VENICE FILM FESTIVAL

The Very Best Films of La Biennale di Venezia 2018

Venice Film Festival had an incredible line-up this year, with films directed by the Coen Brothers, Cuarón,  Greengrass, Guadanino, Lanthimos and Mike Leigh, starring famous actors such as Tilda Swinton, Nathalie Portman, Rachel Weisz, Emma Stone, Jude Law, Willem Dafoe, Joaquin Phoenix, Jake Gyllenhaal, John C. Reilly and unexpectedly, Lady Gaga, who debuted in a leading role in a film presented out of competition – A Star is Born, with Bradley Cooper who also directed the film, a remarkable debut. 
Bradley Cooper e Lady Gaga

Bradley Cooper & Lady Gaga

All in all, it was a thrilling edition. Most screenings have divided the press and the public, a desirable outcome actually since it makes for more passionate conversations. I haven’t seen all the movies in the official competition because I also watched a parallel section, Orizzonti, from which I can recommend this intense drama from Uruguay, The Twelve Year Night. Unfortunately I missed Rome, Cuarón’s Mexico-set drama, a personal film that took the Leone d’Oro this year, awarded by a jury chaired by Guillermo del Toro. Roma will also be screening at London Film Festival in October and will be out on Netflix in December.
From all the movies I saw in Venice, there are three that stood out and that I critically embraced without a shadow of a doubt:
I saw The Favourite by Yorgos Lanthimos on the second day of the festival and I knew immediately that it would be one of my favourites. The visual pleasure this film provides is hard to describe (may Laura Mulvey forgive my saying so!).
I wasn’t at all surprised that it took the Grand Jury Prize. If you’re not a fan of the macabre fictional universe the Greek director got you accustomed to, I understand, it’s not to everyone’s taste, but this film is very different in tone, being based on an original script signed by Deborah Davis and Tony McNamara whose screenwriting career I’ll have to follow closely from now on. At the same time the film retains the same technical virtuosity, sublime camera movements and mise-en-scène with which Lanthimos impressed in his previous creations, The Lobster and The Killing of a Sacred Deer. And the result of this collaboration is an astonishingly sumptuous and scrumptious film.
In short, the action takes place around 1700 at the court of Queen Anne, played with extraordinary flair by Olivia Colman who took the prize for Best Actress.  Rachel Weisz is Lady Sarah, the queen’s right hand and her favourite, for reasons that become clear after 30 minutes of viewing time (do not read the synopsis!). Lady Sarah struck me as the strongest female character in the history of cinema, her strategic skills in conducting the war with France only surpassed by her cunning in the way she leads her personal life. Lady Sarah is omnipresent in the film and conquers you by always saying what she thinks, to the dismay of most males at the court, whom she humiliates without the slightest hesitation. Asked why she does this so consistently, she answers bluntly: “A lady must have her fun.”
But the fun starts to turn sour when Lady Sarah realises that her cousin Abigail (Emma Stone), whom she takes under her protection at the beginning of the film, is even more cunning and skilful than she is, something that this powerful character couldn’t have foreseen in her blinding arrogance. What follows is a fierce personal duel between these two different types of femininity for the place of Queen Anne’s “favourite”. We are humorously entertained to see the different strategies the two rivals use to achieve their goal. It’s like a game of chess.  Abigail, more rudimentary, goes straight to the target by directly fulfilling Queen Anne’s physical and emotional needs, while Lady Sarah tries to upstage her by more sophisticated manoeuvres, her tactful deploying of humour in the bathing scene being one example. In the end, Queen Anne seems to regain her strength and mental faculties  and with them, her dignity. Unfortunately, it’s all an appearance as long as there’s a favourite!
stone coleman venezia 2018

Emma Stone & Olivia Colman

I’m not much into Westerns but this film was top of my to-watch list in Venice being a big fan of Jacques Audiard, one of the best directors working today in my opinion.  You must have heard of A Prophet (2009) or Dheepan  for which he took the Palme d’Or in Cannes in 2015.
His latest film and the first one in English, The Sisters Brothers, is, at least on the face of it, a Western whose action takes place in 1850 in America, a period known in history as the Gold Rush, a very fertile source of inspiration that makes you think immediately of Charlie Chaplin’s film from 1925, The Gold Rush.
Bu why would Audiard, who is an auteur, be interested in tackling the Western genre? Here’s why I think he was interested. The classical Western is a tool America used to explain itself. Who makes the law and what does the law stipulate? Where is the frontier? Who are the good guys, who are the bad guys? Each Western was a national ritual dramatising the triumph of civilisation, the victory of a socially responsible individual towards the Indian “savages”, a very hypocritical narrative, hence the amount of revisionist Westerns, such as the one under discussion.
In contrast to the classical Western, there is no Indian savage in Audiard’s film. The Sisters Brothers are two notorious assassins working for a mobster in Oregon City known as Commodore. Eli Sisters (John C. Reilly) is the elder brother and the more responsible of the two, while Charlie Sisters (Joaquin Phoenix) is a rebel and a drunk. Their mission is to catch Hermann Kermit Warm (Riz Ahmed), a prospector who invented an effective way to find gold, based on scientific methods. But they are not the only ones on his trail, there is also John Morris (Jake Gyllenhaal), a well-educated detective who writes them regularly. At some point, the letters become implausible and the Sisters brothers start to suspect that something is wrong. Should they go ahead, at  the risk of losing their lives or should they return home and change careers? But what kind of life could they build for themselves, wonders Eli Sisters, very keen on re-inventing himself. Perhaps they could open a shop? Huh?His brother Charlie is not so sure.
audiard reilly venezia 2018

Jacques Audiard & John C. Reilly

What’s interesting about this movie is not what happens on the screen, even though the action does not disappoint for a second. What really captivated me is the characterisation of the brothers of the title. Their psychological profile is the opposite of what you expect and it gradually emerges from their incessant chatting and mutual teasing in times of peace on screen. Although they come across as two macho males armed with all the arsenal of guns and pistols to decimate an entire brothel within seconds, the last scene of the movie marvellously captures their psychological essence: the two skilled assassins are in reality two tired  little  boys who can’t wait to go home to their mum! And with this very funny story of two homesick brothers that challenges obsolete notions of masculinity in cinema, Audiard took the Best Director Award at Venice Film Festival this year.
This extravagant, baroque creation from Brady Corbet (who distinguished himself on the Lido in 2015 with The Childhood of a Leader and whom you saw as an actor in Haneke’s Funny Games as well as a host of independent American films) is the most daring piece of cinema I saw in a while. The film could have been a total fiasco due to the unusual narrative techniques it adopts and the tendency to combine somewhat disparate ideas. But it’s not, quite to the contrary, it’s phenomenal!
Structured as an opera, with a prologue, two acts and epilogue, Vox Lux is the furthest away from classical cinema, with its strict rules of building a story. The film actually seems to draw more from literary techniques. The result is seductively agile, highly effective and surprisingly cinematic. Just when you expect the movie you’re watching to engage in a certain direction, it suddenly changes course and drags you down a different, but equally delirious, path.
With a stellar cast (Natalie Portman, Jude Law, Stacy Martin), the film tells the story of Celeste, a child with an innocent air and musical talent, who, after a traumatic event in childhood, becomes famous overnight and turns into an extremely anxious diva / pop star with a behaviour that borders on the ridiculous. But the film has a greater ambition than to trace the birth of a celebrity in the making. The director uses Celeste’s character to illustrate how key events of contemporary history impact her personality. These events are succinctly dealt with, Corbet doesn’t bore you with a detailed socio-political dissection. Moreover, he carefully selects a handful of contemporary events that intersect the story. Thus, the narrative is punctuated by numerous intrusions in voiceover and filmed in fast-forward, from a commentary about Abba’s importance on the Swedish music scene, to the shock of 9/11, a terrorist attack on a beach in Croatia, in relation to which Celeste is being interviewed by journalists in a memorable scene in the film. It all culminates in an adrenaline-inducing music performance worthy of Grace Jones and you leave the cinema dizzy and enthralled.
Natalie Portman, Brady Corbet, Stacy Martin e Raffey Cassidy

Natalie Portman, Brady Corbet, Stacy Martin & Raffey Cassidy

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I would have also liked to include Guadanino’s Suspiria, with a superb Dakota Johnson in the main role and a most powerful performance from Tilda Swinton, but something was a bit awry in it – the film is so overloaded with symbolism, it brought to the mind’s eye a heavily adorned Christmas tree that’s about to fall over.
I also had high expectations from Werk ohne Author (Never Look Away) from German director Florian Henckel von Donnersmarck but it lacks the impact of his debut film, The Lives of Others and it also packs in some strange inconsistencies in the portrayal of some of the characters.  I enjoyed watching it though, and this was mainly due to mesmerising performances from Tom Schilling Sebastian Koch and Paula Beer.
Tom Schilling

Tom Schilling

 

DESDE ALLA – Built Around the Most Magnetic On-Screen Couple in Recent Years, This Golden Lion Winner Premieres in LA Tonight

FILMMAKER IN FOCUS: LORENZO VIGAS

The following interview was taken on September 16 at TIFF2015, a few days after the Venezuelan filmmaker Lorenzo Vigas was awarded The Golden Lion at VENICE FILM FESTIVAL 2015.

Desde Allá has its U.S. premiere at AFI FEST in LA tonight.

desde alla poster

Knight: I thought we could start this interview with me asking you to reminisce about your beginnings as a filmmaker.You have just been awarded the Golden Lion at Venice Film Festival for Desde allá, your first feature film. The film was produced by your friend and collaborator Michel Franco, who by the way told me you two met 10 years ago when you showed up at his house party uninvited!

Vigas: (laughing)  Yes, that’s true!

Knight: But where would you locate your beginnings as a filmmaker?

Vigas: My father gave me a VHS camera when I was 15. My father is a painter and a very important artist in Venezuela, very well-known in all Latin America actually.

Knight: Was your artist father a great influence on you?

Vigas: Yes but not as a painter. He gave me a camera when I was 15 and that was very important, I started making films and made a series of home-made videos. I never thought it could be my profession, it was just a hobby, but a very passionate hobby. Then I went to study biology but I never left the camera, I was always making things. Then I started making documentaries. At the time I was studying molecular biology and I was between science and arts. But I never thought I could make a living in the arts.

Knight: Why were you so convinced you couldn’t? Were you living in Venezuela or Mexico at that point?

lorenzo and the lion

Lorenzo Vigas @Venice Film Festival 2015

Vigas: I actually did my studies in the US, I studied molecular biology in Boston. And before that I was at University of Tampa in Florida. I felt this necessity of telling stories, of expression, and one day I realised that I wouldn’t be able to express myself as a scientist, either as a university professor or as a researcher. I felt the necessity of having an artistic expression. So I did a couple of very short film workshops in New York.

Knight: On directing, screenwriting?

Vigas: Yes, directing, filmmaking workshops. I wanted to learn the practical things. I didn’t want to go to film school, I don’t think you need to go to film school at all. Then I went back to Venezuela and I started working as a director, I was hired to shoot commercials, infomercials for TV, documentaries, just work for hire. But I really wanted to make films. One day I met Guillermo Arriaga, he came to Caracas to give a film lecture at the university where I was shooting a TV documentary series. I told him about this story and he fell in love with it.

Knight: So the idea for this film goes back many years…

Vigas: It’s very old, this was in 2001. But it was just an idea for a story. So Guillermo Arriaga told me, “I want to produce your film, come to Mexico”. When I went to Mexico, I wanted to shoot something very quickly, so I wrote and directed a short film, Elephants never forget, have you seen it?

Knight: No, I haven’t seen it yet.

Vigas: You have to see it because I’m working on a trilogy. This short film is the first part.

Knight: Like a prologue?

Vigas: Yes. Desde allá is the second part. The stories are not similar, but there are through lines. I am obsessed with the theme of absent fathers. This theme is present in the short film, in Desde allá, and in a third film I’m now working on now, it’s called The Box. So I came to Mexico, I wrote the short film then went back to Venezuela to shoot it and to keep working on the screenplay for Desde allá.  While I was writing the screenplay I met Michel (Franco) with whom I became very very close. He was preparing his first film and ever since we helped each other and shared all our projects. I worked and advised him on his films and he did the same on my films. He’ll also be the producer of my next film.

 Michel Franco (Foto AP/Berenice Bautista)

Michel Franco (Foto AP/Berenice Bautista)

Knight: On the subject of your collaboration with Michel Franco, I would say that your filmmaking styles have a similar quality, would you agree? I’m not talking about specific cinematographic choices, I’m referring more to the fact that you both have a very direct and confident style of shooting.

Vigas: Yes, but we’re also very different in some ways. Michel loves static shots, he almost never moves the camera, everything is there happening in front of you. Whereas I move the camera, I intercut. But we have this thing of always avoiding sentimentality. I’m not talking about mise-en-scène, I’m talking about how to approach the work with actors. Also how to approach the story and the lines of dialogue. There are similarities but also very different things. I like to play a lot with ambiguity.

Knight: He does too.

Vigas: Yes, that’s true. That is definitely a similarity.

Knight: I was referring more to your confident and direct manner of shooting, I could tell from the very first frames of the movie that you knew precisely where to put the camera and where to cut, there was no hesitation in the visual story-telling.

Vigas: I hope so! And I think art is about knowing what to take off, getting rid of things. Michel does one take. He can’t get rid of it, he can’t change it. I film more than Michel does. What you saw is a product of eight months of editing. I am very happy with how the film turned out but I had to get rid of a lot of shots. That’s because I like to have choices and to be able to get rid of the ones I don’t like or don’t work. Michel doesn’t like this, he is very sure of the takes he is going to have.

Knight: It’s also about the relation between form and story, your filmmaking style suits your story, his filmmaking style suits his story.

Vigas: Yes, we talk about film form a lot.

Knight: With a static camera you can be very introspective, you’re delving deep into the character, as if you’re trying to see through the character. Whereas your style of moving the camera and cutting faster suggests a more “emotional” camera, very suited to rendering the characters’ emotional state, what they feel as opposed to what they think or who they are. 

Vigas: That’s an interesting observation.

Knight: I’m also curious: what  input did you have on Michel Franco’s films and what input did he have on your films?

Vigas: We have greatly influenced each other. He read my screenplay before he shot his films. So I know there were things about my film that influenced him. And I guess I was influenced by his way of filming. We have a lot of things in common although I can clearly see differences.

Knight: Did you go on set with him when he was shooting his films?

Vigas: No, I didn’t, except maybe for a couple of days. And he was never on my set, he never travelled to Caracas. I did not want anyone near me really, I wanted absolute control.

Knight: How long did it take you to write the screenplay?It sounds like a very long process.

Vigas:  It was a very long process, yes, but then it took longer to make the film.

Knight: Why? You already had your producer.

Vigas: Yes, Guillermo Arriaga had the script in his hands and he wanted to make it in Mexico. Then he changed his mind, “No, not Mexico, let’s make it elsewhere, maybe in Europe.”

Knight: What were the reasons for that?

Vigas: I don’t know but those were very wrong decisions and one day I couldn’t wait anymore, I grabbed the script and went back to Venezuela where I really wanted to make it. But it took me a while to be able to do that, I had to wait for a while before I was able to tackle this project. But in a way it was perfect timing: to make the film in Caracas right now, you can really feel this tension between the classes that plays into the story of the characters. We come from a country where hugging is very important, the physicality of the act is very important. And Armando is this person who cannot be touched, so it is very interesting to place a character like this in a society that loves to do exactly the opposite. It’s a metaphor about what is happening in Venezuela right now. So the film was made when it really needed to be made and the Golden Lion from Venice is a proof of that.

Knight: Talking about Venezuelan society, you said at the press conference that the film is not so much about homosexuality as it is about a “shortage of emotions in our society”.

Vigas: Yes, emotional needs.

Knight: But is this something that characterises Venezuelan society in particular or is it a more generalised feeling?

Vigas: It’s a generalised feeling. And this is a film that transcends homosexuality, it goes far beyond that.

Knight: Hence the title, From Afar or From Beyond.

Vigas: Absolutely.  It’s about emotional needs. If a 60-year old lady would have taken care of the boy, he would have fallen in love with her, so it’s not about homosexuality in a strict sense. It’s about their emotional needs, the fact that they needed each other. And it’s a film about consequences, not about the reasons for things. I think it is more important to see the consequences than to know the reasons of things. And it leaves space for imagination, I think the public is tired of being served everything on a plate. We have to think that the public is intelligent and leave space for their imagination, leave space to connect their psyche with the psyche of the characters. The only way of doing this is not telling everything.

Knight: Being sparse with the storytelling.

Vigas: Yes.

Knight: I was very impressed with the performances of your actors. How did you find them?

Vigas: First of all, I am a mad obsessive about the direction of actors. My crew hated me.

Alfredo+Castro+Afar+Photocall+72nd+Venice+ieni4vtjNEUl

From left to right: Chilean actor Alfredo Castro, Venezuelan director Lorenzo Vigas and newcomer Luis Silva

Knight: Why, what did you do?

Vigas: Well, not all the crew but some of the crew. I was obsessive about some performance details and having control over their performance. We went very big, we took great risks, it was very painful for the actors. First of all, I did not want the main actors to meet before the shoot, they met on the first day of shooting. I only gave them the lines 15 minutes before we started shooting. So they hardly had time to read the lines that we started.

Knight: Is it because you wanted the surprise effect of them actually meeting for the very first time?

Vigas: Yes, and I also did not want them to be conscious of their character. I did not want them to rationalise their character, what they should and shouldn’t do at any particular moment . So every day we were shooting new scenes and they did not know what was going to happen next. Of course I had to give the screenplay to Alfredo (Castro) because I couldn’t have secured him for the film if I hadn’t given him the screenplay to read before.

Knight: Did you know from the beginning that you wanted the Chilean actor Alfredo Castro for the role of Armando?

Vigas: Yes, he was my first choice. I didn’t know if he was going to like the story but he absolutely loved it.

Knight: Armando is a very mysterious and unpredictable character. Very unconventional as well in the way he behaves and reacts.

Vigas: Yes and he is a metaphor for the lack of communication. I really wanted the film to be about someone who is unable to connect emotionally with people. There is something in me that I wanted to communicate also, it’s a very personal film, a lot of my obsessions are present in the film.

lorenzo and ElderKnight: And Luis Silva who plays Elder, how did you discover him?He’s not a professional actor and he hasn’t made any films before, has he?

Vigas: That’s right. I saw his photo at a casting agency. A friend of his asked him to come to a casting with him. He lives in a very poor and very dangerous neighbourhood.

Knight: Very much like the character he plays in the film.

Vigas: Yes. So he went with his friend who wanted to do a TV commercial and it was him who ended up in the commercial because he has this amazing face. I saw a picture of him and I said “I want to meet this guy”. He was very young, 16 years old. And from the moment I met him and started talking to him, I immediately knew it was him, he was Elder. Luis has this tremendous energy, he’s brutally smart, he’s a monster! But I never put a camera in front of him, never did a casting with him, which was a risk, this was a very big production for Venezuela and we had a famous actor from Chile. We never did a formal camera test but we had a workshop with him and the rest of the kids, his girlfriend and his friends. This was a 3-month workshop and Elder was part of that workshop. So one day before the shoot we finally did a camera test with Elder and we were all shocked, I knew I found something very big. And Alfredo’s reaction to Luis was incredible, I remember him telling me on the set, “This boy is a monster”!

Knight: The thing that impressed me the most about his performance was this almost palpable fear on his face, he looks like a caged bird in some of the first scenes. He is so expressive that you know immediately what he feels.

Vigas: Yes and he’s the same in real life, he’s very expressive and absolutely transparent. He expresses everything that crosses his mind. And in the film he doesn’t speak but you understand perfectly well what his character is about.

Knight: Did you give him any acting instructions at all?

Vigas: No, we explored different emotions. And he gave everything he had, he’s a natural.

Knight: This film is also very much about homophobia, at the beginning there is a lot of hatred that Elder feels towards Armando, he calls him “you old pervert” at some point. I suppose this is still a very pervasive feeling in Venezuela and everywhere in Latin America.

Vigas: Absolutely, Latin America is a place where homosexuality is still very condemned.

Knight: How do you think the public will react to the film?

Vigas: This is going to be very interesting! This is a film that will make people argue a lot in Venezuela and I want this to happen actually. As artists we have the responsibility to create conflicts and divisive opinions. And especially in the current climate in Venezuelan society when the dialogue between the classes has been cut: there is no dialogue between the government and the people, there is no dialogue between the poor class, the middle class and the higher class. Everyone is divided and everyone refuses to communicate. So I hope this film will make them talk about social issues and homosexuality.

Knight: You live in Mexico City now, right?

Vigas: Yes. Well, I go back and forth, I spend half of the year in Caracas, half of the year in Mexico City.

Knight: Is The Box, the third film of the trilogy, based in Mexico City?

Vigas: Yes but it’s not going to be shot there, we’re shooting in North Mexico.

Knight: What is the film is about?

Vigas: It’s about a 14year old boy whose father was killed 10 years before and who finds out that his father was just found in a massive graveyard. So he goes there to recover his human remains. I wrote the script while trying to find the money to make Desde allá, I was going to Europe, Venezuela a lot so I wrote it on these trips. Now the script is ready and we’re shooting next year.