Spring returned ever so briefly for a couple days this wintry 2018 Wisconsin Film Festival, the 20th anniversary #wifilmfest. Beginning Monday, it was back to work for me during the day, then off to the AMC Theater at Hilldale Mall to spend late afternoons and evenings in line and in darkened movie theaters. I reunited with friends who I see every year at the festival and made new friends and cinephile connections as we waited in line, chatted each other up, talked about our favorite films so far, and what was next on our schedule.
By the second half of the festival, I found my filmgoing groove. My routine was set, I was in the flow. I knew when to grab something to eat to sustain me through the day, and when I needed to refuel with caffeine to make it through the night.
The final four days of the festival started out a little iffy for me, but each day the films I chose got better, so much so, the 20th anniversary of the 2018 Wisconsin Film Festival ended on a high note, literally and figuratively!
Dispatch from Day 5
It finally happened. Last night I saw two films in a row that were disappointing, or I disliked some aspect or choice of the filmmakers.
First, let me go on record that I never regret seeing a film. One of the pleasures of film festivals is exploring new works, whether or not the films have the potential to succeed commercially. I respect the filmmaker’s experimentation, commitment to their vision, and willingness to take risks with their craft.
First, I saw Support the Girls. I had seen a film Results by writer/director, Andrew Bujalski at a previous WFF, which I had enjoyed a lot. I was disappointed in this film, which is a take on a “Hooter’s-like” sports bar and the staff and customers who work and play there. His characters were one-dimensional and stereotyped. The screenplay wandered a little, diluting the arc of the storyline. It’s a film however that likely will find an audience if one is looking for a comedy that reinforces gender roles. The only exception was the character played by Lea DeLaria.
The next film I saw was World of Facts the singular vision of writer, director, cinematographer, and editor, Mike Gibisser. I admire the visual specificity of the film and the acuity of his experimentation with sound. I struggled with the pace of the film and the lack of dialogue which are not necessarily mistakes in the filmmaker’s choices, but preferences of this filmgoer. Tonight, I see three films which are artistically and dramatically diverse, First Reformed, Oh Lucy! and You Were Never Really Here.
Dispatch from Day 6
The 2018 Wisconsin Film Festival is reportedly the coldest WFF on record. Yesterday, I saw a pair of familiar filmgoing friends that I see every year, and the day the before the same was true. The festival is an annual reunion of sorts and the joy of attending is the shared experience of people and films.
On today’s schedule are two films that I’m eager to see which both may vie for the title of “Favorites of the Festival.” Both are documentaries, Three Identical Strangers, and Joe Frank – Somewhere Out There.
Last night I saw three incredible films, diverse in most aspects yet connected in some ways. The first and last films I saw shared a thread with Martin Scorcese’s Taxi Driver. Sandwiched in between was a bittersweet dramedy Oh Lucy! that delighted in so many ways. We followed the adventures of “Lucy” with her feuding sister in tow who are off to America to track down her niece, Mika, who ran off with their English language instructor, John. Wigs, motels, driving lessons, and tattoos are involved.
The first film I saw, First Reformed, was written and directed by Paul Schrader who among other achievements wrote the screenplay for Taxi Driver. This dark, brooding story begins as a sympathetic portrayal of a man of the cloth at the crossroads of his life after the death of his son, dissolution of his marriage, and as his physical and spiritual health deteriorates, and is played convincingly by Ethan Hawke. Amanda Seyfried and Cedric Antonio Kyles (Cedric the Entertainer) round out the cast. Hawke’s minister veers off the path into Travis Bickle (Taxi Driver) territory.
The Taxi Driver theme continues in director Lynne Ramsay’s riveting film, You Were Never Really Here, an adaptation of a 90-page novella by Jonathan Ames, for which she won a screenplay award. It’s a crime story with Joaquin Phoenix in an award-winning role (Best Actor at the Cannes Film Festival). He’s a back-alley, gritty, dangerous avenger and rescuer, equally violent and tenderhearted. The powerful story is ramped up by the muscular Jonny Greenwood score and the stunning cinematography by Tom Townend. This is not a film for the faint of heart. It’s equal parts Tarantino, Peckinpah, and Scorcese, and expertly wrangled by Ramsay’s capable direction. One of her earlier films We Need to Talk About Kevin is worthy of another viewing. I often like to pair films and create Dream Double Features. You Were Never Really Here and Taxi Driver would make a powerful duo, but may require a glass of wine, a massage, or a steam in between to rejuvenate and breathe.
Dispatch from Day 7
It’s been a great festival and fitting celebration of the 20th anniversary. A shout out to all the staff, venues, volunteers, and the new Hilldale Mall ticket office featuring free Steep & Brew coffee. The Campfire Song opening credits performed and arranged by different musicians and singers delighted, the diverse selection of films (thank you programmers) became the buzz of festival-goers who shared their favorites waiting in line for the next movie.
Filmmakers and their subjects enhanced the experience with their presence at Q & A’s following the films. Lastly, it was evident that the WFF staff and volunteers were committed to innovation and problem-solving, tweaking processes and searching for ways to improve the festival-goer’s experience.
Yesterday on Day 7, I benefited from one of those process innovations, and snatched a #1 in line placeholder for arriving early to my first film. I also engaged with volunteers throughout the festival who were helpful and accommodating to the filmgoers they encountered, including me in my role as press. Thank you.
Before I look ahead to the final films I will see later today, yesterday, I saw two amazing documentaries. The first was Three Identical Strangers the story of three identical triplets separated in 1961 at six months old and adopted by three different New York families, placed in homes that represented different economic classes, an upper middle-class Scarsdale doctor and his family, a middle-class family, and finally a working-class family. The three brothers were reunited in serendipitous circumstances in 1980 at the age of 19 and became instant celebrities, appearing on talk shows, magazine covers, and were the subjects of tabloid stories which followed their new public lives. There was an instant connection and familiarity between them as if they had known each other all their lives. Their story takes a darker turn when they became aware of their differences and the discovery that they were subjects of a social experiment. See this film.
Joe Frank – Someone Out There profiled the late-night and public radio monologist who fashioned a trademark presentation and wrote material which audiences believed were his firsthand experiences but often were stories he harvested from his friends lives. Though his personal life informed many of his mesmerizing monologues about his youth and escape from Hitler’s Germany, to his cancer, and many of his relationships, some were real and others imagined. Listening to his monotone voice with signature pace and delivery was intoxicating to the degree I want to mine more recordings.
Today’s trio of films caps off the festival in fine fashion. I see two narrative films which feature favorite actors and directors. The first is Let the Sunshine In directed by Claire Denis and starring Juliette Binoche in a dark romantic comedy. I end the evening with the second narrative film starring Nick Offerman in director Brett Haley’s musical-driven dramedy, Hearts Beat Loud. Haley directed and Offerman was featured in last year’s WFF offering, the Sam Elliott film, The Hero. In between is what promises to be the heartwarming documentary profile of Fred Rogers, better known as Mr. Rogers in Won’t You Be My Neighbor? Stay tuned for more dispatches from the festival as I post Part II of A Filmgoer’s Dispatch: 2018 Wisconsin Film Festival followed by my final wrap-up and reviews.
Dispatch from Day 8
Yesterday was Day 8, the final day of the 20th Wisconsin Film Festival #wifilmfest. It ended for me, along with WFF staff, volunteers, and festival-goers queuing up for the last time to see some of the most popular films of the festival, some which sold out immediately on day one of ticket sales. I’m grateful I had tickets for three films which I thoroughly enjoyed after refueling with a free cup of Steep & Brew coffee from the Hilldale Mall Film Festival Lounge and Ticket Office before I stood in line for Let the Sunshine In.
The film opens with the beautiful Juliette Binoche making love. Soon it devolves into hurtful words and post-coital tears. This is not your typical romantic comedy, it’s the dark side of dating and relationship ambivalence as she navigates the wilderness of intimacy. The conversations between her character Isabelle, a divorced artist, and her lovers, ex-husband, and paramours, display the despair she both creates and suffers from in search of a committed romantic partner. Binoche is wonderfully watchable in this performance. Claire Denis directed and Gerard Depardieu makes a compelling appearance in the film.
Before I talk about the next film, here’s a shout out and thank you to two of many volunteers, Bryn and Renee, who helped facilitate my experience as a writer covering the festival navigating the long lines and brief turnaround time between films.
Courtesy of Sundance Institute | photo by Jim Judkis.
Next up was Won’t You Be My Neighbor? the film biopic of Fred Rogers, better known to millions of television viewers as Mr. Rogers. The film was an opportunity to spend some time with him in his neighborhood over the years and share his journey, values, words of comfort, and respect for children. He believed that children lived fully emotional lives and needed both the protection and engagement with adults to assuage their fears by addressing subjects that many adults shy away from. Mike King, Senior Programmer for the festival introduced the film by saying we would need Kleenex at hand. He was right. The film will be in theaters this summer. See it, and if you have children, see it with them.
The festival finale for me was the father-daughter story of We Are Not a Band, in Hearts Beat Loud, the musical collaboration between a father who is letting go of his past and his daughter, as he questions what’s ahead in his future, while the daughter prepares to embark on her education and her future as a doctor. Lots of heartfelt challenges happen in between. The film is directed and co-written by Brett Haley and his writing partner, Marc Basch. It features music by another collaborator, Keegan DeWitt and a cast that features Nick Offerman in the lead role as Frank, the father. This creative team is also responsible for last year’s WFF hit, The Hero which featured Sam Elliott in the leading role. The cast includes Kiersey Clemons as Sam, the smart and talented daughter, and supporting actors, Toni Collette, Ted Danson, and Blythe Danner. The film premiers in June. Put it on your “must-see” list.
Now What?
For filmgoing friends, festival-goers, and family who follow my mini-reviews and festival updates and may have missed some, check out my dispatches from the first half of the festival half of festival and my preview of the festival. Coming soon will be my final wrap-up and reviews of the films I saw for my blog, Mixed Metaphors, Oh My!
See you again, next year at the movies!
Related Reading from Mixed Metaphors, Oh My!
Brava, my help in all cinematographic situations AND the best at reporting the cine news in the world!!! Hugs! Lewis