There’s a week and a half left in the 2018 Seattle International Film Festival. So far, here at Seattle Screen Scene we’ve reviewed: Freaks and Geeks: The Documentary, First Reformed (twice), and People’s Republic of Desire (twice), The Bold, the Corrupt, and the Beautiful, Redoubtable (aka Godard mon amour), Let the Sunshine In, The Mis-education of Cameron Post, and Matangi/Maya/MIA, with more to come.
Here are some of the movies we’re looking forward to over the last ten days of the festival:
Leave No Trace – Director Debra Granik’s long-awaited fiction film follow-up to her 2010 art house hit Winter’s Bone (she directed the doc Stray Dog in 2014), with Ben Foster as a traumatized vet trying with his teenage daughter to reintegrate into society after living for years in the Oregon wilderness.
★ – One of the few experimental films at this year’s SIFF. The festival describes it: “Structural filmmaker Johann Lurf collected all the filmed images of starscapes he could find from high quality sources and assembled them in chronological order, rejecting the clips that had trees or people or spaceships or text. The result is a hypnotic journey through film history starting in 1905 and going all the way through 2017.”
The Empty Hands – Chapman To, who was here a few years ago starring in the film The Mobfathers, directs Stephy Tang in this film about a young directionless woman who inherits half her karate instructor father’s dojo after he dies. She wants to carve it up and sell it off, but her father’s former student (To himself) convinces her to give fighting another chance. A fine film, reminiscent in its best moments of the Johnnie To (no relation) masterpiece Throw Down.
The Crime of Monsieur Lange – The new restoration of Jean Renoir’s 1936 film about “a writer of pulpy Westerns who becomes an improbable hero in order to combat the misdeeds of a slimy, predatory publisher.” It’s one of the Renoir classics I haven’t seen yet and thus one of my most-anticipated Seattle film events of the year.
Ballet Now – The next film in the Tiler Peck Cinematic Universe, as the New York City Ballet dancer (who featured in the fine doc Ballet 422 a few years back) travels to Los Angeles to put on a show.
Susu – “Two Chinese students find themselves in a chilling Gothic tale in a secluded 16th century mansion in the British countryside.” Sounds good to me.
Tyrel – “A comedy where a man realizes that he is the only black man attending a weekend getaway.” Yup.
Good Manners – Brazilian film about a woman who takes a job as a caretaker for a wealthy pregnant woman. With monstrous consequences. One of the better films about parenthood and wolves of recent years.
Girls Always Happy – The debut film from Yang Mingming, who writes, directs and stars as a college graduate who moves back home with her mother. Yang was the editor for the 2015 film Crosscurrent, which played in Seattle for I believe only a single show at the Meridian. But it’s pretty great.
Wrath of Silence – Xin Yukun’s follow-up to his twisty thriller The Coffin in the Mountain, one of the highlights of SIFF 2015. Stars Jiang Wu (last seen here in the Andy Lau film Shock Wave and the brother of actor/director Jiang Wen) as “a mute Chinese miner (who) sets off to find his missing son using whatever tactics necessary.”