Booking opens for the Jameson Dublin International Film Festival at 9am tomorrow, so here are 20 films to keep an eye on at the festival.
Writer/director John Michael McDonagh’s follow-up to The Guard laces the trademark McDonagh black comedy with a more philosophical approach akin to Dostoyevsky as Brendan Gleeson’s priest is told in the confessional that he will be murdered in one week. As he tries to identify the murderer from the miscreants (Chris O’Dowd, Dylan Moran, Aidan Gillen, Domhnall Gleeson) who make up his flock, with little success, he realises that he may have to prepare to meet his maker. Only God Forgives cinematographer Larry Smith imbues the Yeats country of Sligo with an appropriate contemplative grandeur.
Twin Falls Idaho director Michael Polish tackles Jack Kerouc’s 1962 work Big Sur. At a brisk 81 minutes this shares none of the bloat of Walter Salles’ disastrous On the Road, though it shares a liking for direct quotation from Kerouac as voice-over. Jean-Marc Barr is the increasingly alcoholic and depressed Kerouac, who attempts to get sober and productive by gathering old friends Lawrence Ferlinghetti (Anthony Edwards), Michael McClure (Balthazar Getty) and Neal Cassady (Josh Lucas) for a trip to an isolated Big Sur cabin (given extra sheen by cinematographer M David Mullen).
Red Hill’s set-up is reversed for another modern western set in Australia. Writer/director/editor/cinematographer/composer Ivan Sen creates a brooding mystery as Jay Swan (Aaron Pedersen) returns to his outback hometown, where his white colleagues deride him even as the aboriginal community distrusts him. He’s assigned the case of a young girl found dead in a drainage ditch as a deliberate dead-end, however, as he interrogates persons of interest including Hugo Weaving and Ryan Kwanten he discovers that even this sun-blanched town can harbour dark secrets. Sen’s enigmatic achievement is essentially a Western meets Chinatown.
Jim Jarmusch’s unsurprisingly meditative vampire film is described as being “a shrewd and sensual subversion on familiar gothic mythology” as Tilda Swinton and Tom Hiddleston play Adam & Eve, centuries-old vampires reuniting after a spell apart to live in a grungy house in decaying Detroit, Adam being a reclusive musician. Eve’s feisty sister Ava (Mia Wasikowska) appears, however, and disturbs their nocturnal utopia. Jarmusch’s recent films have been becoming an ever more acquired taste, so the joy of seeing John Hurt as Christopher Marlowe may not recompense for the glacial pacing.
Wes Anderson. Your reaction to those two words is all you really need to know… Ralph Fiennes plays Gustave H, the legendary concierge of the titular hotel, and newcomer Tony Revolori plays Zero Revolori, his young friend and sidekick. Together they become embroiled in a plot revolving around a priceless Renaissance painting and a family fortune. The cast includes Saoirse Ronan, Léa Seydoux, Edward Norton, Jason Schwartzman and Bill Murray, and the inter-war setting gives Anderson’s regular production designer Adam Stockhausen scope to really go wild with the archly mannered sets.
A striking adaptation of Chimamanda Ngozi Adichie’s Orange Prize-winning novel by Nigerian playwright Biyi Bandele, this film follows two women during the dramas of Nigeria’s independence. Driven by powerful and moving performances from Chiwetel Ejiofor, Thandie Newton and Anika Noni Rose (Dreamgirls), we follow sisters Olanna (Newton) and Kainene (Rose), daughters of a well-to-do businessman, as their lives take very different paths. Olanna falls in love with a revolutionary, while Kainene enters into a romance with a white British writer. As civil war spreads, the sisters both flee to Biafra.
Wiebke von Carolsfeld’s Irish-Canadian co-production is based on Aislinn Hunter’s acclaimed novel Stay, set in Galway and Montreal. Archaeologist Aidan Quinn (Elementary) lives on Ireland’s west coast trying to bury his past. His young lover Taylor Schilling (Mercy) leaves when he disavows having children, returning to her native Montreal to reflect on her situation. Meanwhile, the local community trundles its way through death and birth, economic collapse and survival. But just as his professional and human engagement is renewed by a bogland find, her emotional confusion grows as she excavates her own family history.
Alain Guiraudie’s film starring Pierre Deladonchamps, Christophe Paou, and Patrick d’Assumçao set Cannes abuzz. We follow Franck, a gay man who frequents the lake, popular with nudists and men cruising for sex in the surrounding forests. He comes to know Michel, to whom he is dangerously and foolishly attracted, and refuses to stay away from – entering a deadly game of cat and mouse. Hailed as a masterpiece of carefully constructed narrative and concentrated visual storytelling, electric with tension, desire and danger and featuring graphic unsimulated gay sex, it’s like explicit Highsmith.
The Painted Veil director John Curran helms a story about one young woman’s nine-month trek across the Australian desert. Mia Wasikowska is mesmerising as a would-be lone explorer who does it because it’s there and she wants to be alone. She does, however, meet people on her trip, including Aboriginal ‘old fella’ Eddy (Rolley Mintuma) who helps see her through sacred desert areas. The stunning scenery is enhanced by judicious use of overhead shots, while cinematographer Mandy Walker does a spectacular job in conveying the stark beauty and inherent danger in the shifting landscape.
French rom-com specialist Pascal Chaumeil tackles Nick Hornby’s best-selling novel. Disgraced chat show host Pierce Brosnan reaches rock bottom on New Year’s Eve, standing on the roof of London’s premier suicide spot. But his suicide is thwarted by the arrival of other jumpers; Aaron Paul, a failed rock star with terminal cancer; Imogen Poots, an MP’s neglected daughter; and single mother Maureen Toni Collette, struggling to care for her severely disabled son. The quartet all pledge to refrain from attempts at suicide until Valentine’s Day – thus forming an unlikely support group.
Veteran director Avi Nesher indulges in labyrinthine comic fantasy as Ariel Navon (Ori Hizkiah), an art-school dropout and cartoonist, spots a strange flash of blue light emanating from an apparently vacant building. His investigation yields an encounter with famed modern-day prophet Rabbi Knafo (Yehuda Levi). Is Knafo being held against his will? And who would do such a thing? Cartoons come to life when nobody’s looking, and conspiracies keep being conspired when nobody’s looking, as Woody Allen’s films vie with shades of Michael Chabon’s The Yiddish Policeman’s Union in the influence stakes.
Irish director Ruairí Robinson makes his feature bow with this oblique tale of life on Mars. Liev Schreiber, Romola Garai and Olivia Williams are crew-members on the first manned mission to Mars. All goes well, until the final day when an exciting discovery is made a few miles from base. Obviously, unlike Antarctic scientists who begin each whiteout season with a viewing of The Thing, none of these astronauts had seen Alien. After an officer goes missing collecting evidence of Martian life the crew are soon violently fighting for life.
Daniel Auteuil is a respected surgeon, Kristin Scott Thomas cooks and gardens exquisitely, together, they bring stability to their extended family and community of friends. But the passion for Paul of Leïla Bekhti brings chaos. Novelist/film-maker Philippe Claudel’s second film opens as a Gallic take on Fatal Attraction, with a nod to the great Claude Chabrol, before morphing into something original and passionate as Claudel extends the strong creative partnership he began with Scott Thomas in I’ve Loved You So Long and extracts a superb, poignant performance from Auteuil.
Director Michel Gondry adapts Boris Vian’s cult novel Froth on the Daydream with Populaire star Romain Duris as a Bertie Wooster type kept out of trouble by his own personal Jeeves, Omar Sy (The Untouchables). Duris decides he needs a girlfriend, and promptly meets Audrey Tatou. But Raymond Queneau described the 1947 novel as ‘the most heartbreakingly poignant modern love story’. Gondry’s lo-tech effects nail the writer’s surreal flights of fancy and wall-to-wall puns, but worsening health and financial crises make this a notably darker and more melancholy rom-com than usual.
CAS & DYLAN (6:30pm, Wed 19th Feb, Cineworld)
Before Jaws Richard Drefyuss starred in classic Canadian film The Apprenticeship of Duddy Kravitz, now he makes a memorable journey across Canada as dying Winnipeg surgeon Cas in Jason Priestley’s touching road movie. Cas crosses paths with Orphan Black star Tatiana Maslany’s Dylan, a free-wheeling chain-smoking kleptomaniac – and finds himself fleeing the scene of a crime with her in a stolen VW Beetle. Jessie Gabe’s wise and funny script gradually reveals the truth about the pair, while Dreyfuss Fassbenders thru his best role in years as the straitlaced doctor belatedly letting rip.
Sexy Beast director Jonathan Glazer returns after a long absence with a sci-fi thriller starring Scarlett Johansson as a classic femme fatale in the film noir tradition, down to the plump red lips and deep fur coat, but with a refrigerated nothingness at her core. Because she is in fact an alien who takes amorous Glaswegian men into her van turns them into Scotch broth. Glazer renders the Scottish landscape as alien: dawn mist rolls across lochs like curls of space dust, while Johansson has won surprised praise for her wordless performance.
Waltz with Bashir director Ari Forman returns with a meta-textual Hollywood satire, inspired by Stanislav Lem’s novel The Futurological Congress, starring Robin Wright as herself, which morphs midway into a full blown sci-fi cartoon, but only to cut even closer to the philosophical bone in its investigation of femininity, fantasy and virtual reality. Actress Robin Wright is washed up, but Miramount executive Danny Huston has a proposition that will guarantee her riches for life. He wants to scan her and take full rights to virtual Robin Wright. But she must never act again…
Writer-director Jill Soloway (United States of Tara) makes her feature film debut with a raunchy mixture of comedy and drama as thirtysomething mum Kathryn Hahn tries to spice up life with husband Josh Radnor at a Los Angeles strip club, only to develop an unhealthy fixation on young stripper Juno Temple. Desperate to escape the numbingly dull preschool parents in her neighbourhood, she invites her to become live-in nanny. Kathryn Hahn was very good in support in Revolutionary Road, and this seems like a more comedic take on delusions of grandeur and escape.
IT Crowd star Richard Ayoade served notice of his directorial abilities with 2011’s Submarine so this second feature is eagerly awaited, but has already divided opinion at previous festivals. Fyodor Dostoyevsky’s novella is relocated to anonymous office bureaucracy as Jesse Eisenberg plays Simon, a belittled worker bee who’s shunned by the elfin photocopy girl Hannah (Mia Wasikowska). And then a freight-train of confidence named James, also played by Eisenberg, starts work – instantly winning over the boss and charming Hannah to the horror of Simon who is the only who has noticed his doppelganger.
Allegedly the final part of a dystopian trilogy comprising Brazil and 12 Monkeys, in which case God knows how many trilogies Hitchcock inadvertently knocked out… Christoph Waltz is an angst-ridden computer programmer tasked with proving the titular theorem, and thereby revealing the meaning of life. Anybody shouting ‘42’ will be ejected. His quest is supported by Mélanie Thierry and hampered by his supervisor David Thewlis and Matt Damon’s Management. Tilda Swinton scene-steals as an AI psychiatrist, and Gilliam’s inimitable visual style of odd angles, dizzy colours, and surrealism are on full display.