Zift Happens

Melbourne International Film Festival 2009



Zift is film noir set in post-war Bulgaria. Its black and white format works for this historical piece, creating a very appropriate mood. It is gloomy and seedy. It also moderates the ample blood associated with the inevitable violence. The magnificent settings reflect both the pre-war architectural grandeur of Sofia and the grey totalitarianism of the communist state.

The film has many of the classic noir stock features. Following release from prison in the 1960s, the protagonist Moth (Zahary Baharov) narrates his story taking us back to 1944. The mystery revolves around a diamond missing from the original crime scene. The femme fatale Ada or Mantis (Tanya Ilieva) is his school sweetheart. There is lots of suspense and a protracted chase. We meet a range of oddball characters during his one-night fight for life.

Betrayal is an essential part of this genus. The “villain” is his old partner in crime Slug (Vladimir Penev), now a powerful apparatchik who has thrived under the brutal, repressive Stalinist regime. Moth knows that he should trust no one.

This is an entertaining and at times troubling look at what people will do to survive. In keeping with the genre, it has an underlying layer of misogynism. There is little challenge to the view of women as men destroyers. The praying mantis metaphor is indulged both verbally and visually.

Both Baharov and Ilieva have very strong screen presences. He’s a man’s man, muscular and square-jawed. She’s lean and lithe with enticing eyes. The pair ooze sensuality, especially when working off each other.

According to Moth, “zift” means "bitumen" and was used as chewing gum. It’s also slang for “shit”. Very fitting for this dark movie. However, it’s tempered with some humour. Moth’s scrambles through the women’s section of a large bathhouse. He dives into a pool to retrieve a false eye that belonged to Grater (Tzvetan Alexiev) a prison friend. It’s worth seeing just for the gallery of tattoos. There is a sample in the trailer.

Director Javor Gardev and novelist/screenwriter Vladislav Todorov have crafted a tight script within an ample 92 minutes. Lots of other filmmakers could follow this example of brevity.Zift is definitely worth a look.

(The sub-titles on the copy shown at MIFF were less than satisfactory at times, which is very disappointing given its release was nearly a year ago.)

Silent Wedding: no laughing matter

Melbourne International Film Festival 2009

Silent Wedding (Nunta muta) is three films in one. A search for the para-normal. A romantic comedy. A political drama. It’s one too many.

There are many truly comic moments in its village that at times feels like sixteenth century rural Europe. The peasants are struggling to come to terms with the realities of Stalinist Romania in 1953. They treat their small local party cadre with ridicule. The modern day ruins of the giant factory are the legacy of this clash with brutal authoritarianism.

The characters and settings are pure Bruegel. Mara (Meda Andreea Victor) and Iancu (Alexandru Potocean) are a courting couple full of the joy and pleasures of youth. Their feuding families are finally united when a wedding is planned. Three upcoming events determine the date of the celebration and set their fate.

Firstly, the circus is coming. Coincidentally Iancu’s best friend is a dwarf, a seemingly essential element in stories of the supernatural. Secondly, the communist party has arranged a propaganda film night, a challenge in a place without electricity. Finally, Lent is approaching, with its deep significance for these religious people.

Silent Wedding has lots of entertaining and funny parts. There is a very effective three Stooges slapstick routine, a very difficult task at any time. The silent wedding scene is very amusing for the most part. Unfortunately, like the movie itself, it is too long with just too many visual gags and unnecessary detail.

The modern day TV crew’s search for a para-normal story could easily have been omitted to tighten up this production. The supernatural elements could also have been left out.

The unfolding tragedy is apparently based on a true story. If so it doesn't quite do its subject complete justice.

Walter Murch: cinema diamond cutter

Melbourne International Film Festival 2009

Walter Murch's CV as a filmmaker reads like a Who's Who entry of American cinema: The Conversation, The Godfather, Apocalypse Now, The English Patient and many more.

In Murch - Walter Murch on Editing he talks about his role as film editor on some of the best known movies of the last forty years. He's a talking head with a difference.

Edie Ichioka and David Ichioka's documentary is not about the technicalities of editing. There is little jargon or complex technique. Its strength is in the exploration of how film is created, in particular the collaboration that brings image, sound and story together.

If you're into filmmaking, put this one high on your list of must sees.

In the Loop: war of 4-letter words

Melbourne International Film Festival 2009

In the Loop is a very enjoyable, well made spin off from the British TV series The Thick of It. Like most top British comedy it relies primarily for its humour on dialogue rather than visual gags.

Leader in this arena is Peter Capaldi as Malcolm Tucker the U.K. government's Head of Communications. He is a foul-mouthed bully whose spew of offensive, sarcastic invective is unparalleled. He's a bully who harasses all around him.

The diminutive British Secretary of State for International Development, Simon Foster (Tom Hollander) is another Pythonesque character whose droll one liners seem lost on his underlings. His new press officer Toby Wright (Chris Addison) has more than a professional interest in his U.S. opposite number Liza Weld (Anna Chlumsky) and slides down a steep learning curve on his first visit to Washington D.C.

It's a simple plot. U.S.President and U.K. PM want to go to war in the Middle East. The man to deliver this is master spinner Assistant Secretary Linton Barwick. David Rasche as Linton gives us some wonderful Donald Rumsfeld moments. In a War Committee meeting he asks the participants to imagine that a glass of water is a shoe. Mimi Kennedy as Karen Clarke does a competent job as his foil.

James Gandolfini, of Sopranos fame, adds his considerable weight to the anti-war forces in the role of General Miller.

When the film was introduced at MIFF 09 it was described as a mixture of Monty Python, The Office and Yes Minister. It certainly lived up to this accolade with lots of laughs throughout.

Blessed : facing our worst nightmares

Melbourne International Film Festival 2009


According to the producers, Blessed “is a film about mothers and children, about love and beauty, about being lost and finding your way home.” Director Ana Kokkinos, of Head On fame, has given us another disturbing exploration of surviving in the twenty-first century.

It is a very grim, gloomy look at ordinary lives in Melbourne’s western suburbs. They are outsiders: single parent families, migrants, indigenous stolen generation, the old to the very young. A lot of it is not a pretty picture: shoplifting, burglary, child abuse, poker machine addiction, clothing outworkers.

It’s the underclass, the working class who are unemployed or underemployed and exploited. Alienation is a sad, everyday fact of life. they are desperate people in a society that is failing them.

The story uses dual timeframes of a single day. Firstly we see the children’s crises unfold from their perspectives. Later the day is repeated using the parents’ experiences as the focus. The threads are tied together by the use of characters that link the narrative both directly and indirectly.

There are haunting scenes:

Two mothers visit the mortuary. One regains some hope, as the other screams unforgettably in despair.

A mother and father sit in a hospital emergency waiting room, separated by an empty seat and a crowded past.

A man cries for his stolen youth and his lost mother.

A woman cradles the unborn child in her womb, both facing a seemingly hopeless future.

The cast is outstanding, showing the depth of both experienced (Miranda Otto, William McInnes, Frances O’Connor, Deborra-Lee Furness, Monica Maughan, Wayne Blair) and new (Eamon Farren, Sophie Lowe, Harrison Gilbertson, Eva Lazzaro, Reef Ireland ) talent in Australian cinema.

McInnes plays the only father in this patchwork of relationships. He convincingly captures the essence of this lost soul, who is petrified, in both senses of the word, by life. Otto and O’Connor each leaves us with a lasting image as she dances, one of hope and the other of desperation.

Blessed is a dark drama that should touch you to the core.