It’s that time again! Time for the Los Angeles Film Festival! Now in its 16th year and running from June 17th to 27th, LAFF 2010 has plenty of surprises in store for you, not the least of which is its relocation to the LA Live complex in Downtown Los Angeles. Infusing the new level of energy and excitement of the Downtown area into the Fest, it looks like we’re in for a festival of blockbuster proportions. Still calling on the beauty and magic of selected screenings under the stars at Ford Amphitheatre, the main screening venue will be located at the Regal Cinemas L.A. Live Stadium 14 with additional venues, among them, Disney Concert Hall Redcat, Downtown Independent, Orpheum Theatre, the Grammy Museum and California Plaza.
World renowned for its level of excellence and quality of festival programming, LAFF is a crown jewel in the world of film and the festival circuit. And I have to say, the Fest and its programmers have outdone themselves this year with a slate of competition films, showcases and summer previews that will knock your socks off! But according to programmer Doug Jones, himself a veteran of countless LA Film Festivals, LAFF “is not just about coming to a movie, sitting there eating your popcorn and just consuming a film. It’s about those extra elements”, be it sitting in on Q&A’s after a screening or having a once in a lifetime experience with live performances and special events that encompass and celebrate arts and entertainment. And as of now, out of the 70 some features showing, approximately 55 will have the filmmakers in attendance open to discussion with you, the audience.
Surpassing the excellence of years gone by, this year’s slate of films is even more diverse and eclectic, showcasing some old friends like Davis Guggenheim who now tackles education with WAITING FOR SUPERMAN (you know, that guy alongside Al Gore who brought us the Oscar winning “An Inconvenient Truth”) the Duplass Brothers who bring us a summer sneak peek at their hysterical and riotous feature CYRUS, the always welcome and legendary festival staple Larry Fessenden and Glass Eye Pix with BITTER FEAST, a new wave of insightful, visionary and entertaining filmmakers like Adam Reid, Joe Maggio, Jennifer Arnold and Hilda Hidalgo, not to mention some standout individual performances including two from Trieste Kelly Dunn who wows us in “The New Year” and “Cold Weather.” If the judges are handing out any special awards for a breakout performance, my vote goes to Dunn in THE NEW YEAR. With its pulse on the beat of the world, at LAFF you can expect controversy, political commentary, humor, drama and as always, entertainment.
This year LAFF brings us over 200 feature films, shorts and music videos from over 40 countries, all culled down from 4,700 film submissions. With approximately 70 features at the ready, LAFF has 28 World, North American and U.S. premieres and an astounding 18 films in competition. Always audience favorites, Coffee Talks, Poolside Chats, FREE SCREENINGS, chats with Artists in Residence Jonathan Gold, Quincy Jones and Pee Wee Herman himself, Paul Reubens, and anniversary special screenings, are also included in the line-up, along with what I believe are three of the best events of the festival, Festival Conversations with Sylvester Stallone, Ben Affleck and John Lithgow. And did I mention a little event called “TWILIGHT SAGA: ECLIPSE”?
Kicking off LAFF 2010 on June 17th is the premiere of a film that is more than all right with me and will be for each of you – THE KIDS ARE ALL RIGHT. With an all star cast headed by Annette Bening, Julianne Moore and Mark Ruffalo, may I say, if you don’t already love Ruffalo, you will after seeing him here. Undoubtedly one of his finest performances, not only does he bring it on and bare all, but he and Moore together are white hot comedy and sexuality all rolled into one; lightening in a bottle. And don’t miss a great performance by everyone’s favorite Alice, Mia Wasikowska. Writer/Director Lisa Cholodenko hits the nail on the head with a winning story of a less than conventional family filled with marital discord, inquisitive kids and a sexy biological father, all punctuated with top notch performances, pleasing cinematography and a score by the award winning Carter Burwell.
Following through on a familial note is THE WHEELER BOYS. Winner of the Netflix FIND Your Voice Film Competition, Philip Flores makes his directorial debut with a story of brotherly love and the ties that bind and break. Intimate and emotional, Flores captures a “small town sensibility” mixed with the innocence and frustration of youth, all of which showcases two incredible performances from Alex Frost and Lorenzo James Henrie as brothers Truck and Ted. And let me tell you, Henrie will steal your heart. Not to be outdone is a great turn by an old pal from my past, Billy Campbell, as the boys’ somewhat emotionally despicable father.
But wait, we’ve got more family happenings with the gala special screening of CYRUS. Written and directed by two of my all time faves, brothers Mark and Jay Duplass, the creative geniuses behind “The Puffy Chair” and “Baghead”, CYRUS delves into some very interesting relationship issues between a mothers and her son, a son and a suitor, and a divorced middle aged man in crisis whose best friend is his ex-wife. Beyond hysterical, CYRUS is the stuff of which real movies are made. Filled with heart and laughter and made with the now patented Duplassian Method (intimate, closed set, brothers in control, improv, mid and close-up shots), this marks the first “studio” film of the Duplasses. With Fox Searchlight behind them (not to mention executive producers Tony and Ridley Scott), Mark and Jay not only retain the integrity and ethic of intimate personalization which has become their trademark, but with increased budget can now call on the supreme talents of John C. Reilly, Marisa Tomei, Jonah Hill and Catherine Keener to bring their story to life. Starting with one of the finest performances of Reilly’s career as down-on-his-luck John, not only do the boys elicit new layers of emotion and talent from Jonah Hill with his dark, sarcastic and emotionally textured take on Cyrus, but they even bring us a side to Catherine Keener that is refreshing, enjoyable, warm and likeable. And through it all, the glorious Maria Tomei shines as the fulcrum to a somewhat unusual love triangle. CYRUS – one of my Must See Festival Films and one of the most anticipated releases of the summer, catch this sure fire winner at LAFF on June 18th at 8pm before it hits theatres!
LAFF would not be complete without an adventure under the stars at the Ford Amphitheatre and this year there is nothing better than Neil Marshall’s CENTURION. What is not to love about this film? 117 A.D. 9th Roman Legion. The savage Picts of North Britain intent on not succumbing to Roman rule. A general slain in the line of battle. A Centurion on the run, fighting for his life and eluding capture, overcoming all obstacles and hardships trying to survive. Michael Fassbender and Dominic West. (Double swoon.) Historical reference. INCREDIBLE hand to hand battle sequences with KILLER editing from one of my faves, Chris Gill. Editing battle sequences like this is not an easy job and Gill just goes for the jugular, hitting the nail on the head (in more ways than one) every time. Then you look at the breathtaking cinematography of Sam McCurdy who knows how to work with light and lenses, making the most out of what is in front of him. Here, he works with intimate introspective moments of characters, but then given the freedom of unparalleled expansiveness to help director Neil Marshall tell this majestic story. And yes, I say majestic because after all, this is part of the Roman Empire we are talking about. Watching the film, I kept flashing on the text of Caesar’s Gallic Wars, seeing McCurdy and Marshall bring to life all the grandeur and vastness one imagined from Caesar’s own words. The imagery of the entire film is powerful, fueling the energy and survivalist instinct of the Centurion. And talk about the make-up! Picts strongly resemble Klingons on Earth.
As incredible as Michael Fassbender is as Centurion Quintus Dais, you’ll find yourself doing a double take watching Olga Kurylenko as a Pict huntress named Etain. Her physical performance speaks enough words to fill the terrain from Rome to Northern Scotland and the farthest western reaches of the Roman Empire. She brings a barbarous ferocity that explodes on screen.
And if you’re looking for great battle sequences and innovative attack methods, this is the film for you. With great new inventive ways to have heads lopped off, blood squirting from excised limbs, this is mano-y-mano fight choreography to rival anything we’ve seen on screen. Top it off with some magical make-up work transforming the murderous Picts into what could be Klingons on Earth and Ilan Eshkeri’s score, CENTURION catapults to an even higher level of excellence. Can’t wait for the summer release? CENTURION, one of my top three Must See Festival films, is a Roman thrill ride for the ages. Screening on June 25th at 8:30 p.m. at the Ford Amphitheatre,.
According to programmer Doug Jones, particularly exciting this year (and on my own Must Go See List) is THUNDER SOUL. “If someone was asking you ‘What is this whole LA Film Festival thing about?’ and you had one evening to show them what the festival experience could be” look no further than THUNDER SOUL. This is the story about the Kashmere Stage Band. Coming out of the middle of nowhere in Houston, Texas in the mid 70’s, for a brief period Kashmere was an international phenomenon. Under the direction of Conrad O. Johnson, who is now in his 90’s, Kashmere forever changed the definition of high school stage or jazz band. While most high school stage bands were doing Benny Goodman and other “safe” musical choices, Johnson incorporated contemporary music like funk and jazz and R&B and original compositions. They became a musical sensation touring the world over and being recognized as “one of the best bands of the moment”. THUNDER SOUL not only tells the story of where Kashmere Stage Band came from, but now 30 years later reunites them to pay tribute to their beloved teacher, Conrad Johnson. Inspirational, entertaining and filled with wall-to-wall great music, THUNDER SOUL may turn out to be the poster child for keeping arts in our schools. But with this screening is one of those “extra elements” that make LAFF so special. Described by Jones as what he believes will be “an incredible evening under the stars” because the band is “crazy good”, on June 26th, after seeing the movie, the Kashmere Stage Band will appear live for a special performance, giving you a festival experience that you will remember forever.
Leave it to LAFF to always include inspiring and uplifting films and this year is no different. UCLA film grad Jennifer Arnold brings us what I believe is the most inspiring film of the fest – A SMALL ACT. Chris Mburu grew up in impoverished areas of Kenya. Hilde Back is a German Jew who survived the Holocaust and fled to Sweden in 1940 where she became a schoolteacher. Many years ago, Back began making a monthly $15 donation which would pay for primary school education for a young Kenyan child. That child was Chris Mburu. Mburu and Back never met, didn’t communicate. The money was just sent each month to an organization approved by the Swedish government. Eventually, the program ended and Back went about her life as a teacher. But for Mburu his life was changed forever.
Given a chance at an education, Mburu was hooked on learning from Day One. He not only completed his primary school education but continued on with school, eventually making his way to Harvard, earning a law degree. He now works as a U.N. human rights lawyer fighting genocide. Seeing first hand the importance of education and how necessary education is to fight injustice in the world and to give people a chance and a leg up, Mburu determined to do something about it. Never forgetting the woman who unknowingly gave him his life, Mburu established the Hilde Back Scholarship Fund dedicated to furthering the education of the African and Kenyan youth. But, more than that, Mburu was determined to meet Hilde.
Not knowing anything about her, her background, her history, where she was located or even if she was alive, Mburu began his quest. And imagine not only his surprise, but Back’s when he ultimately found her. On being contacted by officials and told of this young man and his desire to meet her, Back barely even remembered paying the $15 a month it was so long ago. But what happened after that is the stuff that dreams are made of. You can’t tell me that Fate didn’t play a hand here. What are the odds that this young Kenyan would grow up to fight genocide and defend human rights thanks to a small gift from an unknown Holocaust survivor? You will tingle with excitement and joy at the magic and good that does exist in the world.
Interlacing the fairytale-like story of Chris and Hilde with several eighth grade students whom Mburu now hopes to help with his scholarship program, as well as addressing the failure of the Kenya’s school systems and world education as a whole, Arnold breaks the mold when it comes to the type of film we normally see talking about Africa. This is not a film about poverty or being impoverished or the have-nots. A SMALL ACT is about making a difference, no matter how small or insignificant and the ripple effect it can have. And miracles continue to happen as a result of this film as donations pour in for the scholarship fund, helping Mburu fulfill his dream and “pay it forward.” As for Chris and Hilde, just wait until you see where they are now.
A SMALL ACT screens June 26th at 7:30 pm.
And did you know this year marks not only the 25th anniversary of PEE-WEE’S BIG ADVENTURE but also the big screen debut of everyone’s favorite material girl in DESPERATELY SEEKING SUSAN? Catch Pee Wee himself on Saturday, June 26th at 1:00 p.m. at the Orpheum or on June 25th at 8:00 p.m. at the Redcat in a special conversation about classics and comedy with a screening of Frank Capra’s classic YOU CAN’T TAKE IT WITH YOU or take step back in time to your youth with a free screening of “Desperately” on the 19th at the 7+Fig at Ernst & Young Plaza.
Wrapping up the Fest will be the much anticipated animated treasure, DESPICABLE ME. Voiced by the incomparable Steve Carrell, Gru, the greatest super-villain the world has ever known, is planning to commit a crime no one has ever attempted and one that no one but Gru can ever pull off – steal the moon. Yep, the moon. Complete with every child’s fantasy of ray guns, battle plans, armored vehicles, minions at the ready, can Gru prove he is the most evil of all evil, or will his plan be foiled by the unthinkable – girls? Yep, three little girls. Watch out guys! Will girls rule? With the voice talents of Russell Brand, Kristen Wiig, Miranda Cosgrove, Jermaine Clement, Will Arnett and the beloved, Julie Andrews, it would be a crime to miss this one!
But before we get to the Closing Gala, we’ve got 10 days chock full of films, including the all important narrative and documentary competitions which are brimming with exemplary films this year celebrating the human condition, relationships and yes, even the circus.
A top competitor in the Documentary Competition is CIRCO, the story of the Ponce Family Circo Mexico. A family owned and operated circus for over 100 years, CIRCO, delves behind the greasepaint looking at the frowns and worry lines that are hidden to the public. A tough business in the best of times, with the global economic uncertainty, events like attending a circus are not high on a family’s budget. With children of all ages in the Ponce family shouldering the load (while patriarch Don Gilberto rakes in whatever money comes in), director Aaron Schock shows us there is more than meets the eye and more than just sawdust in their veins as he captures the joy each gets from not only performing, but the circus way of life. On the flip side, we also see the inner turmoil that consumes marriages and family alike under the pressure of sustaining a family legacy. Beautifully lensed, come one, come all, to CIRCO, a Must See Film for children of all ages.
CIRCO takes center ring on June 18 at 7:45 with return engagements on June 19 and 21.
For a real contrast of circus circumstance, look no further than a 5 ton elephant named Flora and Circus Flora with the charming and heartwarming documentary, ONE LUCKY ELEPHANT. irected by Lisa Leeman, ONE LUCKY ELEPHANT has been 10 years in the making. Following the story of Flora from the time of her “adoption” as a calf in 1985 by circus owner and ringmaster, David Balding, Flora has long held national and international attention. Born 25 years ago in Zimbabwe, at age 2, Flora’s family was killed in a culling, leaving Flora tied to her dead mother’s body as butchers chopped it into meat for sale. Balding, wanting an elephant for his circus, also wanted to help little Flora and with her adoption, thus began one of the greatest love stories of our time. But, as the years went by, despite her being the star of the show, Flora became less thrilled with performing, a fact that didn’t go unnoticed by Balding. Realizing that she needed the companionship of other elephants and perhaps even be returned to the wild, although difficult and heartbreaking as it is to any parent letting go of a child, Balding embarked on a quest to find the perfect home for Flora. Ultimately, Flora landed in Tennessee at The Elephant Sanctuary. But life wasn’t the bed of roses for Flora that Balding thought it would be as Flora began to act out like a belligerent child, ultimately leading to a diagnosis of post-traumatic stress order attributed to her trauma as a baby. There is a reason for the saying “elephants never forget” and seeing Flora is living proof. (In MRI studies conducted at UCLA several years ago, it was discovered that elephants have a large hippocampus which controls learning and memory – particularly long term memory, thus imprinting trauma on the brain.) Deferring to the expertise of Sanctuary founder and owner, Carol Buckley, Flora began intensive behavioral rehabilitation, which included never seeing Balding again.
Posing thought provoking questions about exotic animals and captivity, as well as man’s imprint on the animal world, ONE LUCKY ELEPHANT will bring a tear to your eye, a smile to your heart, and awaken your own conscience. With
Another Must See Festival Film, ONE LUCKY ELEPHANT lumbers onto the screen on June 19th followed by a panel discussion on animal issues hosted by the Humane Society with behavioral and wildlife biologist Toni Frohoff, Ph.D. and clinical psychologist Lorin Lindner, Ph.D. participating.
So, you think your family is dysfunctional? Just wait until you get a load of the Jenkins family from Ontario, Canada in another competitive documentary, LIFE WITH MURDER. Emmy award winning writer/director John Kastner explores the psyche of a family bereft by grief not only from the brutal murder of their 18 year old daughter Stephanie, but with the knowledge that her brother, 20 year old Mason, is the prime suspect. With Jennifer shot multiple times, drug through the house, on its face, the murder looks like it was committed by someone within the house, with intimate knowledge of the family. Opening within minutes of the crime, Kastner pokes and probes with the meticulousness of the most seasoned criminal defense attorney wanting to not only free an accused client, but uncover the truth.
What intrigued me about LIFE WITH MURDER was my own mother’s lifelong mantra that she would be the first person to turn in one of her children to the authorities – and testify against us – if we were ever suspected of or committed a crime. So for me, what kind of parents are Brian and Leslie Jenkins who proclaim Mason’s innocence when every shred of evidence and every bit of reason says differently. How do you champion one child when another one is allegedly felled by their hand? With Mason eventually incarcerated, and being an extremely bizarre and troubled individual, all fingers point towards him as the killer, but can his parents Brian and Leslie accept that? Must they accept that? Should they accept that? LIFE WITH MURDER takes the story of Cain and Abel to new heights, asking new questions.
A more than accomplished documentarian, Kastner may easily be described as an expert when it comes to interpersonal and familial relationships of “criminals” and their families. Splattered on the news everyday are stories replete with sobbing families of victims, but what of the sobbing, gut-wrenched families of the accused? This is where Kastner excels in shedding light on perhaps some of the most extreme darkness we as mankind face.
Another documentary ten years in the making, Kastner was given access to police investigative materials and videos and had countless interviews with Detective George Vieira and CX2 Cathy Belanger of the correctional facility in which Mason was incarcerated, the latter becoming almost a confidante to him. But perhaps the most telling part of the film comes from Brian and Leslie Jenkins themselves. Not speaking to Mason for over 10 years about the night of the murder, the Jenkinses moved on through life never addressing the issue of guilt or the events that transpired. It is only through Kastner’s compassion and tenacity that details are slowly revealed giving rise to the undeniable fact that the Jenkinses had long known more of the sorted details than they were telling. By melding interviews with investigative materials and the horrific and often graphic evidence of the crime, Kastner not only makes the audience feel as if they are a part of the process, but he forges a relationship between Brian and Leslie Jenkins and the outside world that opens up flood gates into possible understanding and, dare I say it, even compassion at their emotional tightrope.
And while I am not one to reveal spoilers, LIFE WITH MURDER takes on a life of its own as during the filming process, the murderer confesses on camera. Did the judicial system work? Is the killer in jail? Did his conscience finally get the best of him? Or is the love and faith of Mason’s parents justified?
Gripping, heartwrenching and fascinating, LIFE WITH MURDER is my #1 Must See Festival Film in the Documentary Competition. LIFE WITH MURDER screens June 18, 20 and 21.
And what about those narratives? As great as the documentaries are, hold on to your hearts as the Narrative Competition heats up with its own level of excellence.
A hot contender in the Narrative Competition is Hilda Hidalgo’s OF LOVE AND OTHER DEMONS. Based on the novel by Gabriel Garcia Marquez, I am absolutely fascinated with this film. Set during the Inquisition in colonial Cartagena de Indias, this is the story of Sierva Maria, a young girl born to noble blood but ostracized by the community thanks to being under the care of her family’s African slaves and her mother’s belief in “voodoo” rather than the Catholic church. Believed to be possessed by the Devil after being bitten by a rapid dog (although doctors give her the all clear), the local priest who is attempting to woo the girls’ father back to the church and make a public statement, orders her imprisoned in a convent where a young monk named Cayetano is assigned to oversee her spiritual healing and exorcism. What no one counts on is a love developing between the two that is deeper, purer and truer than any belief.
Visually the film is impeccably and intricately done showcasing unspoken beauty. The intensity and use of shadows, light and dark, is both compelling and emotionally impactful at the same time. The palette has the feel of a Vermeer or Italian Renaissance masterpiece. Vivid and vibrant with the true story hidden in the shadows, forcing one to look ever deeper, creating a sense of mystery, intrigue and forbidden love. Marcelo Camarino’s cinematography cries for Oscar consideration when this film grabs distribution and release (and it will). Editing and pacing are deliberate and methodical.
Although somewhat of a “coming of age” story, OF LOVE AND OTHER DEMONS is so much more. Hildago tells a tale of a deep-rooted “coming of life” and the love that grows between Sierva Maria and Cateyano which comes from their very souls. There is an eloquence to their love that is breathtaking to watch unfold. Adding to the storied layers is a commentary on the church and society of the day which sheds an entirely different light on the demons at play here.
As for the acting, Pablo Derqui is wonderful to watch, bringing a sensitivity and intensity laced with naivete to his performance as Cateyano. As Sierva Maria, Eliza Triano is beauteous not only in the physical with alabaster skin and flaming red hair but with her silence and an innocence that turns to seduction not only of Cateyano but of the camera.
Let yourself be seduced by OF LOVE AND OTHER DEMONS, premiering June 18th at 9:45 pm with encore performances on June 20 and 21.
But let’s cut to the chase. This year, we actually have a tie for my Number One pick of MUST SEE FESTIVAL FILMS. One, my pick as the #1 Must See Film in the Narrative Competition and the other, the preeminent leader in a new category of films identified as “The Beyond” that is just so good, missing it would be like missing a perfect creme brulee – just plain inexcusable.
Scoring my vote as the #1 Narrative Competition Feature, say hello to HELLO LONESOME. A charming, sweet, wistful and winsome film that will bring a smile to your heart as it fills you with tender joy and laughter. Written and directed by Adam Reid, HELLO LONESOME touches the heart with a tenderness and softness that is warm and welcoming, and guaranteed to fill the lonesome void in each of us.
It has long been said that the greatest gift one will ever know is just to love and be loved in return. It’s what we all want to some degree or another. To ease the loneliness of an empty night, to share a memory, to make a new memory, to feel like you matter, to be a part of something or someone greater than yourself. And no matter what age you are or what stage you are at in life, these are emotional commonalities and threads that bind us.
Gordon is a twenty-something wannabe yuppie who seeks out Ms. Right online. Debby is a very successful twenty-something yuppie who has all the exterior trappings of happiness and success but hidden away in her pristine ivory tower, has an emptiness she too yearns to fill and looks to the internet for her own 21st century comfort. Eleanor is someone many may deem past her prime. Widowed, the best part of her life is past and she is left with only her memories, but without someone to share them with, she fears they will fade away as will she. Her next door neighbor Gary is shy and retiring, hiding away after a divorce gone bad, but proving time and again that he has a good heart, jumping into help Eleanor whenever the need arises. And then there’s Bill. A highly successful voice over actor who makes good money, has a nice lifestyle, but really screwed up in the husband and father department. Ignored by his daughter and living alone out in the country, Bill spends his time sequestered away in his recording booth with his only live human contact coming from his opera loving delivery man, Omar.
With artful storytelling, Reid brings friendship, love and hope to each of our players. Initially drawing on his own personal experience and inspired by that of his sister Lisa who, after meeting someone online discovered she had breast cancer, with the story of Debby and Gordon and the emotionally devastating events that turn their world upside down at the start of their relationship, Reid goes for the heart, gently nudging, while eliciting the humanity and frailty of the human condition.
First rate acting only enhances the well crafted story and technical excellence of Reid’s work. A familiar face to many, James Urbaniak is a standout as Gary while Reid’s own good luck charm, Lynn Cohen, whom many of you will know from Spielberg’s “Munich” and her winning turn as Golda Meir, draws you in, capturing that grandmotherly affection we all have. But the real joy here is watching Harry Chase as Bill. A recognized voice actor (think Captain Morgan’s Rum for starters), HELLO LONESOME marks Chase’s on-screen acting debut and he couldn’t be more amazing. He steals every scene and brings more than a believability to the part. Adding to his excellence is when he shares screen time with real life opera singer and actor, Kamel Boutrous, as Omar. Together the two have an undeniable buddy film camaraderie that is a joy to watch. Increasing Chase’s appeal is his on screen comfort and ease, undoubtedly due to the fact that Bills’ home is actually Chase’s.
The story structure belies that of what many deem a “festival film”. HELLO LONESOME is well thought out, layered with emotional complexity, interest and well defined characters. The character detail just reels you in giving rise to multi-generational appeal. Also acting as cinematographer, Reid’s lensing is beautiful while Scott Rankin’s editing is perfection given the integration of individual non-intersecting yet emotionally complimentary storylines and segmental dialogue patterns.
My #1 Must See Festival Film of the competition categories and tied for my #1 pick of the entire fest, HELLO LONESOME makes its world premiere on June 18th at 8:00 p.m.
And of course, what would any LA Film Festival be for me without a horror film to die for. Thankfully, we’ve got a real champion of the indie film, returning producer Larry Fessenden and Glass Eye Pix, who take a big bite of my Must See Films with BITTER FEAST, a deliciously wicked film written and directed by genre newbie, Joe Maggio. And returning with Fassenden for his own just desserts is none other than Joshua Leonard who wowed us last year in “Humpday”
Peter Grey is a self-absorbed pompous ass television chef who was tormented by his brother during his childhood. A typical little nerdy “four eyes”, Peter’s brother took great glee in dominating, beating up, attacking, picking on and insulting poor little Peter, even going so far as to limit his time to go pee when nature called. Even when playing out in the woods, there was no escape from Peter as he was hunted down by his brother. But things change as one grows up and matures, or does it? Clearly, Peter’s current pomposity and arrogance is the result of his need to be the one in charge, the one in the limelight. Boasting on his cooking show “The Feast” about his skills as a hunter, butcher and all around organically inspired chef, hunting and killing and foraging for all of his ingredients, he is a psychiatrist’s dream. Sadly, he’s not in therapy that we know of and merely exacts his emotional revenge on all that cross his path.
Thanks to his own lack of people skills , Peter’s show is cancelled, his cookware contracts up in flames and his restaurant and his cooking skills, well they’ve been skewered to death by the immortal food critic, J.T. Franks, blogger of “Gastropunks.” And of course, Grey blames Franks for everything as he couldn’t possibly be the cause of his own misfortune.
Franks is another piece of work. Domineering, snarky, and also pompous and arrogant, he suffers with delusions of grandeur about himself, his self-perceived superiority and his opinions. He is right and everyone else is wrong. And he doesn’t give a damn about anyone else in the world except himself. Between Franks and Grey they should open up their own exclusive club for the egomaniacal.
Still harboring those deep-seeded resentments of childhood, Grey masterminds a plan to gain the upper hand and not only make Grey pay for what he has done to him, but alter his perceptions and bring him around to his own way of thinking in appreciation of food. So, Grey kidnaps Franks and chains him up in the basement of Grey’s cabin deep in the woods in which he played as a child. Torturing Franks by forcing him to learn to cook and appreciate masterful cooking and exquisitely prepared cuisine, Grey also excels at physical torture, exacting the same sort of brutality on Franks as his brother exacted on him, only this time with real knives, guns and other weaponry. In a wild game between the hunter and the hunted, Grey spirals ever deeper into manic passions fueled by the ecstasy of culinary delights and sensations.
With BITTER FEAST, Joe Maggio serves up a seven course meal of pure genius. Razor sharp acerbic wit whets the palette, making you beg for more as you are drawn deeper and deeper into the darkness of culinary genius and egomania, resulting in unabashed laughter peppering each scene. The characters of Grey and Franks are perfect foils and perfectly crafted, seasoned with the right amount of arrogance making them each delicious to watch.
Technically, there is nothing bitter to the senses. Thanks to DP Michael McDonough, color is saturated and rich like the most decadent desserts. Framing is tight and intimate while night lensing using natural light and a Canon 5D Mark II SR camera raises the tension on screen to the boiling point. Particularly notable is the make-up work of Brian Spears who makes injuries inflicted on our poor critic Franks more than realistic and consistent (given shooting was non-sequential). Maggio, a self-proclaimed foodie, makes certain particular detail is paid to food preparation and technique, bringing in a culinary hand person for beauteous and exacting effect, as well as utilizing cooking techniques and recipes of none other than Mario Batali, who is in the film. And if tech awards were being handed out at LAFF, one for sound editing would have to go to long time Glass Eye sound designer, Graham Reznick, whose work here is masterful. Integrating Jeff Grace’s great score with action and dialogue, he layers sounds, adjusting levels to enhance the flavor of each scene and build anticipation and tension as if one was salivating over the smell of a roasting turkey on Thanksgiving Day.
But let’s talk about acting! Festival favorite Joshua Leonard really stirs the pot as JT Franks. We saw him last year in “Humpday” and loved him, but as Franks he raises the bar to levels of excellence I have never seen in him before. Likewise for James LeGros as Peter Grey. Deliciously nasty and nevermoreso than when conveying fear and terror. And they both nail arrogant pomposity to a tee. Their timing is meticulous, with neither missing a beat and together, they are explosive.
Screening June 18th at 9:45 pm and June 20th at 10:00 p.m. at the Downtown Independent, BITTER FEAST takes the cake when it comes to Must See Festival Films!
As always, look for my full reviews of these films and more, as well as my exclusive 1:1 interviews with the filmmakers, in print and online. And until next year, I’ll see you at the movies!
Los Angeles Film Festival 2010 runs from June 17th to 27th with the majority of screenings and events taking place at Regal Cinemas in the L.A. Live complex in Downtown Los Angeles. Parking is at a special reduced festival rate and tickets are still available!! For more information on the festival line up and tickets, go to the festival website at www.lafilmfest.com.
