FLAMENCO AT 5:15 (Cynthia Scott, Canada, 1983) 6 V s
It’s so incredibly easy to parody (I wonder if Mike Leigh saw this before HAPPY GO-LUCKY) that it's a miracle it's watchable at all. An "educational" experience about an "emotional" one, but the teacher is a compelling enough presence to pull it off.
TENDER MERCIES (Bruce Beresford, USA, 1983, 9)
Robert Duvall was in person to introduce the film (and his THE APOSTLE, which I didn’t see) at the 2006 Virginia Film Festival. After entering the theater and walking down the aisle, he took the seat *right in front of yours truly.* While he was being introduced, I pulled out my program and a pen, and got Duvall to sign it on the page for TENDER MERCIES.
The film itself is one of…
DICK JOHNSON IS DEAD (Kirsten Johnson, USA, 2020) 9
At the 2016 Sundance Film Festival, I saw Kirsten Johnson’s CAMERAPERSON while coincidentally sitting right next to her. As the closing credits rolled, I whispered to her “that was the best film of the festival.” She said “why, thank you” and pressed her cheek against mine. I then immediately left the theater without another word, as I knew going into the film that I’d have to rush to a sports bar…
LEAVE NO TRACE (Granik, USA, 2018, 10, was 9)
This is gonna sound more back-handed than I mean it but a significant part of this film’s greatness is in what it DOESN’T do. There is no war flashback; Foster’s reaction to diegetic helicopter sounds is enough. There is no real father-daughter “confrontation” talk before the last scene, because that isn’t these people. There is no VA-related politicking because people don’t live like issues. There is no elaborate long-term plan. And…
