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Tuesday, April 26, 2011

I was planning on writing a series of larger reviews for some of the films that are popping on to my radar because of the seriously fantastic SFIFF, but while attempting to watch as many films as I can this year (so far below the number I’d hoped) I had a bit of an epiphany. Instead of writing my usual brand of big, clunky verbosity, I’ll just consume and spit, consume and spit, rapid-fire reviewing the films that I’m lucky enough to see. This will give me more time to watch films and you more time to get to see those films and the good people at SFIFF even more publicity that they so wholeheartedly deserve.




Quick And Dirty - San Francisco International Film Festival


Detroit Wild City makes me happy to be a film reviewer. If you’ve been paying attention to, well, any sort of credible news source over the last twenty years, you know a little something about the slow, steady abandonment and decline of the once great Detroit, Michigan. French director Florent Tillon turns his gorgeous lens on both the fall and bewildering rise of Detroit in this film. It’s interesting to see the difference between a French filmmakers documentary - all quiet mood and unobtrusive melancholy - and an American filmmakers documentary - take Morgan Spurlock’s head-bashing Pom Wonderful Presents ... all bluster and shit-eating aggression. Tillon’s approach turns the city of Detroit in to a philosophic playground. There are very few talking head interviews in the piece, but when they do pop up, they’re unnamed. Just organic denizens of this organically reconstructing city that have slipped in to Tillon’s frame. The point of the film seems to be that Detroit is slowly becoming a credible projection of Rosseau’s philosophic belief in our world going back to nature, and his quiet take on the city presents this splendidly. For hours, as I worked on other writing, this film played in the background, and its quiet hum became a perfect ambient soundtrack for which I could think.

Attenberg is a hard film not to comment on as a separate piece of art. The second film from the writer/director duo of Athina Rachel Tsangari and Giorgos Lanthimos (the first being the bug-fucking wild and so absolutely worth seeking out Dogtooth) Attenberg seems to rest comfortably within that film’s themes of intense seclusion and the bizarre behavior it draws out of us. Where Dogtooth was written by Tsangari and directed by Lanthimos, with Attenberg they’ve switched roles, with Tsangari jumping in to the director’s chair. I stray from comfortably deeming a film "feminine" but looking at both the films (as I think they’re intended to be seen) Attenberg is so clearly the work of a female director. Where Dogtooth is brash and in your face with its sexuality and bizarreness, Attenberg has a slow beating heart that diffuses it’s strangeness and helps the film to actually be sweet in a way. Marina (Ariana Labed) is a maybe twenty-something who lives in a coastal mining town and has one friend and a father slowly dying of cancer. As her father dies, her need to cope with the world outside of his loving grasp, becomes clear and the film follows her as she attempts to become a sexual adult. The interactions between Marina and her father (Vangelis Mourikis) are sweet and beautifully filmed, but the subtext of each scene seems to hint at a stranger-than-we-can-see type of back story. A back story that stems from the confined family of Dogtooth, a distant cousin that somehow escape most of the craziness. It’s a slow-paced film, but Tsangari milks the pace to charming effect and I found myself entirely won over by this quirky, deviant little gem.


There’s too much good stuff out there at this festival and I hope, upon hopes, that if you’re in the Bay Area you’re getting over to San Francisco and digging in. If not, I hope it’s because of a dire leg accident that has forced you to stay at home with your cat.

Detroit Wild City screens Friday the 29th, Sunday the 1st, and Wednesday the 4th at the Kabuki.

Attenberg screens Wednesday the 27th and Friday the 29th at the New People.

- Noah Sanders -



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