I’m back and recovered from the four-day whirlwind that was the Chattanooga Film Festival! Parties, lectures, and workshops abounded at the CFF, but I was there to watch movies and watch movies I did. I can happily say that I went to 21½ screenings and that I’ve now seen 49 of the feature films and shorts shown at the CFF (and I’m still catching up with more titles). A lot were good, some were great, and a few were regrettable. MMC! is all about the movies I love and so here are my top
ten twelve picks from the 2018 Chattanooga Film Festival.
(My apologies to those films that I missed. You can find a full account of the CFF’s films and my takes on a large number of them at my Letterboxd list devoted to CFF 2018.)
With the Chattanooga Film Festival just over a week away and with a stacked program stuffed into only 3½ days, careful planning and difficult prioritizing is required to get the most out of this year’s CFF. MMC! takes this opportunity to celebrate this year’s bounty and offer a quick preview of the CFF with a “Trailer Tuesday” devoted to making some hard choices.
1. Lowlife vs. Madeline’s Madeline vs. WTF
The CFF’s opening block of films is a doozy, programming Ryan Prows’s wonderful Lowlife opposite Josephine Decker’s Sundance darling Madeline’s Madeline and the WTF (Watch These Films) block of short films. I’ve already expressed my admiration for Lowlife, which is both an excellent pastiche of 1990s New Hollywood Violence and a canny take on MAGA-era America, and with director Ryan Prows in attendance for a Q&A and Carey Williams’ short Emergency accompanying it, that’s a hard to miss screening. Madeline’s Madeline came out of this year’s Sundance Film Festival with great reviews, reportedly a coming of age drama/experimental film about a young actor who joins an acting troupe and immerses herself in her current role rather too deeply for comfort, and the WTF block of shorts has some really intriguing titles including Laura Moss’s Allen Anders, a found footage presentation of a notorious stand-up performance from 1987, and John F. Beach and Jonathan Hoeg’s The Accomplice, about a man who discovers his unwitting participation in a bank robbery through a series of answering machine messages. All of these screenings reappear later in the CFF schedule, but that doesn’t really make the choice any easier!
It’s another splendid month of announcements from the Criterion Collection. Without any doubt, I’m most interested in the release of Frank Borzage’s Moonrise (1948). This is mainly due to my fascination with MoMA’s recent program, Republic Rediscovered. Presented in two halves, with the first having wrapped up earlier this month and the latter half arriving in August, the series is presented by Martin Scorsese and the Film Foundation and offers 30 new restorations (compliments of Paramount Pictures) from the acclaimed poverty row studio, Republic Pictures. Moonrise will join the Criterion Collection in May and screen as part of the program’s second half in August. Until then, enjoy Gina Telaroli’s wonderful trailer.
It’s another great month of announcements from the Criterion Collection and I’m very excited for Jim Jarmusch’s Dead Man (1995), a film that I greatly enjoy even if I can’t ever seem to stay awake through it. This trailer is wonderful, showcasing Neil Young’s superb score, the film’s impressive cast, and my absolute favourite moment – Billy Bob Thornton’s complaints about his hair. Criterion’s edition looks great and even includes the amazing Iggy Pop reading William Blake’s poems.
I don’t know about you, but it’s cold where I am. And it’s not going to get warm for a while. It’s all enough to make you lose it a little. Just ask Winston (Matt Kelly), the titular character of Aram Sarkisian’s award-winning short film, — Winston. I saw — Winston on the second day of the 2017 Saskatoon Fantastic Film Festival and it completely drew me in. In my Festival Report, I commented:
Aram Sarkisian crafts a snowy hell of murder and paranoia in —Winston (2017). Fevered letters recounting one man’s hatred for his neighbour offer a window into the main character’s descent into Poe-inspired madness and Sarkisian’s knack for stark design and affective montage (along with some great voice-acting) make —Winston a tiny masterpiece in the macabre.
Seeing it again, I’m further struck by Sarkisian’s intensified atmosphere, particularly those shots simulating a camera view struggling to maintain stability amid winds (and probably blood loss and slipping sanity). — Winston won the Short Film Audience Choice Gold and was my #4 film of the Festival. It’s still excellent and a great way to kick off 2018 at MMC!
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!)