filmfest at last…almost

Sydney Film Festival gets underway tomorrow night. As I described last year, it was a fun time going through the programme working out everything I wanted to see. Followed by working out a schedule that was actually achievable. Even though I managed to get my act together earlier this year, we found that some things were selling out faster so we had to make a few last minute changes. On the other hand, because one film had sold out, I was able to get into another film that a friend was responsible for which I had very sadly passed on…bad friend am I. They changed the android app this year and it wasn’t available initially, then it wasn’t working at all, and they finally got it stable last Friday. Has improved some and is running faster.

Looks like I’m only seeing 26 fillums this year – I must be getting old:

Unbelievably, I’m not seeing any movies on the 14th! That night I’m going to a whisky tasting of new Australian whiskies :-)

braindead

The name of an awesome movie from the dude that later did the Lord of the Rings movies, and my current state of mind. Drove to Orange and back on the weekend, around 4 hours each way. Slept well last night but feeling fatigued. Speaking of Braindead, I recall many years ago, turning up on a Saturday to the Valhalla to see Peter Jackson’s first three films:

I think it was around the time that Braindead was released as Peter Jackson was there in person to introduce each movie and answer questions at the end, barefooted on stage. It was a fun, hilarious day. I’d originally seen the first two on VHS and that was my first screening of the third. It seems somewhat timely to think back to that as there’s a raunchier muppets movie coming out and there’s already comparisons to Meet the Feebles.

more sheep (there are spoilers)

…which sounds like it could be a line introducing the planned Settlers of Catan movie.

But no, I of course refer to a second movie picking up on the themes of Philip K Dick‘s “Do Androids Dream of Electric Sheep”. As an aside, thankfully, googling “android” and “dick” produced far less scary results than anticipated. Dick’s greatness far exceeds dodgy pr0n references. DADOES as it is often shortened to, is possibly Dick’s second best novel, the best generally regarded as The Man in the High Castle. I tend not to disagree.

When the first version of the first movie was released in, I think, 1982 or 3, I wasn’t able to see it. Dad however, bought me the book. I was 14 at the time. It blew me away. I loved it much. I’ve only read it once but it has always stuck with me. Vivid. I finally saw the film on its second release, as the Director’s Cut. Loved it. Also vivid. Seared into my mind. I saw it many times both on big screen and small.

I suspect I’ve seen the original version several times since. Comfortably double figures on the director’s cut, possibly double figures on the original. I love both though it remains true that people generally prefer the version they saw first. There is also a final cut that was much later that I tried to watch recently but didn’t quite find the right moment to pop it on. I’ve read enough to know where it differs and seen the other versions enough to work out where it fits visually.

Seriously: spoilers below.

Bladerunner is that rare, rare film that leaves out so much of the book yet captures its essence, shares its soul. Blade Runner 2049 also succeeded…mostly. I was riveted to the screen for most of it, for most of it was perfect. If it had stopped shortly after Agent K and Deckard met, or been effectively finished at that point, I would have been happy. But it didn’t finish, there were fights and kidnapping and more fights, Terminator-esque. The side plot of the tycoon Wallace, felt shallow and vacuous. Unnecessary. Even then, if the film had ended with K dying on the snowy steps it might have been redeemed. It felt so much like an interesting film with a Brady Bunch ending slapped on.

And yet, it was still so bloody good…so much perfect, visually grand (it needs a really big screen, a big space), musically, aurally wonderful. It still traces the path of  what does it mean to be human, and explores new ripples. It was well paced, events, music, landscapes…connected. I loved its play with virtual characters, and the way it overlapped virtual with real…or a sense of real. It’s all about the sense of real, and not necessarily the real itself.

filmfest 2017 roundup

Another filmfest finished. I run out of puff toward the end and didn’t manage to write up film reviews for the final two days. I was also conscious of needing sleep as I anticipated a busy time at NLS8 the following weekend; in hindsight that was a very wise move as NLS8 was exhausting. I have a conference mode where I somehow assume the guise of someone vaguely extroverted and throw myself into things and chat to as many people as I can. However in doing so, sucks the energy out of me and I have felt rather fatigued in the days since.

Back to filmfest and I think I managed 28 films this time, slightly up on 27 from last year. It was almost 29 but I chose not to go to a 9.30am screening on the final morning and chose a decent sleep-in and a casual brekky. That film would have been a doco on NASA’s Voyager programme, The Farthest, which I gather was really amazing.

Some things don’t change, the app is still dodgy, the search is still dodgy and the website is still dodgy eg the app has several search options except title search. My partner and I have different android phones, and when she hit the back button to return from ticket to movie list, whereas for me the back button returned me to the home screen. The desktop version of the website only displays the search option if your browser is a particular width, too narrow and and it won’t work.

Tech issues aside, filmfest remained generally excellent and I think this was the first year I managed to avoid a dud film altogether, though Ms16 was less successful alas. This is a list, in alphabetical order, of all the films that stood out for me:

playing with editions

I was a little late to the party on “Ready Player One” by Ernest Cline. It was first published in 2011 and I finally got round to reading it last year and the movie is coming out in 2018. It was a fun read full of 1980s pop culture references. I initially came across it because Subterranean Press released a limited edition in 2015 which quickly sold out.

Now I’m sorta wondering whether it’s worth grabbing a nice edition myself. The limited edition initially sold for US$75 from Subterranean Press and the cheapest I can find on abebooks is US$275 and they go higher, much higher. Curiously, I came across the first printing of the first edition on ebay and it was only US$125, however it’s not pristine and looks well read. I am amused the first edition is cheaper than the special edition. With that said, I’m not particularly interested in first editions myself (well unless they’re Biggles of which I have a bunch of first editions) and like to buy pretty editions, well bound with nice typesets.

A row of books on a shelf - Biggles.

It’d be nice to have a decent copy of Ready Player One but I reckon I’ve missed the boat and when the movie comes out next year, the prices will likely skyrocket. If I was in to making money, it might be worthwhile picking up a few copies now, even if they’re a little eccy and then sell them at substantial profit when everyone’s riding high on the movie release. But I’m not that sort of person and not into that whole investing thang. I like to buy nice books because I like to read nice books.

sff 2017 day 9

Combining filmfest and work’s end of financial year and a systems migration to boot, gets a wee bit exhausting. To be honest, I’m usually getting exhausted by this point of the festival. I dashed from work to Dendy Newtown for a doco on Julian Assange at 6pm, Risk (Germany, USA). This film charts Assange from the release of lots of US files, touches on the court cases and throughout his continuing time in the Ecudorean embassy. Mostly it’s footage of Assange himself, talking with friends and others as he goes about his trapped life. He seems mostly detached and distant. I found the soundtrack rather muddy and hard to follow the dialogue, and of course I may have nodded off once or twice. It wasn’t bad but I didn’t feel particularly engaged with it, nor were others.

Following Risk was Mayhem (USA) was another thing altogether. Hello! Joyously violent with an excellent sense of humour, and the female co-lead, Aussie actor Samara Weaving seemed to be enjoying herself a little too much :) There’s a nasty drug in the air, literally, that removes everyone’s inhibitions, so the building is locked down for the 8 hours required for the antidote to take effect. It’s established early on that you can’t be gaoled for any crimes committed while you’re under the drug’s influence. That sets the scene nicely for people who have been done over by the company to fight their way to the top and take on the big boss. This was violent, bloody and gory…and so so excellent. Several scenes had me laughing loudly. The film had energy, a good script and actors in good form.

sff 2017 day 8

Wow! Home by 10, a little late for whisky though it would be nice to have a wee drop. Still managed to squeeze in two excellent films, starting with The Party (UK), written and directed by Sally Potter. One of Potter’s earlier films, Orlando, screened at my very first filmfest in 1993 and I loved it as I have loved several of her films, especially her later work, The Tango Lesson. The Party was a tightly written tale of a dinner party conversation going really wrong with secrets exposed, all unfolding in effectively one, long chat and still managed to surprise with its twists right up to the finale. It reminded me a little of an Ian McKewan novel, such as Amsterdam; short, sharp and twisty. Brilliantly acted with various tensions at play, and an insightful, witty script.

Final film was a more relaxing heartwarming film set amongst the vineyards of France, Back to Burgundy (France). The basic story is of 3 siblings, one of whom returns from 10 years away in Australia and other places, dealing with their family’s vineyard after their father passes away. The story is simple, with heart, and I s’pose has that sense of a quote later in the movie that french wines are planned for 10 or 20 years later whereas Oz wines like to be fresher, both approaches are different forms of pleasure and love, like wine takes time to mature, to improve, not necessarily to decay. The movie was focused on the interplay of the 3 siblings, and progressed through a full 4 seasons, ie a full year, in the cycle of the vineyard: starting with when to harvest, to breakdown, to prune, to grow, and back to harvest. It was never schmaltzy, nor too heavy, and conveyed a strong sense of family.