It’s one of the most exciting times of the year! MSPIFF always have a wonderful lineup of documentaries and this is one I had the privilege of seeing early thanks to one of the film’s producers, Kelly Lamplear-Dash, who also helped me land this interview. When I first heard about this film, I was immediately intrigued as I love films about music AND this one happens to have a close personal connection to my adopted state, Minnesota!
What makes this extra special is that one of the film’s directors, Al Milgrom, is a Minnesota film legend. The founder and artistic director of U Film Society in 1962, and co-founder of this very own Minneapolis St. Paul International Film Festival in 1981, he’s had a second career as a filmmaker going back to grad student days at University of Minnesota.
His credits include doc features _Russian Journey_ (1959), Dinkytown Uprising (2015); shorts: The Bramble Experience (1971) , Rediscovering John Berryman (2014).
Co-director and editor Daniel Geiger is a veteran filmmaker based in Minneapolis. He’s has worked in the film business for over 37 years on feature films such as: Fargo, North Country, Purple Rain, Wildrose, Far North, Herman-U.S.A., Snow and The Jingle Dress.
It was exactly a week ago that I spoke on the phone with Mr. Milgrom. I had met him last year at a film event, and he was fascinated that I was from Indonesia. He likely knows more about Indonesian cinema than I do, and have even met famous Indonesian filmmakers/celebrities like Garin Nugroho and Christine Hakim. It’s clear that Mr. Milgrom loves learning about other cultures, which is how this film was born.
Before I started asking my questions, I told Mr. Milgrom that I had seen his film and that I enjoyed it. He asked if I was bored by all that music and I assured him I wasn’t. I love learning other cultures and the Czech heritage is so different from my own, which makes it all the more fascinating. I like the fact that it centers on a certain family, as the Shimotas became sort of the ‘face of the Czech community’ so to speak. Some of his family members and friends also chimed in throughout the film to give insights into what it means to be Czech-Americans.
As I was watching the movie and watching Eddie and his son played the accordion, I actually felt a bit nostalgic of my late mother who liked polka music and could play the accordion really well. My mom was always the life of the party back in Jakarta, Indonesia, every time she came out with her accordion, as it’s still quite a rare instrument there. Having lived in Minnesota for over 20 years, I’m always discovering new things about the State, so I’m glad I got to learn a bit about the Czech community and various cultural events such as the Veseli Ho-Down, Montgomery’s Kolacky Days, New Prague’s Dozinky Festival, etc. that’s been passed down through generations.
Singin’ in the Grain is a film that should appeal to every immigrant, or anyone whose parents and grandparents migrated from another country (which are all of us, really). 45-years in the making, the film followed the life of Eddie Shimota in a series of footage spanning 40+ years and three generations. The boy in the poster is Eddie Shimota Jr. as a young teen, which is seen throughout the film from his youth all the way to the time he has his own wife and kids. It’s a film that celebrates a rich cultural heritage and the tight-knit Czech community in Southern Minnesota through folksongs and dances. Music is such a universal language, and something that anyone from any culture can relate to.
When I asked Mr. Milgrom why he chose to explore the story of the Czech community, as opposed to other immigrant communities such as German or Irish, his answer was simple…
The German community is more well-known to people here. The Swedes and Norwegian culture has become assimilated, as is the Germans, so the unique quality has disappeared.
Mr. Milgrom also mentioned the fact that the Irish culture is pretty much only celebrated during St. Patrick’s Day, and the Norwegians and Swedes tend to belong to the upper bourgeoisie in Minnesota (middle or upper middle class) while the people in this documentary are mostly agricultural farmers in a section in Minnesota where, until the highways were developed, weren’t that well-known.
Mr Milgrom himself grew up in a Bohemian community in Pine City, Minnesota, so he already knew a certain amount about the folkways and their culture, even their language when he’s sometimes invited to their house when he was 10 years old. His early love for cinema was through Czech New Wave filmmakers like Milos Vorman, Ján Kadár (who won an Oscar for Shop On Main Street), etc. In fact, some of those filmmakers came to New Prague and were credited as consultants in this film.
Apparently Mr. Milgrom wasn’t initially planning on making a film about Eddie Shimota. Someone mentioned to him about the Hoedown Festival and Eddie’s band was the star of that festival that takes place every August in Veseli. At the time, Mr. Milgrom didn’t even know it was going to be a film, but he found Eddie to be a good subject for a series of interviews, plus he and his band were accessible to him.
“The point is, I really liked the characters. I like Eddie and the Czech people there. They’re very different from the Academic community at the University.
The film shows public domain footage of immigrants coming to Ellis Island that ties in very well with the Czech heritage story. It also talks about various aspects of the Czech heritage in the Bohemian community that’s still being practiced today. There’s even footage of a Czech Honorary Consul (Ambassador) of the Midwest visiting a school in Montgomery, one of the largest Czech communities in Minnesota. But music is integral to the film, and that’s the ‘ties that bind’ if you will, as people of various socio-economic classes (some are farmers, surgeons, etc.) but they’d come together and play music together.
The Shimotas reflect the culture of the ‘old Czech’ that arrived in the late 1800s and settled in New Prague as they form farming communities. Mr. Milgrom said that the old Czech has been somewhat diluted by the new arrival of new generation of Czech immigrants after Velvet Revolution in 1989, with their own folk-Slavic beat and vibe that’s very different from Eddie Shimota’s world.
In my interview, Mr. Milgrom discussed a bit about the clichéd term ‘America is a melting pot’ that’s rooted in the 60s and 70s.
“… in this day and age, especially after the ‘Make America Great Again’ propaganda slogan, various ethnicities want to reclaim their identity, they don’t want to be a melting pot. They want to preserve their own cultures… the Blacks want to preserve who they are, the Puerto Rican want to preserve who they are. Perhaps not the Irish so much as they’re so political, but the Greeks want to preserve who they are, they don’t want to blend in with everybody and want to preserve their language if they can. The process of assimilation tend to dilute their cultures. The Czech want to preserve their culture because they’d get swallowed up by everybody otherwise.”
Singin’ In The Grain is a wonderful celebration of such a vibrant and dynamic Czech heritage. I’m happy to have seen a glimpse of their culture and music through this film, and perhaps even participate in St. Paul’s Sokol Hall later this year. The music alone makes it a fun to watch and it’s easy to be swept up by their joyful smiles and warm community spirit. It may have taken over 40 years to make this film but I’m glad Al Milgrom and Dan Geiger got it done. It’s definitely a film worth seeing by everyone, but especially Minnesotans!
MSPIFF 2019 SHOWINGS
St. Anthony Main Theatre 3 – Sat, Apr 6 2:00 PM (RUSH ONLY)
Tickets still available for these two performances: St. Anthony Main Theatre 2 – Wed, Apr 17 4:15 PM Marcus Rochester CinemaThu, Apr 18 12:15 PM
I’m still playing catch-up with MSPFF a month after it’s over. Well that’s life, always a juggling act between my full time 9-5 job, blogging, writing, and just life’s business in general. I still have a few MSPIFF interviews to be transcribed, so stay tuned for those!
Today we’ve got reviews of two more documentaries I enjoyed, both have a strong MN connection, made right here in Minnesota and well worth checking out!
Directed by: Melody Gilbert
When having a relationship with a real human being is too hard, where do you turn?
That’s the question this inherently thought-provoking documentary poses. The first thing that might come to your mind seeing stills or even hear about silicone dolls is perhaps not a positive one. I have to admit, it conjures up something provocative, sexual and perhaps even the word ‘icky’ comes to mind. But as great documentary filmmakers do, its role is not to label or judge their subject.
The main subjects featured in its poster John and his ‘wife’ Jackie is perhaps the most similar to Lars and the Real Girl (that fictitious film would make a good companion piece to this doc). John is a tender man who’s disappointed by his past relationships and and he treats his synthetic companion with such loving care. He’d take her to nice restaurants, the zoo, etc. on her wheelchair, and he’d shrug off people’s obvious confusion, even disgust, nonchalantly. “It is weird… but it’s good weird. Weird doesn’t mean bad.” So he’s well aware of this unusual relationship but he’s comfortable enough in his own skin that he doesn’t care what others think.
Then there’s Davecat and his wife & mistress, which is obviously a very sexual relationship. I gotta say I cringe as he talked about some of the most um, gross aspects covered in the film. In contrast however, there’s the segments where silicone babies are used to recreate the love between mother and child in senior homes. The look on the older residents, some with dementia, as they hold a ‘baby’ in their hand tugs my heartstrings. The dolls look so lifelike some couldn’t figure out they aren’t real, but the emotion they feel definitely are real.
I think one of the most fascinating segment for me is the part involving a female artist who used to work on Wall Street. I’m glad Melody included a woman as one of the human subjects because it kind of presents something entirely unexpected. The artist/photographer based in NYC uses the dolls for various artistic photoshoots in her studio, stating that the dolls are basically replacements to friendships she wished she had.
Despite the provocative nature, Melody didn’t sensationalize the subject matter, but instead captures the various stories with an astute yet tender lens. There are also some fun and insightful animation by local filmmaker Beth Peloff that really helped illustrates some of the situations the film simply couldn’t capture. The themes of love, secrets, loneliness and social acceptance…are all universal which we can all relate to and struggle with at some point in our lives.
As I left the theater though, I did ponder about the relationship between John and his female neighbor who also lives alone. She totally accepts John’s wife Jackie and she and John seem to have a good rapport together. It did make me wonder why John wouldn’t consider perhaps starting a relationship with his human neighbor instead. But perhaps that is the point of the film, who are we to judge who…or what…people choose to love?
I had the privilege of knowing about this project months months before it premiered at MSPIFF, when I attended a Film Fatales panel where filmmaker Melody Gilbert was one of the speakers. In fact, I introduced the composer of my short film Hearts Want, Charlie McCarron, to Melody at another film event and he ended up doing the music for the film. Suffice to say, this documentary also boasts great music to go with its intriguing imagery.
Silicone Soul upcoming screening:
Duluth Superior Film Festival (Duluth, MN)
June 2, 2018 – 7pm – Zinema 2
I had known who Al Milgrom is for a long time, but I’ve only had the pleasure of meeting the man himself last year (at another film festival event) where he asked where I was from. When he found out I’m from Indonesia, he proceeded to tell me he’s befriended some of Indonesia’s most celebrated filmmakers and actors. One thing that’d strike people about Al would be his amazing memory. At 95 he’s still as sharp as ever. He not only remembered who I am at our next meeting weeks later, but he actually remembered where I’m from!
Everyone who’s been in the film business in Minnesota likely has an ‘Al Milgrom story.’ That’s why I took a few hours off from work specifically to see this documentary. Director Phil Harder followed the 95-year-old Milgrom as he gave us a fascinating tour to his personal home in Minneapolis where he kept decades-worth of film archives. I sincerely hope one day his house would become a film museum, and if someone were to do a fundraising to make that happen, I’d readily contribute! A quintessential cinephile whose cinematic heroes include Fellini, Bergman, Truffaut, John Waters, as well as classic silent filmmakers Erich von Stroheim, his deep, singular passion for films is palpable. His first intro to film is Charlie Chaplin’s The Kid, which led him to become the ‘Minnesota Godfather of Cinema’ as it were. He’s the founding father of the Film Society of Minneapolis St. Paul itself back in 1962.
I could’ve easily watched this film again as there are so many I’ve missed. Mr. Milgrom has brought the likes of Jean-Luc Godard, Werner Herzog, and Milos Forman to the Twin Cities. There are footage of a Godard interview here in town, and there’s even sound footage of him interviewing the then still-emerging filmmaker Martin Scorsese (where Mr. Milgrom had to ask how Scorsese spell his name). Sadly, the 1970 protest documentary Scorsese was working on at the time never aired. Mr. Milgrom himself was a photojournalist for the US Army, on top of being a documentarian, world traveler and cinema pioneer in his illustrious career.
But the most fascinating parts of this doc has to be Al’s trip to Russia in 1959, which he’s still working on to this day. Hence the self-described term “The World’s Oldest Emerging Filmmaker” as he’s working on Russian Journey: The Story of a Filmmaker’s Travels Behind the Curtain. He definitely has the gift of capturing intriguing subject matters through visual medium. Those close-ups of various Russian citizens simply living their daily lives are full of intriguing untold stories waiting to be uncovered. Unfortunately, Al revealed in this doc that he’s lost the audio file to complete the project. The good news is, he (with the help of other filmmaker friends) are working on getting that resolved, so hopefully we get to see the finished film soon!
This 70-minute documentary definitely left me wanting more. I could’ve watched another half hour of just watching Mr. Milgrom give commentary about cinema, filmmaking, etc. in his museum-like home, and even commenting on some of the plethora of photos he’s taken in the past. I’m glad the filmmaker wisely chose to confine the film to just within Al’s home, which is a fascinating character in and of itself.
P.S. MSPIFF made the mistake of inserting a short documentary Influenced which is about how some MN business uses social media. It’s only 7 minutes long but its message seemed to be in such a contrast of who Al Milgrom is all about that people were chanting ‘we want Al!’ in protest!
I also got to take part of the Q&A with Al Milgrom, as well as the director Phil Harder and producer Mike Dust. It was well worth staying for!
A Work In Progress (Al Milgrom’s Cinema Journey) upcoming screening:
Duluth Superior Film Festival (Duluth, MN)
Sunday, June 3rd at 3pm – Zinema
One of my most anticipated TCFF documentaries is playing today and I can’t be more thrilled that I got a chance to connect with the filmmaker to talk about her film. I always love films that immerse me into a world that’s far away from where I live, and gives me a chance to learn a bit more about the struggles they are facing. A large spectrum of the South African population includes the indigenous, Asian, European, Indonesian, Phillipino, Indian of India, and many others. In the Western world, we mostly hear about the Black/White struggle in South Africa, but nothing about the minority ‘Coloured’ people, as they’re called in that region.
Kiersten Dunbar Chace (Producer, Director, Editor) founder of Chace Studios/Mondé World Films, is an award winning indie film producer/director and human rights activist/advocate who for the past 21 years has focused her lens on South Africa. In 2009, Chace produced her first feature length documentary film I’m Not Black, I’m Coloured – Identity Crisis at the Cape of Good Hope which explored the legacy of apartheid from the viewpoint of the Cape Coloured people. The film won an Audience Choice award at the Africa World Documentary Film Festival (Bermuda Int’l Film Festival) and was featured at several US, International Film Festivals and in over 60 major Universities. In September 2014, Chace’s film was one of two selected to present at the prestigious academic conference Migrating the Black Body: Visual Arts and the African Diaspora in Hanover Germany. Her role in the conference will be documented in the upcoming book by the same name.
Most recently, Kiersten was invited to be an observer at the United Nations in Geneva in September 2015 when a Shadow Report was presented/submitted to the Int’l Committee on the Elimination of Racial Discrimination citing South Africa as being in violation of the UN CERD treaty/convention. The film was used as a supplemental neutral piece to help educate UN members on the history of the Coloured people of South Africa.
A documentary film that gives voice to a community questioning the future of their mixed-race/indigenous identity in the new South Africa. Blending poetry, landscape imagery, and rare archive footage with a collection of powerful, indigenous voices, Word of Honour is an introspective look into South Africa’s young democracy as well as a meditation on what may be looming on the horizon. (All South African cast and crew)
Q: What inspired you to become a documentary filmmaker?
My inspiration was South Africa. In 1995, I helped produce a US concert tour for the popular South African vocal group the Christian Explainers. During that tour, one of young women in the group, in a somewhat fearful confession, shared a secret with me “Kiersten, in my country I am not considered black, I am Coloured.” Like many Americans I was stunned by her use of the term Coloured, but she kindly requested that I maintain an open mind. That was not a difficult task, however, with that open mind I felt this so-called secret would have been a great opportunity to educate Americans about the absurdity and injustice of the apartheid system; beyond the black/white rhetoric perpetuated by Western media. It also saddened me that they had to endure and maintain this awkward situation of telling people they were black South Africans, when culturally and linguistically they were not. Their reasons were centered around the use of the term Coloured in America and they were also embracing and putting into motion Mandela’s promise that they were now part of the majority alongside black/Nguni South Africans. So over the course of the next two weeks Suzanne shared the rich culture and history of her people and I listened closely with great interest.
Soon after that 1995 concert tour, I was invited to South Africa to visit Suzanne and my other friends. It was on that trip that I began learning more about this community and culture and for the next 5 years I traveled across South Africa meeting various non-profits and developing new friendships. In 2000, I began organizing group cultural tours to South Africa including Open Arms of Minnesota’s first visit, which ultimately led to the development of an HIV/Aid’s nutrition program at the new JL Zwane Center in Gugulethu. No matter how hard I tried to explain the history and culture of coloured South Africans, Americans were always drawn into the exotic tribal cultures of Southern Africa which are the common images portrayed of the African continent in Western media. I learned quickly that Americans don’t want to travel to South Africa to be visually reminded of impoverished communities in their own backyard per se, and that is the image they see when looking at Coloured townships.
Ten years’ post-apartheid, 2004, I organized another American tour group to South Africa. It was on that particular journey that I recognized how quickly the Coloured communities were deteriorating structurally and economically. Foreign investments and donations targeting disadvantaged communities were not filtering into Coloured townships due to their lack of knowledge and various government agencies bypassing Coloured townships. It was then that I knew I had to step up and educate the globe about this community and their existence. To accomplish this, I chose film as my instrument for change.
Knowing very little about the film industry, I went to Daniel Pierce Bergin in 2007, a senior producer at TPT/PBS in Minnesota and asked for his mentorship. His support of my project propelled my confidence greatly. He also connected me with a monthly event called Docuclub at IFP Minnesota where I met the talented Producer and Director Melody Gilbert, who gifted me and many other aspiring filmmakers in the Twin Cities with her years of documentary film knowledge. She gave me the tools and insight I needed to be a documentary filmmaker and in 2009, I release my first feature length film I’m Not Black, I’m Coloured: Identity Crisis at the Cape of Good Hope.
Q: How was your background as a humanitarian activist play a part in getting this film made?
After the completion of my first film I’m Not Black, I’m Coloured in 2009, I was surprised at its impact not only in South Africa but other mixed-race communities around the globe, academia and the United Nations. For example, in 2011, a Non-Profit organization in Johannesburg, South Africa used the film to petition the South Africa Broadcast Company to ask them to invest in Coloured television and radio programming. In 2014 I was invited to screen the film at a private academic conference in Hanover Germany ‘Migrating the Black Body: Visual Arts in the African Diaspora’ where 30 top professors gathered to present their academic research papers. Nearly half of the conference attendees were not aware this community even existed. I also learned that several universities over the years altered their curriculum to include this film. And in 2015, I was invited to participate as a human rights observer at the United Nations in Geneva where the film was used to educate UN rapporteurs. It is my goal to return to Switzerland again in March 2017 with the Advocates for Human Rights based in Minneapolis for additional UN training.
Through these experiences and the continual movement of my first film, I came to realize that my role as a human rights advocate was materializing before my eyes, unexpectedly. There is no doubt that these experiences along with the support of community leaders in South Africa gave me the confidence and motivation to produce Word of Honour. So yes, my human rights activism played a major role in this latest production.
Q: ‘Word of Honour’ is a sequel to your 2009 film… it is extremely rare to see a documentary sequel, would you speak about the differences between the two?
I’m Not Black, I’m Coloured: Identity Crisis at the Cape of Good Hope (filmed in 2007/2008) explored the legacy of apartheid from the viewpoint of the mixed-race/indigenous Cape Coloured/Khoisan people of South Africa, whose largest population resides in Cape Town (approximately 60% of the total population). After 10 years of witnessing the decline of this community and trying to teach Americans about a marginalized people who identified themselves by the term Coloured, I focused the film on history and identity.
The film also illuminated their diverse ancestry, how they suffered (180 years of slavery and a vast number of forced removals), and their contributions to South African society dating back to the mid 17th century to the dawn of democracy in 1994. So INBIC was historically driven and educational. That film won an audience award at the Africa World Documentary Film Festival in Bermuda, sits on the shelves of nearly 63 major universities around the globe.
My latest film, Word of Honour: Reclaiming Mandela’s Promise, focuses on the first 21 years of democracy – post 1994. It is less historical and more focused on the socio-economic struggles and the marginalization of this community due to discriminatory government policies. It features communities all across South Africa, not just Cape Town. In addition to the difference in storyline, the production value of Word of Honour is much greater and it is structured differently. More artistic yet the focus remains on the voice of the people.
You are correct. It is very rare to produce a documentary sequel. But as I mentioned before, my purpose for entering the film industry was for advocacy purposes, not awards, and as you will witness in this new production, clearly my work was not completed within South Africa. Especially after viewing Jimmy Manyi’s public statement in 2011 about Coloureds being ‘over concentrated’ and ‘should spread in the rest of the country if they want jobs’ my friends, community leaders and myself, became very concerned. Hence the making of Word of Honour. Since I already had a decent university presence with the first film I wanted to continue the dialogue around race, identity and human rights. With the two films together, we have created a more holistic perspective, identified and exposed the root of the problem, and documented a specific time in history that will last for generations.
Q: What motivated you to shine a light on the complexities in identity/ history of the people in South Africa?
There are a lot of misperceptions about South African history internationally and within South Africa. As recent as 2015, trial attorneys who were attempting to justify their client’s discriminatory practices, claimed that coloured South Africans did not suffer as much under apartheid and should not benefit from Affirmative Action policies. This depends on how you define apartheid. Many scholars will argue that the system of apartheid was implemented the moment the Dutch arrived in South Africa and formally legalized in 1948. But others will argue the opposite and define apartheid as only starting in 1948. So it was important for me to focus on history as it relates to their identity, how this community evolved, what they endured and as reflected in this new film their struggle to fit in the new South Africa.
Q: How many people did you end up interviewing for your film? (Vast area that is covers)
For 21 years, I have developed friendships with community leaders, business leaders and political activists all across South Africa. In our discussions, each person was very adamant in sharing their regions unique needs; that their struggles were very different from Cape Town (the largest population of Coloured’s in South Africa). Combine those strong regional or provincial sentiments alongside a lack of unity nationally amongst their leaders, I personally wanted to see if the socio-economic issues facing the coloured communities were different between the various provinces and townships. In the past, I had travelled across South Africa but with a very different purpose. So to observe the country from behind a camera lens with the intent to further educate the globe about this community, including South Africans, I wanted to see if I could capture the similarities versus the differences as well as affirm or nullify the psyche of disunity that seems to be embedded in national rhetoric amongst community leaders.
So our film journey included six of the nine provinces, thirteen cities, drove approximately 7000 km’s, interviewed 27 people and brought home close to 200 hours of footage. All but one of our production locations was pre-planned and budgeted. That one unplanned ‘spur of the moment’ location was Riemvasmaak, a tiny desert community near the Namibian/South African border where we literally knew nothing about this area historically or culturally, nor did we know a single soul who lived there. However, what we captured in 3 short hours (in the middle of the desert) ended up being one of my favorite scenes in the film and possibly one of the most important in terms of using an historical event as a reflection of what the future might be for this community if government policies continue on the path of racial quotas.
Q: Would you share a bit about your collaboration with David Grant, a prominent figure in MN arts/film/writing?
I actually met David through a shared interest in genetic genealogy five or six years ago. I was the founder of the Cape Coloured DNA project at Family Tree DNA and we were introduced by a distant blood cousin from Arizona who also shared similar DNA with one of my former cast members in South Africa. Soon thereafter I learned of his gift for writing as well as his respected presence in the Twin Cities arts community. After one long breakfast meeting in South Minneapolis, I knew this was the person I needed to collaborate with.
With Word of Honour, I was taking a riskier more creative approach to my storytelling. I didn’t want this project to be cookie cutter journalistic type documentary film so I searched for someone who would take my artistic vision and goals and help build the storyline. With an arsenal of powerful poetry, rare Mandela footage, great interviews and beautiful landscape imagery I needed someone to help create a piece that made people think outside the box and engage the heart. Being a seasoned writer David understood all of these important elements and was instrumental in guiding me through some difficult storyline and structural decisions.
Q: Who have been some of the people who’ve inspired you, both in term of history/culture or cinema. Any documentarian whose work you admire?
I’m a great admirer of Andrei Tarkovsky’s films and books. He inspired me in my artistic direction, to not be afraid of taking risks and to be confident in your artistic expression. Not everyone will like your work but in the end you were staying true to the vision or your film. Another person who inspires me is Al Milgrom. A longtime friend and walking encyclopedia of film. Our long conversations and his passion for film inspired me greatly.
Q: While traveling around South Africa, what was your greatest take-away from this production in comparison to your other journeys 20 years ago?
There were actually several key take-away’s on this journey but the greatest would be discovering how many Coloured communities across South Africa endured forced removals. I knew of District Six, South End and Sophiatown but I was stunned how many others there were. Nearly every major city in South Africa, including small villages, has a history of forcibly removing Coloured communities.
On a more positive note, I was encouraged by the economic progress in the Eastern Cape province near Mandela’s Qunu home where I spent some time back in the early 2000’s. This was a pretty impoverished area back then but today that has changed. The energy there was uplifting. I just wish I could say the same thing about ‘one’ coloured township, sadly it does not exist.
Thank you Kiersten for taking the time for the interview!
For more info on the film, please visit Word Of Honour‘s official site.
So it’s been a pretty packed weekend for me but thankfully the weather is practically Summer-like, which definitely adds an extra spring in my step. It’s the opening weekend of MSPIFF too, so I’ve watched a couple of films includingClouds of Sils Mariawhich was nominated for a Cannes’ Palme d’Or and a Best Supporting Actress win for Kristen Stewart. My review of it will be up tomorrow, but today we have two film fest reviews from Josh. But before we get to that, I just want to give my brief thoughts on Netflix Original Series Daredevilthat premiered this weekend: I actually never saw the Ben Affleck version, but even from the trailer/clips I could surmise that it’s awful indeed. I have to admit that initially I was skeptical of Charlie Cox casting, as he’s such a cute face, and that isn’t exactly a glowing recommendation when you want to play a bad-ass vigilante. But y’know what, right from the get go, my doubts were erased. The British actor is quite convincing both as the blind lawyer + the vigilante.
My hubby & I have only seen 4/13 episodes so far but boy, this is definitely NOT a PG-rated Marvel adaptation. The words ‘dark & gritty’ have been used to describe a lot of stuff but it’s definitely no hyperbole when it comes to this show. In fact, it’s hyper-violent and bloody, I had to avert my eyes during the last 5 minutes of episode 4! But I like the meticulous & slo-burn pacing, the benefit of releasing all the episodes at once is that each episode doesn’t have to be ‘all-action-all-the-time’ and we actually get some character development by showing flashbacks of Matt Murdoch’s past, as well as more time with the secondary characters such as Matt’s BFF & partner in law Foggy Nelson (Elden Henson). They also have two strong female characters, Karen & Claire (Deborah Ann Woll & Rosario Dawson, respectively). I like both of them in the role, especially Dawson who’s always effortlessly appealing. But one thing for sure, people who love R-rated action and fantastically-choreographed fight scenes would NOT be disappointed.
So in short, I’ll definitely keep watching! I might do a review once we get through all 13 episodes. How about you? Did you see it?
Secrets of War (Oorlogsgeheimen)
Fusing two well-known stories and thereby hitting dual-genre notes, Secrets of War is a quality picture. The first, and more successful, of the film’s two stories: the ways a friendship between two newly-adolescent Dutch boys, Tuur (Maas Bronkhuyzen) and Lambert (Joes Brauers), is tested, first by a girl, Maartje (Pippa Allen), they both like, and then by World War Two, something neither child initially understands. The second story, an anti-war treatise, is slightly less successful than the first, but it still relates the ways war tears apart uninvolved lives.
All three young actors are very good, especially Allen who convincingly shows us her secrets long before the screenplay has her tell them to us. But Secrets of War’s scene stealer is Loek Peters, who plays Tuur’s father. Peters (and the other grown-ups in Tuur’s family) is the vehicle through which director Dennis Bots and writer Karin van Holst Pellekaan show the tragedies of World War Two, but they never let him speak all that much, which means he has to communicate the gravity of the situation non-verbally. Thankfully, he does just that.
Pellekaan’s screenplay and Bots’ direction is excellent for the first three-fourths of film, but it slips a little in the final act, when events are rushed, perhaps in an effort to speed to conclusion. A slower, more character-driven approach to the finale would have cemented the picture’s emotion and thereby helped deliver its themes.
The missteps near the end of Secrets of War do not ruin the film, however. It is still well worth viewing.
The Dinkytown Uprising
A documentary about a lengthy 1970’s neighborhood protest against a Red Barn fast-food restaurant entering a beloved Minneapolis community, The Dinkytown Uprising is interesting and entertaining. Interspersing modern interviews of former protestors with on-the-scene 1970 video showing the actual rallies, the film effectively informs the viewer about the protests, the protestors, and their links to the Vietnam War. It makes us care about each of the protestors, as well, ensuring that we remain interested throughout.
The Dinkytown Uprising is, in other words, a good film.
But it isn’t perfect, mostly because director Al Milgrom’s secondary goal is to connect the 1970 Dinkytown protests with modern efforts to preserve the historic neighborhood. More than that, it seems Milgrom wants us to agree that the neighborhood should be protected. Here he stumbles, mostly because he never draws a direct link between the picture’s informative intent and its persuasive efforts. The directormight have benefited from a closer look at larger corporations’ modern efforts to enter the neighborhood. Given that he doesn’t do so, the few times he intimates concern for the community, it feels out of place with the rest of the film’s content.
Still, while this flaw is significant, it is not debilitating. The skill with which Milgrom combines interviews, narration, and found footage is impressive. And overall, his picture succeeds.
So what did you watch this weekend? Thoughts on Daredevil or any of these films?