Competition films

You might have missed this weekly viewing journal of late – this writer has been engaged elsewhere, covering the Berlin Film Festival competition (and some other films) for other outlets. For CineVue, I reviewed André Téchiné’s rewarding French drama Being 17 (****); Alone in Berlin (**) starring Emma Thompson and Brendan Gleeson; the dense and deftly handled Death in Sarajevo (****), which won the Silver Bear Grand Jury Prize; the desperately frustrating Genius (*) which starred a manic Jude Law and a tired Colin Firth; and finally Gianfranco Rosi’s Golden Bear winning documentary, Fire at Sea (****). Meanwhile for Sight & Sound, I reviewed Mia Hansen-Løve’s latest feature, Things to Come, which deservedly won the Silver Bear for Best Director. Starring the endlessly watchable Isabelle Huppert, it’s a deeply thoughtful, mature work.

On my return from chilly Berlin, I checked out the new Quentin Tarantino film, The Hateful Eight screening from the 70mm roadshow print at Filmhouse. The 70mm differs from the digital version in that it has 20 minutes of additional footage, an overture and an intermission. I must say that the experience of viewing the film this way, with the prestige of the red curtains pulling back following the overture, the sheer beauty of the print itself, which really enhances Tarantino’s skills as a filmmaker, and the anticipation that the intermission created, was a great pleasure.

Having made that clear, it remains that The Hateful Eight is a very unpleasant film. Even considering that the film’s title makes clear the scorn of its characters, the negativity of the film permeates everything, from the characters, to the dialogue and the message, making it hard to understand what exactly Tarantino thought the audience would find fun about the film. Oh, wait – violence is really fun, isn’t it?

Tarantino loves creating puzzles for the audience to solve, and creating no-win situations for his characters, his passion for narrative and story-telling is clear. It’s just that in The Hateful Eight there’s no reason to be invested in the outcome. A note on the other big problem with the film. Of the female characters that get more than one scene, Daisy Domergue (Jennifer Jason Leigh, pictured above) is repeatedly beaten, constrained, abused and made powerless – we’re told she’s a dangerous murderer – yet we do not see the evidence of this. By the film’s end, the male characters have done despicable things to each other, and yet, Daisy’s punishment is to be gleefully hung and laughed at, dwelling on her pain as though a relief from the horror of the past hours. The Hateful Eight dispatches violent men quickly and explosively, but a non-compliant woman must be made an enduring example of. It’s exhausting. For a more in depth review, see Matt Zoller-Seitz’s piece for rogerebert.com – his assessment is spot on.

With that, ‘My week in film’ will be a little less active for a couple of months while this writer switches from reviewing festivals to programming a festival, to produce the Alchemy Film & Moving Image Festival . Aniston of the week however, will continue!