors, peep shows, optical illusions, dioramas and phantasmagoria or modified magic lanterns to project “supernatural” images.