‘Stead of treated, the kids were getting tricked on Day 3 of the Saskatoon Fantastic Film Festival. Certainly the SFFF’s most celebrated film was Issa López’s festival darling Tigers Are Not Afraid (2017). MMC! has discussed López’s film on more than one of occasion, and so we’ll take its greatness as read and briefly discuss Jérémy Comte’s Fauve (2018), a Canadian short that feels tailor-made to open for Tigers. A Special Jury Prize-winner at this year’s Sundance Film Festival, Fauve concerns a pair of boys exploring a surface mine who “sink into a seemingly innocent power game with Mother Nature as the sole observer.” The short brings to mind Gus Van Sant’s Gerry (2002) and a very specific John Mulaney joke about an impression he had as a child, but these glib comparisons belie the truly heartbreaking nature of Comte’s film. Fans of Tigers would be well served to seek out Fauve.
The Buried Alive Film Festival wraps up this Sunday and MMC! is here to tell you why you should go! In addition to another screening of The Golem with a live score by the band Samadha (just in case you miss the screening and performance this Friday), there are two feature films, two supporting shorts, the “Why Bury Good Meat?” short program, and BAFF’s awards ceremony.
There’s plenty of good stuff to see on BAFF’s final day and MMC! has its favourites. Here, dear readers, are five MMC!-approved titles to BAFF this Sunday:
Probably the only thing that improves upon Bo McGuire’s astonishing short, Socks on Fire: Uncle John and the Copper Headed Water Rattlers (2017), is that the film is available on his website right now to see – click HERE to visit his site and watch! The 15-minute short is an experimental fantasy of some family drama that resists easy description. McGuire labels it on his site as a “lyrical meditation exploring personal family relationships, archetypes and myths through a variety of means & textures” and a rough cut to a feature-length “transgenerational docudrama,” while the Chattanooga Film Festival offered this synopsis – “A failed poet takes up cinematic arms when he returns home to Hokes Bluff, Ala. to find his aunt has locked his drag queen uncle out of the family home.” When asked about his inspiration for the short by Indie Grits, McGuire offered this:
Gail Bryant was a lady from my hometown of Hokes Bluff. She had a tick where she would snap her neck to throw her silver hair to the side. One day Gail was snapping that neck and the next day she was in the ground. That pissed me off. The same thing happened to my Nanny and Papa without the neck snaps and that really pissed me off. Then my Aunt Sharon went behind everyone’s back and tried to sell Nanny and Papa’s house, and Meryl Streep got up on the Oscars hollering, take your broken heart, make it into art.
McGuire, the self-described “queer son of a Waffle House cook and his third-shift waitress on the corner of George Wallace Drive in Gadsden, Alabama,” crafts a Southern Gothic dreamscape that is equal parts John Waters and Terrence Malick. Steeped in corner store pageantry, Socks on Fire veers from scenes of straight documentary to magical realist reveries, with McGuire appearing in oscillating roles of interested relation, impartial chronicler, co-conspirator, and mystical trickster. While often ostentatious and unabashed, McGuire never stoops to exploitation but rather preserves an air of respect and poetic gravity throughout the short. It is McGuire’s greatest success here, creating a kind of cinematic eye dialect from the iconography of slim cigarettes, pick-ups, fireworks, Crimson Tide merchandise, and nature’s damp, inevitable power. It’s a mini-masterpiece and I can’t wait to see Socks on Fire in its full, feature-length glory!
Shout out to the Chattanooga Film Festival and to Bo McGuire! I was lucky enough to spend a little time with Bo (even catch a screening of Rock Steady Row with him) and he’s as affable and charming a guy as you’re likely to find. Bo was definitely a personal and cinematic high point of my CFF experience. Thanks Bo!
The Criterion Collection, a continuing series of important classic and contemporary films presents Jazz on a Summer’s Day.
In his sole effort in filmmaking, celebrated fashion photographer Bert Stern surveyed the 1958 Newport Jazz Festival to create a now-classic document of ’50s America and capture some of the most stunning images of live jazz ever brought to the silver screen, featuring performances by Louis Armstrong, Anita O’Day, Thelonius Monk, and Dinah Washington, as well as rock and roller Chuck Berry and gospel icon Mahalia Jackson. Stern, with assistance from editor and co-director Aram Avakian and jazz producer and musical director George Avakian, brings onscreen jazz music from smoky nightclubs to the colorfully sunny days of affluent Rhode Island, infusing these images with his distinctively clear and uncluttered aesthetic. Juxtapozing the Festival with footage of its audience, of life in and around Newport, and of the ongoing America’s Cup yacht races, Jazz on a Summer’s Day immortalizes the breezy cool of the era before it was overtaken by rock music and the tumultuous Sixties.
- New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
- New audio commentary featuring jazz and film critic Gary Giddins and radio host Tom Reney
- New introduction to the film by Giddins
- New interview with musician Keith Richards
- A Summer’s Day, an interactive documentary with director Bert Stern with additional scenes
- Jammin’ the Blues, photographer Gjon Mili’s 1944 short film with optional audio commentary by Giddins
- Selection of unreleased performances and footage
- Stills gallery, featuring the work of renowned photographer Bruce Davidson
- Optional captions identifying artists and song titles
- PLUS: An interview with Stern with John Guida and an essay by historian Arik Devens
Merry Christmas from MMC!
This year, MMC! brings you good tidings of great joy by way of the Film Junk short, A Very Gerry X-Mas! (Jay Cheel, 2010). Starring Reed Harrington, made by Jay Cheel (director of another MMC! favourite – Beauty Day), and featuring a brilliant opening sequence by Rob Niosi, A Very Gerry X-Mas! provides a quirky, awkward take on traditional holiday television programming. Part cooking show, part instructional video, part video confessional, part dream sequence, part fireside reading, this is all tongue-in-cheek, holiday goodness.
Happy holidays to everyone out there! Stay safe!
(And our next post will go up before the end of the year … and this time I mean it!)
I recently watched Redes (Emilio Gómez Mariel and Fred Zinnemann, 1936), from the first Martin Scorsese’s World Cinema Project box set, and Kent Jones’s visual essay which makes reference to Manhatta (1921), a documentary short made by photographer and Redes-cinematographer Paul Strand and painter Charles Sheeler. The short is not included in the WCP set (although it was included on the now OOP DVD set, Unseen Cinema), and so I thought I would share it here at MMC! The short is inspired by Walt Whitman’s poem “Mannahatta” and is considered the USA’s first experimental film. Strand and Sheeler link their respective art forms (painting and photography) to cinema by preferring dynamic angles and compositions over movement, using editing and intertitles to express a monumental day in Lower Manhattan. The result is a visually engaging and invaluable document of the time.