A gritty South African noir, a gorgeous French-Canadian melodrama, and a cloying gay "message movie" from right here in the US of A are among the hits and misses on offer during SIFF 2012's first full week.  

Highlights for Monday-Sunday, 5/21 - 5/27:

DON'T MISS:

Elena
{screens May 24 at 7pm at Pacific Place}
Gripping, stylish, gorgeously crafted Russian tale of a coveted bequest, pitiless class conflict, and the misdeeds of a tenuous marriage. He's rich, in poor health, and drawing up a will; her lazy son's trashy family needs dough. But noted filmmaker Andrei Zvyaginstev (The Return) doesn't allow their story to follow any prescribed path. Tension arrives in slight movements and subtle unravelings; it's a beautifully slow burn, and patience is rewarded manifold. Feast your eyes.

How to Survive a Plague
{screens May 21 at 9pm at Pacific Place}
Outsiders throughout history have been organizing to solve seemingly insurmountable problems; the dilemma du jour in mid-'80s NYC was the AIDS crisis. This marvelously thorough documentary focuses on organizations ACT-UP and TAG, their struggles with prevailing ideas of the day and their roles in the mid-'90s breakthrough of combination therapy. Via amazing archival footage we see the activists age and progress over the course of three presidential administrations and millions of deaths. A passionate and extraordinarily moving account of a hard-won turning point.

The Imposter
{screens May 23 at 8:30pm at the Uptown, May 29 at 9pm at the Harvard Exit}
Spellbinding, infuriating, beautifully executed documentary thriller about a French Algerian mystery-man who in 1997 passed himself off as a missing San Antonio teen, fooling international officials and (most astoundingly) the boy's actual family. Queasiness in the first half ends abruptly when an awesomely old-school local P.I. rolls in (complete with Johnny Cash fanfare) and gets the show on the road, leading the crazy-ass story to an edge-of-your-seat climax. The film satisfies, even if the real-life outcomes do not.

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It’s time once again to run down the highlights of this year’s Face the Music program for the Seattle International Film Festival!

There are a ton of great things this year, but the film I think our Imaginaries will be most excited about is the documentary Welcome to Doe Bay, which chronicles the community and camaraderie of Doe Bay Fest—a camping trip/music festival/weekend-long party at Doe Bay Resort on Orcas Island that brings Pacific Northwest music stars and fans together for a relaxing musical retreat, and apparently, some slip-n-slide action and s’mores. The trailer is packed with engaging commentary and familiar faces (Hi, Jace!) and I’m sure the music featured by Sera Cahoone, Lemolo, the Maldives, Fly Moon Royalty, Champagne Champagne, and … wait for it … The Head and the Heart will be the draw for fans of the scene. {Screens June 3, 9:15pm, The Egyptian & June 5, 9:30pm, SIFF Cinema Uptown}

On the opposite end of the spectrum, Emerald City Visions (A Hip Hop Reinterpretation of The Wiz) looks pretty radical. The description promises OC Notes, Don’t Talk to the Cops, and “some of the hottest names in hip hop” (I guess it’s a secret, but I know who I’m pulling for) will infuse the musical score of The Wiz with some fresh flavor and beats. Word. {Screens June 1, 7pm and again at 9:30pm, The Triple Door—and if you see the 7pm showing, you’ll still have plenty time to make it to our Rockstar New Wave Karaoke show!}

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I’m always most excited about SIFF’s Northwest Connections showcase, and more so this year than ever, since Lynn Shelton’s Your Sister’s Sister is screening on opening night! If I had my way, a film by a Seattle director would ALWAYS open the fest. But uh, until I’m charge, I guess that probably won’t happen. Anyway! Let’s dive into this year’s schedule.

I can’t say enough good things about Your Sister’s Sister, and I’m sure it will open soon after the fest in Seattle, so if you’re unable to attend Opening Night, don’t fret—you should be able see it soon enough! It’s a really fantastic piece of REAL storytelling. With relatable characters and a lot of laughs … I mean, duh. It’s Lynn Shelton! But seriously, I really, really, really think it’s her best work yet. And now I can’t wait to see her recently completed film,Touchy Feely. {Screens at the Opening Night Gala, May 17, Marion Oliver McCall Hall}

A second standout that I’ve was lucky enough to preview is Eden by Megan Griffiths. Can I tell you guys how pleased I am about two of my favorite female directors being spotlighted at SIFF? I AM VERY PLEASED. FOR REALS. And even more pleased that Eden is fucking spectacular, and worthy of that Stranger Genius Award. Chronicling a young girl’s abduction and capture at the hands of a super-icky gang of dudes who run a sex slave house near Vegas, Eden tells the story with non-exploitive delicacy, beautiful care (it’s based on a true story), and some goddamn amazing performances. Obviously, this film makes me want to swear. But only because I REALLY loved it. {Screens  May 19, 9:15pm, The Egyptian, & May 29, Everett Performing Arts Center}

SIFF is obviously trying to win my heart by choosing a filmed-in-Seattle gem as their Closing Night film. Grassroots (Kudos, Stephen Gyllenhaal, for actually filming a movie about Seattle IN Seattle, and not in Vancouver like a lot of other jerks), is about an obnoxious music critic (OH, WE HAVE THOSE??) who decides to run for City Council in order to make his dream of public transportation a reality. Politics + monorail hilarity + my hometown = this on must-see list. {Screens at the Closing Night Gala, June 10, 6pm, SIFF Cinema Uptown}

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Here we go again! Our local month-long cine-megathon hits this Thursday, with Lynn Shelton's fantastic new film Your Sister's Sister -- Imaginary Amie's favorite opening night selection in seven years -- headlining the kickoff festivities.

But then what? Well, of the twenty opening weekend features I've been able to catch in advance, I've come across handful of absolute must-sees, a couple of total stinkeroos, and a whole slew of mid-level entertainments with at least a lil' somethin' to enjoy (and usually a lil' somethin' not to enjoy, too).

And if these early films are any indication, well, fasten your seatbelts. It's gonna be a bumpy SIFF.

Are you ready? Well, we are. Highlights for Friday-Sunday, 5/18-5/20:

DON'T MISS:

Ai WeiWei: Never Sorry
{screens May 18 at 6:30pm and May 19 at 4pm at Pacific Place}
Ai Weiwei is arguably China's most polarizing contemporary artist, frequently harassed by authorities for conveying (through his art and otherwise) criticisms of his government's blatant disregard for civil rights and heinous lack of transparency. Filmmaker Alison Klayman got amazing access to Ai himself and makes great use of archival footage in crafting a compelling portrait. But even after the artist finds himself silenced, it's really the work that speaks, however large in scale, boldly and beautifully.

Elena
{screens May 18 at 11am and May 24 at 7pm at Pacific Place}
Gripping, stylish, gorgeously crafted Russian tale of pitiless class conflict, a coveted bequest, and the misdeeds of a tenuous marriage. He's rich, in poor health, and drawing up a will; her lazy son's trashy family needs dough. But noted filmmaker Andrei Zvyaginstev (The Return) doesn't allow their story to follow any prescribed path. Tension arrives in slight movements and subtle unravelings; it's a beautifully slow burn, and patience is rewarded manifold. Feast your eyes.

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{Michael is screening at SIFF Cinema Uptown through Thursday, 5/17}

I’m not really sure I can recommend this one to anybody, as I feel like it’s either going to leave you severely depressed, or trigger memories from a traumatic event. I’m still kind of struggling with it—even though I know it’s “just” a film.

Michael chronicles the life of a pedophile who keeps a 10-year-old boy locked in his basement. And while it isn’t graphic, Director Markus Schleinzer shows you just enough detail to make you severely uncomfortable. I guess the point is to make you see that even the most normal human beings can be complete monsters, but I’m not sure this is something everyone doesn’t already know.

Schleinzer does an excellent job of drawing you into the day-to-day with little sensationalism, without any kind of dramatic story arc. It’s just about a very sick man and his captive—struggling with accepting life as is, or trying to get away.

Do I think you should see it? Eeesh. I … just. I can’t really. I mean, from a filmmaking perspective, it’s pretty interesting if you can focus solely on story and acting. But uh, I don’t really know anyone who’d be able to watch this without feeling pretty icky by the end.

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The 38^th Seattle International Film Festival kicks off in a week at Marion Oliver McCaw Hall on Thursday, 5/17 and I’m more excited for the Opening Night Gala than EVER—because they are showing the amazing new film by Lynn Shelton!! !!! ! !

I said that Your Sister’s Sister is probably the best Opening Night film SIFF has programmed since I’ve been going to Opening Night (which is at 7 years, if my math is right—questionable to be sure, but it’s been a few at least) on the Scarecrow Video Podcast a few weeks ago, and I meant it. Shelton has crafted a film that takes a crazily hilarious situation and makes it seem totally and completely honest and real. I laughed, I cried, yada yada yada—but seriously: it’s a REALLY REALLY REALLY good film. Trust me on this one.

And of course, after the film there will be tasty snacks, free-flowing alcoholic drinks, and a whole lot of people analyzing the film, dancing badly, looking for more important people to talk to, and trying to hook up. In other words: PRIME PEOPLE WATCHING (which is what I’ll be doing … along with dancing badly, I imagine).

Get your tickets now! I can’t imagine a world in which SIFF 2012 Opening Night doesn’t sell out, and probably early too.

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{Death of a Superhero opens in Seattle on Friday, 5/4 and is screening at SIFF Cinema Uptown through 5/10}

This is going to be a hard one to recommend, even though I think it’s a really, really good film. Because there is no way you’re going to leave the theater without disintegrating into a sobbing mess.

Based on a book by Anthony McCarten, Death of a Superhero stars that little ginger kid from Love, Actually (Thomas Brodie-Sangster), in a role that proves that he can, you know, actually act. He sure acts the hell out of this role.  

Sangster is Donald Clarke, a 15-year-old boy with brain cancer. He’s also an incredible artist, and channels his feelings of helplessness into some pretty awesome comic book heroes and villains, which Director Ian Fitzgibbon wisely chooses to show on screen in animated form.

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{#ReGeneration opens in Seattle on Friday, 5/4, and is screening at the SIFF Film Center through 5/10}

I gotta give the filmmakers credit for snagging everybody’s favorite 6-pack internet meme good-looking do-gooder, Ryan Gosling, to narrate #ReGeneration. That said, he doesn’t narrate a WHOLE lot of it. And his pretty face is not seen on screen.

What we do see on screen is a whole bunch of teenagers talking about how growing up in an age with constant media bombardment makes it so hard for them to pay attention to any real issues that they end up feeling helpless and like they can’t change the world (so why should they care?)—and a whole bunch of adults agreeing that today’s youth sucks at getting involved, and that their generations were so much better at organizing protests, etc. etc.

It’s basically a lot of interviews with people saying the same thing, “Today’s youth are distracted and seemingly disaffected—they are overwhelmed by all the problems in the world and don’t know how to help.” 

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Hey Imaginaries! I'm trying something new with the website Tugg.com and wanted to be sure folks knew about it. For some reason that's a little hard to comprehend, Seattle didn't have a full theatrical run of the new Morgan Spurlock documentary about the San Diego Comic-con. The film follows a set of distinct fans through a pilgrimage to the annual Mecca of comic geek culture. I was actually in San Diego for the convention the year this was filmed, and I seriously want to watch it on the big screen. Thankfully Tugg.com making such a chance available. 

Tugg.com's business model allows folks to demonstrate demand up front for a film and in doing so guarantee a screening. If we can get enough people interested, Comic-Con Episode IV: A Fan's Hope will play in Seattle on May 14th at Pacific Place. Tickets are $9 and can be reserved via the film's event page on Tugg.com. There's a certain minimum number needed to guarantee the screening happens, so if you'd like to attend please sign up as soon as possible. If that minimum is hit, then the show goes on (and your credit card is charged). If it's not, then you pay nothing and we all find something else to do that night. With SIFF just a few days past that, think of this as your last chance to see a movie without waiting in line. 

For full disclosure the film is available today on VOD channels - but don't you think a film about community should be seen in a public space? Hope to see everyone there!

{We Have a Pope opened in Seattle this past Friday and is screening at the Landmark Guild 45th now}

When the Pope passes, all of the catholic churches Cardinals gather within the Vatican to choose their next spiritual leader. Vote after vote is taken until a consensus emerges. The honored recipient being a far from obvious choice - emerging as an out of nowhere compromise candidate. Which might have something to do with all the other Cardinal's fervent prayers not to be elevated to the papacy. The vote's conclusion signaled via coded smoke to the faithful massed outside awaiting this reassuring message of continuity. 

With throngs of reporters trying to get a scoop on what's going on - in a manner reminiscent of a sporting event or Kardashian sighting. Around this process lies fertile ground for comedy, both slapstick and ironic. There's a touch of that (for example the lights going out and church members insisting nothing is wrong, as well as a confused Vatican reporter). Though it's low-grade compared with the mostly sweetly handled existential crisis that the accidental Pope has to deal with. I smiled throughout the film, but never really was engaged enough to recommend the final result as must-see cinema. Though it certainly has its charms and likely will be a winner with segments of the viewing audience, who are not me.

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