The Whistlers: Film Noir Romanian-Style

by Cláudio Alves

As Noirvember comes to an end, it's interesting to peruse the current Awards hopefuls in search of some examples of film noir. Lynn Lee already defended the merits of Edward Norton's Motherless Brooklyn, but my attentions were drawn, as usual, to the Best International Feature category. Amid the record-breaking 91 submissions, we can find a peculiar experiment of deconstructed noir archetypes and mechanisms. It comes from one of those countries whose historical lack of a nomination is an absurdity and reflects poorly on the Academy.

I'm talking, of course, about Romania's The Whistlers…

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Best International Feature: Parasite, The Whistlers, and Denmark's Hopefuls...

by Nathaniel R

Park So-dam and Choi Woo-sik as con-artist siblings in Parasite (2019)

UPDATED SEPTEMBER 2ND 2:00 PM: The titles competing at the 92nd annual Oscars for Best International Feature are coming at us fast and furious now. In the past few days the number has climbed to an "official" 26 submissions...with probably 60ish titles still to come. 

SOUTH KOREA
It was widely expected that South Korea would select Cannes Palme d'Or Winner Parasite to represent them but we've been surprised by the country's selection before (why oh why did they pass on The Handmaiden in its year - argh!). Thankfully they didn't surprise us this year. This is Bong Joon-ho's best movie ever, give or take the also-quite-brilliant but Oscar-shunned Mother (his only other film that was submitted by South Korea) so it would be sweet to see it actually compete for the gold.

Denmark's finalists, Romania's selection, and the official submission chart updates are after the jump...

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Berlinale 2019: Three queer selections, a doc from the Sudan, and one walkout

Hallo! Seán here reporting from the 2019 Berlinale. It's the first big European film festival of the year, where new work premieres, deals get made, parties go on (and on) and where cinephiles prove their love of film by standing around in the freezing cold. I'm doing my best "Berlinale business bear" I'm here in an offical capacity: getting a first look at the queer TEDDY titles (which we'll talk about after the jump) and the short films for festivals in London and Dublin, but aside from that I'm also here to enjoy the film festival experience i.e. standing in the wrong line and walking in completely cold to something truly bizarre and extraordinary.

The Berlinale has many distinct and diverse sections, each with their own different forms and appeal. As someone who (a year later) is only a year later beginning to figure this out, allow me to impart my knowledge on the sections before we jump into the queer selection...

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NYFF: Hermia & Helena & Graduation

Bill Curran reporting from the New York Film Festival. Hot takes on two titles...

Hermia and Helena
Matías Piñeiro’s newest Bard-based roundelay belongs to that venerable arthouse tradition, the stranger-here-in-this-town movie. Far from attempting a fully foreign pose, the Argentina-bred but Brooklyn-living Piñeiro is driven by the same impulse found in Hou Hsiao-hsien’s Flight of the Red Balloon and Wim Wender’s 70’s USA road trilogy: flaunt the outsider perspective. When Carmen (Maria Villar) hustles back to Buenos Aires with an unfinished manuscript, Camila (Agustina Muñoz) all but assumes her friend’s spot—not to mention a few dangling relationships—in a literary translation fellowship in New York City. Camila’s choice of text: A Midsummer Night’s Dream, naturally, giving Hermia and Helena license to oscillate between North and South America as if they were different worlds, and to riff on the impermanency of love and self. The trouble with translation and the clash of cultures is also evoked constantly, from the Five Points apartment adjacent from Columbus Park that both Camila and Carmen separately occupy, to the recording of a Scott Joplin ditty; from Camila’s touching first trip to meet her American biological father (filmmaker/critic Dan Sallitt), to the humorously arty avant-short-within-a-film created by Carmen’s secret lover. (This bit falls flat in execution.) Returning to a traditional runtime after a brief but fruitful sojourn into featurette land (The Princess of France, Viola), Piñeiro doubles-down on his fast-established trademarks—a waltzing blocking of actors spitting very fast dialogue, a liberal if still a bit lazy referencing of Shakespeare scenes, a folding-in-on-itself structure, the idea of romance as a transitory state—while giving them a little more room to breathe and take hold. It’s a breezy delight. 

Cristian Mungiu and his "Graduation" cast earlier this year at Cannes

Graduation
After wrestling, often in real time, with the horrors of abortion and exorcism, the most universally acclaimed of the Romanian New Wave directors, Cristian Mungiu, grapples with another the universally grave topic: college. Specifically, getting into a good one, chief concern of Romeo (Adrian Titieni) and, to a lesser extent, his seemingly ailed wife Magda (Lia Bugnar) for their daughter Eliza (Maria-Victoria Dragus). She is on the verge of a major scholarship to study psychology at Cambridge and escape the blandness of Cluj in northwest Romania, should she pass a major statewide test with near-perfect marks. As plots go, one might expect the catch of a handsome, motorcycle-wielding boyfriend and a growing my-life-to-live defiance from the dotted daughter, and the film delivers there. However, setting the story up with the news of Eliza being sexually assaulted outsider her school comes as a shock, happening off screen and with few concrete details (if only to milk the mystery for two full hours). Romeo, of course, must remain vigilant in securing his daughter’s future, even if that means cashing in on the reverberations of one kind of crime to execute another. Mungiu eyedrops the narrative details, and twists their structural importance, with placid confidence, and continues to possess a rigorous handle on percolating tensions; there’s a sharp point-counterpoint cadence to the driving scenes between Romeo and Eliza, a fine grasp of subtle yet smart visual cues (dogs, windshields and windows, cell phones), and a fundamental distrust of authority, again exemplified by the smarmy calm of Vlad Ivanov. In Graduation, though far less subtle in its ratcheting suspense (and here, superficially in service of a university-entry exam of all things) than his Palme d’Or-winning 4 Months, 3 Weeks, and 2 Days, the drama still manages to take hold early on and remain riveting throughout.  

TIFF Shocker: Isabelle Huppert is "Perverse" Again

I like to start my film festivals with an atypical choice just to get the globe-trotting adventures rolling. So my first screening at TIFF, which I drunkenly forgot the name of the night before --  "Undefebeatable?" "Indestructafeated" -- was a mixed martial arts 'ultimate fighting' movie. I don't only watch movies about actresses, people! Those are just the ones I like best is all. I chased the MMA fighters with some Romanian actressing and French perversity... although it was more like Romanian Actress Perversity (Lhuminita) AND French Actress Perversity (Huppert - who else?)

So basically this was me settling in with each movie on Day One.

Movies make me feel goooooooood.

UNBEATABLE
In many ways Dante Lam's mixed martial arts fighting movie is just one giant wheel of cheese. It's a wheel of cheese so big I was reminded fo the cheez-it commercial as it rolls through Hunnan, Beijing, Macau and into Hong Kong before it slams into its bone crunching finales.  The movie never met a plot advancing montage it didn't like and there's a lot of plot so cue the music again! (I may never be able to hear "The Sound of Silence" without shuddering at the ways its egregiously deployed here and the incongruous things it accompanies.)

Eddie Peng & Nick Cheung are trainee and coach in Unbeatable

Yet despite these deal breakers, the only thing broken is a few bones but no spoilers! The movie totally works and that's largely due to its character focus even though it clearly knows how to stage and film a fight scene, something that too few action movies can claim. Nick Cheung headlines as a one time shady boxing champ who has fallen so far in life that he can't shake the name "Scumbag" even though he's become a decent guy. Taiwanese Canadian actor Eddie Peng is his young fiercely committed protege and the film. Their chemistry is so great that they can even pull off a really funny winking scene about the latent homoeroticism of wrestling without making you hate them The acting from the supporting players is broad, sure, but vivid. The actress playing a young girl Scumbag befriends (I can't find her name) gets some of the best scenes and a really great final moment -- "Come stomp on me!" which makes playful make-believe violence into affection. And also accurately describes both the movies love of its genre and the masochistic impulses of the MMA set. Unbeatable isn't really unbeatable as movies go but it is not remotely unenjoyable. B

CHILD'S POSE
Romania's great actress Lhuminita Gheorghiu (The Death of Mr Lazarescu, 4 Months3 Weeks and 2 Days) has a doozy of a role in Child's Pose. Her character Cornelia, is a rich and smug society wife. Cornelia is rarely seen without a drink in one hand and a stubby cigarette in the other and she still has hands free for figuratively greasing palms around town, or literally greasing down her son's back in one provocative scene. Let's just say that she seems to be a spiritual film cousin to Angelica Huston's Lily in The Grifters. One might derisively and accurately refer to Cornelia as "a piece of work."

This fine Romanian picture (is there another kind?) won the Golden Bear in Berlin earlier this year and is now the country's Oscar submission for the upcoming Foreign Film race. The best thing about Child's Pose, aside from Lhuminita's intense gripping star turn, might be the way it so thoroughly isn't what it keeps seeming to be. Cornelia is the anti-hero of this fine Romanian picture (is there another kind?) a woman who will stop at nothing to keep her son from being held responsible for a car accident which killed a young boy. But to the movie's credit she doesn't appear to be at first (when your sympathies are with her, or at least warily near her - she's not exactly a warm presence) and doesn't quite remain so even after her often heinous behavior. It's a slippery thorny picture, forcing you to observe lots of ugly situations, and confront relatable if unpleasant emotions as it shapeshifts subtly from biting satire about the entitlement of wealth, to really uncomfortable family drama, to tense bureaucratic police procedural. It finally comes crashing head on into the ugly truth, the very thing Cornelia is most eager to swerve around. B+

Isabelle Huppert as Maud as Catherine Breillat in Abuse of Weakness

ABUSE OF WEAKNESS
I still have psychic scars from Catherine Breillat's breakthrough Romance (1999) though I tried not to hold that against her when viewing her latest. Abuse of Weakness is an indulgent autobiographical picture of sorts though Catherine is now going by "Maud". Contrary to what any synopsis and the film's first couple of reels suggest the picture is not really about the director's physical illness, but about a post-stroke relationship with a conman who fleeced her of all her money.

The film opens exceptionally well with credits over white sheets which begin to move oddly, trouble broiling under the pristine surface. The camera moves until we're looking at cinema's great chilly ginger Isabelle Huppert, as Maud, writhing about naked and then very disconcertingly dropping to the floor, her body betraying her. The first few scenes reenact  Breillat's debilitating stroke and her physical therapy but the picture doesn't really get started until Maud falls for a true "character" she sees on television, Vilko (Kool Shen) telling her assistant that they just don't make actors like that. She invites the criminal to be the star of her new picture and they begin a friendship wherein he drops in repeatedly and begins to "borrow" money from her. He also repeatedly calls her "perverse" which Isabelle/Maud/Catherine obviously enjoy hearing said about them. Vilko is coldly hesitant to help her in and out of chairs and up and down stairs when she's physically struggling but he's right there with a helpful hand to hold down the checkbook while she scribbles on it.

This goes on and on until the film's finale a long virtual monologue though lawyers and children occassional egg Maud on in her own confession. Huppert nails it by underplaying, glassily admitting her own stupidity, and rewitnessing from afar what she just lived from afar, never quite "present" in her foolish decisions. Huppert's face is a marvel, trouble always broiling under its glassy surface. Abuse of Weakness has a fine beginning and a killer ending --  too bad there's no movie in the middle. It's all just a series of check-signings and a very vaguely observed relationship that's never truly examined by the protagonist living it or the director filming an actress reliving it. It's as if Breillat is determined to make the same mistakes all over again, botching her own would be exorcism. C