Love Off the Cuff (Pang Ho-cheung, 2017)

love_off_the_cuff_07-h_2017

Love Off the Cuff starts with a horror movie, a tale set in the recent past about a village terrorized by a monster that eats children. As creepy as it is ridiculous, it functions as a none-too-subtle allegory for the crisis at the heart of the relationship between Cherie (Miriam Yueng) and Jimmy (Shawn Yue), which we’ve seen grow from its beginnings at shared cigarette breaks in Love in a Puff to the inevitable break-up/reunion cycle in Love in the Buff. Seven years on from the first film (which remains arguably the best romantic film of the decade), Cherie and Jimmy are comfortably living together back in Hong Kong, but visits from long-lost family members serve to highlight the rut they’ve found themselves in. Cherie’s father, who abandoned her, her mother and her brother years ago, shows up with a very young bride-to-be and looks to party with Jimmy. While Jimmy’s visiting godmother turns out to be a much younger woman (“She’s from Canada, they’re very liberal there. What if she prances about in her bra?” Cherie fearfully exclaims). The two visits inspire insecurity in Cherie: she’s jealous of the younger woman and fearful that Jimmy will turn out like her lecherous father, but more devastatingly they highlight the degree to which she was already dissatisfied with Jimmy’s childishness.

Continue reading

Advertisements

This Is Not What I Expected (Derek Hui, 2017)

好吃20161008_004 copy

One of two romantic comedies that tried and failed to unseat the powerhouse Fast & the Furious 8 at the Chinese box office this past May Day weekend, This Is Not What I Expected opens here on Friday, a week after its counter-part Love Off the Cuff. It’s a totally pleasant film that surfs gently on the charm of its lead actors, recalling at times the softer screwballs of the 1930s, or more exactly the modern imitations of those classics. It’s essentially You’ve Got Mail, but where the two leads secretly communicate not via letters or emails, but through food. Zhou Dongyou, who was exceptional last year in Derek Tsang’s SoulMate, plays a manic pixie who repeatedly runs afoul of aloof billionaire Takeshi Kaneshiro (aging nicely more than 20 years after Chungking Express and Fallen Angels). Kaneshiro is a fastidious foodie, a buyer and seller of hotels who checks into an aging inn somewhere in Shanghai and finds all of the food lacking. Except, that is, for a soup made by Zhou, known to Kaneshiro only as the woman who mistakenly vandalized his truck in an act of revenge for her roommate. Kaneshiro and the chef refuse to meet each other, instead using the peculiar qualities of food to bond.

Continue reading

Yourself and Yours (Hong Sangsoo, 2016)

yourselfandyours_06

Yourself and Yours isn’t the latest film from South Korean director Hong Sangsoo, that would be On the Beach at Night Alone, which premiered a few weeks ago at the Berlin Film Festival (where it picked up a Best Actress award) and which Evan wrote about here last week (Evan has also written here about both Yourself and Yours and its trailer). Yourself and Yours may still come to Seattle Screens, Hong’s Right Now, Wrong Then played here last summer, almost a year after its festival premiere in 2015. It’s probable that if it does, it won’t be until after another new Hong movie plays the Cannes Film Festival, as his Claire’s Camera is rumored to be finished by that time. With a director this prolific (since taking a year off in 2007, Hong has directed thirteen feature films in ten years) it’s easy for a film here or there to get lost in the mix, especially given the lethargic pace at which films today move from the festival circuit to the theatrical art house. The system simply isn’t designed, at present, for a director who releases a new film every nine months. This isn’t unique to Hong (the similarly prolific Johnnie To has had equally haphazard distribution) nor is it unique to the present (take a look sometime at the distribution schedule of Jean-Luc Godard’s 1960s period). But don’t let these institutional vagaries obscure the fact that Hong is in the midst of one of the great cinematic winning streaks, a frenetic burst of creative energy that comes along only a few times in a generation. And Yourself and Yours, seemingly already forgotten though it premiered just six months ago, epitomizes the greatness of that streak as well as anything.

Continue reading

VIFF 2016: Yourself and Yours (Hong Sang-soo, 2016)


A comedy of remarriage as only Hong Sang-soo could imagine it, Yourself and Yours rearranges the familiar building blocks of social anxiety, sex, and—most of all—soju to tell the story of one couple’s breakup and reunion. Or, given that this is Hong’s protean world, perhaps it’s not a reunion at all but a new couple, newly formed. Key to this Hongian puzzlebox is Minjung, a young woman with a well-known love of drink recently sworn off the sauce at the behest of her boyfriend. Rumors of soju recitivism split the couple up and Minjung encounters two different men who profess to know her from the past. Minjung, for her part, claims no memory of them, offering up a suspicious twin sister look-a-like story or blank stares in response. The exact nature of these  misidentifications forms the film’s core mystery. It’s certainly possible that Minjung’s penchant for drink has obliterated these men from her mind, though it’s equally plausible that the self is an infinitely branching set of traits, often repeated and therefore identifiable, but always shifting emphasis, shape, and order, so also essentially unstable. Sounds like Hong’s movies.

Unlike his other recent features, Yourself and Yours offers no structural blueprint at the outset. Hill of Freedom‘s jumbled letters explain that film’s disorganized narration and Right Now, Wrong Then‘s initial title card (the inverted Wrong Then, Right Now) clues the attentive Hong viewer into the game being played. The dissipated dreaminess that governs Nobody’s Daughter Haewon comes closest, but with a crucial difference: Minjung does not appear to be dreaming. None of the strange happenings emanate from her consciousness. If anything, the unblinking earnestness of actress You-Young Lee’s performance ensures that Minjung remains a fixed point, no matter the cognitive dissonance she inflicts on the men around her. She is a mystery to others but never to herself.

That self-assurance allows Minjung to act the Hongian sage, the one character with sufficient wisdom to proffer extra-filmic advice: “Knowing is not as important as we think.” Perhaps that’s the only explanation for this hall of mirrors, though if this is a Stanley Cavellian comedy, as the final moments suggest, it’s one that takes his idea of transformation literally: “I am changed before your eyes, different so to speak from myself, hence not different. To see this you will have to correspondingly suffer metamorphosis.” Is Minjung’s mutable personhood just a screwball game to win back her lover, to make him transform? He can’t deny his partner’s true self (I drink therefore I am) and expect to keep her. So she wins. Is her victory a consequence of drunken forgetfulness, a spatiotemporal rupture, farcical roleplay? The beauty of Hong’s cinema lies in never having to choose.

Digging for Fire (Joe Swanberg, 2015)

maxresdefaultIf there’s an equivalent to Hong Sangsoo in contemporary American cinema, I guess it may as well be Joe Swanberg. Both directors are wildly prolific, churning out tales of middle class ennui and relationship anxiety with frightening regularity. Both work with extremely low-budgets and high-quality actors, the result of the curious mix of critical acclaim and lack of box office their films achieve. Their films have a relaxed, naturalistic vibe in pace and performance, with lengthy scenes of actors seemingly just hanging out (and, more often than not, drinking). Of course, Hong is know for his structural experimentation, each film taking the form of a new exercise in narrative unreliability, where dreams and waking life, the past and the present, and multiple versions of reality all coexist in an unstable, purely cinematic universe. Swanberg, on the other hand, seems allergic to structure, shying away from anything that could be construed as plot, what can charitably be called an experiential vision of narrative. Hong always knows precisely where to place his camera, and once there, rarely moves but for an occasional ostentatious quick-zoom that serves to reframe the image and functions  as a stand-in for the emotional impact of editing. Swanberg apparently is aware that a camera is essential for the making of a motion picture.

Continue reading

Two Screwball Comedies: Mistress America (Noah Baumbach, 2015) and She’s Funny That Way (Peter Bogdanovich, 2014)

575851.jpg-r_640_600-b_1_D6D6D6-f_jpg-q_x-xxyxx

The third of Noah Baumbach’s collaborations with actress/writer Greta Gerwig, following 2010’s Greenberg and 2012’s Frances Ha, Mistress America is their best film yet, and possibly the best work Baumbach has ever done, with or without her. For the first time in his career, he’s made a film that feels loose, free from the strained serious grasps at artistry that have plagued his career from the beginning, ranging from endearingly awkward in his debut, 1995’s Kicking and Screaming to really kind of irritating in what nonetheless remains his most critically successful film, The Squid and the Whale. A pure screwball companion to While We’re Young, the 2014 film that graced Seattle Screens just a few months ago, the two films form a hilarious portrait of our culture’s obsession with a certain kind of youth, a Manhattanite companion to Sylvia Chang’s brilliant exploration of Hong Kong womanhood, 20 30 40, in which the idiosyncrasies of three women of the eponymous ages are compared and contrasted. Where While We’re Young followed an older couple’s attempts to match coolness with a much younger pair while also somewhat clunkily exploring the interplay between authenticity in life and authenticity in art, this one focuses on a college freshman’s infatuation with her older future stepsister, a free spirit who makes New York seem as magical as it should be, while much more deftly exploring the oft-contentious relationship between an artist and the people who inspire their work. In both cases, the idyllic figure is a creative powerhouses in their early 30s, stable enough to enjoy a certain standard of living, but not so rooted as to avoid taking risks. It’s the age of sitcom heroes. Gerwig is a powerhouse as always (she’s already a three-time Endy Award winner, for her work in the Baumbach films and Whit Stillman’s Damsels in Distress) dogged in pursuit of her ideals and not nearly as ridiculous as she might first appear, her effervescence contains unfathomable depths and Lola Kirke is excellent as the younger woman, wide-eyed but with a steely determination that’s more than a little unnerving, the coldness of youth. There’s no fat in the film, it’s Baumbach’s tightest, most-focused work, for the first time he demonstrates the ease, the lack of apparent effort that marks a truly virtuosic film. The lengthy set piece at a Connecticut mansion is a classic of screwball escalation, as Baumbach ably piles a Sturgesian array of characters and relationships into a few crowded rooms.

shes-funny-that-way

More consciously seeking to recreate an old Hollywood vibe is the latest from Peter Bogdanovich, the refugee from the first golden age of cinephile directors who has found film work increasingly hard to find in recent years (this is his first theatrical fiction feature since 2001’s The Cat’s Meow). In fact, his new film is pretty hard to find as well, with an under-the-radar nationwide release (it opened on Seattle Screens with little fanfare last week at the Varsity, we’re it continues on a reduced schedule this week), a far cry from his generation-defining 70s masterpieces like The Last Picture Show, What’s Up Doc? or Paper Moon. Combing a theatrical farce reminiscent of his 1992 film Noises Off with the cosmic screwball romanticism of his 1981 masterpiece They All Laughed, She’s Funny That Way is a story told by a young woman (Imogen Poots) to a reporter (Illeana Douglas), the story of how she was discovered and her life changed from that of a hooker (with a heart of gold, naturally) to star of stage and screen. The story is wildly improbable, its reality questioned every step of the way by the reporter, but so seductive in its interconnections and coincidences as to be irresistible. The conflation of cinema as real life is charmingly seductive (print the legend), and the myth-making power of star cameos only adds to the glowing unreality. Familiar faces abound: contemporary icons like Jennifer Aniston and Owen Wilson, older relics Austen Pendleton, Richard Lewis and Cybil Shepard, and up-and-comers like Poots, Will Forte and the always marvelous and perpetually under-utilized Kathryn Hahn and Rhys Ifans. Douglas herself provides a link to the old world the film idealizes: her grandfather Melvyn, in a different Lubitsch film, told Greta Garbo an even better joke than the one from Cluny Brown that serves as a key line for Owen Wilson’s character. While the film isn’t as existentially radical as They All Laughed, in a weird kind of way it’s Bogdanovich’s Hong Sangsoo film. Like with the greatest modern director of romantic comedies, She’s Funny That Way questions the very nature of the cinema’s relation to reality, reveling in the idealized illusions while simultaneously undermining their spell by pointing out their unreality. But where Hong relentlessly deconstructs his narratives, laying bare their artifices and exposing the lonely needs that drive us to invent them, Bogdanovich the classicist is content to faithfully recreate the form of the old (his zooms are subtle and patient, not Hong’s wild, drunken lurches), with nothing but a sly wink to the audience to remind us of the precariousness of our ideals. We know it’s all a lie, but we happily dream away nonetheless.

Mistress America is now playing at the Guild 45th, SIFF Uptown and Cinemark Lincoln Square.

She’s Funny That Way is now playing at the Varsity Theatre.

Two Romantic Comedies: Trainwreck (Judd Apatow, 2015) and The Lady Eve (Preston Sturges, 1941)

trainwreck-judd-apatow-amy-schumer

The latest release from the Judd Apatow empire opens tomorrow here in Seattle, written by and starring comedian Amy Schumer and directed by Apatow himself. Schumer plays a magazine writer with commitment issues and a fondness for wine and weed. Much to her surprise, she falls for a dweeby sports surgeon (Bill Hader) and must choose between growing up and reforming her ways or losing a swell guy. The film thus deftly flips the gender roles of a typical Hollywood romantic comedy, as it’s been practiced in film and television of the past 30 years or so. That reversal is the motor of the funniest parts of the film: Schumer’s assertiveness with her boyfriends (an agonizing attempt at dirty talk from John Cena) and Hader’s heartfelt exchanges with his athlete friends (LeBron James and Amar’e Stoudemire). Filled with the surreal-improv style comedy from the supporting players that defines the Apatow brand (it’s no surprise that the clear winner this time is Tilda Swinton), the film is dragged down by the shambolic, disjunctive approach to narrative that has also come to define Apatow’s work.

Continue reading

The Film Critic (Hernán Gerschuny, 2013)

Screen Shot 2015-06-12 at 8.56.12 AM

“I’m trapped in a genre I don’t belong in.” So says Victor Tellez, the titular character in Hernán Gerschuny’s witty and winning movie, The Film Critic. Victor is Argentinian but he thinks in French. Why? Because his native tongue is less refined. In a voiceover he explains that he is suffering through la maladie du cinéma. His editor at the local newspaper calls him a “terrorist of taste” because Victor has not written a five star review in two decades.

Continue reading

SIFF 2015 Report #1: Results, Back to the Soil, Beyond Zero 1914-1918, Natural History

This is part of our coverage of the 2015 Seattle International Film Festival.MV5BMjI4MjczMzU4Nl5BMl5BanBnXkFtZTgwMDgwNjQ3NDE@._V1._SX640_SY346_

Quickly recapping the first weekend of the 2015 Seattle International Film Festival, here’s what I managed to catch:

Results – Andrew Bujalski’s follow-up to the highly-acclaimed Computer Chess takes a left-turn into conventionality with a rom-com packed with recognizable Hollywood stars, but one that happily retains the goofy spirit of its more experimental predecessor. Cobie Smulders (“the other woman from The Avengers” as I overheard her defined in the pre-show line-up) plays a personal trainer working for and occasionally sleeping with Guy Pearce, a nice guy who genuinely believes his self-help mantras, even though they’re spoken in Pearce’s always-weird-sounding (to me) natural accent. They’re hired by the recently-divorced and now surprisingly wealthy (an unexpected inheritance) Kevin Corrigan, who, having failed in his own clumsy attempts to woo Smulders, schemes to get the two beautiful people together. Light and ambling, the film has a gentle rhythm that allows ample time for the cast (rounded out by such reliable Hollywood eccentrics as Anthony Michael Hall and Giovanni Ribisi) to have fun as the plot, such as it is, slowly unfurls. Rather than driven by situation as most contemporary Hollywood romantic comedies are, cursed by the conventions of television, Results flows instead out of the weirdness of its characters, the relationships and motivations between them falling into place so gradually that their inevitability goes unnoticed for much of the film. It isn’t as obviously wild as Computer Chess, but it’s just as unusual a creature in the contemporary film world: a classical romantic comedy.

Back to the Soil – In this short film, experimental filmmaker Bill Morrison reedits his grandfather’s filmed account of Jewish settlers in the Soviet Union in the late 1920s. The landscapes look disastrously harsh, though that may just be the grainy black and white making lush fields of wheat look like vast, featureless plains of mud and rock. As it’s the repurposing of another person’s footage, not only are we attempting to figure out what the people in the images are thinking (grim determination, the spirit of bold adventure, hope, desperation?) but also what the filmmaker was thinking: why did he choose to capture these images? On-screen titles denote the locations, the number of settlers and the total acreage of the colony for every space, an actuarial foundation for ghostly images.

IHfZ6F3

Beyond Zero 1914-1918 – Matched with that is Bill Morrison’s feature, showing harrowing found footage of World War I as it survives in various states of decay. Edited into a kind of narrative order (buildup to war, some fighting, casualties, machinery: tanks and aircraft) at one remove thanks to the dissolution of the celluloid (what we’re seeing are digital images of film frames). The analogy of the disintegrating film and our societal forgetfulness is obvious but no less compelling. Same goes for the score performed by the Kronos Quartet (Morrison apparently (these are the only two of his films I’ve seen) often works with contemporary and avant-garde composers, this score is by Aleksandra Vrebalov). The film begins and ends with its best shots: first, ghostly tanks rumbling in and out of a blue mist; second, an aerial dogfight filmed from the ground, the loser parachuting into the void, floating through the clouds and never reaching the ground, a shot that remained me of no less than the final shot of Ran.

natural history – James Benning’s latest was greeting with a sense of frustration by the SIFF Film Center audience. No less than 14 people walked out of the auditorium, which, given the intimate space’s uncovered wooden floors, added much to the film’s soundtrack. A series of static shots of spaces and things behind the scenes at the Museum of Natural History in Vienna, held for varying lengths of time for no immediately apparent reason (though I suspect there is a precise logic to it), the first walkouts began 10 minutes in and continued in a steady stream for the next half hour or so (I wonder what would happen if you mapped the space between the walkouts to the time-length of the various shots of the film). But what can I say, I thought the movie was really funny. Some of the fun was simply in making alien seemingly simple shapes, the extreme length of the take forcing me to abstract a shot of a room into its constituent visual elements, finding weirdness in the mundane. Some seem like tricks: staring at a shot of stuffed polar bears for five minutes, I began to wonder what size they were: given the context around them (some shelves, a power outlet) they seem much smaller than they should. Some just seem like a kind of playful torture for my desire for order: why isn’t that one butterfly lined up straight? Fix it! Also: Pig-Man! I don’t know about the half the audience that stayed through the whole thing, because I didn’t hear anyone else laughing, but I thought it was delightful.

Seattle Screen Valentine Scene

GoneWiththeWind1

Valentine’s Day hits Seattle screens weird this weekend, with off-kilter romances old and new taking over theatres all across the city. Here they are in alphabetical order:

The Duke of Burgundy (Peter Strickland, 2014) at SIFF Film Center: I haven’t seen this yet, but it was our friend Matt’s favorite movie of 2014. It’s an homage to the European softcore art-porn films of the 1970s. So I assume it’s pretty romantic with great music and some nifty dissolves.

Giant (George Stevens, 1956) at Cinemark theatres in Federal Way and Bellevue: James Dean makes a fortune in oil to impress Elizabeth Taylor, spends his super-wealthy life in misery when she still prefers Rock Hudson, apparently because she can’t understand a word Dean says because he’s always mumbling.

Gone with the Wind (Victor Fleming, 1939) at the Cinerama: Vivien Leigh’s feisty Southern Belle falls for the one man she can’t dominate (Clark Gable), submits to him (sort of), then sabotages their romance with all the incandescent fire of an orange only achievable in Technicolor.

Guys and Dolls (Joseph L. Mankiewicz, 1955) at the Cinerama: Frank Sinatra and Marlon Brando gamble on whether or not Brando can sleep with Jean Simmons (or “take her to Cuba” as they say). He gets her drunk, they go to Cuba. Also there’s gambling. And music. And everyone talks funny.

Harold & Maude (Hal Ashby, 1971) at the SIFF Uptown: Suicidal teenager falls for batty old lady. A favorite of every girl I went to high school with.

It Happened One Night (Frank Capra, 1934) at Scarecrow Video: Paparrazzo Clark Gable stalks runaway heiress Claudette Colbert, destroys the undershirt industry with his daring chest.

Lady Snowblood (Toshiba Fujita, 1973) at Scarecrow Video: Meiko Kaji revenges herself on the people who raped her mother and killed her family. It is snowy and there is blood. Like all Valentine’s Days.

Moulin Rouge! (Baz Luhrmann, 2001) at the Central Cinema: Ewan McGregor invents the mashup and falls tragically in love with Nicole Kidman’s tubercular prostitute and then Kurt Cobain rolls over in his grave.

R100 (Hitoshi Matsumoto, 2013) at the Grand Illusion: Mike saw this movie and wrote about it. I assume the “R100” rating means it’s fun for all ages.

Scott Pilgrim vs. the World (Edgar Wright, 2010) at the SIFF Uptown: A video game universe teaches bassist Michael Cera the key lesson about relationships: the other person is irrelevant, the important thing is to know that you are awesome.

Some Like it Hot (Billy Wilder, 1959) at the Cinerama: Jack Lemmon and Tony Curtis dress in drag to escape mobsters. Curtis pretends to be Cary Grant to sleep with Marilyn Monroe. Lemmon hooks up with Joe E. Brown. Marilyn Monroe is pretty.

True Romance (Tony Scott, 1993) at the Central Cinema: Christian Slater and Patricia Arquette are so cool falling in love over a Sonny Chiba triple feature, coffee and pie. Then they travel across the country to make a fortune selling stolen cocaine. As we all do.