Album Reviews
Movies
Concert Reviews
Movie Resources
Concert Reviews
Book Reviews

Top 10
Resources
Contact Us

The 39th Chicago International Film Festival opens Thursday, Oct. 2 with The Human Stain, one of over 90 feature films to be shown during the first two weeks of October. With countries as diverse as Morocco, Cambodia, Iceland and Venezuela, and every genre you can think of--animation, documentaries, dramas, science fiction, comedy, etc.--there is literally something for everyone.

My favorite of the movies I've seen is a documentary entitled The Revolution Will Not Be Televised. Irish filmmakers Kim Bartley and Donnacha O'Briain were in Venezuela in the spring of 2002. They were making a documentary on President Hugo Chavez and his attempts to reform the country when a reactionary group of oligarchs and military leaders organized a coup. Given extraordinary access, Bartley and O'Briain filmed through the entire 48 hours as the political situation hung in the balance, and their fly-on-the-wall approach offers an unique and extraordinary perspective. Though the directors' sympathies are clearly outlined, this piece of agitprop is still one of the most gripping documentaries you'll ever see. As my friend Garth put it, it's heroic journalism and explosive filmmaking. And their critique of the Western media would be libelous if it weren't true. An absolute must-see.  four 1/2 (all ratings out of five stars).

Another strong political documentary, S21: The Khmer Rouge Killing Machine, goes back 25 years for its subject. Set in the infamous Tuol Sleng detention camp in Phnom Penh, the film reunites guards who served under the murderous Khmer Rouge and two of the only three survivors from the prison. The guards re-enact their routines, while one prisoner softly describes his experiences and questions the guards about their motives. The material is almost overwhelming, and its low-key delivery reminds you of the most effective films about the Holocaust. Though we're rightly reminded of the horrors of Nazi Germany, we are rarely confronted with the genocidal nightmare that took place in 1970s Cambodia. This is an essential introduction.  four stars

Continuing the theme of powerful documentaries, Austrian director Ulrich Seidl forsakes the political for the personal. Jesus, You Know, on its surface, sounds like a simple premise. Seidl recruited six different Catholic believers to literally pray before a camera. Interspersed with their prayers are beautiful choral numbers and strange interludes in the subjects' homes. Still, the times of prayer form the core of the movie and are surprisingly interesting. Seidl does a marvelous job of framing the subjects inside various cathedral settings, and the contrast of the simple petitions (usually revolving around romantic relationships) with the grand architecture and ancient representations of Christ makes for fascinating viewing. The documentary is surprisingly objective, and audience members will likely draw vastly different conclusions depending on their own approach to faith. The post-movie discussions should be fantastic.  four stars.

Not all of the great films are documentaries. Distant, an acclaimed movie by Turkish director Nuri Bilge Ceylan, is a drama about a jaded photographer who reluctantly welcomes a cousin from his village. The cousin has come to Istanbul in the hopes of finding a job as a seaman. But when that falls through, he ends up loafing around with nothing to do. The movie tends to loaf around, too, more intent on setting a mood than advancing the action. Still this Cannes prize-winner is compelling, with gorgeous winter cinematography and performances that ground the film in something tangible. And the film's final scenes are emotionally moving.  four stars

The same is true for Manoel de Oliveira's A Talking Picture. Well into his 90s, de Oliveira continues to direct a picture every year, and based on this strong outing, there's no reason for him to slow down. The film takes place on a cruise from Lisbon to Bombay. A young history professor is taking her daughter to see various historical spots along the Mediterranean, and along the way she has conversations with various people. A meditation on travel, language, and history, A Talking Picture turns out to be a striking commentary on Western civilization and its place in contemporary life. The film is talky to the extreme, which will bore some audiences, but don't walk out. Otherwise, you'll miss one of the greatest freeze-frame endings ever, one that says more about our new millennium than any film I've seen.  four stars

Other powerful dramas include a gorgeous movie from Morocco called A Thousand Months. The film's first hour is fantastic as it paints a marvelous picture of a village going through the month of Ramadan. It does this with spectacular widescreen compositions that take full advantage of Morocco's landscape and hilly terrain. Director Faouzi Bensaidi is a master of composition and color, and some of his deep focus shots are positively brilliant. I saw a couple of things I don't think I've ever seen before in a movie. His use of figures set against the sky is particularly striking, as is his contrast between foreground and background space. The movie's last hour isn't as strong, as it makes a bizarre tonal shift. It's as if Kiarostami had turned into Kusturica. Still, this is a strong offering from a country that seems to be on the verge of a cinematic breakthrough. four stars

I can also recommend the closing night (Oct. 16) film, Shattered Glass. Based on the true story of disgraced New Republic writer Stephen Glass, this is an amazing bio-pic. I'm a sucker for journalism stories, but this entertaining and engaging movie should be enjoyable for all audiences. The acting by Hayden Christensen as Glass is brilliant, and the supporting cast is very strong.  This one opens in Chicago in November, but those of you who want to catch it early will want to get tickets now. The closing night film usually sells out. four stars.

The Tripletes of Belleville is a genuinely delightful animated film from France that acts as a beautiful homage to Jacques Tati, silent cinema, and children's picture books. With a style that evokes a gorgeous watercolor wash, the film is a joy to behold. And the sight gags are full of both wonder and laughs. I was nervous that the movie might descend into a crude anti-Americanism, but it refrains from all but a few jokes (the Statue of Liberty becomes a waitress with a hamburger) and balances those out with some hilarious jibes at the French (their fondness for frogs, especially). The film has a dark streak that should make parents cautious, but that adds a nice contrast for us adults. It balances the whimsy and gives some heft. four stars

Finally, I need to offer my praise to one of my favorite movies of the year--Tsai Ming-liang's Good Bye, Dragon Inn. Those of you who've read my writing for a while know that I am a fan of slow, meditative works, and this one certainly fits the bill. It uses a run-down movie theater as its inspiration to explore the nature of movie watching. Some of it is extraordinarily funny, but it's also a deeply personal consideration of the types of stories we tell. By contrasting Tsai's main character, a club-footed woman who acts as the theater's manager, with the heroine on screen, a martial artists in full flight, Tsai interrogates why we tend to
favor certain types of movies and then makes a stirring defense for his own cinematic style. The final scene is breathtaking in its beauty. I should point out that the movie is incredibly slow, so it won't be to all, or even most, tastes. But those with patience will find it richly rewarding.  four 1/2 stars.

Other movies that might appeal to you are Samira Makhmalbaf's At Five in the Afternoon, an interesting tale set in Afghanistan; Broken Wings, a moving Israeli drama; Crimson Gold, an examination of the huge differences in wealth in contemporary Tehran; Twilight Samurai, a beautifully ponderous Japanese film set in 19th-century samurai culture; and Wilbur Wants to Kill Himself, a droll dramedy about two brothers struggling with love and suicide. All movies rated three 1/2 stars.

And finally, there are some movie I don't recommend with as much enthusiasm: Catherine Breillat's slight and pretentious Sex is Comedy (three stars), the terminally-ill drama My Life Without Me (three stars),
the middlebrow Italian Incantato (two 1/2), the mediocre Oscar-bait of The Human Stain (two 1/2), the far-too-hip-for-me anime of Tamala 2010 (two stars), and the loathsome Sexual Dependency (one star).

Nonetheless, there are another 70+ features for you to check out, including Claude Miller's acclaimed La Petite Lili, Alexander Sokurov's companion to Mother and Son (this one called Father and Son), and the highly-praised Korean film Oasis. Also, don't miss the once-in-a-lifetime presentation of Yasujiro Ozu's I Was Born, But accompanied by a live traditional benshi performance.

Individual tickets are $10 (though special presentations like the Ozu are $15), while passes for six movies can be purchased for $50. The festival runs through Oct. 16. Schedules can be picked up around the city or online at www.chicagofilmfestival.com.

J. Robert Parks