This is part two of my coverage from MSPIFF 44 wrapping up another year of mainlining international new releases as long as my schedule and body permits. Please do check out part one for an introduction, more capsule reviews, and a brief nod towards seeing Ang Lee speak as part of the festivities.
I was starting to flag a bit in the second week but I still turned up most days to fit at least one film in. I also thought the films were really excellent in the second week and I had a chance to finally check out some things that debuted at Cannes last year (just as this year's lineup was being announced). One thing I'm really happy about this year is that the weather held out reasonably well so I was able to bike to the theater most days and even walked all the way down on Saturday. I did take the bus a couple of times but a biking/transit/walking film festival is undoubtedly the best kind of film festival and I was feeling very fortunate about that.
Day 6
Undercover (2024) - A stylish Spanish police thriller with some profoundly stunning location footage (mostly in and around San Sebastian). Much of Undercover seemed to be occurring in wintertime and cold beach/coast has to be one of my all-time favorite ecospheres. I had not heard of Undercover before it was announced for MSPIFF but I was instantly excited for it. I love that some of these more classic film genres are still thriving in various international markets. While Undercover nails the aesthetics and contains an excellent lead performance - the political themes seem desperately undercooked. It's adapted from actual events of a young woman who went...undercover...and infiltrated the ETA. I am in no way an expert on the ETA, Basque sovereignty, or Spanish politics in general - but I don't think I'm that much better informed from this film. It's a snapshot containing elements of terrorism, state sponsored violence, systemic misogyny, cultural identity, and political liberation - but it doesn't have much to say about any of it and the final message feels muddled at best. Really cute cat, though.
Day 7
I needed a break and took this night off.
Day 8
Misericordia (2024) - This was a film I had heard great things about following its early festival rounds and one of the first things I reserved a ticket for when I was granted a pass. I think it's easiest to describe Alain Guiraudie's latest as a mystery - or at the very least; mysterious - though it is one less concerned with "who" and more focused on "why" Misericordia features exquisite autumnal French village atmosphere and a genuinely fantastic central performance from Félix Kysyl. It reminded me of Patricia Highsmith in some ways with this elusive, seductive main character but it's a far stranger affair than a Ripley story. There is a darkly humorous streak that runs through the entire film but it feels wrong to describe it as a comedy - it both contains one of the most hilarious scenes I saw during the fest and one of the most brutally horrific. The title is derived from the Latin word for mercy and there are some (very French) discussions around crime and punishment but I am still ruminating over how that theme is reflected throughout the film. This one beguiled me and I'd absolutely recommend it even if you don't find yourself as transfixed as I did.
Day 9
Caught by the Tides (2024) - Another Cannes standout. Narratively abstract and aesthetically chaotic - I can understand that Caught by the Tides will be a challenging watch for some (apparently at least one walkout during the screening I caught). I was absorbed by it, though. Tides is largely assembled from existing B-roll footage from Jia Zhang-ke's previous works. I am not familiar enough with Zhang-ke's filmography to spot where different segments of Tides was cribbed from, but I still loved the clash of formats and styles - careening from flat, digital industrial footage to grainy, low res night scenes to lush 35mm landscapes. It's impressive how this film is utilizing older footage, going back decades in some cases, but still manages to speak to recent history (albeit through a lens many of us are unfamiliar with). I know that travelogue is not sufficient to make a film compelling, but I thought there was significant value in this sprawling window into Chinese life. Hopefully this gets a wider release here and people can give it a shot. Definitely better to see it in a theater.
Day 10
We Can Be Heroes - Shorts Program - I didn't have anything planned out for the afternoon so I thought I would check out some shorts. Of all festival programming, short films truly are the most ephemeral and frequently the hardest to see outside of a fest environment. These were short documentaries covering subjects ranging from tattooing to puzzles to an elaborate corporate prank. Arguably the most moving of the bunch was How to Care (which sadly does not appear to be listed on IMDB or Letterboxd at the time of writing). It's focused on the life of Dan, a septuagenarian living with cerebral palsy, and the community of caregivers that help support him. It's a subject I have some personal experience with and I understand how critical those assistance and enrichment programs are. Dan and crew were also in attendance for the screening which was extremely cool to see.
I'm guessing Adidas Owns Reality is the program selection that will have the best chance of life outside of the festival circuit. It documents an elaborate corporate hoax perpetrated by the Yes Men who are well known for culture-jamming hijinks largely at the expense of the wealthy and powerful. This particular prank involves a fake "co-CEO" of Adidas and a Berlin fashion show meant to confront the realities of sweatshop labor. The film is infuriating and funny and their cause is a righteous one. I hope this lands in front of more eyeballs.
Mr. K (2024) - Though I am not particularly familiar with the work of writer/director Tallulah Hazekamp Schwab, Mr. K was another festival selection that I was highly anticipating. Anything starring Crispin Glover was bound to interest me and it's also good to see something unapologetically weird. Ultimately, I think my anticipation was rewarded. Schwab apparently spent years developing K and it's certainly noticeable in the production design. Glover's awkward, nervous magician becomes trapped in a bewildering, labyrinthine hotel populated with frequently hostile (or creepily familiar) denizens who never seem to go outside. The hotel and it's myriad rooms, kitchens, stairways, and closets are impeccably rendered and filled with the kinds of aesthetic touches that would reward repeat viewings. I don't think there's anything terribly groundbreaking in this Kafkaesque conspiracy tale but I still think Schwab mostly nails the tone and the delivery. I found myself repeatedly noting what were likely influences but also connections to other films and filmmakers. The ending didn't land with everyone I saw the film with, but things took a strange enough, gross enough turn beforehand that I was satisfied.
Day 11
Odd Fish (2024) - An Icelandic film ostensibly about two old friends and co-workers in a remote fishing village where one comes out as trans to the other (and her community). I say ostensibly because though there is an excellent and courageous performance from Arna Magnea Danks, the film spends less time on her transition and far more on the identity crisis of her middle-aged, cis-dude friend. As a cis-dude fast careening towards middle age - I would have been much more interested in a film driven by Danks' character. Still, this is a good natured film and it is filled both with some lovely coastal scenery and largely takes place in a rustic seafood restaurant that looked absolutely incredible. For her part, Arna Magnea Danks has mostly worked as a stunt and fight coordinator but absolutely has the goods as an actress. I'd love to hear more about her real life story.
Kill the Jockey (2024) - Luis Ortega is a filmmaker who landed on my radar largely thanks to his 2018 film, Angel, loosely based on the real life exploits of Argentine serial murderer - Carlos Eduardo Robledo Puch. Jockey is not remotely based in reality and is much lighter film in content - something in the vein of mildly surreal crime-adjacent flicks like the cinema du look movies. It's an incredibly stylish film utilizing some excellent long takes, some inventive POV work, and beautiful integration of pop music. Another strong lead performance, this time from Nahuel Pérez Biscayart. Biscayart is a handsome actor but Ortega manages to present him oddly enough to remind me of someone like Denis Lavant. Jockey starts in a heightened reality but only gets stranger and harder to hang onto (narratively) as the film progresses. It does deliver some lovely twists along the way and I will likely want to revisit it upon wider release.
I had planned to see another movie but I was going to have to wait an hour and then stay up for another two hour film and I was running out of steam. Jockey was a terrific note to end on though and sometimes it's best to quit while you're ahead. I had a great time at MSPIFF this year, they put on a wonderfully run festival, and I can't thank the film society enough for granting me accreditation again. There were a few new wrinkles that I appreciated this year - though I only attended one screening, I really do like the preview idea for passholders. I'll have to take better advantage of that if its offered again. I also like the fact that I saw more familiar faces this year. Some of that is a matter of connecting with friends and some of that is due to my involvement with MNFCA. There's a certain comradery with regular attendees and I've had great conversations with total strangers in line, in the theater, and even on the bus ride home. Still, it's nice to have some friends around. The last thing is that I'm so happy that the Cabana Club opened just down the street from the theater. Great bar, good food, and staff that was very understanding that I might have to move quickly to see my next film. Highly recommended for a pre or post movie beverage the next time you're at the Main.
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