CineCola's 22nd Raindance Film Festival Top 10
Note: This list is indeed in order of preference but only includes the films I watched and reviewed that were presented at the 22nd Raindance Film Festival and all its strands - Spring, Summer, Autumn, Winter and the Raindance Symphony Orchestra. It does not include films that I watched and reviewed at other festivals that might have been part of the Raindance 2014 programme. Likewise, these films will not be included in top 10s from other film festivals I will attend.
The Supreme Price is a documentary and tribute to lives lost in fights for change, but more specifically it is the story of M.K.O. Abiola and his wife Kudirat who fought to bring such change to Nigeria and paid dearly for their struggles. It is told through the words of their daughter Hafsat, who is heavily involved in the ongoing fight for a complete democratization of Nigeria and an end to its patriarchial identity. Filmmaker Joana Lipper tells this inspirational tale and story of bravery with fiery passion and a sense of urgency amplified by the archive footage, both qualities that also aid her work in strongly carrying its message and promote feminist ideals. But there is also a great deal in humanity and warmth, thanks to the contributions by the family of the subjects, that make the film even more approachable by balancing its political side.
From 1995 to 2000, Roger Corman set up a studio in a remote part of the west of Ireland named Connemara, where he produced a number of straight to video flicks now mostly forgotten. For many, however, it was a real school of cinema that taught many exponents of the current Irish film industry about the tricks of the trade under extreme circumstances. Brian Reddin's It Came from Connemara is a loving tribute to the figure of Corman with a down to Earth approach, a great sense of humour and even a nostalgic vibe that make this more than a simple piece on cinema history trivia.
In this modern direct cinema documentary, we follow the life of 18 year old singer songwriter Ryan Cassata and his muse, his girlfriend Alexis. What's the catch? Ryan is transgender. This means that we get a genuine representation of a minority class, that is arguably also a minority within queer cinema, and through this unaltered depiction of his everyday life we catch a glimpse of his everyday problems, some of which are easily relatable and others that are quite alien. It is this contrast and the underlying sweetness as well as the good nature of the lead subject that make Elvira Lind's Songs for Alexis so insightful and interesting.
A introverted teenage boy with ambitions of becoming a singer songwriter but crippled by shyness meets a rock and roll legend now on the run from the law and recovering from the trauma of the loss of his son, which he blames himself for. The two meet, bond and through their relationship develops a chance at redemption. The Beat Beneath My Feet easily differentiates itself from other music coming of age comedy dramas of the last twenty years due to a clever screenplay with a more impressive emotional and psychological depth and a fresh sense of humour. Director John Williams employs a fresh and creative approach to the film, a style that also makes use of animation while the music itself does not take over the film and rather conveys it and becomes an extension of the two lead characters through a great work of narrative synergy. Much praise also goes to the actor, particularly the two leads, with newcomer Nicholas Galitzine impressive in the role of the kid and Luke Perry perhaps delivering his best big screen performance to date.
Filmmaker Luc Chamberland channels the spirit of celebrated Canadian illustrator Seth in his film Seth's Dominion. He does so with a creative style that mixes live action, interviews, animation and even puppetry. This allows us a great insight in the life of the artist, his work, his methods and his inspiration as well as his different musings on art and life. In fact, in the end this charming and fun documentary also succesfully raises the issue of the artist's classic and heartfelt dilemma of differentiating making art for money with making art for the sake of art.
5 - WINDOW LICKER by Brian McGuire
Shot mostly on iPhone and other portable devices, Brian McGuire's Window Licker is an impressive and haunting vision of normality breeding madness in the lead character driven storyline of a descent into insanity. We follow a man and his methodical and unhealthy routine of watching reality TV, playing videogames and masturbating obsessively to webcam girls which relentlessly leads him on a path of self destruction. We as the audience get to experience this nightmarish vision almost first hand through the raw footage, intense editing and a hauting soundtrack that enhances the darkest sides of the story. What is perhaps most haunting about this film is the way in which it deals with themes and issues that are very relatable and in the end despite the stylisation, this is nothing short on a comment if not downright reflection of the average everyday life in the modern world.
4 - DEALER by Jean Luc Herbulot
Forget the Paris of romanticism and the Eiffel Tower. Filmmaker Jean Luc Herbulot's Dealer is an adrenalitic look at the French capital's criminal world as we follow the leading titular dealer on a race against time as he ends up with a gang of thugs on his back after making one fatal mistake. Much in the vein of Trainspotting and Run Lola Run, this is a film that moves at a rapid and frantic pace, with an edgy style that adds an almost documentarian pace but infused with interesting post modernist touches through visuals, fast dialogue and creative editing. Shot in twelve days and with a small budget, this film feels much more genuine and daring than bigger budget counterparts with a haunting touch of genuineness that also spins out of the fact that the story is based on real life events experienced by its star and producer Dan Bronchinson.
3 - VIS-A-VIS by Nevio Marasovic
A filmmaker takes his leading man to the island of Vis, where his film will be set. The aim is to doctor his screenplay in order to make his project more appealing and get it kickstarted. Yet, in the end, it becomes a chance for the two men to really bond and find out about each other's life struggles. Vis-a-Vis by Nevio Marasovic is a truly admirable work and perhaps the most human look at the film industry that balances its humanity with its comment on the current situation of cinema as well as the sensibilities of the people involved in it. This is achieved through a great screenplay and powerhouse acting by the two leads.
2 - THE SENTIMENTALISTS by Nicholas Triandafyllidis
A gem of modern independent Greek cinema. The Sentimentalists by Nicholas Triandafyllidis is a modernised shakesperean tale of starcrossed lovers, as we follow the misadventures of two hitmen who fall in love with two forbidden women - one a prostitute and the other the boss' daughter. The film's visual style, soft lighting and unrushed flowing rhythm enhances the romanticism whilst not shying away from also revealing the violent side of the tale. On top of that, there is great attention given to the film's cultural context and open references to art and culture, conveying the contrast of Greece's glorious past crippled by the economic crisis of recent times. The Sentimentalists is an exceptional and tasteful modern noir with great sensual undertones and honest dreamlike appeal.
1 - KUNG FU ELLIOT by Matthew Bauckman and Jaret Belliveau
Every great documentary begins with an interesting and intriguing subject. The subject of Kung Fu Elliot is Elliot "White Lightning" Scott, a man with a goal and a mission - becoming Canada's first ever action film star. Filmmakers Bauckman and Belliveau follow him as he films his latest guerrilla masterpiece and even show us parts of his private life. As the film progresses, we begin to understand the eccentricity of the character and a darker side of his also shows, as well as his own vulnerabilities and imperfections. The style employed does not disregard realism, yet it is shot in a style that makes it seem like fictional work despite everything happening in the film being real. This allows the film great cinematic appeal and almost heightens the surrealism of the world of its central subject, who has downright created a magnetic, charismatic alter ego for himself. Kung Fu Elliot is entertaining, funny but most admirably at the same time respectful of all the people involved not shying away from their own humanities and their inevitable human weaknesses.