Category: Sundance Film Festival

By Joe Bendel. It is not a good idea to nod off during this film. You might encounter one of the subjects. Fortunately, it will be very difficult to drift off during one of the scariest documentaries you will ever see that isn’t about Scientology. Shaking it off at bed time will be a different matter. Filmmaker Rodney Ascher documents the very real phenomenon of sleep paralysis and the terrifying figures often seen by those who suffer from it in The Nightmare, which screened during the 2015 Sundance Film Festival.

Like his interview subjects who agreed to appear on camera, Ascher (the co-director of Room 237) has personally experienced sleep paralysis. Medical professionals generally acknowledge it involves the conscious sensation of rigid immobility, until the afflicted sleeper manages to rouse themselves out of it. Of course, there is more to the story. Those who have endured persistent sleep paralysis often report seeing and sometimes hearing dark, menacing figures. Typically, these are the “Shadow Men,” often observed acting under the direction of the “Hat Man.”

This might sound fantastical, but Ascher has multiple sources attesting to these demonic dream stalkers. Indeed, there is something deeply archetypal about them, especially Hat Man, who can be seen as a forerunner to Freddy Kruger buried deep within our collective subconscious.

While Nightmare adheres to the standard accepted form of documentary films, Ascher’s dramatic recreations of participants’ nightmare encounters are genuinely frightening. Everything about them represents superior horror film mechanics, from the eerie lighting to the evocative set design. This film will scare you in the moment, but it will also challenge your safe assumptions regarding the nature of reality. Clearly, Hat Man is real enough for a considerable number of people out there, so what does that mean for our world view?

Yet, Ascher does not leave us bereft of hope and deprived of sleep. Surprisingly, Nightmare will hold considerable interest for evangelical audiences, who are not likely to be amongst the film’s target demographic. Nonetheless, one subsequently empowered Christian discovered she could vanquish her sleep demons by invoking a name. No spoilers, but his initials are “J.C.”

This is the rare sort of film that really gets under your skin and stays there. Ascher takes familiar New Age tropes and transforms them into something profoundly dark and threatening. The suggestion that sleep paralysis can be transmitted from person to person, essentially through the telling, is particularly disturbing for obvious reasons. Conveniently, nobody has time to sleep at Sundance. Presumably, Nightmare harbors no long-term ill effects, but it is exceptionally creepy. Very highly recommended for brave genre fans, The Nightmare screened as part of this year’s Sundance Film Festival.

LFM GRADE: A

Posted on February 1st, 2015 at 9:58am.

By Joe Bendel. Apparently, Gerry never heard the old Kenny Rogers song. He is the sort of gambler you bet against and feel fine about doing so. He might win for a while, because he spends every spare moment studying various games of chance, but he reeks of losing. However, he believes his fortunes have turned when he teams up with a younger, luckier gambler in Anna Boden & Ryan Fleck’s Mississippi Grind, which screened during the 2015 Sundance Film Festival.

Curtis is just passing through. That’s what he does. Gerry really ought to be leaving soon. He owes a lot of people a lot of money, but just keeps digging a bigger hole for himself. Strangely enough, he wins when playing at Curtis’s table, but he promptly blows all his takings on an ill-advised bet shortly thereafter. When fate subsequently brings them together again, Gerry recognizes a good thing. Determined to keep it going, Gerry convinces Curtis to join forces to play regional games and hole-in-the-wall casinos as they work their way down the Mississippi towards a high stakes poker game in New Orleans.

It sounds like a winning proposition, but the “sign”-obsessed Gerry cannot change his spots. He is still a crummy person and when Curtis is not around, he keeps finding ways to lose. In contrast, Curtis might be slightly commitment-phobic, but he is dramatically healthier than Gerry, often preferring to visit the local blues club over a tacky gambling den. It is really quite considerate of him, since it justifies Grind’s savory blues soundtrack (and some original themes scored by Scott Bomar).

Although Gerry, the aggressive screw-up, is the flashier role, Grind still might prove to be a career pivot for Ryan Reynolds. As Curtis, he plays with and against his pretty-boy type-casting, showing surprising grit down the stretch. Although Ben Mendelsohn is relatively restrained compared to some of his scenery-chomping villainous turns, he fully embraces Gerry’s pathetic, self-deluding, self-centered nature. Frankly, sometimes it is painful to watch his debasement.

Granted, anyone who has seen a gambling road movie will have a general idea where Grind is headed, but Fleck & Boden give the material a few nice twists, including the ironic but wholly fitting third act source of the title. They exhibit a strong sense of place, grounding the film in picturesque Southern-border state locales. It is also certainly safe to say they never glamorize gambling. In fact, the film could almost be a PSA for Gamblers Anonymous and a seedier, more naturalistic corrective to noir-ish The Gambler and Chow Yun-fat’s heroic God of Gamblers franchise. Recommended for fans of gambling films with local flavor, Mississippi Grind screened in Park City as part of this year’s Sundance Film Festival.

LFM GRADE: B

Posted on February 1st, 2015 at 9:57am.

By Joe Bendel. If anyone has a right to be obsessed with Chernobyl, it would be filmmaker-set designer Fedor Alexandrovich. As a four year old child, he was evacuated from what is now the Exclusion Zone—and he has the radioactive material in his bones to prove it. Through his research, Alexandrovich pieced together a theory hypothesizing Chernobyl was not an accident, but a deliberate act of Soviet sabotage. At a time when the Russian military and their proxies are once again committing crimes against the Ukrainian people, Chad Gracia documents Alexandrovich’s deductions as well as the increasingly precarious state of Ukrainian national security in The Russian Woodpecker, which screens during the 2015 Sundance Film Festival.

The titular woodpecker was a rhythmically regular radio signal that was thought to emanate from the old Soviet over-the-horizon radar station Duga-3, known to locals simply as the Duga. The Duga was massive and expensive, but it did not work very well. According to Alexandrovich, it would have failed a planned inspection, thereby causing great inconvenience for its high ranking sponsors, had events at Chernobyl not intervened. Can you see where he is going with this?

The Woodpecker ceased with the fall of Communism in 1989, but Ukrainians have recently started picking up an eerily similar signal. Like a prophet in the wilderness, the wild eyed and unruly coifed Alexandrovich had warned anyone willing to listen about the dangers of a resurgent neo-Soviet Russia. Unfortunately, his prophecies have been more vindicated than he would ever wish.

For obvious reasons, it is nearly impossible to untangle the tragic past from the perilous present in Woodpecker. While originally conceived as a short doc on the Duga and its annoying signal, the project expanded in scope due to the magnitude of Alexandrovich’s contentions and the relevance of current events. Those in Park City associated with the film are particularly worried about cinematographer Artem Ryzhkov, a war correspondent by trade, who was embedded with the unit hardest hit by the latest Russian orchestrated attacks.

The heavy significance that looms over Woodpecker makes it difficult to really enjoy Alexandrovich’s undeniable eccentricity, even before the multi-hyphenate artist starts to feel the heat as a high profile critic of Putin’s Russia. Essentially, Woodpecker begins as an idiosyncratic character study, evolves into a visually stunning tour of the Duga and the surrounding off-limits environs, and whipsaws into a real life chronicle of paranoia and defiance.

There are precious few documentaries that can compare to Woodpecker’s unclassifiable tone or its sense of urgency. Even if you do not fully buy into Alexandrovich’s theories, he and Gracia provide a great deal of Chernobyl background and context that will be new to most viewers. Highly compelling in an absolutely chilling kind of way, The Russian Woodpecker is definitely recommended for anyone interested in a fresh look at Ukrainian current events and recent history, The Russian Woodpecker screens again tomorrow (1/29) and Friday (1/30) in Park City, as part of this year’s Sundance Film Festival.

LFM GRADE: A-

Posted on January 28th, 2015 at 5:37pm.

By Joe Bendel. Mayor Geng Yanbo’s re-election is guaranteed, but that does not mean his position is secure. Such is the nature of power in the Chinese Communist Party. His vision for the northern Shanxi city Datong is grandly ambitious, but his intraparty people skills are a little iffy. That is a combination that leads to conflict in Zhou Hao’s The Chinese Mayor, which screens during the 2015 Sundance Film Festival.

When we first meet “Demolition” Geng, he has already resettled tens of thousands of families to make way for his large-scale construction plans. To restore the city’s centuries old glory, Geng has been razing the old, economically depressed neighborhoods to build a brand spanking new “ancient” quarter, including an imposing city wall. It is a development program that drips with irony. There was a time the CCP tore down cultural landmarks out of ideological zeal, but now they are building up replicas of imperial glory.

Geng’s scheme to convert Datong’s stalling industrial sector into a hub of culture and tourism might be debatable, but his constituents seem to appreciate the fact that he has a plan. Likewise, much can be said for and against his leadership style. He can be high-handed and severe, demonstrating a true Communist’s regard for property rights, but he is also unusually accessible for petitioners with a grievance against the city government. When he dresses down subordinates, they mostly have it coming. In fact, one sequence in which he chastises a contractor for sub-standard cement work brings to mind the shoddy construction techniques revealed in producer Zhao Qi’s Sichuan earthquake documentary, Fallen City.

Arguably, Zhou’s strictly observational approach leaves viewers somewhat unprepared for the third act surprises, even though Geng clearly comes across as the kind of politician who makes enemies. It is hard to fully take stock of his administration, but it is probably safe to assume he is preferable to the alternatives. Yet, some of the film’s most revealing scenes document his sham re-election at a local Party conference. It was certainly an economical process: one single candidate for each office. Of course, that is exactly the sort of meaningless democracy the Hong Kong Umbrella movement was protesting against, making Zhou’s Chinese Mayor a fitting feature to screen with Flora Lau’s short film, I am Hong Kong.

Geng does not exactly have JFK levels of charisma, but he is probably the only Chinese government official willing to let a documentary film crew follow him for months at a time. In the process of documenting Geng’s tenure, Zhou captures some revealing behind-the-scenes glimpse at CCP political sausage-making. Recommended for those fascinated by the corruption and dysfunction of the secretive Mainland government, The Chinese Mayor screens again this morning (1/28), Friday (1/30), and Saturday (1/31) in Park City and Thursday (1/29) in Salt Lake, as part of this year’s Sundance.

LFM GRADE: B+

Posted on January 28th, 2015 at 5:37pm.

By Joe Bendel. Technology can make a dystopia look like a utopia. As the spokesperson for a major cosmetic engineering firm, it is Gwen Koh’s job to convince consumers to buy into this brave new world, but she is not getting any younger. This fact of life has serious economic and social repercussions in Jennifer Phang’s Advantageous, which screens during the 2015 Sundance Film Festival.

In the near future, Koh has already beat the odds finding high profile employment as a single mother. Inconveniently, her luck is about to run out at the worst possible time. Her thirteen year old daughter Jules has been turned down by her preferred prep school, but she was accepted by her nearly as prestigious but twice as expensive second choice. She should also attend a pricey summer camp for incoming students or risk losing ground before classes even start. However, Koh’s employers have just declined to renew her contract, opting to replace her with someone younger.

Koh will try reaching out to estranged family members, but her best hope might entail returning to her former employers as the guinea pig-public face for their newest, most radical procedure. Unfortunately, the process might not be exactly what they report it to be. Koh is clearly willing to sacrifice for her daughter, but it might cost her far more than will be immediately apparent.

Expanding her ITVS Futurestates short to feature length, Phang and lead actress-co-writer Jacqueline Kim create a compellingly personal vision of a futuristic dystopia. Frankly, some of their contentions fly in the face of recent trends, such as disproportionately high unemployment for women, when middle age men have been hit the hardest in recent years. Nevertheless, they evoke a compelling sense of economic vulnerability.

Regardless, Advantageous is truly relationship-driven science fiction, especially Koh’s overriding love for her daughter. As Gwen and Jules Koh, Jacqueline and Samantha Kim will pretty much break your heart as their drama plays out. Frankly, once circumstances remove the former Kim from the picture, Advantageous loses some of its bite. Indeed, the third act largely feels like an overlong epilogue, except for a key scene with James Urbaniak (Simon Grim in Hal Hartley’s Henry Fool and its sequel). While he initially comes across like just another corporate suit, his relationship with Gwen Koh evolves in an intriguing way, further deepening the film.

Although Advantageous scrupulously maintains its micro focus, it still presents an impressive looking vision of the future. It is a lot like our world, but one or two steps closer to Fritz Lang’s Metropolis. Its anti-corporate, feminist biases can get a little clunky, but the performances of Kim, Kim, and Urbaniak (helmed with remarkable sensitivity by Phang) more than compensate. Recommended for those who appreciate science fiction with psychological complexity, Advantageous screens again today (1/28), tomorrow (1/29), and Friday (1/30) in Park City, as well as this Saturday (1/31) in Salt Lake, as part of this year’s Sundance Film Festival.

LFM GRADE: B

Posted on January 28th, 2015 at 5:36pm.