Hey folks, Harry here with this... the final two reports from SUNDANCE 2000 from Father Death. He's our main man amongst the snowflakes and skiers. Just wait till you read his report on I.K.U. I tell ya... I SOOOOooooooOOOOOOOOOOOOO wanna see it... Sounds F.U.B.A.R. and Cool!!! My type of flick... But check it all out, Father Death didn't miss a frame...
Father Death here reporting again from Sundance Film Festival 2000.
Wednesday. My corpse rose in the fresh dew of the morning at seven o'clock. The prodigious sight of the mountain terrains close to my secluded tomb is behold to look at. Ah...I feel more like at home in Utah.
After a quick preparation, I went to Park City for my third attendance of Sundance Film Fest. The trip took approximately 45 minutes, driving at a self-imposed speed limit. When I was close to reaching there, I was hindered by the long traffic jam plodding like L.A. That's the way it goes. Park City is popular then and now, and usually very popular during the film festival frenzy for a week and a half.
I went into the entrance to wait in the line. I was lucky to get one. I walk into the theater to go to the screening number 2 and tangoed my way to sit my ass on the comfy seat and relax. I was sullen from having my sleep disturbed by the chime. Then the woman came to introduce the film. The light dims and it all began...
THE CUP
The film is an absolute delight even for the self-loathing cynic like me. It's a beautifully shot movie with the ensemble of the members of the Monanstery comprising of the Buddhists, who had never acted in the film before. The basic summary of the movie is about two Tibetan boys Palden and Nylma (Kungsung Nyima and Pema Tshundup) who arrive at the monanstery-in-exile in the Himalayas to begin the ordination and orientation of the Buddist tradition at the time of the crisis. They make friends with the 14-year old football-obsessed roommate named Orygen (Jamyang Lodro), who takes them on the adventure with his buddy Lodo (Neten Chokling). The twist is, as the events unfold, the football fever become very popular and spread like crazy with the monks following football religiously much to the disbelief of the headmaster Geko played with grace by Orygen Tobgyal. The film is, as the Bhutan-born writer/director Khyentse Norbu says, 95 percent factual. THE CUP is an exquisite gem with great humor and excellent cinematography by D.P. Paul Warren. It's the first film made in Bhutan, which is a remarkable achievement. THE CUP is a humorous and poignant look at sports and religion -- a very good movie altogether. A first-rate triumph for the director and the cast. If you liked SMOKE SIGNALS, you'll love THE CUP. I expect THE CUP to win the World Cinema Audience Award, but at least there's the tough competition in the particular category. Since the film is being distributed by Fine Line Features (marking the 10th anniversary), watch for this coming to the theater near you soon.
Unfortunately, Mr. Norbu was not there at the screening because he was perhaps too busy. I took the flash photo as I leave and the people frowned with evil eyes glaring at me. I deposited the vote in the ballot box at the exit door and went to the booth in the lobby to ask for the press kit of THE CUP. The young woman told me there's the press department in the basement at Shadow Ridge Hotel. She gave me the direction to Shadow Ridge. I thank her for the generosity, and so off I go.
I drove over there and it was difficult to find the spot in the parking lot full to the maximum. I managed to secure the space after the car left promptly. I jumped over the concrete block to cross the road to the entrance surrounded by the horde of people. I arrived at the booth and asked for the direction. A woman pointed the way and I descend the basement. I entered the press administration office to ask for the press kit of THE CONVENT and THE CUP. The woman gratefully handed me the kits. I asked the question whether the famous critics like Roger Ebert and Janet Maslin were there in the press room. She notified me the prominent critic was behind my back. I looked around and recognized the man who is none other than Emanuel Levy of The Variety. I took the opportunity to take the picture. He noticed me about to snap a photo and he grabbed a man to pose for the photo. The man (a writer I assume) looked like he was rather miffed about the photo I just took. I gestured thanks and went to the registration office to scam a free copy of the SFF Y2K guide deluxe edition usually sold exclusively to the purchasers of the ticket pass packages. I paid a visit to the Filmmaker Center where the filmmakers lounge and chat. Nobody I recognized and I took the photo. I ascent the stairs to wade my way out of the crowd cluttering the side lobby. I walk outside and I saw Tammy Faye Bakker and Ru Paul, who is apparently a pimp transported from the 70s. I took the quick photo as they were quick to apprehend and pose for me. I flashed the peace sign and bid farewell to them.
After a lunch at the deli (I almost got sick from chowing down the fat-ass fries and cheeseburger), I drove to the Prospector Square hotel to check out THE CHARCOAL PEOPLE. I looked around and saw the huge banner for Screenwriting Coffeehouse. Dunno what it's for, probably a rehab for caffeine addicts slaving to write the scripts. I checked out the coolest technology like the $25,000+ HDTVs (the smoother and sharper HDTV is *amazing*) and digital video cameras in the demo rooms with Roland House and Sony Electronics. I also checked out Motorola, Apple Technology Conclave, DirectTV, Imagynasium and the kick-ass Avid Technology, Inc.
I bought the individual ticket for THE CHARCOAL PEOPLE and was one of the first to stand in line. The long line began to form within the half hour before the showing.
I save my seat in the middle row. The screening is being filled with the hordes of people. I snapped the photo of the waiting line being hushed into the screening. The middle-aged dude who sat behind me is Nigel Noble, the director of a documentary.
After the usual intro by Nigel and José Padilha, the screening began with the 8-minute Brazilian short WE ARE ALL CHILDREN OF THE EARTH (SOMOS TODOS FILNOS DA TERRA), a touching account of the people struggling the poverty of urban life. Despite the frustration of destitution and despair, the old negro man who wrote over 500 songs to sing was emotionally stirring as he demonstrates his talent on the perspective of poverty in front of the camera. Though I cannot recall much of the short, it's a very moving account about the despondency and agony of poor life in South America.
THE CHARCOAL PEOPLE
The documentary has the blend of emotion and drama with the impression of the National Geographic Explorer series on TBS. The film depicts the devastating effect of the desecration of the masses of the tropical rain forest in South America by the industry that depend solely on the economics of the export of pig iron -- iron meshed with charcoal derived from burning woods in the man-made kiln stoves -- thus exploiting tens of thousands of poor and illiterate migrant workers. I'll use the quote from the press kit: "THE CHARCOAL PEOPLE shows that cars driven by Americans and Europeans are connected to 11 years old kids burning trees in the Amazon rain forest". Yes, it's true from what I saw; a truly shocking film that serves as the eyewitness account of the exploitation of poor people and child labor used and abused to raze and destroy the natural balance of ecosystem. Those who agree with the protestors at the W.T.O. conference in Seattle should not miss this film. I recall the acclaimed Japanese animator Hayao Miyazaki's films NAUSICAA OF THE VALLEY OF THE WIND and PRINCESS MONONOKE, both of which have the theme of the conflict between nature and mankind THE CHARCOAL PEOPLE convey. I found the documentary to be gut-wretchingly moving not because of the massive ecological decimation and destruction but also because humans suffer as a result. That is, humans destroy nature in order to survive and they face the consequences -- hazardous condition and short life expectatory. The film does not patronize nor preach; its goal is to remain objective and leaves to the viewer to form the opinion whether it's good for the humans to survive and support their families or not. I felt sad knowing the fact the cycle of destruction continues to this day and there's nothing we can do without a cause. As a matter of fact, the kit indicate that "70% of the pig iron produced in the Amazon is exported to the United States". THE CHARCOAL PEOPLE is a well-photographed film with the poetry of beauty and destruction -- it's an important documentary for the nature filmmakers, sociologists, environmentalists and human rights advocates.
For more info, here's the link:
As the credit rolls, I was weary. I had to leave for home because I was tired. I saw Nigel sitting in the same seat as I pass by. I think he went to participate in the discussion after the credit.
I must rest in peace. Until I come back from my deep sleep to haunt Sundance Film Festival again...
And then there's this final report in from SUNDANCE from Father Death...
Harry -
Father Death here again. Sorry for the late report. This is my last report of Sundance Film Festival 2000. I had the hell of a great time -- SFF Y2K is the best I attended since I went there in 1998.
On Friday, I went to the Sundance ski resort to get in line for the screening of a Chinese film which I heard was terrific. Here's my opinion of the film...
SHOWER
This film is a wonderfully moving drama. The character development is slow at first, but it has an incredible emotional impact like one of my favorite foreign films of all time, CENTRAL STATION. SHOWER is the setting of the Chinese Turkish-style bathhouse which is a social event for the people of all ages, including the older men who play chess and betting on cricket fighting. The bathhouse is owned by the main character's father, Lin, whose older son Daming came back to take care of business after years of absence. Daming's younger brother is mentally retarded, and together they cope as they struggle with the deteriorating business in the building condemned for construction. This is the second film directed by the Chinese music video filmmaker Zhang Yang. He shows the quality of exhibiting emotive intensity and tender humanity while managing to restrain from manipulation and sentimentality unlike tripes like PATCH ADAMS. SHOWER is one of the best World Cinema films I have seen at Sundance 2000 because of how incredibly well-made the film is from a young director whose agenda is not to offend the government censors. He definitely have the future as a part of the new independent filmmaking generation in the People Republic of China. SHOWER is the excellent and tremendously moving film, and I laud Mr. Yang and the screenwriters for their work.
After the screening, I discussed with the staff how great movie SHOWER was, and they agreed with me about the fact I call the film "the Chinese ONE FLEW OVER THE CUCKOO'S NEST". I drove back to Provo to come over Nightwatcher's house. After deliberation, we agreed to check out the Japanese film I.K.U. at midnight. I want to tell you how my vomiting actually got us the tickets for compensation, but it's a long story, so let's get to the movies...
I.K.U.
Wow. The best I can describe about the movie is it's a total mindfuck. I.K.U. is the porno version of GHOST IN THE SHELL, only with lots and lots of explicit sex and nudity. This is the first X-rated film Nightwatcher and I saw on the big screen. The experience was enhanced by the high definition upconversion from Roland House and it was awesome. It's like watching the digital projection with all the visual razzle-dazzle to roll over me. The plot was pretty confusing, so I'll give you the brief plot. I.K.U. starts where BLADE RUNNER ends -- the company called Genom Corporation that has built the horde of I.K.U. coders to travel to collect mosiac orgasm datas to sell as pleasure trips. It's like the porn twist of STRANGE DAYS. The horny Japanese sex slave Reika has her body comprising of a mega-gitabyte hard drive and the black dude Dizzy initiates Reiko's sex drive and boot up her OS to begin the procedure. Reiko's arm is imprinted with the XXX mark and it becomes transformed into a gigantic penis to insert inside vagina and anus to collect orgasm data. I know it sounds pretty sick. Trust me, it's innovative in the most twisted way. There are the inventive CG sex scenes like the "pussy point of view," which are very bold and graphic. The bizarre setting of the moving "swiss cheese steel walls" with the rope artist tying Reiko up and fuck her to orgasm was fantastic. Visually I.K.U. is superb, but I have to admit it was repetitive, meandering and...pointless. I.K.U. have everything imaginable -- hetereosexual, gay, lesbian, transsexual, etc. Some graphic sex scenes are so repulsive at least half a dozen people left in the middle of the movie. It didn't offend me much because I have no moral qualm. I thought I.K.U. was kind of interesting in the abnormal way. Oh, yeah -- watch out for Dizzy's dildo gun.
After the movie ends with a second ending -- it was pretty bizarre -- Shu Lea Cheang took the session that went on long. It was late at 2 o'clock in the morning. I let Nightwatcher listen while I read I.K.U. press kit. After the session, Nightwatch took the opportunity to talk to Ms. Cheang. I never know what he asked, and I need not inquire what he discussed with her about I.K.U.
I went to SFF for the last time Saturday night and never had a chance to get in the award ceremony. I arrived early at Holiday Cinema to see the Mexican comedy HEROD'S LAW at 9 o'clock. I saw the sign indicating that the next showing of I.K.U. is for over 21. Funny, Nightwatcher is under the age limit and he said it was easy to get in.
HEROD'S LAW
A fucking great political satire by Luis Estrada. This man has the enormous talent. HEROD'S LAW is about the janitor Juan Vargas, brilliantly played by Damian Alcazar, who was hired to run as a mayor after the previous mayor had his head chopped off for a mysterious reason. When Juan went to the small town where he was supposed to run as a morally adamant man, he was taken over by corruption and insanity that led to his demise as a despicable drone without the conscience. I could not take the grasp of this movie, because it's a stunning accomplishment in terms of humor, entertainment and utter originality. In fact, the Mexican government tried to ban this movie because it portrayed the political party in the negative light. I won't give away the ending, but it literally had my jaw drop on the floor. I have no doubt Robert Rodriguez will love the hell out of this movie. Enough praise said about the movie, HEROD'S LAW should be released in the theaters in the U.S. sooner or later. It deserves the World Cinema Latin America award -- a remarkable achievement.
I took a trip to Prospector Square Inn to check out the Korean film NOWHERE TO HIDE playing late at 11:30 p.m. What do I have to say? Read on...
NOWHERE TO HIDE
The quintessential hard-core action thriller movie reminiscent of Jackie Chan, Tsui Hark and Ringo Lam. The plot is rather complicated, as it involves the battle between the detective and a drug lord with one of the best and most innovative kinetic visual styles I have seen. NOWHERE TO HIDE looks and feels like the Japanese yakuza comic book, which is exactly what the film borrowed the elements from. Among the most impressive is the choreographic slow motion of brawls, especially the awesome face-off in the subway train sequence near the end. This movie rocked big time. The "new wave" Korean director Lee Myung-Se is brilliant with his use of brutal violence and inventive cinematography. A must-see for the fans hungry for another hard-boiled action movie. I predict Lee Myung-Se is the next John Woo.
That's all I have so far. I'll see you again at Sundance Film Festival next year. I shall bid farewell...
