Scenic Wroclaw, home to New Horizons International Film Festival

So, as I wrote on 23 June, to celebrate the publication of my book in Polish, I was invited to curate a ‘Behind the Pink Curtain’ retrospective of some twenty Roman Porno and pink films as part of New Horizons. It was a very exciting prospect, because it was the largest selection I’d ever had a chance to programme since my book originally came out in English in 2008, and also because as the festival would be soft-subbing the films into Polish anyway, it gave me the chance to think outside the box a bit and choose titles for which English subtitled prints didn’t already exist, thus giving a chance to screen others than those that usually seem to get aired at such events – instead of a surfeit of Kumashiro films, for example, titles by Sachi Hamano and Yumi Yoshiyuki, probably the first time women directors have ever been represented as part of a pink retrospective at a Western festival. Due to lack of time, I never did get the chance to publish the full lineup, though I linked to it in my previous post of 24 July, but by then it was already three days into the festival.

On the drizzly final Saturday night, the outdoor screen played host to Terry Gilliam's Adventures of Baron Munchhausen

Yes, sadly, with such a busy schedule throughout June and July, I ended up only able to spend less than four out of the ten days the festival was running in Wroclaw, and am still regretting it immensely. The programme was pretty interesting, featuring a complete retrospective of Terry Gilliam alongside focusses on Norwegian cinema and the ‘Red Westerns’ retrospective of Soviet Westerns that played at Rotterdam earlier the year, among many other offerings. However, I was pretty much absorbed with introducing my screenings, conducting Q&A sessions afterwards and doing a bit of press for my book (if you can read Polish, here’s an article I wrote to promote it, and here’s an English-language video interview of me talking about the pink retrospective), so I didn’t catch as many films as I’d have liked. I was more or less straight off the plane on the Wednesday 27 July and introducing Yumi Yoshiyuki’s delightfully-titled 2007 film Widow Apartment: Big Tits’ Aching Night at 8pm, then after grabbing a quick beer it was back to introduce Takahisa Zeze’s masterful Raigyo (1997) at 10pm, a film I’d not seen in some time, but which impressed me a lot more on the big screen than I remember from previous viewings – a really atmospheric, intelligent work. Amazingly, both screenings were sold out, a pattern that seemed to hold for the whole of this retrospective, and all the more amazing when you consider that out of the ten screens in constant operation throughout the festival, a further two were occupied with similarly well-attended screenings of The Glamorous Life of Sachiko Hanai and Angel Guts: Red Classroom at the same time as Raigyo. The Q&A sessions were also lively, with some genuinely intelligent questions from audience members who had never seen anything like these films before, particularly after the Friday night showing of Yasuharu Hasebe’s demented Assault! Jack the Ripper (1976). In a nutshell, the season appears to have been a huge success, and according to the staff, my book was the top-selling title of the festival, which makes me very happy.

A packed house for Yumi Yoshiyuki's Widow Apartment

Yumi Yoshiyuki was also a guest at the festival, but she didn’t arrive till later that night after this initial screening of Widow Apartment, and I only bumped into her early the next morning at breakfast, shortly before I had to dash off to introduce Wakamatsu’s mesmeric Running in Madness, Dying in Love (1969). Our busy schedules meant our paths barely crossed over the next few days, although we did find time for a few drinks here and there. She’s a lovely woman, and the Wroclaw crowds also seemed to warm to her and her two films, especially the more overtly-comedic Miss Peach (2005), which showed the following night at 10pm.

With festival guest Yumi Yoshiyuki

Saturday was the real killer, with the day kicking off with a packed and sweaty screening of the lewdest and crudest of all the titles on display, Sachiko Hamano’s Greedy Housewives (2003), followed by Mamoru Watanabe’s Secret Hot Spring Resort: Starfish at Night (1971), Masao Adachi’s Gushing Prayer: 15 Year Old Prostitute (1971) and Tatsumi Kumashiro’s Lovers Are Wet (1973). These were all but a small fraction of the full programme, which you can check out here.

The Helios Cinema, smarter than your average pink theatre

As I said, this punishing, all-consuming schedule, while a lot of fun, didn’t afford me a whole lot of time to see much else in the festival line-up, but still, I made it my goal while I was there of not watching anything made West of Warsaw. Not being terribly familiar with Polish cinema, I thought it only polite while in the country to fit in at least one film by one of Poland’s master filmmakers, Andrzej Munk, the subject of a pretty major retrospective at the festival. The Men of the Blue Cross (Błękitny krzyż, 1955) was a beautifully-filmed tale of wartime derring-do shot in a quasi-documentary style and portraying a famous rescue mission undertaken by a group of Polish mountain rescue volunteers on the Slovakian slopes of the Tatra Mountains. At 55-minutes, it could barely outstay its welcome, which is more than one can say for Bakur Bakuradze’s The Hunter (Okhotnik, 2011), a recent Russian film that seemed to have been made purely for the festival market. A portrait of a pig farmer whose life slips slowly out of harmony with his family and the natural environment he inhabits, the film reminded me a lot of Sandrine Veysset’s Will it Snow for Christmas? (1996), consisting of over two-hours of impressionistic, slice-of-life scenes of its characters going about their daily business of washing up, mucking out the sties, driving into town etc, out of which emerges, if not a sense of narrative then at least one of character. This sort of ‘slow cinema’ presents a welcome change of pace for those with busy festival schedules, a couple of hours of mental breathing space to free associate within rather than submit to the tyranny of more rigorous plotting, especially as it was a relatively early screening at 10am, but I just wish the film was about half an hour shorter. (And to prove just how little I was paying attention in my mid-morning fug, I only just noticed from reading a few online reviews that main character’s son Kolya apparently only had one arm!)

The Hunter, Russian sloooooowwwwwwwwww cinema

That just leaves two final titles, both of which belonged to the intriguing Red Westerns section. I have more than a passing interest in Russian cinema, or at least the entertainment side of the Soviet era, rather than the self-conscious modern art cinema of the likes of The Hunter. I don’t know very much about the subject and would certainly not claim any degree of expertise, but I am also fairly content not knowing that much about it and just enjoying the individual films for what they are. In this respect, I found the whole concept of Eastern Westerns absolutely wonderful. It wasn’t the pastiches or homages from Czechoslovakia such as Oldřich Lipský’s Lemonade Joe or Horse Opera (Limonádový Joe aneb Koňská opera, 1964), or East German productions such as Richard Groschop’s Chingachgook, the Great Snake (Chingachgook, die große Schlange, 1967) that appealed as much as the Soviet attempts at transposing an all-American genre to a similarly outlaw context on the other side of the world within a very different political reality – which is why I’m especially frustrated that I only caught two of films in the programme, because god knows if I’ll ever get a chance to see any of the others in the near future.

An excruciating musical number in this Soviet Western for kids, Edmond Keosayan's The Elusive Avengers (1967)

Of these two titles, it has to be said that The Elusive Avengers (Neulovimye mstiteli, Edmond Keosayan, 1967) falls into the “interesting, but not very good” category. The story is that John Sturges’ The Magnificent Seven (1960) enjoyed such popular success in the Soviet Union that the powers-that-be decided it must be ideologically unsound and withdrew it from circulation. Several years later, Mosfilm produced The Elusive Avengers to celebrate the 50th anniversary of the 1917 Bolshevik Revolution, essentially reworking the Hollywood original (of course, I don’t really mean “original”, but one can assume that Kurosawa’s The Seven Samurai hadn’t had such an impact in Soviet Russia at this point) into “a socially correct film in retort to capitalist mass culture”, according to the festival catalogue. It is basically a kids film, colourfully shot, but with some excruciating musical numbers and not really a lot there for me to recommend it – although if you are interested there is an English and French-subtitled DVD from Ruscico which you can order here.

The Wild East - Uzbekistan in the 1920s in Ali Khamraev’s The Seventh Bullet

The same cannot be said however of Ali Khamraev’s The Seventh Bullet (Sedmaya pulya, 1972), which again takes The Magnificent Seven as its model although looks more like a Sergio Leone film, with the action relocated to 1920s Uzbekistan as Communist reformers take on Islamic traditionalists in Central Asia. As Peter Rollberg wrote in the Rotterdam festival catalogue, reproduced for Wroclaw, the film “belongs to a peculiar sub-genre, sometimes referred to as the ‘Eastern’, a Western-style action film with an explicit pro-communist propaganda message, usually set during the 1920s civil war. The Eastern typically features a Bolshevik superman as its central character, a man just as apt at delivering ideological arguments as in handling guns and martial arts.” That said, The Seventh Bullet does have its fair share of gun-toting and fist fights, but it is the Uzbek landscapes and the portrayal of its inhabitants that are most memorable. A real revelation, this film, and I’d like to see more like it. I couldn’t find a Ruscico DVD of this one, but apparently there was a retrospective of Khamraev’s work fairly recently in the US entitled Uzbek Rhapsody: The Films of Ali Khamraev, and he appears to have made several more films like this one. I want to see them!

So in conclusion, a great festival jam-packed with interesting films and lively crowds, and I’m frustrated I didn’t stay a bit longer. If they ask, I’ll be back like a shot, but in the meantime I’d like to say a big thanks to everyone who helped make my stay so pleasurable (not the LOT Polish Airline staff!), and to everyone in Poland who bought my book.

Assault! Jack the Ripper, one of the treats in store for visitors to Poland's Era New Horizon festival

On the Roman Porno front, I’m most excited we’re screening Yasuharu Hasebe’s quite bonkers Assault! Jack the Ripper. On the pink side, there’s a whole load of treats, but am particularly pleased that women directors are being well-represented, with two films by Yumi Yoshiyuki, who will be there to introduce them, and one by the wonderful Sachi Hamano.

Anyway, the festival’s already been running a few days, so I’ll be arriving in the thick of things and am really looking forward to seeing what the Polish audiences are making of it all. Hope to post either from Poland with my news, or at least not too long after I get back home.

Era New Horizons Festival’s Behind the Pink Curtain retrospective full programme

Sachi Hamano in London (photo by Fei Phoon)

Raindance seems like aeons ago, and I’ve still not got round to transcribing most of the interviews I conducted with our Japanese guests this year. Don’t worry, you’ll be getting a chance to read these in the not-too-distant future on Midnight Eye, but until then, you can make do with this interview with Sachi Hamano which has recently been put up on the website of Electric Sheep magazine. I covered Sachi Hamano in quite some detail in my book Behind the Pink Curtain. For those not familiar with her name, she’s not only the most prolific woman film director in Japan, but also one of the most (if not the most) prolific pink film directors, which probably makes her among the most prolific filmmakers in the world, male or female. It was a real honour to have her at Raindance this year as one of the people featured in the Japanese Woman Directors programme, where her non-pink comedy Lily Festival played to great aplomb, and I am delighted that Electric Sheep’s Virginie Sélavy recognised Sachi Hamano’s achievements in the industry and wanted to talk to her, as the interview makes for quite fascinating reading. As I’ve posted before, Electric Sheep also interviewed another Raindance guest, Momoko Ando, which went online last month. I should also point out that the photo of Hamano was taken during her stay in London by Fei Phoon, one of the whizz kids behind the design of this website.

On a sourer note, the latest print edition of Electric Sheep appears to be its last, at least in its current form, with the editors attributing the gloomy financial climate to its demise. Its very sad, because Electric Sheep plugged a valuable gap in the film media, giving intelligent coverage to films that weren’t necessarily getting covered elsewhere. The website will continue, as will the editors’ admirable attempts to broaden film culture with regular screenings in London of films that you rarely get a chance to see on the big screen nowadays. Anyway, you can pick up the Winter 2009 issue at a good magazine stockist, if you can find one – I was going to suggest Borders on Charing Cross Road, but it was just announced a couple of weeks ago that Borders UK has just filed for administration. One wonders if any of us in this country are going to get out of this recession in one piece!

Promises, promises, promises… Yes, I have promised much and delivered very little in the way of regular updates these past days since Raindance began – in fact, absolutely nothing at all beyond the odd tweet or two. I’d intended to do daily postings about my impressions on a number of films, including Down Terrace, Love Exposure and Until the Light Takes Us, but it’s been just so hectic, I’ve barely managed more than five minutes in front of the computer this past week, and then only to fend off urgent emails. Well, once life gets back to normal again, I’ll come back to these films I mentioned and my impressions on them, as I’d imagine most of these will be getting some sort of release, or will be travelling on to further festivals. They’re all bloody brilliant anyway.

For now, just a few vague titbits about the events of the last few days. We’ve had more Japanese guests than ever this year – Yumiko Beppu (from the Peaches shorts programme), Tokachi Tsuchiya (A Normal Life Please), Yasunobu Takahashi (Locked Out), Sachi Hamano and Kuninori Yamazaki (Lily Festival) and of course, Momoko Ando, who’s here premiering her first feature with us, Kakera – A Piece of Our Life. James Iha, ex-Smashing Pumpkins, was also here to talk about his work on the soundtrack (he also scored Linda Linda Linda), though he’s already jetted back to New York. And Tom Mes, my Midnight Eye buddy, is also here. So all in all, its been a pretty hectic time, but great fun, nonetheless.

Audience attendances at this year’s festival have been unpredictable, to say the least. Every film on Wednesday night was sold out – even I couldn’t get a ticket for Until the Light Takes Us, and I programmed it! Well, I’ve seen the film before of course, but I’d have been interested to hear the q&a, which by all accounts was pretty animated. But it was particularly exciting that Kakera was sold out. As I’ve said, this was the world premiere of Momoko’s first film, and we were all very excited about how well the film went down, and highly positive about where it’s going to go next. The q&a afterwards was really fun, and we all bounded off euphorically down to the Phonenix Arts Club afterwards to celebrate.

There’s already some press online on the Japanese website Cinema Today about the focus on Japanese Women Directors this year. I spent the afternoon interviewing Sachi Hamano for Midnight Eye yesterday afternoon, and had one of the most fascinating discussions ever. Some might know her name, as one of the most prolific makers of pink film in Japan – which would probably make her one of the most prolific directors in the world. But what is most amazing is that she is essentially the first woman in Japan who has been able to maintain a career solely as a film director, and for over four decades. Her stories about what a rough time she had of things when she started in the industry, as part of Wakamatsu Productions were really amazing. The film she’s here with, Lily Festival, went down really well, and the q&a after was animated and really fascinating – she’s a real pro about this sort of thing, none of the mumbling incoherence we get from most Japanese directors. I was amazed that Lily Festival hasn’t even had a proper release in Japan, because the cinema owners all told her “who wants to see a film about the sex lives of a lot of old ladies”. Well, its a damn funny film, and Mickey Curtis is simply outstanding in it. She really is an amazing person to have at any festival, and I hope one day pretty soon she receives the recognition she is due for her achievements in Japanese cinema.

Anyway, off to the next screening of Kakera now, so must dash. Sorry, no pix today! Those in London, be sure to come to A Normal Life Please tomorrow – it is an incredible documentary, and the q&a after promises to be something really special.

]]> http://jaspersharp.com/blog/news/2009/10/mid-raindance-update-only-3-more-days-to-go/feed/ 0 http://jaspersharp.com/blog/news/2009/09/titles-announced-for-londons-raindance-film-festival-30-september-%e2%80%93-11-october-2009/ http://jaspersharp.com/blog/news/2009/09/titles-announced-for-londons-raindance-film-festival-30-september-%e2%80%93-11-october-2009/#comments Tue, 01 Sep 2009 23:01:24 +0000 Jasper http://jaspersharp.com/blog/?p=77

Love Exposure

I’ve been champing at the bit over the past few weeks waiting to announce the titles being screened at this year’s Raindance, but now I’m just about to do it, it seems the programme announcement might be overshadowed by another piece of Raindance-related news, namely the banning of this year’s festival trailer. Don’t want to dwell too much on this, as the powers that be have given their reasons in a letter that can be read here. Nevertheless, I can’t help but think this represents something of a sense-of-humour failure from the guys who once had us all singing along “Baba, baba, baba ba, bababa” before the screenings started, and fails to view the trailer in the spirit intended. Anyway, I’ve written already in my Grotesque post of August 19th about the futility of censorship in the internet age, so to prove my point, I’ll redirect any potentially interested parties to it here. I’d be interested if anyone has any opinions on this matter.

Anyway, the full schedule has yet to go online, but for now I just want spill the beans about the films I’ve been involved in selecting (this is my website, after all…) Most of these are in the Japanese section, though I also brought a couple of other titles to the attention of the festival. In the run up to the main event, I hope to give you a bit more information on at least some of these. There’s some brilliant stuff playing this year, so hope to see as many of you there as possible.

Japanese Women Filmmakers at Raindance

Since 2002, Raindance Film Festival has continued in its strong support for Japanese filmmaking, with its Way Out East section the largest annual showcase for new Japanese cinema in the United Kingdom, screening at least ten recent features and documentaries annually. The 17th Raindance Festival, held between 30 September – 11 October 2009, this year turns its spotlight on the rising tide of women filmmakers in Japan, with a special selection of five features and one shorts program from some of the country’s most exciting talent.

Kakera - A Piece of Our Life

Director Momoko Ando will be in attendance to introduce the World Premiere of her debut feature, A PIECE OF OUR LIFE – KAKERA -. The film, scored by Smashing Pumpkins guitarist James Iha, is a touching portrait of a romantic relationship between Haru, a college student whose relationship with her self-centred boyfriend is going nowhere, and Riko, a bisexual medical artist who makes prosthetic body parts. Born in 1982, Ando is the daughter of the acclaimed actor-director Eiji Okuda and the sister of rising starlet Sakura Ando, who features in two other films in the Way out East section, LOVE EXPOSURE and AIN’T NO TOMORROWS. A former student of the Slade School of Fine Art, her return to London to present her new film and serve as one of the festival’s Jury Members promises to be an unforgettable experience.

Also in attendance will be Sachi Hamano, the most prolific female director in Japan with over 400 films to her name, mainly in the genre of the erotic pink film. She will be here to present her 2001 non-pink title LILY FESTIVAL, a comedy drama in which the inhabitants of a residential home for women, aged between 69 and 91, find their passions rekindled when the first male resident moves in amongst them, a 75-year-old lothario with a charming manner and a colourful past. Hamano will be accompanied by LILY FESTIVAL’s screenwriter Kuninori Yamazaki.

Ain't No Tomorrows

Yuki Tanada’s debut feature MOON AND CHERRY played to great aplomb at Raindance in 2006. Her most recent film, AIN’T NO TOMORROWS, is a multi-threaded drama portraying the tangled emotional dynamics of a group of six highschoolers as they reach the age of sexual awareness.

Hotaru

The critically-garlanded Naomi Kawase emerged as the vanguard for the new wave of women filmmakers in Japan after becoming the youngest winner of Caméra d’Or award for best new director at Cannes Film Festival in 1997 for her film SUZAKU. Her feature THE MOURNING FOREST received the Grand Prix at the same festival in 2007, while this year she received the Golden Coach Award for life achievement. Raindance will be screening the new 2009 edit of her rarely seen 2001 film HOTARU, a naturalistically-shot romantic drama between a stripper and traditional craftsman played out against the four seasons in the scenic Nara region where Kawase lives.

Mime-Mime

Yukiko Sode’s MIME-MIME (2008) was one of the discoveries of last year’s Pia Film Festival, launched in 1977 to promote new talent in the world of independent filmmaking. An eccentric portrait of a fractious young woman, Makoto, who lives alone, has a relationship with her mother and sister that borders on downright hostility and plays dangerous sexual games with her married former high-school teacher, it is a distinctive and promising debut.

Raindance will also present a program of three short films from the PEACHES FESTIVAL, an annual event now in its third year organised by Atsuko Ohno (the producer of Raindance Best Feature winner in 2004, MAREBITO: THE STRANGER FROM AFAR, directed by Takashi Shimizu) in conjunction with the Film School of Tokyo to promote first-time women directors. The films are EMERGER, BUNNY IN A HOVEL and CSIKSPOST.

Alongside this year’s special focus on Women Directors, Raindance will feature UK premiers of five other recent Japanese titles, including the epic LOVE EXPOSURE, an unpredictable and near indescribable tour-de-force from maverick director Sion Sono (SUICIDE CIRCLE, EXTE), which won the FIPRESCI Prize and Caligari Film Award at this year’s Berlin Film Festival and the audience award at the New York Asian Film Festival.

Lalapipo

Following on from the successful screenings last year of Miki Satoshi’s ADRIFT IN TOKYO and TURTLES ARE SURPRISINGLY FAST SWIMMERS, comes the director’s latest comic romp INSTANT SWAMP. With a script by Tetsuya Nakashima (KAMIKAZE GIRLS, MEMORIES OF MATSUKO), Masayuki Miyano’s LALAPIPO offers an uproarious and vibrant comic portrait of those at the heart of Japan’s outlandish sex industry.

Vacation

In Hajime Kadoi’s startling drama VACATION, a middle-aged prison guard on death row volunteers to act as a “supporter” during the execution of a condemned prisoner, in order to receive a week’s break from work to go on honeymoon with a bride he barely knows, while in Yasunobu Takahashi’s LOCKED OUT, a six-year-old boy crosses paths with a man on the run and besieged by violent visions.

Tokachi Tsuchiya’s eye-popping documentary A NORMAL LIFE PLEASE blows the lid on the Japanese government’s gradual easing of labour regulations as an overworked truck driver and his family are menaced by a yakuza gang hired by his own employers after he joins his workers union, while the insightful US-Japanese co-production of BEETLE QUEEN CONQUERS TOKYO looks at Japan’s relationship to the insect world.

A Normal Life Please

Outside of the Way Out East section, the Homegrown UK strand will showcase great British filmmaking talent, including the European Premiere of DOWN TERRACE “Ken Loach meets The Sopranos”- attended by Director Ben Wheatley and cast Julia Deakin (HOT FUZZ, SHAUN OF THE DEAD, SPACED) and David Schaal (CLUBBED, KIDULTHOOD, THE OFFICE). The Documentary Strand includes contentious films such as PLAYING COLUMBINE by Danny Ledonne, which raises moral questions surrounding the shoot to kill video games inspired by the Columbine High School massacre in 1999. UNTIL THE LIGHT TAKES US provides a fascinating look at the violence and scandal that rocked the Norwegian Black Metal scene in the early 90s. Darkthrone’s Nocturno Culto will make a rare appearance to DJ at the post-screening party.

Until the Light Takes Us

Sitting on this year’s stellar jury is: Riz Ahmed (Shifty, The Road To Guantanamo), writer/director Armando Iannucci (The Day Today, I’m Alan Partridge, In The Loop), Peter Bradshaw, film critic (The Guardian); actress Kerry Fox (Bright Star, Shallow Grave); director Momoko Ando (Kakera); Billy Childish: artist, musician, poet, writer, filmmaker; Christine Langan, Creative Director, BBC Films; writer and documentary filmmaker Jon Ronson (The Men Who Stare At Goats, Stanley Kubrick’s Boxes); Jamie Graham – Assistant Editor, Total Film; Julia Brown – Commercial Director, Apollo Cinemas; Producer Andy Williams and legendary musician/actor Tom Waits.

The festival will be held at the Apollo Cinema, Regent Street, London, between 30 Sept – 11 October 2009.

Tickets, festival passes and more details are all on the Raindance website.