By Alan Scherstuhl
By Stephanie Zacharek
By Alan Scherstuhl
By Chuck WIlson
By Amy Nicholson
By Chris Klimek
By Stephanie Zacharek
By Stephanie Zacharek
When you pick up the brochure with the programming for the Charter Communications 10th Annual St. Louis International Film Festival, you'd better pick up a red pen, too, so you can circle all the films, parties, panel discussions and coffeehouses you want to attend. With about 100 features and short films and a bonanza of related events over the course of 11 days, Nov. 8-18, the fest is a banquet of cool activities.
The films include local writer James Gunn's comedy The Specials, concerning the adventures of a team of down-at-the-heels superheroes; Drive-In Movie Memories, a documentary about the vanishing drive-in theater; The Don and Bill Show: Slightly Bent, a retrospective of outré animation by Don Hertzfeldt and Bill Plympton; Almost Elvis, a hilarious documentary on Elvis imitators; Pornstar: The Legend of Ron Jeremy, a documentary on the porn actor known as "The Hedgehog"; the latest films from Spike Lee (A Huey P. Newton Story) and Peter Bogdanovich (The Cat's Meow); and local director Bill Boll's long-awaited coming-of-age tale April Is My Religion.
The fest offers loads of comedies, dramas and documentaries, as well as sidebar programming on Mark Twain, African-Americans, the STARZ! Super Pak New Filmmakers Forum, the Sundance Channel Asian Focus and the Short Film and Interfaith Sidebars. The Whitaker Foundation Celebration of Cinema in St. Louis features films old and new with local connections, such as Before They Fall Off the Cliff, a documentary by area newscaster Art Holliday on a schizophrenic who killed his parents; King of the Hill, penned by A.E. Hotchner; The Low Life, produced by Michael Beugg; and Silkwood, produced by Buzz Hirsch.
The fest is also an occasion for schmoozing with famous filmmakers and actors who'll be in town to discuss their work. The two biggies are documentarian Ken Burns, who will screen his new four-hour film, Mark Twain, and Bob Gale, the University City native who co-wrote the Back to the Future films with Robert Zemeckis and also wrote 1980's uproariously funny Used Cars. Burns and Gale will be honored with awards, and Bob Costas will interview and fête Burns onstage at several events.
At Midnight I'll Take Your Soul. This inspired bit of cinematic brutalism from writer/ director/star José Mojica Marins was Brazil's first homegrown horror show. Lacking an indigenous analogue, Marins built At Midnight I'll Take Your Soul from scratch as an introduction to Coffin Joe, the sadistic cemetery agent in search of the "perfect woman" with whom to extend his bloodline. Terrorizing some South American backwater with murder, mutilation and a leg of lamb, Coffin Joe is a craven bully, calling out the dead with eye-bulging fervor, then cowering in terror of what he's invoked. Ignore his apparent comeuppance; the character returns in the even more outlandish This Night I Will Possess Your Corpse before being relegated to repurposed footage and substance-abuse warnings. At Midnight is a murky concoction of primitivist gore and psycho-delic effects, bound up in Joe/José's loopy ontology. Films don't get much more foreign. In Portuguese with English subtitles. (JH)
Attack the Gas Station. Four bored losers decide to rob a gas station (twice), setting in motion a delirious mix of hostage melodrama, theater-of-the-absurd cruelty and social critique. Mounted with ridiculous abandon, Sang-Jin Kim's Attack the Gas Station is an insta-classic of new Korean cinema. Think of it as a gone-wrong heist movie in the anarcho-slapstick mode. After a long night of remodeled social relations and serial telephone abuse, Attack the Gas Station devolves finally into a triangulated stalemate between the delivery-boy Mafia, a protection-racket goon squad and our dopily intrepid gang of four. By the time the proverbial kitchen sink arrives in the form of a squad of telegenic cops, the place is a riot of close-quarters kineticism. The resultant zippo showdown provides the most hilariously shaggy denouement in recent screen history. In Korean with English subtitles. (JH)
Betelnut Beauty. Writer/director Cheng-sheng Lin's stylistic, forward momentum and Taipei's dynamic energy intensify, by contrast, the dead-end lives of Fei Fei and Xiao Feng. Their primal screams connecting them early in the plot accurately vent their shared emotional and physical frustrations, ones haltingly relieved through each other. In a transparent booth on the city's streets, wearing revealing tops and miniskirts, Fei and friend Yili hawk betelnuts, for the nuts' stimulant jolt, to passing motorists. Enmeshed in gambling, sex and fights with rival thugs, Feng doesn't want his job as a poor baker in a rich man's city. Fei, awash in high-tech gadgets, longs only to connect with her absent father and to pursue some elusive version of happiness with Feng. Betelnut Beauty contrasts surreal visual brightness with the details of a meandering, aimless, lost generation. In Hokkien and Mandarin with English subtitles. (DC)
Coffin Joe: The Strange World of José Mojica Marins. A defiantly underground Brazilian filmmaker whose 40-year oeuvre includes -- no, wallows in -- sadism, (sometimes real), gore, bestiality, blasphemy and a noticeable touch of narcissism, sometimes tarted up with a nod to Buñuel, José Mojica Marins, better known by his onscreen persona "Coffin Joe," comes across as a kind of shock-artist savant, part David Lynch, part Herschell Gordon Lewis ... and just a little bit of a sociopath. There's not a wealth of detail in this documentary; directors André Barcinski and Ivan Finotti are fans, pure and simple, and they want no more than to provide a lively anthology of Coffin Joe's most outrageous and tasteless moments. Some viewers may share his gross-out fervor; for others, let the buyer beware. In Portuguese with English subtitles. (RH)
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