Ebertfest 2014: A Preview

Last year’s Ebertfest was a watershed event. Just a week before the festival, the world was shocked by the sudden passing of the great one himself. The festival which bore his name became a sort of tribute to the man…except…it was always a tribute to the man, and so, in a way, it felt strangely the same, with Roger still very present, albeit spiritually. Originally fashioned himself, the attendees began coming because they implicitly trusted his taste in films and knew, whether they’d seen the films or not, that it was going to be a unique and exciting experience. And so we arrive at this year’s festival, the 16th annual festival, the first one without specific direct input from Roger himself. The festival has long been curated with the help of Nate Kohn and even Chaz herself, and this year they took on the mantle of choosing the films in Roger’s absence. But…you can’t even tell. Besides the fact that Roger left a very long list of films he would want played at the festival, both Nate and Chaz have a very fine-tuned understanding of Roger’s intriguing curation and the lineup seems like it was directly chosen by him as it always has been. Since Ebertfest is such a monumental event for me and Shatterglass, I thought I’d continue a past tradition I’ve done on my own blog and discuss the movies one by one, as a sort of “guide” to the festival.

WED, APRIL 23

7:30 PM – LIFE ITSELF (2014)
I couldn’t imagine a more fitting opener to this new era of Ebertfest. The documentary by famed filmmaker, Steve James, who directed one of Roger’s favorite documentaries of all time, HOOP DREAMS, and a film that Roger himself helped propel to international fame. Only 4 months before Roger’s passing, Steve began filming him for this documentary, based on Roger’s memoirs of the same name. Having seen the film during it’s premiere at Sundance in January, I can say, without a doubt, that it will have the entire audience at Ebertfest in weeping vulnerability. It is a beautiful and insightful exploration of the life of this incredible personality. The man who taught America how to watch the movies. I anticipate a very long and deserved standing ovation when the film’s director, Mr. James, walks on stage following the credits. This will be a movie nobody will want to miss. [youtube]https://www.youtube.com/watch?v=B2rSfT6w3eE[/youtube]

THUR, APRIL 24

1:00 PM – MUSEUM HOURS (2013)
I was thrilled to see this film added to the lineup. Absolutely one of my favorite films of last year.  An exquisite film about art and how it both reflects and influences the way we see the world. Moving between focused shots of great works of art in the Kunsthistorisches Art Museum in Vienna, to shots of the city itself and an intimate portrait of two lonely souls finding brief respite in each other, this is an elegant and tranquil film that leaves a gentle impression, but a profound one none-the-less. The film most certainly moves at a very deliberately languid pace, but it’s necessary, and adds to the film’s beauty and introspection. Some viewers may find their patience tested on this one, but the deep philosophical nature will leave most yearning to ask the director, Jem Cohen, many questions when he takes the hot seat afterwards. [youtube]https://www.youtube.com/watch?v=Wp79a2A3BuM[/youtube]

4:00 PM – SHORT TERM 12 (2013)
Another 2013 film that not only made it on my favorites list, but in the top 10. I’ve since seen it 3 times, and Ebertfest will make it 4. I absolutely can’t wait. This is a masterpiece of simple, human storytelling. This is a film that I firmly believe would have been one of Roger’s favorites and would have fit Ebertfest’s original mantra of being “overlooked.”  Written and directed by Destin Cretton, who it seems is drawing from his own experiences at a center for at-risk teens, the film manages to delicately deal with the kind of subject matter that, in less capable hands, could have easily been treated with bathetic simplicity. Here, though, Cretton crafts a story with richness and purity. The film’s lead, Brie Larson, is stellar as Grace, a former at-risk teen herself and who takes her job incredibly seriously. While the subject matter seems rather bleak, the film is surprisingly funny in all the right places, including the ending, which left me with a permanent smile. The balance of tones, both serious and comedic, and the warmth for which he infuses in the beautifully developed characters, is a major testament to the talents of Cretton.  I’m absolutely beside myself that Brie Larson will be joining us this year for the Q&A. Her performance is the bedrock of the film and she is someone to watch. Her talents are clear and her potential is huge. [youtube]https://www.youtube.com/watch?v=2g0Z7oWMjfo[/youtube]

9:00 PM – YOUNG ADULT (2011)
Patton Oswalt, who was scheduled to attend Ebertfest two years ago for his film, BIG FAN, but was unfortunately detained by a strict schedule on another shoot, will be making his second attempt at joining us at Ebertfest. YOUNG ADULT is a stupendous film, directed by Jason Reitman and written by Diablo Cody, the team that brought us JUNO. YOUNG ADULT proves that the Reitman/Cody teamup is a creatively rich one and Charlize Theron is fantastic as the film’s lead, Mavis. What’s so intriguing is how much we really dislike Mavis and it doesn’t change much throughout the film. There isn’t a heavy character arc, normally the cornerstone of great character drama, but the film succeeds, in some ways, almost more-so because of that lack of an arc. But Oswalt is the reason the film works in that way. He is essentially our proxy, and works brilliantly as the relational point for the viewer. Even more, he showcases, as he did in BIG FAN, that he is quite an effortless dramatic actor. It’s a bit of a shame that someone like Jonah Hill is getting such acclaim as a comedy actor turned dramatic actor, when Patton seems to pull it off even better but without the same kind of recognition. But then, I suspect that you’d never be able to tell when he meets up with us at Ebertfest. I sense he’ll be received like a king, and rightly so. Even more fitting, since Patton is quite the dedicated cinephile and someone who knows all too well the extreme influence of Roger. When Patton was unable to make it two years ago, he wrote a beautiful note and sent it out into the inter webs, in which he described the influence Roger had on his own cinematic experience. Patton is a special guest because Ebertfest means more to him than just another film festival in which to promote himself, he’s coming because he understands it’s importance and it’s power. He’s there, like all of us, to celebrate the man himself and to pay tribute to his legacy. In that, Patton is one of us, and I suspect we’ll welcome him fondly as such. [youtube]https://www.youtube.com/watch?v=Ar_-v7dEEoo[/youtube]

FRI, APRIL 25

1:00 PM – HE WHO GETS SLAPPED (1924)
Those who know me, know I have an intense love of silent film. HE WHO GETS SLAPPED is in my top 10 favorite silent films of all time. It is a masterpiece of silent cinema. And not only because it stars the inimitable Lon Chaney, in one of his most brilliant and moving roles, but because of the stellar direction by one of silent cinema’s greatest auteurs, Victor Sjöström. Victor was a brilliant Swedish director who happened to direct two other of my favorite silent films of all time, THE PHANTOM CARRIAGE and THE WIND starring Lillian Gish. Most people, however, know Victor as the crotchety professor Isak Borg in Ingmar Bergman’s masterpiece WILD STRAWBERRIES. Sjöström was one of Bergman’s greatest influences, and HE WHO GETS SLAPPED was one of his crowning achievements. Ebertfest regulars, The Alloy Orchestra, will be accompanying this spectacular film, which excites me to no end, as the film is both melodramatic as well as a little creepy (those with a fear of clowns may want to sit this one out). It’s none-the-less a pillar of cinematic achievement and helped propel the careers of not only Chaney, but Norma Shearer and John Gilbert as well. [youtube]https://www.youtube.com/watch?v=GtiELTmFSN8[/youtube]

4:00 PM – CAPOTE (2005)
We may not have realized how much we needed Philip Seymour Hoffman until he left us so abruptly and with so much left to give. It’s a loss that has left a pounding thud for so many who appreciate the fleeting and rare actor who’s talent towers so intensely, like the Brando’s and Poitier’s of the past. Hoffman was such an actor, and the film for which he won his golden statue was Capote, about the author’s exploration of the murders that led to his bestseller, In Cold Blood.  Hoffman’s Capote is effortless and transformative and this film is a fantastic showcase for his immense talent. At the moment, no guest has been announced for the film, but I anticipate an incredibly intriguing Q&A on the legacy of Philip Seymour Hoffman that will leave us all missing him just a little bit more. [youtube]https://www.youtube.com/watch?v=cjvBYqp8b6U[/youtube]

8:30 PM – DO THE RIGHT THING (1989)
Roger wrote of DO THE RIGHT THING, “I have been given only a few filmgoing experiences in my life to equal the first time I saw DO THE RIGHT THING.  Most movies remain up there on the screen. Only a few penetrate your soul.” It’s true. I first saw the film in High School. It was my introduction to Spike Lee, and it was one of the most distinct moments of my cinematic life. A work of pure artistic expression and a film that has never left my psyche. In a way, it’s almost like a grown-up, realistic Sesame Street, but partly because it consists of so many moments of brief “non-realism” and atop all of the difficult social questions, there is an element of fun to it, while leaving you with a very profound experience, and one that never seems to quite get answered. In the years since I first saw it, I’ve watched it quite a few times over and over again, always hoping to get a clearer sense of right or wrong, but it doesn’t exist. The movie, as Roger points out, is simply “fair.” There are no good guys or bad guys. There are only people…in economic situations…with which events occur…and “right or wrong” is nothing more than a simplistic and inefficient form of examination. The genius behind the film, and it’s star, will be joining us that night, as we celebrate it’s persistent power in it’s 25 years of release. [youtube]https://www.youtube.com/watch?v=5Ny631yQ-DM[/youtube]

SAT, APRIL 26

11:00 AM – WADJA (2012)
WADJA is a film I very much hoped to see last year. It played at the local Art Theater, but I was unable to attend, and when I found out it was coming to Ebertfest I decided to wait. Every year I hope for a few films that I missed or was not aware of to be surprised by at the festival. Saturday’s lineup is full of them. WADJA will be the first, but I’m not unfamiliar with it. I noticed it appeared on quite a lot of top 10 lists of 2013. It was a critical success, but not well known. The film is directed by Haifaa Al Mansour and follows a young girl in Saudi Arabia as she attempts to procure herself a bike. Not having seen it, I can’t give a detailed synopsis, other than what I’ve read in other reviews, but I can tell you that the film has had almost universal praise, which is important coming from Saudi Arabia, a country that banned film for over 30 years. Only recently, since 2005, have they loosened up the restrictions and WADJA comes as a celebrated work of art from the country. The director himself will be here to discuss the film. [youtube]https://www.youtube.com/watch?v=vZEiM9vIMI4[/youtube]

2:00 PM – A SIMPLE LIFE (2012)
The second film that is new to me is A SIMPLE LIFE. Roger’s review states that it “paints portraits of two good people in gentle humanist terms. It filled me with an unreasonable affection for both of them. Here is a film with the clarity of fresh stream water, flowing without turmoil to shared destiny. No plot gimmicks. No twists and turns. Just a simple life.” Those words are both beautiful, intriguing and mysterious and I can’t wait to find out what kind of emotions I experience from what looks to be a very moving film. That film’s director, Ann Hui, will also be on hand to discuss afterwards. [youtube]https://www.youtube.com/watch?v=k2HpGfb7m7M[/youtube]

5:00 – GOODBYE SOLO (2009)
Those who have been regular attendees of Ebertfest in past years will be very familiar with this particular filmmaker. Roger brought him and his film MAN PUSH CART back in 2006, and then once again, with his film CHOP SHOP in 2008. He even sent a wonderful short film about a plastic bag in 2010. There is a strong connection with Ramin Bahrini and Ebertfest, and that connection will grow even stronger as he features in Steve James’ film LIFE ITSELF as one of the filmmakers with whom Roger had a close friendship with. I have not seen GOODBYE SOLO, but I have seen Ramin’s other films and he is most definitely one of the most talented and intriguing directors working in the cinematic field today. In fact, my very first Ebertfest experience, after years of not being able to go for one reason or another, was when a friend of mine took me to the screening of CHOP SHOP. It blew me away, both the film and the Ebertfest experience, and I’m so thrilled to get to see the man again on his third trip here. He will certainly be welcomed as one of the family. [youtube]https://www.youtube.com/watch?v=U5IGC59Q9y8[/youtube]

9:00 – BORN ON THE FOURTH OF JULY (1989)
As with DO THE RIGHT THING, Oliver Stone’s brilliant BORN ON THE FOURTH OF JULY celebrates it’s 25th Anniversary this year, and it is absolutely thrilling that Ebertfest and little Champaign-Urbana, Illinois gets to be able to celebrate with the legendary Oliver Stone himself. Though Stone is probably best known for the biting WALL STREET or JFK, his thrilling film which helped spark a mass zeitgeist of conspiracy mindset throughout America regarding that famous assassination, BORN is a lesser mentioned and a more understated and philosophical work, yet remains one of Stone’s greatest masterpieces. It plays almost as a follow-up to his brilliant anti-war manifesto, PLATOON, and deals with the true story of Vietnam veteran, Ron Kovic, played by Tom Cruise in one of his greatest achievements.  Just thinking about seeing this beautiful film played on the giant screen at the Virginia Theater with Mr. James Bond, our expert projectionist presiding, gives me goosebumps.  Certainly, I imagine there will be a palpable wave of emotion throughout the 1,500 seat theater and it is just the perfect movie with which Ebertfest excels in showcasing. [youtube]https://www.youtube.com/watch?v=t8NR6n1nRMI[/youtube]

SUN, APRIL 27

12:00 PM – BAYOU MAHARAJAH
A documentary I’ve been dying to see for well over a year now, is one that was produced by our own festival director, Nate Kohn, who will join us with the film’s director, Lily Keber and a special performance by New Orleans pianist, Henry Butler. The film is an internationally celebrated documentary about famous New Orleans singer-pianist, James Booker. Booker is not the most widely known musician of his time, but his talent was incomparable and his life, being African-American and homosexual in the turbulent 60’s, 70’s and 80’s, was fraught with intense moments of self-destruction and hardship. When I was younger, my dad made a few trips to New Orleans. It was one of his favorite cities in the world and he used to bring home some fantastic music there. It was then that I was turned onto musicians like Dr. John, Harry Connick Jr., the Neville Brothers and Professor Longhair. It was through my Dr. John obsession phase that I heard of James Booker, but didn’t give him too much thought at the time. I am absolutely ecstatic to finally see his story told, and as I’ve read numerous reviews about the film from it’s many film festival screenings throughout the world, it is a brilliantly-told film, giving weighted balance to the more dramatic elements of his life and focusing importantly on the music itself. I simply can’t wait. [youtube]https://www.youtube.com/watch?v=tV8zi0uwChk[/youtube]