By Amy Nicholson
By Amy Nicholson
By Heather Baysa
By Calum Marsh
By Stephanie Zacharek
By Alan Scherstuhl
By Simon Abrams
By Alan Scherstuhl
Since the Palm Beach International Film Festival went competitive in 2003, it's slathered love on a pretty diverse array of films. The award for Best Feature has gone to flicks as quirky as Neo-Ned, a love story about a neo-Nazi and a black chick utterly convinced she's the reincarnation of Adolf Hitler; to films as deadly serious as The Aryan Couple, about a WWII-era Jewish/German industrialist forced to turn his business over to Nazis to ensure his family's escape from Germany; and to movies as schlocky as Small Voices, which was more or less Sister Act II set in the Philippines.
Impossible to know what's going to happen this year, with juries careening from sentimentality to sheerest Dada as they do. The Rocket, reviewed below, may do great things after veritably sweeping the 27th Genie Awards, pretty much the Canadian Oscars (Best Actor, Best Supporting Actor, Best Actress, Best Direction, Best Art Direction, Best Cinematography, Best Costume Design, Best Editing, and Best Sound Editing). But it's anyone's game. The jury might despise crowd-pleasing hockey yarns like The Rocket and fall madly in love with the indelible image of Colm Meaney shoveling crustacean spooge down his gullet (A Lobster Tale). Far stranger things have happened, and most of them have happened in Palm Beach.
The Palm Beach International Film Festival will play host to more than 120 films between the screening of The Golden Door and the attendant opening celebration Thursday at Sunrise Cinemas at Mizner Park and the screening of Unbeatable Harold at Muvico Parisian one week later. Fourteen of those are world premieres, 29 are Florida premieres, and 38 are foreign. Full listings can be found at the festival's website, www.pbfilmfest.com.
When perusing the website, worldly filmgoers will want to keep their eyes peeled for the words Israel and South Africa. This year, PBIFF inaugurates a tradition of highlighting the films of two nations per festival. In 2007, Israel and South Africa are it. Four films from Anant Singh, the brilliant South African producer (Get Real, Weapons of Mass Deception, Sarafina!), will be screened at Sunrise Cinemas on Monday: Yesterday, Red Dust, Approaching Union Square, and Dollars & White Pipes. Eight Israeli films will be shown the following day at the same venue. Half are docs, half are features, and they range from the expected (the withdrawal from Gaza in And Behold There Came a Great Wind) to the most uniquely personal (an AIDS-stricken Israeli's mother sets out into the Tel Aviv night to find her son marijuana in Tied Hands).
Among the PBIFF offerings:
The RocketJoining the ranks of about a gazillion biopics that reduce human lives to story arcs and extract the fiction of morals from the truth of happenstance, The Rocket uses the tale of hockey star Maurice Richard's life and difficult career to mount a harebrained attack on Francophobia, classicism, and, y'know, sports management (but really, bureaucracies in general). Ordinarily, you could abandon the theater at the first sign of moralizing meta-narrative, but you won't here, because The Rocketis a beautiful movie. Goddamn, it hurts to say: Despite the utter moral and artistic bankruptcy that has been piggybacked atop our bizarre jones for sentimental true-life stories, The Rocketmanages to do almost everything right. Actor Roy Dupuis has seen all the way into the taciturn Richards, as written by Ken Scott, and director Charles Biname has illuminated the apparent grimness of a whole generation of working-class people as a steely determination to overcome deprivation. The dialogue is soulful and dead-serious. Weird, really, when you consider the movie's scope say, the mid-'30s through the mid-'50s (if Maurice laughed once during that time, Ken Scott hasn't heard about it), displaying an economy of both histrionics and exposition that is as admirable as it is riveting. Pierre Gill's dark, electric cinematography verges on the noir. Brought to bear on a film that eschews that genre's moral ambiguity, it serves best to illuminate the same ambiguity at the heart of professional sport and in the ruthless drive toward self-preservation that pro sports engender. It's a brutally captivating intersection of sights and ideas. You'll feel dirty and like it. (Friday, April 20, 12:45 p.m., at Sunrise Cinemas at Mizner Park, 301 Plaza Real, Boca Raton.)
Who Loves the SunHere's something Matt Bissonnette knows: People can really act like assholes around their families. It's not something that's talked about too often all the times we're reduced to senseless blubbering or find ourselves jabbering inanities at the sky or screaming out the most useless, vituperative shit at the people we love most in the world. Everybody does it sometimes, saints and sinners alike, and that's pretty much what Who Loves the Sun is about. The catalyst for all the nastiness is a scrappy-looking young man named Will Morrison (Luke Haas), appearing suddenly at the lake house owned by his former best friend's parents after disappearing for five years. The reasons for said disappearance are twisted yet strangely pedestrian (in the same way that most ugly family drama is twisted and strangely pedestrian), and we're filled in quickly. Not a lot of minutes go by before ex-friend Daniel (Adam Scott), ex-wife Maggie (Molly Parker), and Daniel's parents (R.H. Thomson and Wendy Crewson) are all there together, getting drunk, behaving badly, owning up to their foibles, and trying their best not to be crazy. It's funny, sweet, a little awkward, maybe even a little tedious from time to time a description that applies to both the film and to ordinary family life. Filmed in Manitoba on the heart-rendingly beautiful Falcon Lake, the simple and unpretentious goodness at the film's heart is reflected in its sylvan set; unfortunately, so is its prosaic plainness. (Friday, April 20, 7 p.m., at Sunrise Cinemas at Mizner Park, 301 Plaza Real, Boca Raton.)
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