Telluride 45: “Shoplifters”

“Shoplifters” from Japanese director/writer Hirokazu Kore-eda stood out at the Telluride Film Festival. This film received the Palme d’Or, the top prize at Cannes. As with his earlier works like “Like Father, Like Son” (2013) and “Our Little Sister” (2015), in “Shoplifters”, Kore-eda examines a family unit with deep emotional sensitivity.

A father Osamu (Lily Franky) uses his son Shota (Jyo Kairi) as a shoplifter for their impoverished family unit. Returning home after a store theft, they see a forlorn young girl Juri (Miyu Sasaki) alone and hungry and they decide to take her home to give her food.

2 shop

Lily Franky and Jyo Kairi in “Shoplifters”

After noticing that the girl is bruised, she is “adopted” into the family that includes wife (Sakura Ando), older sister (Mayu Matsuoka) and grandmother (Kirin Kiki). The group lives off of the old woman’s pension.

The film vividly creates the crowded, cluttered living quarters of the family. There is an affectionate rapport between the members of the group. All of the actors give sensitive, nuanced performances. Kore-eda’s films contain some of the most impressively natural performances from children.

3 shoplift

Sakura Ando, Mayu MatSuoka, Lily Franky in “Shoplifters”

Young Juri is instructed into shoplifting and joins Shota in petty thievery. Osamu says that shoplifting is the only activity he can teach the children.

As the actual connections between the family group members are gradually revealed, “Shoplifters” becomes extremely moving and remains an intriguing consideration on what makes up a family.

Advertisements

Telluride 45: “Roma” and Tribute to Alfonso Cuarón

One of the 3 Tributes at the Telluride was to Mexican director Alfonso Cuarón, who received the Oscar for Best Director for “Gravity” (2013). Cuarón’s latest film “Roma” which recently was chosen Best Film of the Year by both the NY and LA Film Critics was screened. The film is showing on Netflix.

Cuarón said he grew to “understanding the technical aspect” of filmmaking, and with this “familiarity” knew what to ask. He described himself as “broke” before his first film “Sólo con Tu Pareja” (1991) was shown at Toronto. This showing led to a film development project with Sydney Pollack that was cancelled. Cuarón then directed “The Little Princess” (1995) in Hollywood which received 2 Oscar nominations.

IMG_0331

Alfonso Cuarón at Telluride

He described his next film, a modern-day “Great Expectations” (1998) as “What I should not do”. He added, “I forgot I was a writer”. He did not participate in the screenplay. He said “I lost 3 years … (of) creative life… very sad.” Cuarón’s next film “Y Tu Mamá También” (2001), which he co-wrote was a Mexican road film and an international success, leading to “Harry Potter and the Prisoner of Azkaban” (2004) and “Children of Men” (2006).

For “Gravity”, Cuarón said “All credit goes to Sandra (Bullock) and George (Clooney)”. He said that the stunts and needed movement of the actors were “gruesome and very difficult”. He said he was “used to improvise” and “had to find the flow” for “Gravity” to “made it easy” for the actors posed “in the weirdest position” for a film set in outer space.

For “Roma”, based on his life growing up and cared for by an indigenous maid. He wanted to film “where events took place”, using “furniture from home and relatives” for the film to look as real as possible. He said that the maid “loved me” and was taken for granted.

balcony

Yalitza Aparicio (left) in “Roma”

For the first time, he considered the complexities of her situation during a time “ridden by class”. He added she “raised me” adding “more present, some think than my biological mother”.

Cuarón said in making the film, the last thing he wanted to do was consider the sexual life of his mother.

“Roma” is masterfully directed with vivid black and white images. The cinematography is by Cuarón. The title comes from the area of Mexico City where the central family lives.

riot

“Roma”


Cuarón gives his film an immersive view of life in Mexico City in the early 1970s. The film has a strong use of details like a too-large car regularly scraping the walls of the garage where the floor has pieces of dog excrement.

Cleo (Yalitza Aparicio), the maid lives with her employer family, taking care of the children with whom she has a warm relationship. She participates in family activities like watching TV together. After the marriage between the parents break up, the father moves away and the mother (Marina de Tavira) depends even more on Cleo.

IMG_0335

Marina de Tavira and Yalitza Aparicio at Telluride

The film has many visually striking sequences. A memorable scene includes a panoramic shot of a crowded city street when the family goes to a movie. Later, while Cleo is shopping, a large-scale protest turns violent.

“Roma” becomes an absorbing autobiographical view of Cuarón’s extended family and Cleo’s devotion.

Telluride 45: Orson Welles’ “The Other Side of the Wind” and its Restoration

A major event at Telluride was a restoration of Orson Welles’ “The Other Side of the Wind”, 48 years after filming. Welles shot the film between 1970-1975, and ran out of financing before a final edit could be completed before Welles died in 1985. Director Peter Bogdanovich (“The Last Picture Show”) who appears in the film was among those speaking after the film about working with Welles and the restoration.

“The Other Side of the Wind” is an extremely intriguing cinematic view of Welles’ impressions of the changing Hollywood of the 1970s and his own role in it. John Huston is charismatic, marvelous as Jake Hannaford an aging director making a film with several delays. Huston gives his character a macho swagger and an often sarcastic wit.  

side poster

Welles satirizes the youth-oriented films of the era, having Hannaford’s film described as a “dirty picture” with “naked ladies”. Hannaford is called an “old guy trying to get with it”. Hannaford leaves the studio with his entourage for a 70th birthday party given by an actress (Lilli Palmer). Hannaford’s associates include actors from earlier Welles films like a hard-edged Mercedes McCambridge (“Touch of Evil”) and Paul Stewart (“Citizen Kane”). Film students accompany Hannaford, shooting him through different viewfinders.

Reflecting their real-life relationship Peter Bogdanovich plays a former journalist who interviewed the director who has now become a director himself, hot at the boxoffice.  

3 together

John Huston, Orson Welles, Peter Bogdanovich

Welles adds humor to the party scenes as guests pontificate and over-analyze about moviemaking. Young directors of the era like Dennis Hopper, Claude Chabrol, Henry Jaglom and Paul Mazursky appear as guests spotted at the party scenes.

Welles remained a master of framing for the camera, with distinctive use of angles, lights and shadows. Keeping current for the time, one scene has psychedelic colors.

Party guests attempt to view Hannaford’s latest film with a series of interruptions. In the film a woman (Oja Kodar) is pursued by a man. Both end up naked. Kodar, who was Welles’ companion at the time is listed as co-screenwriter with Welles. Hannaford is described as “making it up as it goes along.”

Oja

Oja Kodar in “The Other Side of the Wind”

“The Other Side of the Wind” is now showing on Netflix.

After the film, Peter Bogdanovich described it as a “sad movie, …the end of everything. He added that Welles ”made a lot of sad movies” and that “artistry” was “his antidote”. He felt “sad Orson’s not here,… like nobody else”.

Joe McBride who acted in the film said ’48 years have gone by”. He described “Other Side” as a ”dense, rich film” and that Welles could “pack so much into every film”. McBride spoke of the fragmentation of Welles’ filmmaking. He said when Welles was asked when people involved with the film would meet Lilli Palmer who was portraying the party host, he replied that all of her scenes had been shot in Paris.

welles sitting

Orson Welles, Peter Bogdanovich, Oja Kodar, cinematographer Gary Graver during the making of “The Other Side of the Wind (2018)

John Huston’s lead performance was described by Bogdanovich as “demonic, extraordinary, very contemporary”. McBride said Huston’s character was an attack on the macho Hemingway cult.

Bogdanovich said that in 1961, he was asked to organize a retrospective of Welles at the Museum of Modern Art. Seven years later, he got a call from Welles who told him “You have written the truest words about me in English”. Bogdanovich took over a large part in “The Other Side of the Wind” when comedian/impressionist Rich Little, cast in the role, displeased Welles.

McBride said the “18 hour work days” were “so much fun…full of laughter”. Bogdanovich said Welles was “wonderful with actors, not the crew”, saying “if they must eat, not linger.” Welles enjoyed Fritos, joking “you don’t gain weight if nobody sees you eating”.

IMG_0349

Peter Bogdanovich at Telluride

Frank Marshall, now a major film producer (Indiana Jones films) was a production accountant on “The Other Side of the Wind”, said Welles fired him “every other day”.  He added that Welles told funny stories and would burst into song.

Bogdanovich aid that seeing the last scenes of the film reminded him of the Shakespearean line “our revels now are ended”, adding “it’s as touching”.

After a screening of a short film called “A Final Cut for Orson: 40 years in the Making”, a discussion included Frank Marshall. The restoration procedure was described as a “treasure hunt”, using Orson’s notes. Welles shot on different types of film. Everything was scanned with new technology. This complete type of restoration could not have been done 10 years ago.