I spent the last weekend at my third annual l’Abri Film Festival, the glorious 24 Frames per Second. This is basically a village film festival, but one that punches far above its weight, with serious debate of intelligent films in a friendly atmosphere. English l’Abri take over the village hall and invite locals, students and friends from far and wide to watch and discuss seven films over 1½ days. It is a real celebration of all things filmic, and of the value of a thoughtful approach to media and storytelling.
This year was particularly special, as the festival saw the UK ‘premier’ of Jaap van Heusden’s film Win/Win, complete with a Q&A with the director. It’s always a joy to hear a director’s perspective on their work, but even more so here, as Jaap talked on current projects, thoughts on film making and writing, and offered opinion on other films in the programme. Jaap came to this little village film festival instead of the Berlin Film Festival, where he was nominated for, and won, best screenplay. How amazing is that?!
Now, I don’t ordinarily review films, but I want to share a few thoughts on this year’s programme, while it’s still fresh in my mind. So, in the style of Mr Jackson…
A light-hearted film about banking? An enjoyable exposition of the (un)realities of trading on futures? You wouldn’t believe it, but it’s true…
Belgian émigré Ivan has a talent for numbers and a quirky, almost autistic savant personality. Working somewhere in the bowels of a financial firm he gets himself noticed by the traders by randomly placing tips on Post-It notes around the building. Elevated to the big leagues, Ivan soon becomes the firm’s Golden Boy, as it seems he just can’t lose…
A study of the dislocation and alienation of success and the hyper-unreality of financial trading. The pursuit of the abstract is dehumanising. Ivan’s gradual dislocation from reality brilliantly portrayed through some of the best sound editing I’ve heard in years. A beautifully shot and framed film, colours bleached out as he falls further into isolation. And the persistent questions throughout: what is the cost of success? Is there a value in losing?
Accusations of child abuse within a catholic school in 60’s America. Politics, power-plays and varying understandings of what is ‘right’. Wonderful acting by Meryl Streep, Philip Seymour Hoffman and Amy Adams, but very ‘staged’ – the films roots as a play too obviously on display.
This is a film about contrasting views of righteousness – the conflict between moral regulation and compassion, between right action and right motivation. It’s about the doggedness of conviction and the persistence of praxis in the light of doubt and vanishing belief. The two lead roles have enough ambiguity and conviction to allow your own sympathies to come to the fore. Most people will find either Father Flynn or Sister Aloysius a monster, but I wonder if they are not both… Different forms of evil wrapped up in conviction? Or just the impossibility of scrutinising another’s soul?
A return to the festival, this short documentary by Jaap van Heusden is ostensibly about a man caring for his mother, who has Alzheimer’s. The reality is more about the infectiousness nature of madness, and the impossibility of holding on to reality in the face of another’s disbelief in it. Anderman is a fascinating character – brutally direct, somewhat unhinged, and yet captivated by beauty and finding solace in art. 15 mins is just not enough…
A man appears at the home of two young brothers, whose mother simply says, “your father is home”. Who is this stranger, and what is his motivation? Where has he been for the last twelve years? Father and sons set out on a camping trip with a mysterious purpose, and as time goes on the sons try to understand this stranger and his place in their lives…
The Return is traumatic film, showing a reality far more brutal than we are used to in the west. It is one of the most visually beautiful films I have ever seen, but thematically it weighs on your soul. The director’s very deliberate use of cryptic religious imagery at the start of the film suggests – on later analysis – that he intends for the Father to be seen as some sort of comment on the nature of God. But what a picture!
This man, a cipher, absent at the beginning and end of the story. An unknowable, confusing and seemingly arbitrary plan of action. Brutal and violently-given instruction, arbitrary and extreme punishment. A stream of criticism and dismissive distancing. The only expression of affection too little, two late… I have to say that this is a picture of god I can identify with. It might not be yours, but it does seem consistent.
The film weighs on you. You search for positives, for resolution, for a sense of ‘plan’ to the man’s actions. The sons do learn from the father, they are changed by their experience. But they are equipped by him for a brutal and harsh life that they must live on their own. The father remains throughout unknown and unknowable, and the children unaware that they are loved.
What message should we take from this?
A mess. This pseudo-documentary does not have the courage of its convictions. Supposedly an ‘open’ approach to satire, creating space for the viewer to decide, it is instead muddy, boring and clichéd. There is no bite for the satire, and no miracle for the faithful. I’m amazed this film won awards, and surprised that it ended up on this programme. One to avoid.
An extreme introvert, unable to properly interact with society, uses a ‘fake’ girlfriend – a sex doll bought over the internet – to help him transition into the world. Giving every impression that he sees ‘Bianca’ as real, Lars’ family, church and co-workers are forced to treat her as such. And beautiful things happen as a result.
This film is an absolute delight. By far the highlight of the festival. It is at points profound and side-splittingly hilarious, and throughout remains deeply touching. This is a picture of real community in action – surrounding, accommodating and loving others’ brokenness. It is collective acceptance and healing. The need for help in overcoming our fears and stepping out into the world. It is everything I hope for for the future.
A cruel, cruel end to the film festival. Our 7th film was just too strange for us to make sense of – we were too tired, too over-stimulated. My second encounter with the Cohen Brother’s latest, I found it just as confusing the second time round. It is at points very funny, but just too frustrating, as you cannot make sense of all the pieces.
“Embrac(ing) the mystery” is dissatisfying – even if it is the point of the film – as you identify with the lead character too much.
Jim Paul, the l’Abriite who puts the film festival together, always swears that there is no intended theme. But strong thematic elements flow through the seven films: absent fathers/parents and the consequences of such; the struggle to find your place in the world and to deal with your brokenness; madness in the face of complexity; the inability to find satisfying answers. And most powerful of all, doubt and faith.
All the protagonists have some reason to (come to) doubt the narrative of their tradition. They all struggle with questions of identity in the face of challenging circumstances. Arguably, they all have a different worldview by the end of their stories.
The frustration is, of course, that these stories rarely share a comforting resolution. Worldviews are challenged, but ‘answers’ are not forthcoming. I wonder what it says about me that Win/Win and Lars, the two stories with genuine resolution, are the ones I found satisfying? And The Return and A Serious Man, the films with the least resolution, the most questions, the ones that trouble me and weigh on my mind? Perhaps I just have enough ambiguity in my life as it is right now…
Anyway, this post is now quite long enough. The l’Abri Film Festival is to be heartily recommended. It is fun, intelligent, challenging and moving, in a great setting and with some amazing people. Next year I’d like to get a gang of folks together to go down from London. Anyone interested?