Category: Documentary

LFM Sundance Review: Another Earth

By Joe Bendel. What if Star Trek got it wrong? Suppose there really is an alternate Earth, but instead of a world full of evil Kirks and Spocks, it is pretty much like our own. It’s hard to say for sure, but this seems to be the case in writer-director-editor-cinematographer Mike Cahill’s Another Earth, a quiet character drama subtly built around a durable sci-fi device that screens during the 2011 Sundance Film Festival.

The astrophysics are a bit sketchy, but it seems an identical Earth has always existed, hidden from view by our mutual sun. One fateful night, our orbits shifted and Earth 2 suddenly appeared in the sky. It is exactly the sort of phenomenon Rhoda Williams looks forward to studying at MIT. Tragically, however, it is not to be. Craning to get a glimpse of the new Earth, the drunk-driving Williams slams into another car, killing composer John Burroughs’ pregnant wife and their young son. She spends the next four years in a juvenile prison, while he descends into an alcohol-fueled depression.

From "Another Earth."

Though eventually released, Williams remains a captive of her own guilt. She even approaches Burroughs to apologize, but the words will not come. Instead, she pretends to be from a cold-calling maid service. Much to her surprise, Burroughs (unaware of her identity due to their local juvie offender laws) hires Williams for a much needed weekly house cleaning. Slowly, a relationship develops between the two, but their fates still seem to be intertwined with Earth 2.

At this risk of sounding nauseatingly condescending, Another Earth is a film that shows tremendous promise. Cahill’s use of sf elements to tell a fundamentally human story is smart and ambitious. Particularly intriguing is the premise that the moment of awareness led to a break in the two Earths’ synchronization. Like the best of old-fashioned speculative fiction, this opens up the door for redemptive possibilities. However, AE is stylistically over-baked, indulging distractingly odd camera angles and visual tableaux more appropriate to Deep Thoughts with Jack Handy. Oddly though, though, the periodic portentous narration from Dr. Richard Berendzen (director of NASA’s Space Grant Consortium) fits into the flow better than one might expect.

Despite a reasonably large cast, AE is essentially a two-hander, with co-writer-co-producer Brit Marling and William Mapother impressively carrying the load as Williams and Burroughs, respectively. They consistently feel like real people struggling with real pain. While their budding romance is a tough sell given the context, they pull it off quite credibly.

A filmmaker with a background in documentaries, Cahill does a lot right in AE, but also a fair amount wrong. The net effect is a surprisingly memorable film, marking him as a filmmaker worth tracking. A selection that really fits the Sundance mission, AE screens again during the festival today (1/29).

[EDITOR’S NOTE: According to Deadline, the budget of Another Earth was apparently only around $150,000 – and the film was just acquired by Fox Searchlight for around $3 million. Not bad!]

Posted on January 29th, 2011 at 10:13am.

LFM Sundance Review: If a Tree Falls & Eco-Terrorism in America

By Joe Bendel. There is an old saying: “one man’s terrorist is another’s freedom fighter.” It sure is convenient to quote if you happen to be accused of terrorism. Daniel McGowan certainly falls back on it in If a Tree Falls: a Story of the Earth Liberation Front, Marshall Curry’s public relations salvo on behalf of the convicted eco-terrorist, which screens at the 2011 Sundance Film Festival.

First radicalized at New York’s Wetlands Preserve, a now defunct music club and clearing house for environmental agitation, by his own admission former Earth Liberation Front cell member McGowan took part in dozens of destructive “actions” targeting lumber companies, forestry research facilities, and the like. However, he claims that a particularly ambitious double operation soured him on the ELF.

McGowan and his co-conspirators believed Superior Lumber was engaging in genetic engineering that violated the tenets of their environmental faith. Actually, they Superior Lumber was not, but the ELF only discovered this fact after burning the company’s offices to the ground. Simultaneously, the arson planned for an agricultural geneticist’s university office burned out of control, taking part of the school’s library with it. Sorry dudes, our bad.

Some of the ELF's handiwork.

If a Tree is really two irreconcilable films grafted together. In the first half, ELF supporters revel in their glory years, unambiguously boasting that they were finally putting palpable fear in the hearts of the world’s polluters and lumber barons. However, once McGowan and his co-defendants were caught, the very same people decried the injustice of applying domestic terrorism laws to the ELF defendants. (For his part, MacGowan has no such scruples throwing around the word himself, proudly sporting a tee-shirt labeling Pres. George W. Bush an “international terrorist.”) Yet, the fear and intimation resulting from their actions were not unexpected by-products, but the conscious and deliberate goals of the ELF operations. To then debate whether McGowan’s actions meet the legal definition of terrorism constitutes mere sophistry.

McGowan and Curry make much of the lack of human casualties directly attributable to ELF actions, but it is hard to think of a lower ethical bar to clear. In a wider sense, though, it is actually not true. Given the businesses damaged and even outright destroyed by McGowan and his fellow eco-terrorists, many innocent people clearly lost their livelihoods. These are working people, whose lives were shattered by McGowan, but Curry steadfastly refuses to delve into such inconvenient details.

To Curry’s credit, he gives the Assistant U.S. Attorney and lead detective who brought down the ELF a fair opportunity to speak for themselves, never casting them as fascist caricatures. However, that is the extent of his fairness doctrine. Aside from those brief segments with law enforcement and the rather unlucky Superior Lumber proprietor, Curry confines his interviews solely to those supportive of the ELF, scrupulously avoiding its critics. He never once challenges McGowan’s radical environmental pronouncements nor does he explore the full repercussions of the ELF’s crimes.

Well beyond one-sided, If a Tree should not be considered a documentary at all, but the work-product of McGowan’s defense team, while the sympathy it elicits for the convicted domestic terrorist is profoundly misplaced. Yes, he destroyed property, but he also intentionally terrorized people and ruined lives. It is highly skippable this morning (1/28) at Sundance.

Posted on January 28th, 2011 at 7:04am.


LFM Sundance Review: The Green Wave & The Hope of Iranian Democracy

By Joe Bendel. Are a stolen election and a massive, coordinated assault on human rights enough to forestall reform in the Islamic Republic of Iran – or will they fuel the fires lit by the “Green” coalition? While our current administration was busy being scrupulously “nonprovocative,” hundreds of Iranians from all walks of life were arrested during the protests of 2009, many of whom would never be heard from again. The courage and idealism of those Iranian activists is celebrated in Ali Samadi Ahadi’s partially animated documentary The Green Wave (trailer above), which screens as part of the Premiere section at this year’s Sundance Film Festival.

The revolution that nearly was, was not televised in Iran. However, it was recorded on Twitter, blogs, and cell phone cameras. Based on the blog entries of real Iranians, Wave gives a voice to those whom the government silenced, telling their stories with animation stylistically similar to that of Ari Folman’s Waltz with Bashir. Each POV character had previously given up on politics, yet the candidacy of Mir Hossein Mousavi inspired them to reengage with the political process.

Adopting green as their official color, they campaigned with a hopeful fervor reinforced by polls showing a landslide victory for their candidate. Then on Election Day the predictable reports of “irregularities” began, culminating in a government blackout of the media and the inevitable announcement of Ahmadinejad’s dubious re-election. Outraged but empowered, the Green activists took the streets in protest. Wave pulls no punches documenting the brutal suppression that followed.

Yes, in many ways Mousavi is a problematic figure, who had been handpicked by the ruling establishment to serve as Ahmadinejad’s opponent. While his stance towards Israel might not have been appreciably different, he embraced the Green platform of liberalization. He also had the virtue of not having a messiah complex, unlike his chief rival.

Wave is a well constructed film, integrating strikingly dramatic animation well suited to representing the abject brutality of the Iranian government, with eye-witness video shot on handheld devices. As a result, no one watching the film can possibly question whether these abuses really did happen. Further bolstering the case, Ahadi includes some moving testimony from survivors of the government’s orchestrated attacks amongst his talking-head interviews. Perhaps the most chilling animated testimony, though, comes from a militia man who considers himself most likely damned (in the eternal sense) for his actions in the crackdown.

Wave manages to be both an infuriating and inspiring film. Dedicated to the protesters who were tortured and killed, it expresses hope that the spirit of their movement will eventually serve as a catalyst for meaningful reform in Iran. Yet, it is difficult to share that optimism given the atrocities the film documents. Socially significant and aesthetically accomplished, Wave is one of the most important films at Sundance.  Highly recommended, it screens again during the festival tonight (1/27), tomorrow (1/28), and Saturday (1/29).

Posted on January 27th, 2011 at 2:07pm.


LFM Sundance Review: To.get.her

By Joe Bendel. If anyone out there ever thought shows like Gossip Girl and Melrose Place would be better if they were duller and more depressing, there is a film for you at Sundance. Five attractive young women get together for a girl’s night out, but we are told from the get-go only one will survive in Erica Dunton’s To.get.her, which screens during the 2011 Sundance Film Festival.

Ana Frost has a bad relationship with her soon-to-be step-father. Care to make a wild guess why? She is not the only one of her fab five having problems. For instance, China Rees is emotionally distraught over her recent break-up with her boyfriend. Again, care to speculate what’s going on there? All five supposedly high school aged women have secrets that will be revealed during the course of their “Night of No Consequences.”

Though framed to set the audience up for a thriller, those expecting something in the tradition of And Then There Were None will be disappointed. Thriller or not, To.get.her takes longer to get started than most Michener novels. Yet, its ultimate destination is so grim and unsatisfying (not to mention derivative), one wonders why Dunton and her cast bothered.

Frankly, To.get.her can be a painful movie to watch, particularly during the many scenes shot with the camera pointed directly into the sun. Of course, the adults in the film are uniformly stupid, even including Bryan, the friendly drug-pusher living next door to the Frost family beach house. It also hardly helps that none of the cast really look age appropriate, except perhaps model Jazzy De Lisser, evidently a big enough It Girl in the UK to merit her name above the title in the opening credits.

To be fair, De Lisser is rather good as Ana the ringleader. Audrey Speicher also takes a compelling turn as Abigail Pearce, the conflicted daughter of religiously conservative parents. (Gee, what could she be grappling with?) Unfortunately, their efforts are somewhat wasted on a flat, clichéd story and further undermined by a distractingly gauzy visual style that brings to mind some of the 1970’s horror films seen on MST3K.

To.get.her probably supplies the most unintentional humor of the festival, but at least that’s something. Indeed, the cast certainly tries, but it just doesn’t work. For those still intrigued, it screens again tomorrow (1/27) during this year’s Sundance Film Festival.

Posted on January 26th, 2011 at 8:47pm.

LFM Review: Zhao Liang’s Crime and Punishment

By Joe Bendel. Imagine the Keystone Cops with a severe mean streak. That is pretty much what you get from the Chinese military police stationed in a hardscrabble village on the North Korean border. Watching a full day of these officers on the job is not a pretty picture, but it is often quite absurd. Such is the nature of Chinese criminal justice subversively documented by Zhao Liang in Crime and Punishment (trailer above), which screens at the Anthology Film Archives in conjunction with the long-awaited theatrical release of Zhao’s devastating Petition.

Distributed by dGenerate Films, the specialists in independent Chinese cinema, Punishment watches fly-on-the-wall style as the recruits of the People’s Armed Police (PAP) gruffly patrol the isolated border town in hopes of a more permanent and prestigious assignment at the end of their two year tours. Essentially temps, the young men do not seem to be concerned with forging any rapport with the locals. Beatings are pretty much par for the course, as the soldiers quickly demonstrate during their first case of the day.

A severely hard-of-hearing man is hauled in on suspicion of stealing a cell-phone, with the obvious irony therein completely lost on the PAP. When their interrogation flounders, they first resort to public humiliation, eventually falling back on a good old-fashioned beating. “Turn off the cameras” they instruct Zhao. We will be hearing those words several times more before the film ends.

Although they do not physically assault the subject of their next investigation, their behavior towards a dirt poor farmer collecting scrap metal without a dozen government permits filed in triplicate is arguably crueler. Watching them badger and berate the clueless old man feels like one of the longest, most uncomfortable sequences ever captured on film.

As the day progresses, it looks like the coppers might be doing some legitimate police work when they launch a manhunt for a suspected killer. However, the only prey we see them bag is a desperate farmer poaching firewood to sell for New Year’s gifts for his children. Even the arresting officers have misgivings after seeing the suspect’s truly mean living conditions. Unfortunately, they had already administered the requite beat-down by this point.

Although Zhao basically cuts the camera when he is told, he still leaves no question as to the nature of what happens shortly thereafter. Like most Digital Generation filmmakers, Zhao eschews artificial conventions like voice-over narration and talking head interview segments. Aside from a few Dragnet like title cards explaining what happened to suspects after their questioning/thrashing, Zhao simply captures the scene in his lens, letting each character speak for himself through his behavior.

While Punishment does not have the same emotional heft as Petition, it is still a rather shocking expose of the Chinese criminal justice system. Yet, for all the abuse and intimidation meted out by the PAP, their actual results are less than impressive. After three investigations and much thuggery, they have less than one thousand Yuan in fines to show for their efforts. Daring in its own right, the unvarnished Punishment is definitely worth seeing when it screens at Anthology Film Archives Saturday (1/15) and Sunday (1/16) in conjunction with Zhao’s staggering Petition.

Posted on January 14th, 2011 at 6:48pm.