Film by Day & Music by Night

The sun was out for most days at the end of April, and what did I do? Watched films inside a darkened theater! Yes - as Spring enthusiastically arrived in the city, I planned my schedule around the Tribeca Film Festival, catching at least a movie a day and balancing it out with my evening job. Despite constantly fighting back sleep - as well as any enticing notions of a day in the park - I highly enjoyed my visits to the festival. The hustle and bustle around the theaters - plus the fact that most days were sunny and warm outside - enlivened the festival's atmosphere. What was most satisfying about this year's experience was that I was able to view as many films as I wanted (for free), and that is definitely a luxury that I never get to have in this city. There were several strong features, but these three were the stand-outs for me:

The Disappearance of Alice Creed (UK; dir. J Blakeson) ~ Two men - irascible Vic (Eddie Marsan) and his partner Danny (Martin Compston) - kidnap a young woman (Gemma Arterton) and demand a hefty sum of money from her rich father. However, as tensions rise inside the claustrophobic apartment they're secluded in, secrets are revealed and allegiances are weakened. Director Blakeson pulls off a surprisingly satisfying "kidnapping thriller" and slyly evades most conventional devices akin to this sub-genre. All three principals deliver strong performances (especially Marsan as the volatile 'leader' of the duo), and although certain plot revelations are not wholly effective in execution, they still manage to keep the tension engaging.

{Noteworthy} ~ the film has one of the most absorbing openings I've seen in a while; a very taut montage that shows the disturbing dedication and professionalism that these two men apply to their plan.

The Killer Inside Me (UK; dir. Michael Winterbottom) ~ based on a Jim Thompson novel of the same name, the film has already caused quite an uproar on the festival circuit for its brutal depiction of violence against women. The 1950's-set "noir thriller" centers on small-town deputy sheriff Lou Ford (Casey Affleck) and the sociopathic nature that rages within him as he involves himself with a local prostitute (Jessica Alba) and evades suspicion of his actions from acquaintances and his fiancee (Kate Hudson). Like Thompson's novel, the film is told through Ford's perspective as he narrates about his misdeeds and disturbing mindset while he superficially tries to maintain an upstanding persona in the community. Winterbottom executes a twisted, 'slow-burn' narrative that unsettles more due to its desolate atmosphere and expressionistic cinematography rather than its controversial scenes (which, yes, are very graphic, but also very faithful to the book). It is by no means an easy film to like or approve of, but that's what Winterbottom aims for: to disturb the viewer by luring us into the protagonist's sadistic mind. And you know what? He succeeds completely.

{Noteworthy} ~ the stellar cast. Besides Affleck, Hudson and Alba, the film boasts perfect roles for Elias Koteas, Simon Baker, Ned Beatty and Bill Pullman, all who deliver rich, dramatic performances.

Dog Pound (France; dir. Kim Chapiron) ~ the winner of the Best New Narrative Filmmaker prize (and deservedly so), the film is a stark look into America's correctional facilities for juvenile delinquents, and follows three teenagers inside one such prison as they face constant physical abuse by other jailed youths and endure harsh reprimands by the guards. The film kept me gripped to my seat from the first shot to the last, not only because of the raw and no-holds-barred approach that director Chapiron undertakes in his material, but also in the authenticity of the characters and story. The attention to detail and realism depicted within the enclosed environment - as well as the simplicity of the dialogue - further add to the narrative's true-to-life sensibilities. Although Chapiron employs some customary "prison film" elements into his story, his keen sense for characterization and dramatic conflict elevate the narrative to a gripping level. On the whole, it's a visually-potent and socially-relevant film with one of the most realistic presentations of brutal youth violence in recent memory.

{Noteworthy} ~ the impressive performances by the three principals (Adam Butcher, Shane Kippel and Mateo Morales) - who manage to show both vicious rage and heartbreaking vulnerability in their respective roles - not to mention the rest of the cast, most of them nonprofessional actors.

While I did spend the entirety of my days at the festival, I always opted out of the evening activities because I had to go to work every night. However, on my night off, my friend Gabriel invited me to catch Rodrigo y Gabriela at Radio City Music Hall. It was Gabriel's birthday and he had a spare ticket to give out, so I happily tagged along with him. After having watched a Colombian film that same morning at the festival (Blood and Rain, a solid, assured drama), I was more than excited to catch this talented musical duo from Mexico City. As expected, they did not disappoint. The raucous crowd inside Radio City - both young & old - fed off Rodrigo and Gabriela's charismatic, energetic vibes, and it made for quite a rollicking good time. Here's a taste:

A Worthy "Secret"

About two weeks ago I went to see "The Secret in their Eyes" (El Secreto de sus Ojos) - this year's Oscar winner for Best Foreign Language Film. Since I had already seen Michael Haneke's "The White Ribbon" and Jacques Audiard's "A Prophet" - both excellent films in their own right that also competed for the Foreign Film prize - I wasn't feeling that enthused about "Secret." After all, I was one of many 'film snobs' that were shocked and disappointed that this film beat Haneke's and Audiard's. Now that I've seen the Foreign Language winner, however, I can firmly attest that it is, indeed, a very effective and gripping romantic drama.

The film (directed by veteran TV filmmaker Juan José Campanella), spans over twenty-five years and focuses on the grisly rape and murder of a young woman - a case which a dogged criminal investigator (the always excellent Ricardo Darín), becomes committed to resolving. The murder occurs in 1974, at the same time when Darín's Esposito begins working for the newly-appointed Assistant D.A. (Soledad Villamil). Soon enough, the investigation gets hastily resolved and forgotten by everyone except Esposito, who - decades later, and now retired - decides to write a novel about the case, and in turn, re-connect with Villamil's Irene, whom he always had a deep love for. The film presents a sprawling story that weaves a police procedural/"thriller" with romantic elements. At its essence, Campanella's narrative deals with the impermanence of time and the struggles we endure for love despite all the insurmountable obstacles. "Secret" does not necessarily 'reinvent the wheel' in its plot construction, but it does provide top-notch performances from the cast (particularly Darín, who's been perfect before in Nine Queens and The Aura) and an equally-gripping story with a realistic socio-political undercurrent. Despite the nonlinear structure, Campanella executes a fairly conventional plot in how he addresses and presents his story. However, in one particular chase sequence through a soccer stadium - with Esposito and his alcoholic partner (Guillermo Francella) running after a murder suspect - Campanella employs masterful camerawork by covering the entire chase in one kinetic, free-roaming shot (similar in style and approach to this film's opening).

While I don't wholeheartedly agree with the Academy's decision to bestow the Best Foreign Film Oscar to this film, I can nevertheless understand why they did so. Oscar voters tend to opt for safer, audience-friendly choices over gutsier fare (last year's "Departures" winning over "Waltz with Bashir," the criminally-overrated "Life is Beautiful" winning in '99) and, while this year was no different with "Secret," the film still deserves the acclaim it's gotten. It is a potent narrative that keeps you engaged throughout, and one that continues to herald the strong and assured filmmaking in Argentinean cinema.

"The Secrets in their Eyes" is currently playing at the Angelika Film Center (18 West Houston).