Category: TIFF

Mondovino (USA/France, director Jonathan Nossiter): Since I work in the wine business, I had been quite eager to see this documentary, and I wasn’t disappointed. Reportedly drawn from over 500 hours of footage, the good news is that Nossiter will be releasing not only a theatrical cut, but a ten-part, ten hour series of the film on DVD by next Christmas (ThinkFilm is distributing it). The bad news is that it’s still a bit of an unwieldy beast. When it was shown in Cannes, it was close to three hours long. For Toronto, he’s cut about half an hour but it still clocked in at 135 minutes. Now, for me, that’s fine. I love wine and I love hearing about the controversies raging in my business. But not everyone wants that much.

Nossiter flits around the globe, from Brazil to France to California to Italy to Argentina, talking to winemakers and PR people and consultants and critics about the state of the wine world. The theme that emerges is that globalization and the undue influence of wine critic Robert Parker are forcing a kind of sameness on wine. Small local producers are either being bought up by larger conglomerates (American as well as local), or are being pressured by market forces to change their wines to suit the palate of Mr. Parker, who dictates taste to most of the American (and world) markets.

It’s a complicated subject, and I can understand why Nossiter wants to let his subjects talk. There is Robert Mondavi, patriarch of the Napa wine industry, and his sons Tim and Michael, whose efforts to buy land in Languedoc faced opposition from local vignerons and government officials. There is Aimé Guibert, founder and winemaker of Daumas Gassac, iconoclastic opponent of Mondavi’s plans and crusader for wines that express local terroir. There is Robert Parker himself, expressing some discomfort with his influence while refusing to stop writing about the wines that he favours. There is “flying winemaker” Michel Rolland, consultant for dozens of wineries all over the world, advising them how to make Parker-friendly wines. There are many many more fascinating personalities in this documentary.

If you are a wine lover, you will want to seek out the ten-part series as well as the theatrical version of this film. But even if you’re not into wine, the film is an interesting look at how the forces of globalization are changing many of the world’s oldest and most established traditions. The effects on local cultures and economies cannot be ignored.

(8/10)

Les Choristes (France/Switzerland, director Christophe Barratier): Les Choristes is an unabashedly sentimental film that reminded me very much of Italian films Ciao Professore! and especially Cinema Paradiso. It tells the story of a failed musician named Clement Mathieu who finds himself taking a job in desperation as the supervisor of a reform school in 1949. The school is run by an authoritarian tyrant and the students are a bunch of delinquents who taunt him immediately with shouts of “Baldie!” and “Bullet Head!”. Mathieu decides to begin a choir as a sort of project to help with discipline and soon has the respect of the students. He also discovers a boy with a remarkable voice and does his best to encourage this gift while harbouring a crush on the boy’s mother. This is not totally original stuff, but the story is told well and the performances are strong, most especially by Gérard Jugnot as the rumpled and lonely Mathieu. The resemblances to Cinema Paradiso are quite strong. Both films use a flashback structure. In Cinema Paradiso, a famous film director is called home to his village to attend the funeral of his old mentor, the projectionist at the local cinema. In Les Choristes, it’s a famous orchestra conductor, called home to bury his mother, but the event triggers a visit from an old school chum who unfolds the tale of their music teacher Mathieu. The film is a “man behind the man” tribute to those quiet souls who push others to greatness while often not feeling very successful in their own lives. As someone who studied to be a teacher, I love this kind of story, even if it is not always fashionable in “serious” cinema circles. The emotions are real and are helped tremendously by a fabulous musical score and beautiful choral pieces.

The director was proud to be presenting the film in Toronto after its huge success in France, where it sold eight million tickets and a million copies of its soundtrack CD. We were also treated to a performance after the screening of two of the songs from the film by another boy’s choir, and the standing ovation was almost inevitable.

Film’s Web Site: www.leschoristes-lefilm.com

(9/10)

The Alzheimer Case (De Zaak Alzheimer) (Belgium, director Erik Van Looy): Although based on a novel, this stylish police thriller’s main conceit (“hitman has Alzheimer’s”) could have been lifted from a Hollywood film executive’s idea of “high concept”. Except that it would have made a forgettable Hollywood picture. Instead, director Van Looy sets this story in his native Belgium. Police detectives Vincke and Verstuyft are like a modern day Starsky and Hutch, without the bad haircuts. Who knew that Antwerp even had police, never mind such cool ones? Their job is to track down the man who’s killed several high-profile politicians and a young child prostitute.

Reminding me a lot of Terence Stamp in The Limey, veteran actor Jan Decleir portrays aging hitman Angelo Ledda, whose refusal to kill the young girl leads him to seek revenge on the people who want her dead. His deterioration is a cause for sympathy as well as a plot device. He must complete his “mission” before he forgets his reasons for carrying it out. He also plays a cat and mouse game with the police who are trying to solve the killings, staying one step ahead until he can no longer think clearly.

Van Looy admitted his fondness for “police thrillers with a soul” and especially for the work of Michael Mann, and the influence of Mann is everywhere. If you like Mann, you’ll like this film. Well-developed characters, moody cinematography and fine acting didn’t completely save this film, though. I thought the plot was a little too straightforward, and the film itself was about 20 minutes too long, with a couple of false endings that could have been re-cut. I think I would have given a shorter version of this film an 8, but even if it was a slightly derivative cop film, it was a slightly derivative cop film in Flemish!

Film’s Web Site: ms.skynet.be/alzheimer

(7/10)

Salvador Allende (Chile/France/Belgium/Germany/Spain/Mexico, director Patricio Guzmán): September 11 will forever be remembered in this country as the anniversary of the attacks that brought down the World Trade Center. But it’s also the anniversary of the death of Salvador Allende, the democratically elected president of Chile whose government was brought down by a CIA-backed coup d’etat in 1973. Director Guzmán has spent his entire filmmaking career documenting and exploring the tragic recent history of his country, and with this film he finally turns to Allende, a hero to Chile’s political left. The coup that resulted in his death led to 18 years of brutal dictatorship under General Augusto Pinochet, a dark period from which the country hasn’t entirely emerged.

A deeply personal portrait, the film probably makes more sense in the context of Guzmán’s other films. For someone who doesn’t have much background on Chile, it can be a bit maddening since it assumes a familiarity with the history of Chilean politics. Early film of Allende campaigning for president is quite moving, though. The director has mostly been based in Paris since he fled Chile after the coup, and it’s clear that the Chile to which he returns doesn’t have much time for him. His interviews with old Socialist Party members are touching, but seem only nostalgic. He doesn’t talk to anyone from the current political scene, and an interview with the former US ambassador appears to have been conducted by someone else, a long time ago.

The fact that no official biography of Allende has ever been published in Chile is remarkable. It’s almost as if Chileans want not only to forget the nightmare of Pinochet, but also the dream of utopia that Allende offered beforehand. Sadly, at this point in Chile’s history, Guzmán seems a bit like one of the old comrades he interviews: condemned to irrelevance.

On the other hand, the parallels between Allende and current Venezuelan president Hugo Chavez are remarkable, including the opposition’s tactics of strikes and economic protests. It is no wonder that Chavez suspects US involvement in the coup that nearly toppled his government in 2002. In that coup, while Chavez and his ministers were holed up in the presidential palace, the army threatened to bomb the building, a threat that was actually carried out by the Chilean military in 1973. The footage shot by Guzmán of that event is particularly chilling. My hope is that Allende’s idealism and commitment to peaceful change are a beacon for Chavez, and indeed for all the people of Latin America and the rest of the world. He was one of the first heads of state to warn about the dangers of multinational corporations, for instance, and it is clearer than ever that the struggle of the world’s people is no longer about Cold War allegiances and ideologies, but against rampant global capitalism and the consumerism that feeds it. Guzmán said he wanted to make this film for young people. Perhaps in a few years’ time, he can make another film in Chile, not about old soldiers, but about young ones.

Related Web Site: www.salvadorallende.com/

Related Web Site: www.neravt.com/left/allende.htm

(8/10)

Ferpect Crime (Crimen Ferpecto) (Spain, director Álex de la Iglesia): I knew I was going to enjoy this film from the moment a large rumpled man in a Misfits t-shirt lumbered onto the stage to introduce himself. “Hola, amigos. The person who is supposed to introduce me is not here. I am here but she is not here. She is in the bathroom.” Director Álex de la Iglesia had us laughing even before the first frame of his film. While admitting that Ferpect Crime was just about the worst title for a film ever, he told us that this film was about a man who was so obsessed with living a perfect life that it was bound to cause problems. It’s no surprise to learn that the director has a degree in philosophy.

Rafael works as a salesman in the ladies’ wear section of an upscale department store. He’s very popular at work, especially with the ladies, and he’s very very good at his job. So good, in fact, that he considers himself a lock for the position of floor manager. But after losing the promotion to his hated rival Don Antonio, things take a turn for the worse and pretty soon Rafael has a dead body on his hands. His only help comes from the one woman he hasn’t already bedded, the unattractive Lourdes. Before long, Lourdes has Rafael wrapped around her finger and his life is far from the model of perfection he has always pursued. As the plot thickens, the comedy becomes much darker and the film almost turns into a thriller. There is also a strong element of satire, making this much more substantial than the laughs would indicate. The conclusion (“lesson” seems too strong a word here) is that it’s only after we give up our unrealistic expectations of living a perfect life that we can really begin to live at all. But if that’s too heavy for you, then go just to see the scene where Rafael goes to meet Lourdes’ parents. This film makes me want to see every other film by this warm and wickedly funny director.

Film’s Web Site: www.crimenferpecto.com

Director’s Web Site: www.alexdelaiglesia.com

(9/10)