Today’s the last day of the Vancouver International Film Festival, and I can happily say I am done for the year. I’ve previously only seen up to three films in a single year, but I managed to fit in five in 2016. It felt incredibly ambitious but I’m glad I did it.
Here’s a quick run-down of the films I was able to see this year.
Directed by Randall Okita; Starring Kelgian Umi Tang
I fall somewhere in the middle on the introvert-extrovert scale, but admittedly lean closer to the extroverted end. So it can be hard for me to understand introverts though I do put effort into accommodating the introverts in my life.
The Lockpicker paints a beautiful image of what it’s like living in one’s mind, wanting or needing to retreat internally, but also desiring to engage with the world outside. Newcomer Kelgian Umi Tang stars as Hashi, who is stunned by the suicide of a close friends and as a result, is forced against his nature to explore ways to escape – and even survive – his own circumstances, beyond what he’s usually comfortable treading.
The film is dark and can be heavy, but is also filled with glimpses of light and hope when Hashi begins to see a possible way out. The Lockpicker very much locks the audience in Hashi’s mind and doesn’t let us leave until Hashi himself finds a way out.
Harold and Lillian: A Hollywood Love Story
Directed by Daniel Raim; Starring Harold and Lillian Michelson
Harold and Lillian is most certainly “a Hollywood love story” but in many ways, it is so much more than that. The documentary follows the relationship between storyboard artist Harold and film librarian Lillian Michelson, but also takes detours (that don’t seem like detours) into each of Harold and Lillian’s own career paths.
If anything, the documentary illustrated what it looks like when two people are truly rooting for each other and back each other up. Through animated frames of milestones in their life together and greeting cards Harold has written Lillian over the years, viewers get the sense that yes, Harold and Lillian are a team, always have been, and always will be.
And Hollywood isn’t just a backdrop for Harold and Lillian’s love story; there’s the impression that it was their love that made Hollywood a little more gentle, kind, and easy to tackle in those early years. In a way, the couple’s love for each other was only matched by their love for their work and for Hollywood.
Directed by Jim Jarmusch; Starring Jim Osterberg
Gimme Danger is helmed by Jim Jarmusch and dives into the early days of iconic rock group Iggy and the Stooges. Knowing the space that Iggy Pop (Jim Osterberg) and the Stooges now inhabit in the annals of rock, it’s fascinating to meet them as misfit, abusive teenagers, pushing themselves and each other on stage, and to fully realize that they weren’t always the revered rock pioneers they are today.
Even more jarring is to strip away what we know of them now, and to see Osterberg, not yet aged by drug use and rock and roll, as a nearly clean-cut drummer for local high school bands. To think that this well-suited, tie-wearing drummer would later bleed and writhe on stage for no reason other than to spur on his band mates’ performance can only elicit one appropriate, seemingly obvious response: “Of course. OF COURSE.”
As far as rock documentaries go, Gimme Danger offers the exact kind of nuggets fans hope for, such as Osterberg discussing how he took a hit of Mescaline and headed off with a shovel to try and squat in an abandoned house that would later become home to the Stooges’ early days. Of course. OF COURSE.
Directed by Matt Johnson; Starring Matt Johnson and Owen Williams
Movies about making movies hold a strange, special place between reality and fiction. Operation Avalanche, much like Matt Johnson’s previous film The Dirties, is no exception.
In 2013’s The Dirties, Johnson and Owen Williams play a pair of high school students making a film about high-school bullies. The line between what’s part of the story and what’s part of their actual filmmaking process begins to blur, and it’s at that point where audiences stop laughing and start becoming concerned for – well, we’re not sure who to be concerned for because we’re not sure if the movie in the movie has slowly become real life (in the movie).
Operation Avalanche follows the CIA’s crack audio-visual team, which has been embedded at NASA in the 1960s and tasked with staging the moon landing when it’s discovered NASA can’t do it themselves. It’s presented in much the same way The Dirties was structured; the characters don’t break the fourth wall, but more so step in and out of it fluidly. When Johnson reveals to his CIA supervisor that he’s being filmed unknowingly through a one-way window by a member of the A/V team, the audience feels like it should wave back as well.
It’s interesting to see how Johnson and his team have matured and changed in the last three years since The Dirties was released. In Operation Avalanche, Johnson is much more assured about absorbing the audience itself into the story. The film is a hell of a good time, an intelligent conspiracy theory suspense-comedy-thriller that makes you wonder what Johnson will cook up next.
Harry Benson: Shoot First
Directed by Justin Bare and Matthew Miele; Starring Harry Benson
They teach you in journalism school not to become part of the story, in order to avoid any semblance of bias or influence. But what a joy that noted photojournalist Harry Benson is the story.
Harry Benson: Shoot First documents Benson’s many years in photography and goes into detail sharing the story behind some of the Scotsman’s most recognizable and iconic photos. The stories of his many interactions with celebrities are a joy to listen to, such as how legendary pop star Michael Jackson would often compliment Benson’s jackets and end up adopting them for his own wardrobe. Or perhaps how Benson managed to elbow out competing photographers through wit, charm, and cheekiness. (He’d hear from a subject that they hated cursing and so he’d go around telling other photographers that the subject loved cursing.)
It’s also one of the most beautifully shot documentaries I’ve seen, with camera angles many would never think to stage for a simple sit-down interview. Slideshows of Benson’s photographs paired with scene-setting music pulls the audience deeper into each image, as if we were there too when the photo was taken.
As a journalist myself, the documentary lights a fire in me, and reiterates the importance of being there, being present, and being absorbed by a story or a subject. Benson offered his subjects something more than just a camera lens, he offered himself and it’s because of those relationships and that trust that Benson has been allowed – and even invited – to document some of the world’s most famous faces and scenes.