New Zealand International Film Festival preview
It's here for another year and as ever, the range is broad, eclectic, informative and entertaining.
Yep, 2013's
New Zealand International Film Festival has arrived and with it, a veritable source of cinematic booty to plunder.
From
Joss Whedon's take on Shakespeare to
Adam Wingard's shocker You're Next, there's plenty to dive into as the rain comes. Here's just a taster of some of the films I've had access to prior to the festival.
Who Will Be A Ghurka is a doco looking at what goes into the making of the Ghurkas and the drive to get into the famous British Armed Forces legion. 200,000 of them were sent to war during the two major conflicts and of those, some 60,000 were killed. This fly on the wall piece follows the recruitment of Nepali wannabes whose sole aim is to get into the brigade - despite the extremely rigorous and matter of fact training. Motives include family pride and money but the fact the contenders aren't given names or history makes for an intriguing experience - you're not saddled with back story and the desire to get to know them and end up watching with a curious detachment as this rigidly factual piece plays out. Subtly shot and an interesting insight into a world oft glimpsed,
Who Will Be A Ghurka is the kind of reality doco which is non-sensational and honest.
The Human Scale is a film about people in cities and how their lives have been shaped by the world around them - and the continual up scaling of the cityscapes. It's a talking heads piece which takes a look at how some cities are pushing to turn the throbbing metropolis into pedestrian areas. Interviews take place in Copenhagen, New York and our very own
Christchurch and look at how the megacities could ruin society It's a relatively straight piece which takes a little time to settle into a rhythm and is fairly loose with selective facts, but it's a fascinating look into the psychology of being a pedestrian and how urban design can shape our lives - and what can be done to change all that for the better. The insight into what Christchurch can do in the wake of the quake and how it's got a chance rarely afforded to other cities to start again is a real eye opener.
Which Way Is The Front Line From Here? is an HBO doco looking at the tragically short life of
Tim Hetherington, who many will know as being one half of the Oscar nominated doco,
Restrepo. It sets out its stall early on with a shot of Tim saying that the "role of witnessing comes with strong responsibility" - and it's clear that Sebastian Junger's piece is a honest, heartfelt, but never mawkish tribute to his former colleague. Tim was a tall, grinning, white guy who clearly stood head and shoulders above his subjects, but who was never above them in respect and grace. This fascinating piece intersperses past footage of Tim, with some of his shots and contributions from those who knew him. As an insight into what goes through an embedded journo's psyche, it's fascinating; as a look at what makes a human, it's unmissable. Powerful footage from war zones sweeps in with comments from all sides - and there's a strong poignancy to the final words from Sebastian Junger and the last sequences which show Tim's untimely demise. As Sebastian reveals, a Vietnam vet told him: "The core truth about war is you’re guaranteed to lose your brothers – and now you know everything you need to know about war" after hearing the news of Tim's death. Those moments feel almost intrusive, tragic and utterly soul destroying as they're set to a shot of the sun in a clear blue sky - this is an incredibly moving piece which encapsulates the reason some rush into horrors while others run away.
Blackfish is not, as some may have you believe or fear, this year's
The Cove. Whereas
The Cove was an unsettling look at the slaughter of dolphins in Japan, this is a shocking expose of the corporate negligence and unbelievable head burying in the sand of SeaWorld in Orlando, Florida. Focussing on the
Orca Tilikum and the death, at his teeth, of trainer
Dawn Brancheau, it's a stunning indictment of a company which pursues the lies and pushes the line that nothing's wrong with the Orca, which has now sired several other creatures within. Former trainers reveal the extent of their corporate brain washing and proffer up reasons for staying (to care for the animal) but no-one can avoid the core truth at the heart of this violence from the Orca. Purely and simply, it's about the captivity of the creature, the fact the male Orca is bullied by females and how neglect fuelled the inherent aggression within. It's a candid doco with a powerful message and a story simply told - but you shouldn't avoid this for fear of shots of animal cruelty. If anything, the humans are more badly treated than the captive creatures.
Pussy Riot: A Punk Prayer is the doco looking at the guerrilla guitarists and band who've been proving to be a thorn in Russia's side since forming in 2011 after the return of Putin to power. Swathed in neon balaclavas and lurid outfits, they're the complete opposite to the balaclaved thieves in recent outing Spring Breakers, but are no less effective. The doco follows three of the girls who are on trial after storming a cathedral last year and performing. But it soon transpires, by following the trio through the build up that it's actually more Russia which is on trial for all that's happened in the run up to, and including, the re-election of Putin. Straightly told, stylishly executed (with pop up social media early on) and concisely spliced together, this doco's verging on propaganda for the group (as it inevitably would) but also holds a mirror up to Russia, showing that the country's vastly split down the lines between Church and State - a fascinating peek behind the iron curtain which not many of us have access to and one which examines how the art of protest still lives on, despite the detractors who would rather it didn't.
Computer Chess is a meandering drama, that initially looks like a doco from the 1980s with its black and white monochrome aesthetics. It takes a while to realise this piece, set at a computer vs computer chess tournament at a motel, is actually an acted ensemble piece, given how strong some of the character acting and nuances are - it won't be to everyone's tastes but this film from Beeswax director Andrew Bujalski offers up something which is totally different and a slightly surreal trip.
The Act of Killing is an utterly extraordinary piece of film-making. It follows Indonesian death squad leaders and demands that they re-enact their killings from the 1965/66 coup. Specifically, director Joshua Oppenheimer takes in gangster Anwar Congo and his acts of genocide as well as other leaders in the movement and those who supported the murders from the sidelines. As a peek into the mindset and psychology of a mass murderer, it's actually quite chilling as those involved matter of factly discuss how they killed people, avoided the blood of many by using wire from a distance to slaughter and how they feel they're like gangsters from Hollywood films. It's completely shocking to realise what they've done, but what's even more shocking is how little they initially seem to feel about it all. Gradually though, Anwar begins to realise what he's done as this trippy piece, with its Hollywood re-enactments and lavish musical number nears its end. As they realise they're troubled by hallucinations and show some signs of remorse for what they've done, you begin to realise the strangest doco of the festival is also the most powerful, affecting and haunting.
Programmes for this year's New Zealand International Film Festival are now on the streets, so let the planning begin!
The New Zealand International Film Festival runs from 18th July in Auckland before heading nationwide.
All that stands in their way is Sons of Anarchy's Charlie Hunnam's Raleigh Becket, who's already lost his brother to the fight to the Kaiju when their robot got smashed to pieces. Leading the charge is Marshall Stacker Pentecost (!) aka Luther's Idris Elba - when the government decides to close down the Jaeger programme, he alone decides to fight on rather than to decommission the robots....
With throwbacks of B-movies and plenty of the Godzilla vs series, del Toro's crafted something which is immeasurably dumb but incredibly action-packed, which will satiate the appetite of those simply searching for a big serving of spectacle. By easing up on the OTT nature of the destructive scenes and fight sequences, del Toro's given the eye time to adjust and the senses a chance to gorge on the CGI feast before the eyes. It wears its influences proudly on its sleeve and del Toro's clearly pulled together a labour of love and deserves commendation for the creature feature. It's a movie of second chances and of gung-ho testosterone - and little more.
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