So here's the thing.
I went away for the weekend, rather foolishly leaving my cellphone on my desk at work. Realising my mistake about twenty minutes out of Wellington, I considered returning to get it, but decided not to. If I went back I'd hit the bad Friday traffic on my way back out; besides, I can cope without a cellphone for a few days, and I can pick it up when I get back. So, on returning to the city on Monday, I made a special trip in to work, retireved my phone, and then put my keys in the ignition, and turned.
This one action will cost me hundreds and hundreds of dollars.
You see, the key became stuck, neither fully turning to start the ignition, nor turning back to allow me to retrieve the key. I eventually had to have the car towed to my mechanic's, leaving the key in the ignition of the unlocked car, safe in the knowledge that no-one will ever be able to actually steal the vehicle, but also aware that I was now facing a repair job that in all likelihood will not be cheap. I keep thinking "I knew I should have come back to pick up my phone. If I had done that, I wouldn't have had to do so on Monday night, and then my car would be fine." Which is absurd - the damage would have just occured some other time. And really, I was lucky it happened when I was in Wellington - had it happened earlier that day, I would have been stranded hours and hours away from home, But still, you can't help thinking "it might not have happened."
The other annoying thing about this is that today tickets went on sale for the film festival. Which meant I needed my car today to drive in to queue for film festival tickets. Instead, I had to catch the train at 4.30 in the morning. After dropping my gear off at work, and grabbing some breakfast from McDonalds, I arrived at the MFC Ticketek at 6.10am, wrapped in jersey, jacket, hat, gloves, and scarf, expecting to be first or second in the queue.
I was fifth.
And it was close to an hour before the sixth person arrived. I could have slept for an extra half hour or more, and it would not have affected my position in the queue in the slightest.
All this meant that, when it reached 9am, tickets went on sale, and they opened four tills for service, I was still waiting. The thing is, waiting in line for film festival tickets is awful. If you have a long line of people queueing for the rugby, those transactions can be over very quickly, because however many tickets are being bought, they're only being bought for one event. But the film festival? People buy tickets for 20, 30, 40 or more movies, each needing to be named, searched for, and seat allocation discussed and agreed. It takes a long time. Fortunately one woman was apparently buying lots of tickets to only a few films, so she was over quickly and I was able to start buying my tickets by 9.10am. But it was astonishing how quickly tickets went in those ten minutes. By the time I came to book my tickets, the really-good seats for the most popular films were already gone, and I had to make do with just good seats. (Sigh.) My life sucks.
I'm not seeing as many films as I did last year, which is probably wise (last year was brutal). I'm aiming for 28 films, rather than 34. Today I bought tickets for:
* The Cabin In The Woods
* Moonrise Kingdom
* The Minister
* West of Memphis
* Room 237: Being an Inquiry into The Shining in 9 Parts
* The Imposter
* Bernie
* The Taste of Money
* Rebellion
* Your Sister's Sister
* Bonjour Tristesse
* Amour
* Side By Side
* From Up On Poppy Hill
* Gentlemen Prefer Blondes
* The Angels' Share
* Lore
* The Shining
* What's In A Name
* No
* Photographic Memory
* Searching for Sugar Man
* Sound Of My Voice
* Shadow Dancer
Plus I'm planning to try and catch late-afternoon off-peak screenings of The Hunt, Dreams of a Life, and Holy Motors.
The most exciting part of this year's programme was the screening of The Shining, and the screening of the related documentary Room 237. I'm not normally a horror film fan, but there are a small number of horror films that I love, and Kubrick's film is at the top of that list. It's probably the horror film that I return to over and over and over again. The opportunity to see that film on the big screen is therefore a real thrill. I was also intrigued by the idea of the Room 237 documentary as soon as I heard about it - the film explores various theories that certain people have about the film, from the idea that the film is about the white man subjugating the native American population (a common theory, and one that probably has some justification), to the outlandish idea that the film contains Kubrick's confession to having been involved in faking the moon landing. Apparently the film also touches on the idea that the architecture of the Overlook Hotel is impossible; an idea I've been intrigued by ever since I heard about it in these two videos. I think this sounds like a fascinating documentary, and given the amount of footage from many many movies (not just The Shining), it's probably one that will be difficult to see outside of the festival.
I've got about four or five podcasts sitting on my iPod at the moment containing spoiler-filled discussions of the deconstructed horror film The Cabin In The Woods. It had been announced that that film was going straight to DVD in NZ, which genuinely astonished me (a film written by the writer/director of The Avengers, starring one of the Avengers, and starring someone else who is apparently a popular NZ TV star - do you really think there is no interest in this film in this country?). The festival at least offers a chance to see the film in a full house. I do know opinion on the film among critics that I follow has been divided, so it will be interesting to see where my opinion lies. Plus I can finally stop avoiding spoilers and listen to those podcasts.
I've loved Wes Anderson's films ever since Rushmore, but the problem with his films is that he has such a distinctive cinematic voice that his films really can feel the same. By the time of The Life Aquatic With Steve Zissou and The Darjeeling Limited, it would be fair to say he was losing some of his spark. But working in stop-motion animation for Fantastic Mr Fox was perfect for him, since he works mainly in small details, and stop-motion is ALL small details. The resulting film was both recognisably Wes Anderson, and something very different. Now he returns to live-action with Moonrise Kingdom, and is getting some of his best reviews in years, including from critics that don't really like him. So I'm excited about that.
I'd not heard about the West Memphis Three until they were released, at which point I sought out the original Paradise Lost documentaries (I've not seen the third film yet, although I want to). But even by the end of the second film, it did feel like those filmmakers had covered as much ground as they could, so it will be interesting to watch West of Memphis, and see what a new documentary filmmaker brings to this story of a miscarriage of justice.
I've heard great things about Bernie, a true story about the most popular guy in town and how, when he murdered the most unpopular person in town, the entire town rose up to support him. It's apparently played as comedy, which seems awkward for a real event that resulted in a real death, but the reviews (including this video review from the great Battleship Pretension) seem to suggest that the humour is inherent in the story and the people themselves, rather than being an artificial element introduced by the filmmakers. Also, Jack Black is apparently very good and very un-Jack-Black, which will be interesting - Black is an appealing screen presence, and I look forward to seeing him exercise his acting ability in a different direction.
I am seriously conflicted about the rise of digital projection. On the one hand, the technology has advanced to the point that it gives a very good, clean image that doesn't degrade over repeated viewings like film. I've recently enjoyed a run of classic films digitally projected at the Embassy, and at the same time there was a short run of Humphrey Bogart films at the Paramount. It was striking to leave a perfect pristine digital projection of It Happened One Night or Gone With The Wind, and walk into a musty damaged 35mm print of The Big Sleep, at times jumping a few seconds as we passed by frames that had been spliced out. So digital offers a real improvement to the cinema experience, and it's exciting. But, as I discussed when writing about the film Hugo, there are real risks around moving digitally. In 50 years time a physical piece of film will still be able to be run through a projector, but a hard drive containing a movie will have degraded, and file formats will be out of date. The only reason we cannot reconstruct the complete cut of The Magnificent Ambersons is because a deliberate decision was made to burn the negatives of the extra scenes. In the future, important films (which are often not recognised in their own times) may be lost, not be deliberate choice, but just through inactivity. All of which are issues I hope to see explored in Side By Side, a documentary about the transition of the movie industry into digital production and projection.
There are plenty of films praised by people I respect: The Angels' Share, Your Sister's Sister, The Imposter, and Searching for Sugar Man. If a critic you trust really likes a film, give it a chance.
And then there are the films by people whose work I've liked in the past.
I found last year's Another Earth to be an intriguing low-budget science-fiction film, so am interested in Brit Marling's new film Sound Of My Voice, about a cult surrounding a woman who may be from the future.
I run very hot-and-cold on Michael Haneke's films (I've discussed my intense hatred of both versions of Funny Games, and didn't care for Time Of The Wolf, but loved films like Code Unknown, Cache, and The White Ribbon), but he is a master filmmaker, and even in a film I hate like Funny Games he displays an incredible talent for compelling filmmaking, so his new film Amour was essential.
The film society several years ago showed a series of documentary films by Ross McElwee, and his films should be incredibly self-indulgent (his best-known film, Sherman's March, started out as a film about the impact of Sherman's March through the South during the Civil War, but ultimately was a film about McElwee's love life), but they still somehow work. I'm therefore curious to see his new film, Photographic Memory, in which he deals with issues around his 21 year old son by revisiting the location of a key event from his youth.
Plus there's a new Studio Ghibli film. While I didn't particularly care for Goro Miyazaki's first film (Tales from Earthsea), it was mostly because I didn't engage with that fantasy world. Perhaps the realistic setting of From Up On Poppy Hill could be different.
And then there are the films that just sound interesting. A drama about the person running the No vote in a referendum on whether Pinochet should remain as dictator of Chile (No)? A story about children heavily indoctrinated in Nazi ideology making a long journey immediately after WWII (Lore)? A dinner party that collapses into chaos after one of the guests announces his soon-to-be-born child's name (What's In A Name)? I'm curious to see these films.
Now I just have to wait a few weeks for the festival to start. And hope the car repairs don't cost too much.
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