This has been something I've been waiting to hear about. Digital cameras... will they, like Lucas said in that WIRED article waaaay back, put the art of film in common hands. Will the next great film come out of a garage style production? I do not know, but it is all so fascinating don't ya think? I do. Anyways, I guess I'll turn ya over to IGOR who has the whole scoop for us...
This week saw the unveiling of two films shot on video at the New York Film Festival. And I'm not talking BetaSP, I'm talking consumer digital camcorders-- the kind you can get for about $2,000 at your local electronics store. Yep, there's hope for all of us who can't even afford the cost of 8mm stock.
The two films shown were Thomas Vinterberg's "Celebration" and Hal Hartley's latest "Book of Life"-- which was commissioned by French TV for a 10-part film series about the coming of the new millenium ("Book of Life" is the U.S. entry). Hal Hartley's film is set on December 31, 1999 and it concerns Jesus' second coming. Martin Donovan, Hartley's longtime collaborator, plays Jesus. He arrives at JFK airport in a suit and tie accompanied by Mary Magdalene, played by none other than PJ Harvey! Jesus' mission this time around is to carry out what was prophesized in the scriptures, namely to bring forth the apocalypse. However, as he becomes reacquainted with the human race, he begins to have second thoughts about terminating humanity. The devil also makes an appearance. He tries to pursuade Jesus not end human life so that he may continue to revel in the suffering of man.
This whole business is carried out in a posh Manhattan hotel. Everything in the film looks very modern. From the way the film itself is shot (a 35mm blow up was screened) to many of the props-- for instance, the book of life, where the seven signs that precede the apocalypse are contained, is not a book but a Macintosh laptop. Hartley seems to be saying that part of the reason we're condemned to die is because we have become too damn technologically inclined or something. If that sounds trite it's because it is. The film deals with many of the same issues we've come to expect from movies dealing with Christ and Satan, particularly the saving of souls and the worth of humanity.
However, the movie is surprisingly entertaining, thanks in part to Hartley's writing and the ensemble cast. Also, the movie is structured like somewhat of a thriller which lends a bit of novelty to the subject.
I just recently discovered Hartley. "Henry Fool" was the first film I ever saw of his. I thought it was absolutely brilliant. It's on the top of my list of this year's best films. Hartley has a knack for social commentary and his observations are usually dead on. His style might be a little bit hard to swallow (his films might be considered slow and too cerebral), but he is undoubtedly gifted. The man is a thinker, and he injects his films with his unique philosphy of life.
"Book of Life" is not as deep or nearly as ambitious as "Henry Fool" but it certainly has its satisfying moments. At this point, the film has no distributor (it is only 60 minutes long so that may be one of the reasons why) but I hope this film sees the light of day in some way, shape, or form. This is definitely a must-see for all Hartley fans.
Whereas Hartley tried to be very expressionistic with the video camera (he uses strobe effects, slow motion, black & white, various lenses), Vinterberg uses the camera merely to document. He does use a wide angle lens prominently, but the look he's going for (by his own admission) is that of a home movie. "Celebration" is an intense exploration into the dark secrets of a wealthy Danish family. Don't worry, I won't give any of the secrets away. Actually, there's only one, and it's big. We're talking "Crying Game" proportions.
"Celebration" follows three siblings as they arrive at their parents' estate for their father's 60th birthday. One is a successful restaurateur in Paris. He seems to be the most well adjusted of the three, though he is reticent and withdrawn. The other is a raging mess of a man. He is always seething with anger and he has been somewhat disowned by the family for being unreliable. The third and only living sister (the other sister committed suicide) is given to crying fits and we know she's not altogether there. The first question that comes to your mind after being introduced to these people is: what's wrong with them? Well, 30 minutes into the film we find out why and that's when all hell breaks lose. The hour and a half that follows is the most intense and dramatic I've seen in a long time. It's similar to the way "The Deer Hunter" shifts gears so dramatically once the film travels to Vietnam. Believe me when I tell you-- you won't be able to keep your eyes off the screen once the big secret is revealed.
The great thing about shooting a film on video is that the actors are able to forget about the camera (because it's so small) and act in a more natural way. They only have the other actor to bounce off of, so the scenes looks more realistic or authentic. "Celebration" makes you feel like you're a guest at this party and that you're witnessing, first hand, all the wild things that are happening there. That, in my opinion, is also one of the benefits of using video. It gives the audience a certain intimacy that you can't get from 35mm. Granted, you probably wouldn't want to shoot "The Horse Whisperer" on video, but for this type of film it works great. (Like "Book of Life," "Celebration" was transfered to film and shown on a 35mm projector.)
"The Celebration" is the first film produced under the Dogma 95 document, or "vow of chastity" taken by several Danish directors. It stipulates, among other things, that:
1. No tripod be used-- only handheld shots
2. Use only available light
3. No makeup for the actors
4. Use only props found at location
5. No music, sound, or dialogue will be added in post production. (At the press conference, the director said that he got around this rule by asking his actors sing in various scenes.)
6. The director shouldn't be credited
The effect is similar to "Breaking the Waves," which makes sense since Dogma 95 is the brainchild of "Waves" director Lars Von Trier. Not only do both films have the same visual style ("Breaking the Waves" was actually shot on film) but they have the same powerful effect on the audience.
IGOR
