Coming and Going and Still Here…
+ Things to Come (TIFF)
But first, drop everything and plan how to catch ALL of Kryzstof Kieslowski’s Decalogue between now and October 6 at the IFC Center. This Polish masterpiece was made for TV in 1988 and is seldom shown in its entirety. Based loosely on the ten commandments, it is hardly a schematic theological exercise but, rather a probing adventure into human nature, politics, and art played out in ten installments whose characters weave in and out of the extended narrative. Absorbing. Brilliant. A cinematic omakase that will leave you remembering much and wanting more. ifc center
(NB: Its Metacritics have given it a solid 100 across the board!)
The People vs. Fritz Bauer (Dir.: Lars Kraume) Lincoln Plaza Cinema Do not be misled by the deliberately retro style of Fritz Bauer, set in the post-WWII era of Germany’s long march to respectability via the Nuremberg Trials and attenuated hand-wringing mea culpas by many former Nazis whose leadership in government and industry was deemed essential for the country’s future. Bauer (Burghart Klaussner), a Jew who was released from a concentration camp and exiled to Denmark has returned to Germany to mete out justice to as many of the guilty as he can, while struggling against the opposition of his colleagues and (it is implied) even the United States.
But he is stubborn, aggrieved and persistent; when he finds evidence that Adolf Eichmann is still alive, he’s determined to bring him to trial in Germany.
The film soars as Bauer, increasingly stonewalled by his own government involves Israel’s Mossad and Karl Angermann (Ronald Zehrfeld), a young prosecutor in his division, in his mission. There are death threats. There are complications (Bauer is homosexual; so is Zehrfeld) as their colleagues become enemies and prosecute them to derail the investigation. Israel co-opts the Eichmann trial and Bauer is accused of treason. More than a heady brew, the high-stakes twists and big surprises of the story tighten their grip as they accelerate to the finale. The excellent cast (especially Klaussner and Zehrfeld) delivers all the way. And of course the curtain-raising leads us to ponder what further chapters of post-war Germany still remain backstage to be revealed another day….
Elinor Bunin Munroe Film Center;
Laemmle Royal Theatre, LA
Fatima (Phillipe Faucon) is a real honey; one of many entries about Muslims adjusting to (and changing) French culture. In its quiet way, the lives of a divorced mother and her two daughters make a great impact because of the film’s modesty—its whisper is stronger than any shout. While one daughter is a rebellious teenager who turns her back on her first culture, the other struggles to become a doctor. The mother (Soria Zeroual) supports the family with cleaning jobs as she navigates the rigidity of the Muslim community she remains part of, while determined to give her children a future. She keeps a diary (in Arabic) that reveals the keenness of her sensibilities, and studies French to be able to live more fully in her new home. The film’s last image (devoid of any show, any effects) is simplicity itself; yet carries a soaring emotional charge that simply explodes in joy.
Author: The JT Leroy Story (Dir.: Jeff Feuerzeig)
Elinor Bunin Munroe Film Center/Landmark Cinema
You will start off being beguiled by the Amazon Studios animated preview and then hop on the roller-coaster that the film sends hurtling down the tracks. This film has everything—a story that you can’t possibly make up; some Very Big Names who play their parts in it; more than a few professionals who are completely convinced that it is all true, true, true; and a tight band of core players who put, and keep, the roller-coaster speeding—until they don’t. It’s an extended case of not mistaken, but completely forged identity, with a reveal that explains why it happened in the first place. The hero/ine? A not-so-fun-house of an author (with very real talent for putting words on the page) who can’t help hitting the best-seller lists and being signed for a movie deal. It’s very, very complicated. At times exhilarating, more often (as the details begin leaking out) very, very sad. But always intriguing. A documentary? A fiction? You decide…
Things to Come (Dir.: Mia Hansen-Løve) arrives at TIFF trailing awards from Cannes and Berlin, and likely in line to pick up many more; Love’s fifth feature film is on solid ground. Her works are markedly different from one another in tone and emphasis, but always created from what she knows; Things to Come is no exception.
One of its many great pleasures is its wholehearted embrace of the life of thought by a filmmaker who has lived it; another is the appearance of Isabelle Huppert as a thinker (and doer) who thinks, and does, as intuitively as a hummingbird seeking nectar. Never still, Huppert runs through her days almost on tip-toe, navigating her family, her friends, her home and her university, while levitating a character both enormously appealing and enormously deep. She does light and shade and the transitions between brilliantly, seamlessly, in a role that seems to have been written for her, but also created by her from moment to moment. It’s an extraordinary performance. At 63—just look at her!— with 131 films to her credit, she is ready for many more. And Hansen-Lǿve (at 35) has barely scratched the surface of her films to come. She has a flawless instinct for the arc of her characters, a love for their complexities, and is unlikely to run out of them anytime soon. Things to Come will open later this year. Watch for it…..