“All good things must come to an end.” — Chaucer
Just over 10 days ago, the 2018 Wisconsin Film Festival (WFF) #wifilmfest came to an end. The 20th anniversary of the festival was characterized by sold-out showings, a potpourri of The Campfire Song trailers, winter temperatures, queues of cinephiles, and filmmakers and their subjects conducting post-film discussions. The WFF featured an array of films to choose from, beginning with Wisconsin’s Own Shorts, Big Screens, Little Folks, restorations and reprises of classic films, narrative and foreign films, experimental and animated movies, documentaries, and premieres of films before they appear in theaters. Yes, a filmgoer’s delight.
Now it’s over. On Friday, I attended a matinee at AMC at Hilldale (the theater formerly known as Sundance 608) which was one of the venues and the primary one for the second half of the festival. I grew accustomed to praying to the parking Gods for a prime spot and jockeyed for both a place near the front of the long lines, and a good seat in the theater. Yesterday, I was the sole audience member for Final Portrait, a film directed by Stanley Tucci starring, Geoffrey Rush as the sculptor and painter, Alberto Giacometti, and his friend, the author, James Lord, played by Armie Hammer. The story is about friendship, affairs of the heart, and the artistic process. It’s exactly the kind of independent film that had it premiered at the festival, it would have played to a sold house.
I enjoyed the film. I missed my festival filmgoing friends.
A Look Back
Before I begin, a little background to put this look back in perspective. I saw a total of 20 films over the course of the eight days. I purchased a total of 22 tickets. As in previous years, I broke two of my filmgoing rules. Since I’m an early-riser and a morning person I try not to purchase tickets for films after 8:00 p.m. The second rule is to not see more than three films in a day. Custody (broke both rules) and Vampire Clay (the fourth film for me on Sunday) fell off the list.
There were a number of films I wanted to see, but conflicts with other choices or logistics prohibited me. I’d like to mention them here because of the buzz I heard from other filmgoers, both friends and cinephiles with whom I waited in line. I will make sure I see the films if given the opportunity.
- Bad Genius
- The Future Ahead
- The Guilty
- I Am Not a Witch
- Life and Nothing More
- Lots of Kids, a Monkey and a Castle
- Minding the Gap
- Rodents of Unusual Size
- Western
Now that it’s over, I’ll take a final look back at the films that I liked, what surprised me, what disappointed, and what left a lasting impression.
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 or make my recommendation list. I respect the filmmaker’s experimentation, commitment to their vision, and willingness to take risks with their craft.
What I Liked
(Not ranked)
The Blood Is on the Doorstep
This timely documentary followed the tragic shooting outside a Starbucks by a Milwaukee police officer of a young black man, Dontre Hamilton, who suffered from mental health issues. It chronicles the Hamilton family’s efforts to clear his name, investigate the shooting, and galvanize the community to take a look at mental health issues, racism, community policing, and efforts to reform the oversight and investigation of the people charged to protect and serve the public. After the film, the director, Erik Ljung, Hamilton family members, and State Representative Chris Taylor were on hand to answer questions.
From the 2018 WFF website: “This deeply moving documentary highlights the story of Dontre Hamilton, who was shot fourteen times by a Milwaukee police officer in 2014. Dontre’s death recalls countless other deaths of black Americans, like Michael Brown in Ferguson, but Dontre’s struggle with schizophrenia is highlighted as an official explanation for the fatal incident with police officer Christopher Maney, creating a debate in the community over whether mental health or racism should be the focus of the narrative about Dontre’s death. Over the course of three years, the filmmakers follow the Hamilton family’s quest for answers, journey to healing, and ultimately the creation of new activism platforms in Milwaukee. The complex, profound The Blood is at the Doorstep cuts deep into issues of police brutality, mental health, and racism, while also capturing a powerful dialogue among community members about how to reform these unjust structural barriers. Winner of a 2018 Golden Badger Award.”
Catch the Wind
Written and directed by Gael Morel and starring Sandrine Bonnaire as Edith, Catch the Wind is the
story of French textile worker whose job is outsourced to Morocco. Edith is offered a severance package or an opportunity to follow her job, earning a wage that reflects the cost of living in Morocco. Of her coworkers, Edith is the lone exception and follows her job, initially thinking it would be an adventure and geographic escape from her lonely existence at home and estrangement from her adult son.
The story appealed to me on a couple of levels. First, early in my career I was a textile worker in Kenosha, Wisconsin (read more about my personal experience in Maria from the Sewing Room). Second, this is a story about how women in oppressive cultures are exploited and how Edith experiences both the poverty and beauty of her new Moroccan home. She makes friends with the family where she lives and ultimately, after losing her job and being hospitalized, returns home and makes a decision on how to take control of her life and how to live the next chapter.
First Reformed
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, 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 as he supports a young married couple, the husband, a radical environmental activist in upstate New York. He questions the church, his faith, the purpose of his life, and the legacy he’ll leave.
Hearts Beat Loud
Hearts Beat Loud is this year’s winner of the Steep and Brew Audience Favorite Narrative Feature. It was the festival finale for me, the father-daughter story of the musical duo named, We
Are Not a Band, the musical collaboration between a father who is letting go of both 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.
Joe Frank – Somewhere Out There
The documentary, Joe Frank – Somewhere Out There, profiled the late-night and public radio monologist who fashioned a trademark style 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 explore more of his recordings.
Oh Lucy!
The bittersweet dramedy Oh Lucy! delights and surprises in so many ways. We follow the misadventures of “Lucy” with her feuding sister in tow who are off to Southern California from Japan to track down her niece, Mika, who ran off with their English language instructor, John. Wigs, motels, driving lessons, and tattoos are involved. The story is part dysfunctional family drama, part road trip gone amok, and a search for love and meaning in Lucy’s life.
Saving Brinton
Saving Brinton profiles self-proclaimed “saver” and storyteller Mike Zahs from Washington County Iowa, who preserved some of the most valuable films that lived in “The Brinton Room” of his rural farm home. He travels some of the same territory as the Brintons showing the original and restored films, including the movie theater which holds the Guinness Book of Records for the oldest continuously operating cinema theatre, the Washington Iowa State Theatre in Washington, Iowa, which opened on May 14, 1897.
From the official movie website: “In a farmhouse basement on the Iowa countryside, eccentric collector Mike Zahs makes a remarkable discovery: the showreels of the man who brought moving pictures to America’s Heartland. Among the treasures: rare footage of President Teddy Roosevelt, the first moving images from Burma, a lost relic from magical effects godfather Georges Méliés. These are the films that introduced movies to the world. And they didn’t end up in Iowa by accident. The old nitrate reels are just some of the artifacts that belonged to William Franklin Brinton. From thousands of trinkets, handwritten journals, receipts, posters and catalogs emerges the story of an inventive farmboy who became America’s greatest barnstorming movieman.”
Wisconsin’s Own by the Dozen
This was a collection of shorts, featuring returning and first-time filmmakers, showcasing a range of subject matter and genres from documentary, animation, experimental, musical, narrative, science fantasy, and romantic comedy. A couple of favorites were, A Voicemail, which features images and the actual voicemail of the filmmaker, Julian Castronovo, that he leaves for his girlfriend.
She’s Marrying Steve tells the story of what happens when a 20-something woman, Riley, is invited and decides to attend the wedding of her ex-girlfriend, Lauren — to a man!
What Surprised Me
(Not ranked)
Hal
When I ordered my tickets at the First Look at the Fest event (which I would recommend, and will attend again next year), I overlooked this documentary about Hal Ashby and purchased a ticket online when they went on sale the first day. I’m glad I did.
Hal is a loving tribute to prolific film editor, director, letter-writer, rebel, and award-winning filmmaker notorious for his five wives, pot-smoking, marathon film-editing and ability to work non-stop on little sleep. His films from the 1970’s remain some of my favorites, Harold and Maude, Shampoo, Coming Home, and The Last Detail. Filmmakers, friends, actors, and ex-wives and lovers, share stories of his influence on movie-making, politics, and their lives.
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 suffers from and creates in search of a committed romantic partner. Binoche is wonderfully watchable in this performance.
What surprised me most about this film was the original perspective on how we as flawed individuals often create our own problems, and in the end, prevent ourselves of fulfilling our most important needs and desires. Claire Denis directed and Gerard Depardieu makes a surprise appearance in the film. If you see this film, which most likely will appear in theaters, stay through the credits.
Three Identical Strangers
This story of three identical triplets separated in 1961 at six months old and adopted by three different New York families could be subtitled, Ripped from Tabloid Pages. The three brothers were 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 triplets 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.
What surprised me most about this film was how a joyful reunion turned into a family tragedy. See this film.
Under the Tree
This Icelandic film, directed and cowritten by Hafsteinn Gunnar Sigurdsson with Huldar Breidfjord surprised me in a number of ways. It’s the story of feuding neighbors, a black dramedy, more tragic than comic. It’s a satire about human nature and behavior, yet it’s not too removed from reality.
As a writer and a novice filmmaker, I was impressed by the perfectly well-written screenplay which weaves the story of three couples, two of which are next door neighbors, whose pets also factor into the drama. The intertwining of their stories tightens as the tension ratchets up between them. The lightening rod at the center of their conflict is a tree and the shadow that it casts, both figuratively and metaphorically. The trajectory of their ultimate demise is foreshadowed too by a missing cat, followed by the neighbor’s dog.
From a review from it’s premiere at the Venice Film Festival, “Cinematographer Monika Lenczewska casts a melancholy light on human folly, which grows into a dark gloom by the end of the tale. Underlining the high intentions is Daniel Bjarnason’s serious, subtle score fluidly punctuated with Bach and Rachmaninoff.”
It’s a timely story reflecting how our inability to communicate civilly, act respectfully, and tolerate difference, can lead to tragic outcomes. This is storytelling at its best.
What Disappointed
(Not ranked)
Clara’s Ghost
One of my favorite film genres is dysfunctional family dramedies, a subject I think is worthy of its own film festival and award-season prize. For this reason, I may have set myself up with expectations that exceeded the material. Full disclosure: I’m also a recovering alcoholic and in fact enjoy a subgenre that I would identify as recovery dramedies. For those reasons — and more — I was disappointed in this film.
The film held promise and was receiving a lot of preshow buzz. It had a good pedigree, a family affair of acting, writing, and directing by members of the Elliott family, as in comedian, Chris Elliott, his wife and the director’s mother, Paula Niedert Elliott, the writer and director, Bridey Elliott and lastly her sister, recent S.N.L. grad Abby Elliott. The cast featured Haley Joel Osment, as the family’s pot dealer — and lastly, Clara’s ghost who haunted the house and was only seen by the family’s mother, Clara.
When the film premiered at Sundance, Vanity Fair reviewed it. Here’s an excerpt: “This extremely homemade film, written and directed by Bridey Elliott and starring her own mostly-famous family, is extremely funny at times and nerve-wracking at others, but also pitch black to the point that many will find it unbearable. I say stick with it; if nothing else, the film is a work of great daring.”
Later Jordan Hoffman writes in his review: “One can spend time wondering just how much of this film reflects the realities of life in the Elliott family. (Man, there is an awful lot of ritualized drinking.) But what’s most amazing about Clara’s Ghost is just how horrible everyone is. The most pressing post-screening discussion ought to be ‘who did you hate most?’”
I needed to go to an Al-Anon meeting after watching this film.
Looking Glass
I had the option to see this film on V.O.D. before the festival, but opted to see in at the UW Cinematheque theater, an intimate venue. The director, Tim Hunter, would be featured for a Q & A following the film, a bonus.
Looking Glass, the Nicholas Cage Hitchcockian thriller was, in this filmgoer’s view, an unintended black comedy. The story follows a married couple who purchase a motel in the middle of nowhere as a new start in their lives following a tragedy. Cage’s character, Ray, discovers a crawl space which leads to a two-way mirror, allowing someone to surreptitiously view the occupants in the motel’s most-requested remotely-located room.
Sexcapades and more ensue. Ray grows increasingly obsessed as a voyeur until he sees something that can’t be unseen. Cage overacts through much of the film, which was intended to be a mystery/thriller, yet in the end plays like an over-the-top black comedy. The audience laughs at scenes I believe were never intended to be funny. Rotten Tomatoes Tomatometer rated it at 17%, audiences scored it at 6%.
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 Support the Girls, 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, 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.
World of Facts
World of Facts represents the singular vision of writer, director, cinematographer, and editor, Mike Gibisser. I chose this film because the subject sounded intriguing, family relationships, time spent in the hospital at the bedside of a loved one, and how we each deal with grief. I admire the visual specificity of the film and the acuity of his experimentation with sound design. I struggled with the pace of the film and the lack of dialogue, which are not necessarily mistakes in the filmmaker’s choices, but opposite of this filmgoer’s preferences.
What Left a Lasting Impression
Mountain
The Opening Night of the Festival featured a pre-show reception at the UW Memorial Union in the Sunset Lounge overlooking Lake Mendota prior to the opening night film Mountain in the recently-renovated Shannon Hall, one of my favorite venues for music, guest lectures, and of course, films. Before the film, Ben Reiser, Outreach and Community Engagement Director, introduced the founder of the first film festival in 1999, who provided a look back at the early festivals and its evolution. Reiser then thanked many of the people, past and present, responsible for making the Wisconsin Film Festival the largest university-produced festival. Pete Schwaba, host of Wisconsin Public Television’s, Director’s Cut introduced the judges and winners of this year’s Golden Badger Awards.
Elemental a short film by Wisconsin filmmakers, featuring stunning nature cinematography, experimental dance and music, was followed by the Wisconsin premiere of the Australian feature-length documentary Mountain narrated by Wisconsin’s-own Willem Dafoe. The visual journey atop mountains and vistas which captivate and challenge mountain-climbers and extreme sports enthusiasts is breathtaking, frightening, and can’t-take-your-eyes-off filmmaking with an incredible score, compelling cinematography, and philosophical narration.
RBG
It was a pleasure watching RGB in the UW Memorial Union’s Shannon Hall with a sold-out audience. The film biopic of Supreme Court Justice, Ruth Bader Ginsburg, a.k.a “The Notorious R.G.B.” opened with quotes from her critics and detractors. Co-directors Julie Cohen and Betsy West then proceeded to tell her story: Bader’s career-long impact on equal protection under the law for all people, especially women and people of color, the love story with her husband who supported her career throughout their lives, and the often funny, affectionate family memories shared by her two children.
Bader has been rediscovered by a whole new generation who revere her as the incarnation of both a Wonder Woman and The Notorious R.B.G. a book about her life which has inspired t-shirts, posters, and even Valentine cards.
See the film which won the Steep and Brew Audience Favorite Documentary Feature. It was an entertaining, informative, inspiring history lesson with attitude and earned reverence for the iconic “Notorious R.B.G.”, Supreme Court Justice Ruth Bader Ginsburg.
Won’t You Be My Neighbor?
Courtesy of Sundance Institute | photo by Jim Judkis.
This is 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.
You Were Never Really Here
The Taxi Driver theme that I saw in an earlier WFF premiere, Paul Schrader’s First Reformed, continued 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 Scorsese, 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.
The 2018 Wisconsin Film Festival by the Numbers
(Compiled and published by the WFF)
2018 Wisconsin Film Festival Facts & Figures
5 venues
7 screens
146 films
149 screenings
169 volunteers26,791 total Festival attendance
2019 Wisconsin Film Festival: April 4-11, 2019*The 2018 Steep & Brew Audience Awards ballots have been tabulated, and the favorites are:
Audience Favorite Narrative Feature
Hearts Beat Loud | Brett HaleyAudience Favorite Documentary Feature
RBG | Betsy West & Julie CohenAudience Favorite Restoration/Rediscovery
Blue Collar | Paul SchraderAudience Favorite Shorts Program
A World of Wisconsin’s OwnAudience Favorite Big Screens, Little Folks Selection
Short But Not So Sweet: Revolting Rhymes and Isis + OsirisThank you for voting! As a reminder, our 2018 Golden Badger Award Winners are:
FUTURE LANGUAGE: The Dimensions of VON LMO | Lori Felker
Great Light | Tony Oswald
The Blood Is At The Doorstep | Erik Ljung*Dates are tentative and subject to change.
What’s next on your must-see list? See you at the movies and at next year’s Wisconsin Film Festival.
Related Reading from Mixed Metaphors, Oh My!
A Filmgoer’s Preview: The Wisconsin Film Festival