One of my personal favorites so far at this year's SXSW has been
Jonas Cuaron's
Ano Una. It's a tender, simply-told story of a young American woman traveling in Mexico, and the teenage son of the family she stays with. Relayed through a stream of still photographs, and using a voiceover that blends English and Spanish languages, the film swirls through the dreamy dynamics of a relationship that defies easy categorization. Recalling the work of Chris Marker, it has a casual rhythm, and a sweetness that's very effective.
I also enjoyed
Alex Karpovsky's
Woodpecker, which tells the story of a small Arkansas town brought to life - and controversy - by a reported sighting of the famed Ivory-Billed Woodpecker, long thought to be extinct. Midway through the film, the focus shifts to a local birdwatcher, whose obsessive drive to spot the bird slowly unravels into derangement. Karpovsky is elusive about the line between fact and fiction in his film, but his restrained style - and the film's final twenty minutes - make it very watchable regardless of what's real.
Known to blend fact and fiction in his public persona,
Harmony Korine's latest film
Mister Lonely, already acquired by IFC Films and set to open in May, had its US premiere on Saturday. Starring Diego Luna as a Michael Jackson impersonator who meets and moves into a commune with a Marilyn Monroe impersonator, played by the great Samantha Morton, the film is a great step for Korine. Both more mature and more accessible than his earlier films, it's also more heartfelt, with his signature misfit style here applied to themes of compassion, persona and community.
Colder-than-usual weather in TX has dampened some of the energy this year (and delayed more than a few flights into Austin), but the attendance feels strong overall. Long lines outside films across the sections, at least at the downtown theaters, has made arriving early a necessity, more of a challenge than last year. The premiere of actor
Mark Webber's debut feature
Explicit Ills, the most celeb-attended film outside of the Opening Night premieres, was at capacity in a matter of minutes.
Beautiful Losers has been one of the bigger crowd-pleasers of the fest so far, and seems well-poised for a solid niche following. The rapturous applause after its World Premiere yesterday was well-deserved. The film has great energy, and contains an impressive amount of archival images that combine into an inspiring visual history of a group of artists and the subculture they've created.
The audience response was also strong for another doc about art-making,
Jeremiah Zagar's
In A Dream. Zagar's film is a deeply touching piece that explores the life and work of his mosaic muralist father, and the unexpected strains that follow a moment of crisis in his parents' marriage. It's a brave and emotional portrait of an artist - and an artist's family - that transcends the family-album genre with lush 35mm photography that captures the immensity and beauty of his father's work.
Festival attendees and locals have been able to see the subject's work in person as well, as he and a group of volunteers created an original mosaic outside local BBQ joint Stubb's - easily the most impressive bit of guerilla marketing at this year's SXSW.
I haven't yet seen
Joe Swanberg's latest
Nights and Weekends, which he co-directed with Greta Gerwig, but a theatrical acquisition
announced yesterday - as well as Swanberg's following at this festival in particular - should ensure that its second screening tomorrow night will also be packed.
Likewise packed was a great party last night for
Negin Farsad's film
Nerdcore Rising, DJ'd by Prince Paul and MC Frontalot, hands down the best afterparty this year.
# posted by Durier Ryan @ 3/10/2008 01:27:00 PM
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