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Director: Nicole Nielsen Horanyi
2015 Chicago International Film Festival
By Marilyn Ferdinand
The documentaries at this year’s CIFF lean heavily on portraits of influential individuals, including Chicago “Breakfast Queen” Ina Pinkney, Italian designer Michele De Lucchi, and architect Helmut Jahn, whose State of Illinois building in downtown Chicago may be facing the wrecking ball. I don’t deny that these and other individuals highlighted at the festival are interesting and notable, but I’d bet large that the most fascinating and arguably most important person profiled in a CIFF documentary is Kimberley Motley, the central figure of Motley’s Law.
Motley is an American attorney and former Mrs. Wisconsin who is the only American allowed to practice law in Afghanistan. She first went there in 2008 as part of a nine-month legal education program run by the U.S. State Department and spends approximately six months a year in Kabul mainly defending foreigners caught up in the country’s legal system and pursuing women’s rights cases on a pro bono basis.
Motley, half-black/half-Korean, proudly sporting her University of Wisconsin Badgers T-shirts and a dizzying array of dangling earrings, would be a striking figure anywhere, but in Kabul, she’s utterly singular. She never wears a veil anywhere, not on the streets, not at the prisons where she consults with her clients, and not in court. She’s forceful, no-nonsense, and relentless in pursuing justice under whatever laws apply—constitutional, Sharia, or tribal. She shakes off the fact that a grenade was thrown into her house while she was in the States and tells her assistant Khalil, who wants to bring her car into the courtyard, to leave it on the street. She prefers to be the intimidator, not the intimidated.
We follow her as she visits a prison to see her client, a South African contractor who was convicted of what may have been trumped-up charges and has been in prison for six years. Instead of waiting however long the prison guards see fit before allowing her in, she simply breezes in through the open gates, blankets of barbed wire flanking her on either side. The South African has found ways to keep his spirits up, but he says he has reached his breaking point. He knows that if he pays a $5,000 bribe, he will be released—the two Nigerians who were convicted with him went free long ago, most likely because they paid up—but he refuses. He has already gotten a letter ordering his release from Afghanistan Attorney General Aloko, but the court officials want to keep bouncing his case around, perhaps hoping he will eventually pay them off. Motley isn’t exactly patient, but she hangs in there, restating her points over and over; finally, when she offers to help an official with a green card problem he has in the United States, her client gets his walking papers. “Every system is corrupt,” Motley says, “but this system is really corrupt.”
Motley is very frank in stating that she came to Afghanistan for the money, which affords her, her husband, and their three children a very comfortable lifestyle in North Carolina. We see the contrast during the fall months when she’s at home celebrating Halloween with her family and neighbors. Horanyi takes her camera down a North Carolina street lined with trees and comfortable houses and then immediately contrasts it with a Kabul street, where a father, mother, and baby stand in the middle of the street, seemingly with nowhere to go, and children wade through garbage-filled water. The military roams everywhere.
Although Motley lives in a very large, fairly luxurious house in Kabul, she is subject to power outages and leaking plumbing. When the lack of utilities becomes too much, she decides to move into the luxury Serena Hotel; 15 minutes after her check-in, gunmen arrive and kill nine people. She sluffs it off as just another attack to her husband—she likes to drive after an attack because the streets are usually clear—but he learns how serious it was from U.S. news reports. Ironically, her husband is nonfatally shot through the jaw when he visits his family in Milwaukee. Motley decries Americans and their guns, but she isn’t sure she’ll remain in Afghanistan as cut-ins of President Obama announcing the pull-out of U.S. troops in 2015 (now delayed) means decreased security for her and increased factional fighting.
It’s hard to know what keeps Motley going in such capricious and dangerous circumstances, but one case she handles provides the best clue. A young, religious woman has been thrown in jail for running away from her husband. He took her to a party where he wanted her to drink and have sex with his friends. Motley points to the Koran to defend her and wins her release. The poor woman, practically a girl, is crying as she talks to Motley and says she would kill herself if she didn’t fear Allah. Motley may have been in it for the money, but it’s clear that she considers herself, as her banter with Khalil at the beginning of the film states, like a member of DC Comics’ Justice League.
I found Motley’s Law inspirational as well as informative about what life in Afghanistan is like beyond the dutifully reported attacks and counterattacks. While anarchy may seem to reign, people like Motley prove that the infrastructure of Afghan democracy, while shaky, still stands.
Motley’s Law screens Tuesday October 20 at 8:00 p.m. and Thursday, October 22 at 2:30 p.m. at the AMC River East 21, 322 E. Illinois St.
The Emperor in August: Beautifully shot, compelling, and updated telling of the final days before Japan’s unconditional surrender in World War II. (Japan)
Dégradé: Tensions both personal and political rouse a group of women trapped in a Gaza beauty salon by street warfare in a revealing look at life in a war zone. (Palestine/France)
Chronic: Compassionate, unflinching look at a home care nurse who treats dying and gravely ill patients as he begins to come to terms with his own terrible loss. (Mexico)
Clever: A divorced martial arts instructor pursues the reconstruction of his ego with a custom paint job on his car in this knowing comedy about human foibles. (Uruguay)
Adama: This ingeniously animated coming-of-age story takes a West African boy from his sheltered village to the very heart of darkness—the battlefield of Verdun during World War I—to bring his older brother home. (France)
How to Win Enemies: On the eve of his brother’s wedding, a lawyer is drawn into investigating a theft that hits close to home in this comedy set in the Jewish community of Buenos Aires. (Argentina)
Women He’s Undressed: Renowned director Gillian Armstrong offers an entertaining, partially dramatized documentary about Australian costume designer Orry-Kelly, who dressed some of the biggest stars in Hollywood. (Australia)
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By Marilyn Ferdinand
From March 7 through April 3, the Gene Siskel Film Center holds what is arguably Chicago’s best festival of new cinema gathered from the countries of the European Union. Such films as Alois Nebel (2011), Tell No One (2006), Time to Die (2007), and The Way I Spent the End of the World (2006) are just some of the extraordinary films that had their Midwest or North American premiere at the festival.
This year, I’ve been granted the privilege of previewing the films as a member of the press. In deference to the awesome Lori Hile, who helped arrange my credentials, the format of my reviews will be abbreviated to conform with the Film Center’s requirements. I may return with full reviews after the festival.
So in fits and spurts, as I finish screeners or attend screenings, here is my coverage of some of the films on offer at this 2014 edition of the greatest show on State Street.
Tricked (2012, The Netherlands)
Director: Paul Verhoeven
Paul Verhoeven hasn’t released a film in six years, so when I saw that Tricked was on the EU festival schedule, I was very excited to see the latest from this genre-bending, original director. Sadly, I almost missed the film, such as it is, because Verhoeven decided to preface it with a 45-minute documentary about the making of Tricked; I thought I had misread the program and considered walking out on this pedantic vanity exercise. The 74-year-old director must feel creatively blocked, because he decided to crowdsource the script, one scene at a time. The lengthy and cumbersome process did not bear the kind of fruit he wanted, and he ended up cowriting much of the film with Robert Alberdingk Thijm. The result is a very funny 50-minute sitcom/soap opera about a philandering husband whose affairs put him in hot water with his floundering construction company and his family. While not classic Verhoeven, Tricked still shows his flair for genre work and reflects his roots in television and early handheld camera work.
The Excursionist (2013, Lithuania)
Director: Audrius Juzėnas
The national cinema of Lithuania is in rather sad shape, so the entry of an ambitious film like The Excursionist is certainly cause for celebration. The film purports to tell the true story of a Lithuanian girl who escaped the Soviet-ordered deportation (“excursion”) to the detention camps of the Gulag and traveled back to Vilnius over the course of more than two years. This type of story is more familiar to audiences in a Nazi-Jew format, and seeing stories of the hardships suffered by Soviet bloc countries on screen, as with the excellent Czech film Alois Nebel shown at the EU festival last year, is a welcome historical expansion. The film itself is hampered by its sense of its own importance and a cloying score that underlines in red the terrible hardships suffered by the protagonist. The film feels long, but it held my attention primarily due to the remarkable debut performance of Anastasija Marcenkaitė in the demanding title role. In the end, director Juzėnas transforms this personal story into an allegory for all conquered peoples who resist their oppressors.
Cycling with Molière (Alceste à bicyclette, 2013, France)
Director/Screenwriter: Philippe Le Guay
For my money, the best bet of the festival is Cycling with Molière. This superbly acidic comedy affords its two superb leads, Lambert Wilson and Fabrice Luchini, every opportunity to use all the actorly tools at their disposal to enact a cinematic version of Molière’s The Misanthrope for a modern audience. Wilson plays a commercially successful actor on a hit TV show who wants to stretch himself by producing Molière’s famous play and playing Alceste, the title character. He goes to the Île de Ré, a fashionable vacation spot on the west coast of France, to try to convince a reclusive actor who lives there to play Philinte, Alceste’s pragmatic foil. Like Alceste, the actor has turned his back on his profession and everyone he knows after a serious betrayal. He refuses to commit himself until the two of them have rehearsed the play, switching roles each day to see who is the better Alceste. The film is full of uproarious physical comedy, and Wilson and Luchini find the peculiarities and narcissism that humans in the arts and in hiding are heir to. Even better is the chance to hear the poetry of Molière’s play in French, not something American audiences can experience every day. This is a wonderful film. DO NOT MISS IT!
The Strange Little Cat (2013, Germany)
Director: Ramon Zürcher
It is best to approach this apparent slice of life as an experimental film to avoid frustration. The plot, such as it is, involves the interactions and reminiscences of a family gathering at a large Berlin apartment for dinner, perhaps a reunion. What Zürcher appears to be interested in is the magic of everyday life, as he trains his camera on the extraordinarily choreographed movements of the family members as they work across one another to pull dishes out of cabinets and weave in and out of each other’s paths. The fantastic enters the scene, such as when a bottle spins in a pot of hot water and a hacky sack flies through the open window from far down below on the street, an impossible kick for the small boy playing with it. Flashbacks occur when various family members tell stories; these stories, which could be spooky but end up not amounting to much, add a certain amount of suspense, another device Zürcher examines in his formalist approach to filmmaking. The wild cards in the deck are a dog and a cat whose behavior we never really see but who the characters assure us are crazy in what sounds like ad libbed dialog. Zürcher trains his camera on two children, particularly a boy, who observe everyone, clearly stand-ins for the director. What they—and he—think of the scene is largely inscrutable, and so may it be for the audience.
Clownwise (2013, Czech Republic)
Director: Viktor Taus
Think a more fraught and loosely structured The Sunshine Boys meets The Best Years of Our Lives and you’ve about got the gist of this drama about three aged members of a legendary comedy troupe who are headed for one last show. The film is poignant about the passing of time, with members of the troupe and their families facing cancer, Alzheimer’s, estrangement from loved ones, and bitter memories. If the film had worked a little harder on delineating and integrating the stories in a tighter structure, it would have been more compelling to watch. The script has some good moments, and it’s always a pleasure to see Kati Outinen in a film, but there was neither enough clowning nor wisdom for my tastes.
Another One Opens (2013, Austria)
Directors: Jim Libby and Nicolas Neuhold
Vienna’s improv theatre company English Lovers is responsible for this English-language dramedy that claims to be 100 percent improvised. Of course, improvisation with a well-established company isn’t really off the cuff, as the company members are very familiar with working scripts out together. Thus, Another One Opens is coherent, well paced, and quite intriguing, as a magic inn gives five troubled people who were friends in college a chance to repair their lives. The relationships didn’t feel as fleshed as I would have liked, but I was a sucker for the Enchanted April premise and healing passing down through generations of women. Recommended.
The Human Scale (2012, Denmark)
Director: Andreas M. Dalsgaard
This documentary poses some incredibly interesting notions about the history of urban planning and the opportunities that exist to rethink cities both old and new. A cadre of architects from the firm of Danish architect Jan Gehl travel the globe to urbanizing China, crowded Dhaka in Bangladesh, New York City, and Copenhagen, revealing that urban landscapes have been designed to facilitate the movement of automobiles, not the needs of human beings. In a forward-thinking approach to rebuilding Christchurch, New Zealand, after earthquakes devastated its city center, a bottom-up approach to what the people wanted yielded a low-rise landscape with plenty of spaces for people to congregate. As our population explodes and our fossil fuels dwindle, human convenience and human-powered conveyances may be our most sustainable future. Highly recommended.