Category: Film

REVIEW: Lightworks Day 1

Phillip Wachowiak

Aside from the lack of popcorn, Lightworks Winter 2014 was remarkably better than its fall semester counterpart. Not only were the films more polished, but his time the audience was granted the pleasure of actual hosts. The festival programs, were entirely correct this time around, and by the end of the first night, the audience itself was close to filling the entire Natural Science Auditorium.

The key difference between Lightworks and other festivals is that you often see professors sitting down the row from students, just as exciting to see the finished product as the student. Since these films were all made for classes, you can tell which class they came from by their nature.

Films from the 400-level classes are reserved for the end. These films—Toast and (?)–deserve their place at the finale of the festival because their production quality is astonishingly close to a professional big-budget film. Below this are the 300-level films, which entail the intermediate production classes. These categories emphasis narrative, are coherent, and overall films that you would feel comfortable watching with your parents.

Other films get weird and experimental and, in many cases, exciting. One of the best reasons to go to a film festival is to experience all of the avant-garde student films that display raw talent. When I say raw talent, I mean films that make you question what you just watched, yet you want to watch them again. Fancy animated projects manifested themselves as psychedelic dystopian computer work and kaleidoscopic aesthetics. There were also wonderful hand-drawn animations, of a dog disrupting Santa as he gets ready for Christmas Eve.

The animations were juxtaposed with live action pieces that leave you breathless. It is unbelievable the talent that is displayed in these films, both in the dancers moving their bodies on screen and in the plethora of editing techniques that make the films a psychedelic wonderland. They are a comedic, talented, astonishing.

A change from previous years is the influx of silent films. While seeing student projects made on real 16mm film is wonderful, last night seemed to alternate them with their sound-equipped video counterparts. In some instances this meant an awkward transition from a modern video to a more classical art-house piece. I enjoyed both types, but I wonder if it would be possible to separate the categories completely: all of the films in one section and all of the videos in another section. This way the audience could get into a certain mood for one or the other without constant disruption.

The hosts, Chad and Riley, have made quite a name for themselves. Veterans of the acting circuit and appearing in several of the Lighworks films, they made a name for themselves as a duo by appearing in The Secret Show, a quirky underground video podcast that premiered earlier this semester.

Like Tina Fey and Amy Poehler, these comedians were a welcome change from the regular hosting by FVSA students. Keeping up with the fashion of reading live tweets during intermissions, they interacted with the audience and created an organic, relaxing atmosphere for everyone.

Small technical difficulties seemed to plague the projectionists. Since there were so many transitions between 16mm films and videos, the projectionist was constantly changing from one format to the other so the audience would often be waiting in the dark for longer than normal. On top of that, a few of the films were blown out to the extent that one could not tell what was in half of the shots. Most alarming of all as a trace of lag that I saw in a couple of the films. Since most projects are exported in high definition format, I assume the computer has trouble rendering them fast enough sometimes. At any rate, it was a disappointment to see impressive special effects lagging because of the very technology that created them.

To end this on a high note, I only need to remind readers that Lightworks is 100% free. This is a two day festival, over eight hours long, and you can walk inside with nothing but the clothes on your back. It was a pleasure to watch these amazing films knowing that I go to school with the students that make these films. As always, I recommend Lightworks to everyone.

 

A Couple Samples of the films shown last night:

Kickstarter Video for “George O. Duncan”

“Urban Canvas” Detroit Documentary

The Hosts

REVIEW: M-Agination Films Festival

Phillip Wachowiak

Usually student films are envisioned as earth-shattering ideas that will shake the world, only to end up on Youtube or Vimeo with 200 views.
Events like the M-Agination Film Festival allows films to transcend this by showcasing a collection of these films on the big screen in the Michigan theater for a much wider audience, in the best possible way to experience a film.

Before I go any further, I will admit that I am a producer on the board of M-Agination films. I am one of the ten students who sorts through dozens of scripts at the beginning of each semester, choosing a handful of scripts that we like enough to produce.

Consequently, I might be a little biased. I may be more apt to appreciate the work that goes into these films, but I am also more prone to see the wide range of errors that student films can make.

Despite a technical difficulty at the beginning of the festival, M-Agination is one of the best student film fests, if not the best overall film festival on campus. Compared to student festivals such as Lightworks, the venue of the Michigan Theater is a thousand times better than the cramped space of the Natural Science Auditorium.

On top of that, the films shown this year were consistent high-quality films—you can go to this festival expecting enjoyable films all night rather than a collection of hit or miss pieces. While the festival doesn’t quite match the Ann Arbor Film Festival, it’s free and you get a free t-shirt if you show up early.

Now on to the films themselves.

There was a nice diversity of films: comedy and tragedy, narrative and experimental, ancient and modern.

“Pinkie Promise” was a classic feel-good love story about a boy and a girl getting together after promising to do so when they were teenagers. “696” takes a polar opposite approach of a married man lamenting the death of his earlier love.

“Dream Girl” was an experimental piece on the simple premise of a guy seeing a cute girl at a party, while “Initiation” dealt with the grim subject of hazing of college athletes. This was especially powerful because it added overt messages offering help to those who may need it. As far as I know, it will be used as a powerful tool to show to students experiencing alcohol addictions.

“Price of Art,” about two women stealing artwork to make the headlines and finding out that no one cared, was an interesting commentary on the status of the Detroit Institute of Arts.

The two films that truly stood out were “Calvin” and “Crook’d.” Not only were these films made by talented students, but they had professional filmmaking equipment at their disposal and Kickstarter dollars as well. With long steadicam shots, incredible sound mixing, and top-notch script writing, these films were phenomenal partially because they could almost stand alongside Hollywood films.

I have heard that this was one of the best years yet for M-Agination. If this festival keeps improving, then it will easily become one of the best film festivals in Ann Arbor, period.

Student Video

REVIEW: The Grand Budapest Hotel

Jeffrey Sun

This is a great movie. It’s almost as if Wes Anderson, knowing we expect him to give us kitsch, cute, and darkly funny has decided to take Chekhov’s maxim that art should “prepare us for tenderness” to heart. The movie starts off with a girl in the modern day (presumably) walking up to a statue of an author in a park in the fictional  Eastern European country of Zubrowka, sitting beside it and beginning to read one of his books. We then hear the author narrating, while sitting in his study, telling us of his visit to the Grand Budapest Hotel. We are taken to the Grand Budapest Hotel, where the author, now much younger, is staying for a season. While there he meets the owner of the hotel, Zero Mustafa, who tells us of his humble beginnings as a lobby boy. Then we can take a breath, because this is where the real story begins.

The story progresses with all the kitschy mise-en-scene, dollhouse-like sets, and careful fairytale framing that we would expect from Wes Anderson, but hints of something deeper are already apparent. The relationship between the young Zero and the concierge is moving, and both of them are fully realized human characters. The encounter between them and the forces invading Zubrowka is the first hint that the movie is aiming for something deeper. The story is exciting, stylish, and moving, but The Grand Budapest Hotel is as much about the framing as about the story in the middle. The story happens in the almost-unmentioned midst of an alt-Nazi invasion of Zubrowka, and the tension between the rarefied, effete world of the wealthy and sophisticated and the incoming storm of war is powerful wherever it is apparent.

The movie is absurd, but perhaps it is through an absurd alternate history that we can see history most truly. Books, classes, monuments, ruins, and common knowledge hide something about war and history. They hide its absurdity. The only thing making the invading forces in the movie more absurd than the forces that ravaged Europe half a century ago in our world is that we are used to our history. We have accepted it as part of the world, and only those who have been in it, those who were part of it can really understand the randomness of what happened.

Anyway, the other framing device is one that we forget about until the end of the movie, when the perspective switches back to the hotel, to the study, to the girl reading in the park. The story has always been set in the modern day, and we have been travelling through memory and literature into the past. We emerge blinking at the end, and the heartbreaking power of the movie seems revealed all at once. Their history, our history, and the great tragedy and power of the past.

The movie is about other things, too, of course. It deals powerfully with love, friendship and loneliness, but the history is what stuck with me the most. And aside from that pretentious stuff, it’s still a gorgeous, exciting, incredibly funny movie. The movie’s humor and excitement would form a fantastic movie by themselves. Even if that’s all you’re looking for, it succeeds in making the movie. If not, however, it all serves doubly to prepare us for tenderness.

REVIEW: Oscar – Nominated Animated Shorts

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These animated films featured a mixed bag in terms of origin, tone, genre, and visual quality.

One film was in a post-industrial style, using currently- common animation style (similar to Pixar, at least to my eye), and depicted robots as humane beings and animals. This film was about the everlasting friendship between a robotman and a robotdog, and the loyalty binding them. Another was more pencil-sketched, all in black and white, and quite dark in tone, about a feral child who, after being taken and sent to school by a hunter, escapes a civilized life through a mystical, transcendental dissolution of his material body. As the feral boy dissolves, he morphs through several configurations as various wild animals, finally becoming rain for the forest and creatures.

One film is about a squirrel searching for a scarf, encountering a handful of forest creatures during his search, and aiding them through philosophical conversations, offering his counsel. Finally the squirrel realizes the world will end eventually and that his scarf doesn’t matter, and is soon killed in a freak accident. This film expresses a combination of darkness and playfulness uncommon in popular animation. I loved the wisdom of the moral, that one may spend their lives philosophizing, but in the end, life is precious and fragile. Another film is a meditation on Japanese folklore. In Japan, a caption says, unused or misused objects carry trapped spirits. During the film, a man is stranded in a hut in the jungle and cannot escape until he puts a handful of neglected materials to use. These objects are personified throughout the film, and mutual gratitude is expressed at the end. Finally, in a British film, a witch and her cat travel around, showing compassion toward various forest creatures, and inviting them to ride on the witch’s broom, although there is not ample space. A dragon tries to eat the witch and the forest creatures band together to scare off the dragon and save the witch.

These synopses depict a clear theme in this year’s animated shorts : a celebration of the individual nature, and a prioritization of one’s material and spiritual freedom and present-mindedness. As I had anticipated, the general tone was brighter than non-animated shorts, but I was pleasantly surprised and impressed by the depth and dynamic of moral and emotional material. A few of these films are unapologetically inspired by classic folklore (the British and the Japanese especially), and most involved mystical elements. These animated films used technology and gorgeous artwork  to bring sequences of images into the mind’s eye, otherwise impossible for the viewer to experience. These images enabled emotional and moral experiences, equally unique and rare.

2014 Oscar Nominated Animated Shorts

REVIEW: Oscar Award Nominated Shorts (Foreign)

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2014 Oscar Foreign Shorts

This collection of foreign shorts is an intense experience. The primary characters in each, respectively . A dying child wants to know his fate in the afterlife, and a hospital janitor risks his job to save his soul with a fable. A man in a straightjacket proves  to a skeptical psychiatrist that he is God. A woman and her children are frightened for their lives as they attempt to flee from an abusive father. A husband and wife are doctors in a war-ravaged country and become subject to terrible violence and assault, ultimately choosing the path of compassion. Lastly, a much-appreciated comedy about a wife’s struggles to manage her family’s preparation and arrival for a friend’s birthday party.

Perhaps the theme of this year’s foreign Oscar shorts is domestic issues and death — that was my impression, at least, on a more shallow level. But on a deeper level, perhaps this year’s foreign shorts are inspired by questions of empathy for the “Other.” In most of these stories, a failure to act with empathy toward an adversary or companion resulted in a regrettable situation. In multiple stories, a protagonist risks everything in the attempt to avoid such a regret. The subject matters of these stories — sexual and physical violence, domestic struggles, family, sickness, death, war, hierarchal and institutionally-driven repression — these are some of the most prominent themes I gathered from the films. The overarching expression through these short films, however, is a striding yearning toward compassion and peace.

These films are unapologetic in their rawness, vividness, and depth. I cried once, and grimaced a good amount, and held my date’s hand a little too hard through some tense passages. The general level of intensity remained consistent, excepting brief moments. These films were made by risk-takers with large moral and expressive aspirations, and so it makes sense they are critically celebrated.

REVIEW–Wolf of Wall Street

keshav

Scorsese’s Wolf of Wall Street is one of those movies that reminds me why I love watching movies so much. From Leonardo DiCaprio’s tremendous acting to the engaging and contentious script and of course a slew of technical marvel conducted by directorial legend Martin Scorsese, this is one of the most technically proficient films I have seen in a while. Wolf of Wall Street distinguishes itself from other technically proficient films, however, in its controversial and topically conscious subject matter. Inspired by the life of wall street trader and ex-convict (for insider trading) Jordan Belfort, the film depicts the glamorous and callous life of an investment banker, drawing strong thematic parallels between life in finance and life in the mafia.

 

Scorsese establishes this parallel in part by returning to filmmaking techniques he used in his classic ‘90’s gangster film Goodfellas. Wolf makes use of long tracking shots following DiCaprio through his personal carnival of grandeur, reminiscent of iconic shots of Ray Liotta walking through a five star restaurant in Goodfellas as if he owns the place. DiCaprio’s portrayal of Bancroft also defies common conceptions of investment bankers—rather than a reserved math wizard making calculated decisions, he is a swaggering and impetuous party animal with drug habits that make Scarface look like a teetotaler. DiCaprio’s performance is crucial to Scorsese’s message. His acting style creates a new archetype for the investment banker in Hollywood, a character type informed by the reckless behavior of investment firm executives precipitating the housing bubble of 2009.

 

DiCaprio’s performance owes a lot to Terrance Winter’s beautifully written script, a cynical critique of the moral hazards intrinsic to a deregulated capitalist economy. Winter’s script focuses on the idea that wealth allows an individual to live above the law. Bancroft’s character engages in selfish reckless behavior that warrants arrest throughout the film. He evades legal repercussions several times due to his wealth and status. Even at the end of the film, when Bancroft finally receives jail time, he spends his days in a prison nicer than most 5 star hotels, and returns home to plenty of wealth a few years later. Bancroft’s personal story serves as a metaphor for the housing bubble. Investment firms intentionally supported the housing bubble knowing they would be bailed out by taxpayer money. The firms were such an integral part of the economy that we had no choice to bail them out. Similarly, Bancroft lives the rockstar lifestyle, indulging in wanton drug binges and avoiding legal persecution because he can easily post bail and leverage his status to evade arrest.

 

I expect Wolf of Wall Street to be a major contender for awards during the academy awards. The film is excellent on all fronts—grandiose set design, fast-paced and intense editing, a cynical and topical script, perhaps DiCaprio’s best acting performance yet, and all of these elements held together by Scorsese’s directorial signature to form a coherent jaded post-recession retrospective on the self destructive, over-indulgent lifestyle of the elite which precipitated economic calamity on the US.