Better late than never … I finally finished up June's movies halfway through July. Yeesh! Here we go:
- Pack Up Your Sorrows at the Cinema, June 2: I saw this as part of the Reel Reel Mind Film Festival this year. It's an essay film about depression and bipolar disorder centering on the personal journey of folk singer Meg Hutchinson. I found Hutchinson to be an engaging subject, and her interviews with friends, family, and medical professionals were well-executed and often filled with beautifully poignant honesty. As a film I thought it was rather lackluster: I tired of voice-overs and musical interludes as Hutchinson walked alone on woodsy paths, and I found the use of no fewer than three cameras—each with different frame-rates and lenses—to be highly distracting (particularly the judder introduced either by a frame-rate mismatch or just low-quality equipment.) Thankfully the audio synchronization was only occasionally an issue, unlike the painful-to-watch/hear trailer on Vimeo.
- Lies I Told My Little Sister at the Little, June 4: This was part of the "Best of the Fests" series and I figured I'd give it a shot. I paid little heed to anything about it, pretty much knowing only that it was one of the top two films in one of the three festivals in town (so they're showing 6 films total.) It's about two adult sisters (including the family of one) and their mother after the death of their eldest sister. The film attempted to tell a story of growth and forgiveness and of the randomness of living and of dying. Unfortunately the script—while far better than average—wasn't adequately honed. From little things like a new puppy that just disappears for the rest of the film to bigger things like dialog between characters being obviously written from one writer's perspective (where dialog is basically just two people expressing the solitary viewpoint of the author.) As for the rest of the cinematic experience, everything else was professionally done with just a few exceptions. In all it was a pretty good film.
- Love & Mercy at the Little, June 9: Neither Jenn nor I knew much of the life of Brian Wilson save for the fact that The Beach Boys seemed to be a popular 1960s group that vanished, and the Barenaked Ladies' name-titled song that mentions Wilson's breakdown. Wilson suffered from mental illness that both assisted his musical genius, but ultimately overwhelmed his ability to deal with reality. Paul Dano did an outstanding job as the younger Wilson, demonstrating a range from subtle social awkwardness to fits of creative mania, but Paul Giamatti nearly steals the show as an oppressive therapist. And the story is just fascinating—although both of us are fully aware that it's just a story that took numerous liberties with the real-life of Brian Wilson to fit into a 2-hour movie.
- I'll See You in My Dreams at the Little, June 12: Jenn and I picked this one on a whim as it looked fairly good out of the Little's line-up. It's about an older, retired woman whose life gets shaken after her aging dog passes away, and two new men enter her life. I found the writing to be outstanding as the themes of the randomness of life and death permeated throughout.
- Angst vor der Angst (Fear of Fear) at the Dryden, June 18: I don't think I ever saw a Rainer Werner Fassbinder film, so I figured I'd give this one a shot. It was very good—about a woman who suffers from anxiety with no obvious source. Margit Carstensen's portrayal of Margot was spot-on: neither too subdued nor too overt, but clearly the character had deep-seated issues. The only visual clue was her point-of-view shots with a watery distortion, but the unusual camerawork put the audience at unease with bizarre motions between characters, split faces, and copious mirrors on set.
- The Wolfpack at the Little, June 26: Jenn and I didn't even realize this was a documentary, although it's so incredible that we have our doubts afterward. It's about 6 brothers (and one sister who's not really included in the film) who were secluded by their parents (but mostly their father) in a Manhattan apartment for their entire lives, save for up to several days each year for very limited excursions. As the film's descriptions often mention, the kids design elaborate costumes and make their own video versions of their favorite movies. Apparently the seclusion was dictated by their father, Oscar Angulo, a Peruvian immigrant, who had a fiercely humanist lifestyle that was the antithesis of the work-centric ethics of his adopted country. I found it very fascinating for a couple reasons. First is how Oscar Angulo built what is effectively a small cult and managed to keep it intact for over ten years—perhaps his secret lies in its inherently family-based size, and in the anonymity of New York City apartment buildings. The other thing was how some elements of his philosophy—for instance that people aren't meant to toil frivolously to survive—are really quite true. And I think through the truths imbedded in his astonishingly strange lifestyle, he managed to create an environment for his children that made them all rather well-adjusted and reasonably prepared to deal with life in the world around them. All that said, he was not shown as a positive figure—rather, he was a quietly domineering father whose alcohol abuse and deep-seated laziness resulted in his wife, Susanne Angulo, carrying the burden of all the home-schooling and household maintenance (although the kids seemed eager and able to prepare their own meals.) The whole thing seemed like a real version of the fictional Kynodontas (Dogtooth).