By Marilyn Ferdinand
Another Chicago International Film Festival has come and is just about gone, and unlike previous years, I don’t feel at all exhausted by the effort. I don’t feel particularly inspired by it either. Perhaps my lack of fatigue has something to do with the lack of challenging, thought-provoking fare. While my writing output has been prolific—I even managed an interview, something I generally shun because of my shyness—this festival played things right down the middle, so gathering my thoughts about each movie had little of the struggle I normally face.
This is not to say that I didn’t see some interesting films. I was confronted with a surprise right at the end with a raw look at old age when I was expecting an adoring portrait of an elder stateswoman of the Broadway stage, Elaine Stritch. A more adoring portrait emerged from Wałęsa: Man of Hope, but the film was enlivened by the brilliant filmmaking technique of a grand master of Polish cinema, Andrzej Wajda. I also found the mix of comedy and drama unexpected and quite moving in the Cuban love story/social commentary Melaza, from a first-time feature director to watch, Carlos Lechuga.
As usual, I didn’t see the tent-pole films, perhaps with the exception of A Thousand Times Good Night. It floored me that so many people were excited that the protagonist was a woman in a male-dominated profession, as though that “feminist” cred makes up for its oh-so traditional values. Jirí Menzel, another grand master of cinema returning to the CIFF, could never be called politically correct with regard to women, but he also didn’t seem to take his own film too seriously—the result was diverting and forgettable.
Two presentations I chose not to write about were Frederick Wiseman’s At Berkeley and David Robinson’s presentation of several silent films from his festival in Pordenone. At Berkeley had some interesting moments—for example, a neoconservative professor at the formerly ultraliberal Berkeley speaking out against providing a modest amount of money to faculty with children for child care because she thought it was subsidizing a “personal choice”—but the intense focus on administrators and budgets threw the film off balance for me. Robinson’s selections were, on the whole, interesting, throwing in one of the many versions of the butterfly dance, as well as a couple of modern silent films and one series of outtakes from a formerly lost film by a native of Kenosha, Wisconsin I must remember to say I did not see because of copyright issues.
If I have any grand conclusion to make about this festival, it is simply that not every year is a banner year. CIFF is trying to broaden its scope with its regional focus—this year was Africa—but programmers need to do more to foster connections to emerging national cinemas and innovative filmmakers if Chicago is to get more of the world-class films it deserves.
Elaine Stritch: Shoot Me: Documentary filmmaker Chiemi Karasawa captures more than the Broadway legend in her 87th year—she provides a moving testament to life near the edge of death. (USA)
Shakespeare and More – A Conversation with Harry Lennix: The actor talks about his new film, H4, Othello, his new production company, and more.
The Don Juans: Veteran director Jirí Menzel brings his gleeful sensuality to bear on this story of two Don Juans working together to produce Mozart’s Don Giovanni and finding out about their failings as men. (Czech Republic)
The Exhibition: In this thoughtful and comprehensive documentary, an ambitious artist raises provocative and controversial issues when she paints a series of violent portraits of murdered prostitutes. (Canada)
Melaza: Economic uncertainty causes a young couple in love to make ingenious and risky arrangements to keep afloat in this lovely, surprisingly funny slice of life under communism. (Cuba)
H4: Shakespeare’s Henry IV Parts I and II are given a contemporary spin by this spirited African-American production starring the great Harry Lennix as the title character. (USA)
Lifelong: The final breakdown of an unhappy marriage between an artist and her architect husband is chronicled in painful detail. (Turkey/The Netherlands/Germany)
Papusza: A biopic about the renowned Romany-Polish poet Bronisława Wajs, aka Papusza, is rendered in stunning images, with a strong emphasis on Romy life during the 20th century. (Poland)
The Verdict: The Belgian criminal justice system is put on trial when a man who was denied justice for his murdered wife takes the law into his own hands and dares a jury to convict him of premeditated murder. (Belgium)
A Thousand Times Good Night: This film explores the choice a war photographer is forced to make when her sexist husband threatens to leave her and take their two children with him if she doesn’t stop putting herself in harm’s way. (Norway)
Wałęsa: Man of Hope: Renowned Polish director Andrzej Wajda offers an informative and exhilarating look at the life of Solidarity founder, former Polish president, and Nobel Peace Prize winner Lech Wałęsa. (Poland)
The Invisible Collection: A young man who has lost his friends in a car accident comes to terms with his grief through an encounter with a blind collector of rare prints. (Brazil)
Stranger by the Lake: A lake in summer is the setting for a close exploration of the mating rituals of gay cruisers and the fatal attraction that envelopes one of the regulars to the lake. (France)