MIFF 2013 - Day 6
Today was a day for strange stories and stunning cinematography.
WORKERS
The MIFF guide finally got a description right. I'm always suspicious when a film is compared to the work of some luminary or other, and the writeup namedropped Roy Andersson. Andersson has a very specific take on the world, and it turns out so does Jose Luis Valle. This is an incredible feature debut, telling the stories of a long-separated couple struggling towards retirement and the lengths they have to go for justice after being dudded by the employers to whom they have given unstinting service. It's a really black comedy, full of warmth and genuine love for all the characters. There's the odd moment where you fear for the heroes, but the film is on their side and their victories are celebrated. I loved every minute of this, and it's just gone up to my number one for the festival so far. It's the best looking film I've seen this MIFF too, though Stoker does give it a run for its money.
A FIELD IN ENGLAND
I don't know what it is about Ben Wheatley that makes me come back for more. He's weird, really weird. Kill List was wonderful and confounding in equal measure, and Sightseers was just silly fun. This is way more trippy and experimental than anything he's done before. It's like Beckett met Crowley and they decided to collaborate on a play. The whole film takes place in a single field, as weird shit goes on involving a man trying to discover buried occult treasure. I can't explain this film, it's an experience. But it's worth it. And the black and white cinematography is gorgeous. After the irritating way Joss Whedon's Much Ado About Nothing was shot, it's nice to see that not everyone has forgotten the art of high contrast black and white cinematography.
WORKERS
The MIFF guide finally got a description right. I'm always suspicious when a film is compared to the work of some luminary or other, and the writeup namedropped Roy Andersson. Andersson has a very specific take on the world, and it turns out so does Jose Luis Valle. This is an incredible feature debut, telling the stories of a long-separated couple struggling towards retirement and the lengths they have to go for justice after being dudded by the employers to whom they have given unstinting service. It's a really black comedy, full of warmth and genuine love for all the characters. There's the odd moment where you fear for the heroes, but the film is on their side and their victories are celebrated. I loved every minute of this, and it's just gone up to my number one for the festival so far. It's the best looking film I've seen this MIFF too, though Stoker does give it a run for its money.
A FIELD IN ENGLAND
I don't know what it is about Ben Wheatley that makes me come back for more. He's weird, really weird. Kill List was wonderful and confounding in equal measure, and Sightseers was just silly fun. This is way more trippy and experimental than anything he's done before. It's like Beckett met Crowley and they decided to collaborate on a play. The whole film takes place in a single field, as weird shit goes on involving a man trying to discover buried occult treasure. I can't explain this film, it's an experience. But it's worth it. And the black and white cinematography is gorgeous. After the irritating way Joss Whedon's Much Ado About Nothing was shot, it's nice to see that not everyone has forgotten the art of high contrast black and white cinematography.
posted by Andrew Lee at 12:04 AM
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