Welcome to our hub for Film Festival coverage on FilmRoot. Please find direct links below to our most recently covered Film Festivals including reviews and recaps.
If you’re ready to sit down for a few hours to indulge yourself in some cosy, trivial Argentine mysteries, meet the latest film from El Pampero Cine, Trenque Lauquen.
Trenque Lauquen comes from Laura Citarella, one of the members of El Pampero Cine, a group of filmmakers which also includes Mariano Llinas (La Flor, Extraordinary Stories), Agustin Mendilaharzu, and Alejo Moguilansky. Each of the members of the collective usually pop up in the credits of each other films under different roles, making each of the collective’s films feel like a team effort. They each also use the same actors, so if you’ve seen another of their films before, you’re likely to see a familiar face in this one.
Trenque Lauquen, like it’s El Pampero Cine predecessors, isn’t a light commitment. It’s just over 4 hours long, split roughly equally into two sections which are both tied together by Laura’s character. The entire film takes place in Trenque Lauquen, a city on the far west border of Buenos Aires province near La Pampa. It looks like a pretty unremarkable city, with nothing to really distinguish it from anywhere else in Argentina. However the blandness is all part of the film’s construct. As with the majority of films from the El Pampero Cine collective, Trenque Lauquen uses the mundane as a foundation for it’s engrossing mysteries.
El Pampero’s films are, at their core, fairly simple. There aren’t any extraordinary premises, but they also work as tiny odysseys. Characters embark on fantastical adventures where the mundane is re-signified as something strange, new, and magical. The strangeness with which Pampero approaches the world is inherently transformational. Any and all minutiae represents a good excuse for them to tell a story as if we as the audience were kids listening in rapt attention, trying to keep us from seeing the world in its drab normality, allowing us to perceive things differently and hatch crazy schemes.
Trenque Lauquen, like La Flor and Extraordinary Stories, feels like indulgent storytelling. It’s as if the filmmakers of El Pampero Cine have been challenging each other to come up with new quirky mysteries to keep audiences interested for longer periods of time. They haven’t seemed to hit their limits yet as each of their last few films have kept audiences interested just to see where the mysteries lead us. Each of their films is like following a maze or river cruise full of pleasant surprises. Plus the pacing and characters are conducive to our immersion in the mystery; they’re both always patient and never rushed. They create the relaxed environment to let the mystery lead us along. Serious things happen in these films, but because of the tone, it never feels real-world serious. This is why these films are indulgent storytelling – they’re there to simply entertain and nothing more, and they do this better than anyone else in the industry.
The Santa Barbara International is officially underway! Whilst Sundance (Utah) and Rotterdam (The Netherlands) capture most of the film industry’s attention in January, Santa Barbara draws in a load of movie fans. There won’t be any major studio deals happening here, but there is an impressive slate of local and global films.
I’ll be attempting to cover the majority of the film offerings outside of Europe and Northern America, including the Latin American and International competitions. So expect to see a few quick fire reviews on this site over the next week from the international competitions. I’ll also aim to write up a recap of everything else I see at the festival and at home on screeners, which also gives you a brief overview to how the festival works. Bring on the films.
Just like the 2020 edition of AFI Fest, AFI Fest 2021 had some great shorts available to view on the online platform throughout the duration of the festival. This year’s mix ranged from multi-media animation featured in Love, Dad and H.A.G.S. to documentaries about death (The Death Cleaner), and travelled from Singapore (Strawberry Cheesecake) to Sudan (Al-Sit). Here are four of the Best Shorts from AFI Fest 2021. Look out for them on streaming platforms and other film festivals in the near future.
Best Shorts AFI Fest 2021
Love, Dad (Czech Republic)
In Love, Dad, the director Diana Cam Van Nguyen finds some letters of love her estranged dad wrote years ago. She uses a mix of styles to help process her emotions. The quickly narrated diary style gives the film a constantly moving stream-of-consciousness to keep her emotions flowing whilst the mixed-in animation allows her to speak about her relationship with some emotional distance. Much like last year’s winner Tiger and Ox in which a daughter identifies with her strict mother through animation, Van Nguyen manages to forgive her absent dad with the help of the comfort of animation.
Zonder Meer (Belgium)
Zonder Meer perfectly captures youthful summer holiday vibes at a Belgian camp-site. The camerawork brings us down to 5 year old Lucie’s innocent kid curiosity and the grainy colors give off a nostalgic warmth. However, the patient editing and 360 audio gradually expose us to the tragedy unfolding on the edge of Lucie’s consciousness: a boy has disappeared and may have drowned. Whilst Lucie quietly continues her explorations with other kids her age, the adults, unprotected from reality worry for the missing kid and their family.
Her Dance (Israel)
Bar Cohen’s Her Dance follows Aya, a Trans Woman, as she surprises her sister and Orthodox Jewish family at their house on Shabbat night. Because of her appearance, she’s met with scorn by her mother and sidelined by her family. However, the more she’s pushed away, the more determined she feels to stay. This lends an uneasy tension to the short which culminates in a memorable dancing scene (pictured above) and duel with her mother amongst a cheering circle of guests.
BabyBangz (U.S.)
Anastasia Ebel’s BabyBangz captures a hairdressing salon in New Orleans specializing in natural hair. While this might sound pretty mundane, this is no ordinary hairdressing salon. These hairdressers offer a complete experience, offering you world advice of a therapist and educational lessons with book recommendations in addition to a unique haircut. The tone of the movie matches the inspiring content. It features ethereal piano scales layered into the soundtrack (much like in Garrett Bradley’s Time) and an artistic mix of close ups and people living in and around the salon mimicking the style of Khalil Joseph. Both the salon and the film will inspire you to start something.
Head to our AFI Fest 2021 Hub for more reviews and short films from AFI Fest 2021.
Taming the Garden is a slow documentary about a billionaire’s project to create a garden of the grandest trees in his country. Bidzina Ivanishvili, the billionaire, and former Prime Minister of Georgia, is the invisible villain of this film, as we follow the construction teams that uproot trees around the country and transport them across seas to his home.
As you’d expect from the poster, the visuals in Taming the Garden are almost unbelievable. It’s not often that you see huge old trees floating on the sea or driven down country roads. These images are more than enough to keep you engaged with the slow pace of the rest of the film. However, it’s a shame most viewers weren’t able to see it on the big screen.
The slow pace of the film shows no sign of a director. Instead, the focus is on the people on the construction team and the local people affected by their project. In between the shots of the trees we hear the conversations and opinions of the locals. It exposes us to a bit of the Georgian psyche – that what’s happening is just another cruel fate that they can’t avoid. Their complaints sound like a group of neighbors gossiping about their hated neighbor.
You can understand why they’re complaining. This invisible billionaire is buying and disappearing the most beautiful trees from their neighborhoods. They’re all trees that have taken centuries to grow, trees with sentimental value, that hold memories from their childhood. Whether it’s taken for granted or not prior to their removal, they give some sort of happiness to the local communities. Their removal therefore uproots some of the memories and happiness it holds, leaving an empty feeling in it’s place. In contrast to the time it takes for these huge trees to grow, Ivanishvili shows that money can quickly take them away.
The kicker of this movie comes in the final scene, when we finally get to see Ivanishvili’s garden. Ivanishvili is still nowhere to be seen. The only people we can see are gardeners patrolling the humongous property in golf carts. They’re the only people that see the beauty of the trees now, and now that they’re placed by so many other beautiful trees, they hardly stand out.
That’s not to say the garden isn’t beautiful. It is. The place, shrouded in mist, appears like a tree heaven that these trees have been transported to in their old age. The immense wealth of Ivanishvili has given him the power to create a garden of Eden. He’s created a garden in a few years which should have taken centuries to create. That it exists, demonstrates the power of a billionaires impatience. And that it exists alongside the rural poverty he’s taken them from highlights the inequality in the country.
Whilst we weren’t able to catch any films in-person at the 30th edition of the Pan African Film Festival, the virtual screenings were almost enough to compensate. Like previous years, the international film slate at PAFF 2022 featured films from countries that other festivals in the U.S. rarely represent. Inspired by Burkina Faso and Africa’s world leading FESPACO film festival, PAFF is the best place to see films from the African diaspora in the U.S. So if you’re looking for films from sub-Saharan Africa, the Caribbean, and Black directors around the world, you need to add the Pan African Film Festival to your list.
The International Films at PAFF 2022
As per previous years, we focused our coverage on the International films screening at PAFF. The Pan African Film Festival typically offers one of the most diverse film festival slates in the U.S., and this year was no different. 55 countries were featured along with 18 languages, including Papiamento, Swahili, Wolof, and Yoruba. The festival also does it part to foster new talent from around the world with 61 of the feature films coming from first time directors. The only improvement we’d love to see in future editions is equal gender parity in the director’s screened, especially within the international categories. Whilst 40% of the films featured were directed by women, it felt like this was boosted by the U.S. and short films.
Quality-wise, most of the films we saw this year beat the worst films from the 2019 and 2020 editions. Here’s how they ranked.
1. Bantu Mama (Dominican Republic)
Bantu Mama was the most polished movie we saw at this year’s edition. It has art-house production quality, memorable acting and characters, and it tells its story incredibly efficiently (clocking at just 77 minutes long). Plus the soundtrack was on point – sonically representing the meshing cultures in a tribute to their shared African heritage.
Like Bantu Mama, Tug of War‘s high production quality and art-house film language has helped it to screen at a few international film festivals already. It sets an anti-colonial romance within the picturesque island of Zanzibar and gives it a lot of Wong Kar-Wai style. World Cinema fans will find plenty to appreciate here.
We loved the relaxed pacing of The Crossing. There’s rarely a moment where it feels preachy or designed to provoke. Instead, the light comedy and hang-out vibes turn the often traumatic topic of Africa to Europe immigration into an easy and humorous watch.
Africa & I is the perfect viewing experience for anyone who wants (or wanted) to travel across the African continent. Othmane Zolati’s journey from Morocco to South Africa is unique and inspirational even if the narrative structure is fairly unoriginal. He shows you how to travel on a budget whilst deconstructing the tourist misconceptions of Africa.
5. Doutor Gama (Brazil)
Like Bantu Mama, Doutor Gama features another great soundtrack, this time courtesy of Tigana Santana. His voice gives a melancholy calmness to Dr. Gama’s traumatic life. Whilst the biopic is good, it feels a bit short. It jumps from slavery to an established civil rights lawyer in just a flash, when it could have done with covering more of his life in between.
6. Ayinla (Nigeria)
Ayinla‘s plot is a bit undercooked; hitting beats in Ayinla Omowura’s life without piecing them together. However, the music makes up for it, even if the lyrics aren’t always subtitled. For anyone into Nigerian music, or biopic style movies on making it in the music industry, Ayinla is worth a watch. It’s a decent tribute to both Ayinla Omowura and Abeokuta, the colorful city that both the director and the music star share.
If you’re looking for a well made film from Martinique that gives a sample of Martinican culture, watch Zepon. Whilst it falls into some tired World Cinema tropes, there are some brilliant moments in the film that are supported by light humor that carries the film from start to finish.
The Zoom call format of Tales of the Accidental City is a bit limiting, and already feels dated as quarantine restrictions have largely disappeared. However, if you’re simply looking for a quick Kenyan comedy, this film is worth a watch. It playfully makes fun of a few stereotypes of the city, giving the audience a few laughs and a small understanding of Nairobi society.
Israeli history is complicated, as any documentary on its formation and relationship with Palestine and the West can confirm. However, With No Land focuses on an overlooked prejudice – the rejection of the Black Ethiopian Jews into the Israel state despite the Israeli Citizenship Law that grants every Jew in the world the unrestricted right to become an Israeli citizen. However, whilst the topic is interesting and eye-opening, the abundance of talking heads interviewees makes it very dry.
10. Hairareb (Namibia)
Whilst there are some nice shots of the rural/desert landscape, Hairareb failed to live up to the blurb. It’s not about the drought that brought the two main characters together, and it’s not about the newlyweds past lives, or living in rural Namibia. All of the narrative development is sacrificed for the sake of creating domestic melodrama, leaving the film feeling pretty hollow.
Juwaa is a well produced movie from the African diaspora. However, it’s incredibly bleak. It hits all the genre tropes of misery porn, starting with a traumatic childhood event which destroys the characters later happiness. Whilst there is some sort of resolution at the end, it’s not enough to make up for the depressing time spent watching the rest of the movie.
Visit the Pan African Film Festival 2022 page for all our full reviews from the 30th edition of the festival.Reviews from past editions of PAFF can also be found here: 2020, 2021.
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