La telenovela errante, a film Raúl Ruiz shot in 1990 (image above) and now fully realized by his widow and editor, Valeria Sarmiento, is one of the highlights of the lineup for this year’s Locarno Film Festival. The seventieth edition will open on August 2 with Noémie Lvovsky’s Tomorrow and Thereafter and then run through 12.
Olivier Assayas will preside over the International Competition jury; Yousry Nasrallah will be president of the Filmmakers of the Present jury; and president of the of the Pardi di domani Competition jury will be Sabine Azéma.
I’m in the process of adding notes on all the titles in the lineup announced today.
INTERNATIONAL COMPETITION
Wang Bing’s Mrs. Fang. From this year’s documenta: “Fang Xiu Ying is sixty-seven years old and suffers from Alzheimer’s, and yet she slowly understands that her life is coming to an end. Taking place in a quiet village in southern China, Fang Xiu Ying deals with the feelings of a person nearing death, as well as the lives of her relatives and neighbors who gather around her to say their final goodbyes.”
Xu Bing’s Dragonfly Eyes (Qing Ting Zhi Yan). Variety’s Nick Vivarelli describes it as “a montage of Chinese closed-circuit camera footage used to create a fictional story.”
Serge Bozon’s Madame Hyde. As Nicholas Bell notes at Ioncinema, Bozon is re-teaming with Isabelle Huppert for “a female centric version of Robert Louis Stevenson’s famous Dr. Jekyll & Mr. Hyde, examining the contemporary education system in this story about a teacher whose demeanor changes after she’s struck by lightning. Co-starring Romain Duris.”
Denis Côté’s Ta peau si lisse. Swiss Films introduces the documentary: “Jean-François, Ronald, Alexis, Cédric, Benoit and Maxim are modern-day gladiators. A strong man, a professional bodybuilder or a veteran turned trainer, they all share the same obsession. In wait of their next competition, they train hard and they diet harder. This is a free exploration of the over regulated lives of these misunderstood monsters.”
Andreï Cretulescu’s Charleston. From Versatile: “A couple of weeks after his wife Ioana dies in a car crash, drubk and alone on the night he turns 42, Alexandru receives a visit. Sebastian, a shy, younger man, has been Ioana's lover for the past five months. Sebastian has an outrageous request: he wants Alexandru to help him overcome the despair caused by Ioana's death…”
Annemarie Jacir’s Wajib. From the Tribeca Film Institute: “Shadi has returned to his hometown of Nazareth after years abroad to help his father hand-deliver his sister’s wedding invitations, as per local Palestinian custom. As the estranged pair spend the day together going house-to-house to deliver the invitations, the tense details of their relationship come to a head challenging their fragile and very different lives.”
Aaron Katz’s Gemini. A Los Angeles noir with Lola Kirke, Zoë Kravitz, and Nelson Franklin. For reviews, see Critics Round Up.
Dominik Locher’s Goliath. From Swiss Films: “After sensitive David (24) and his pregnant girlfriend Jessy (22) are beaten up, David starts using steroids. But instead of protecting his girl and their unborn baby, he is becoming a threat to them. When the amateur bodybuilder loses control of his temper and beats her, she leaves him. Only when David abducts his newborn daughter from the hospital, he becomes aware of his maniac behavior. He returns the baby and asks Jessy for forgiveness.”
John Carroll Lynch’s Lucky. Along with Gemini, this is one of the four films I caught at this year’s SXSW that I wrote up as recommendations. With Harry Dean Stanton, David Lynch, Ron Livingston, Ed Begley Jr., Tom Skerritt, Beth Grant, and James Darren.
Germano Maccioni’s Gli asteroidi. In an industrial wasteland, two friends become convinced that the end of the world is nigh. At least, that’s what I can make out from the synopsis at FilmItalia.
F. J. Ossang’s 9 Doigts. Last year, Fabien Lemercier noted at Cineuropa that “the story starts at night in a town surprised by a flurry of snow and ice, in a station where all the trains are at a standstill. Magloire steps outside for a cigarette. Everything happens during a police check. He takes flight as he is, without bags or a future, and comes across a dying man. He finds a wad of cash whilst the former succumbs to death, but then the problems start: there’s a gang hot on his heels, which takes him hostage before working with him, as Magloire deals with things like someone who expects nothing from life.” With Paul Hamy, Damien Bonnard, Gaspard Ulliel, and Pascal Greggory.
Hlynur Pálmason’s Vinterbrødre. According to the Danish Film Institute, it’s the story of two brothers and their rivalry with another family.
Juliana Rojas and Marco Dutra’s Good Manners (As Boas Maneiras). From the directors of Hard Labor (2011). Urban Distribution: “Clara, a lonely nurse from the outskirts of São Paulo, is hired by mysterious and wealthy Ana as the nanny of her unborn child. Against all odds, the two women develop a strong bond. But a fateful night changes their plans.”
Raúl Ruiz’s La telenovela errante. Shot in Santiago in November 1990 and described by Valeria Sarmiento as a reflection on Chile after Pinochet (La Tercera). In February, actress and filmmaker Chamila Rodríguez and novelist and Chilean Cultural Attaché Roberto Brodsky discussed the reconstruction.
Ben Russell’s Good Luck. From KinoElektron: “Filmed between a state-owned large-scale underground mine in the war-torn state of Serbia and an illegal mining collective in the tropical heat of Suriname, Good Luck is a visceral documentary portrait of hope and sacrifice in a time of global economic turmoil.”
Jan Speckenbach’s Freedom (Freiheit). From One Two Films: “A woman walks out on her husband and two children without a word of explanation. . . . Nora (40) roams through a museum in Vienna, has sex with a young man and hitchhikes randomly on to Bratislava. . . . Meanwhile in Berlin, Philip (mid 40s) is trying to manage his family, his job and his affair with Monika.”
Travis Wilkerson’s Did You Wonder Who Fired the Gun? See Critics Round Up.
PIAZZA GRANDE
Samuel Benchetrit’s Dog (Chien).
Hélène Cattet and Bruno Forman’s Let the Corpses Tan (Laissez bronzer les cadavres).
Francesca Comencini’s Stories of Love that Cannot Belong to this World (Amori che non sanno stare al mondo).
Samuel Jouy’s Sparring.
David Leitch’s Atomic Blonde. With Charlize Theron.
Noémie Lvovsky’s Tomorrow and Thereafter (Demain et tous les autres jours).
Kevin Merz’s Gotthard - One Life, One Soul.
Nadir Moknèche’s Lola Pater.
Felix Randau’s Iceman.
Josh and Benny Safdie’s Good Time with Robert Pattinson. For reviews, see Critics Round Up.
Michael Showalter’s The Big Sick. CRU.
Anup Singh’s The Song of Scorpions. From Swiss Films: “A contemporary tale of twisted love, revenge and the redemptive power of a song, which unfurls like a folktale. Nooran is a singer, a scorpion healer, a midwife and a medicine woman for the Sindhi community of Rajasthan. When Aadam, a camel trader in the desert community, realizes that Nooran, the woman he passionately loves, does not care about him, he seeks redress by paying a young thug to sexually attack her. Feeling herself poisoned by the brutal violation, Nooran sets off on a mystical journey to seek and avenge herself on her unknown attacker through the power of her song.”
Jean-Marie Straub and Danièle Huillet’s Sicilia! (1999).
Jacques Tourneur’s I Walked with a Zombie (1943). CRU.
Tommy Wirkola’s What Happened to Monday?
Jan Zabeil’s Three Peaks (Drei Zinnen).
FILMMAKERS OF THE PRESENT
Pedro Cabeleira’s Damned Summer (Verão Danado).
Dustin Guy Defa’s Person to Person.
Felipe Hirsch’s Severina.
Eliza Hittman’s Beach Rats.
Gürcan Keltek’s Meteors (Meteorlar).
Kim Dae-hawn’s The First Lap (Cho-Haeng).
Andrea Magnani’s Easy.
Narimane Mari’s Le Fort des Fous.
Valerie Massadian’s Milla.
Ilian Metev’s 3/4.
Shevaun Mizrahi’s Distant Constellation.
Ninomiya Ryutaro’s Sweating the Small Stuff (Edaha no koto).
Astrid Johanna Ofner’s Farewell (Abschied von den Eltern).
Riccardo Palladino’s The Mount of Ants (Il Monte delle Formiche).
Cyril Schäublin’s Dene wos guet geit.
Ana Urushadze’s Scary Mother (Sashishi Deda).
SIGNS OF LIFE
Basma Alsharif’s Ouroboros.
Nelson Carlo De Los Santos Arias’s Cocote.
Giovanni Columba’s Surbiles.
Rana Eid’s Panoptic.
Radu Jude’s The Dead Nation (Țara moartă).
Dane Komljen’s Fantasy Sentences (Phantasiesätze).
Luis López Carrasco’s Aliens.
Boris Mitic’s In Praise of Nothing.
Laila Pakalnina’s Hello Horse! (Zirdziņ, Hallo!).
Adriley Queirós’s Once There Was Brazilia (Era uma vez Brasília).
Clément Safra’s Filmus.
More titles on the way.
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