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!
The Saskatoon Fantastic Film Festival’s final day was even more massive than expected. With a packed program and an extra short film (moved from the previous day due to a technical issue), there was little downtime between screenings and the Festival’s final midnight show started late and wrapped well past 2:30 a.m. Those that saw the marathon day of screenings to its bleary end enjoyed without question the SFFF’s best block of films (plus some welcome giveaways for lucky attendees).
First, a shout out to Cole and Ericca at The Magic Lantern Podcast who shared some love for MMC! in their recent discussion of Little Murders. Cole and Ericca provide a great (and very funny) discussion on the relationship at the centre of Arkin’s film. For the record, I’m with Cole – the wedding sequence stands as the most enjoyable part of the movie and Elliott Gould’s unresponsiveness to the demands of social convention or personal interactions is all too recognizable.
My most recent Criterion connection came by seeing Brazilian singer Seu Jorge perform live his selection of David Bowie covers from Wes Anderson’s The Life Aquatic with Steve Zissou (2004). Jorge put on an amazing show, providing a variety of entertaining anecdotes on the making of the film, displaying some nimble guitar-work, and filling the theatre with his deep, impressive voice. The trailer for The Life Aquatic prominently features Jorge’s covers, serving as an effective promo of the singer’s currently touring show. Don’t miss it!