My visit to Glasgow culminated with attendance at the Glasgow Film Festival, which ran from February 20th through March 2nd. Over the course of the festival I saw five interesting films, attended a couple of roundtable discussions and listened to a live performance by a punk band. The work of the organizers was praiseworthy, but I wish the movie tickets were less expensive so I could have seen more films! I also wish that the organizers could have made a printed copy of the program available in advance of the festival, as I found it difficult to identify all of the films and events that I was interested in attending by browsing the website. As a result, I missed out on a number of things that I would have liked to have seen.
The first screening I attended was The Strange Color of Your Body’s Tears, a French giallo-style film directed by Helene Cattet and Bruno Forzani. I love giallo – Dario Argento is one of my favorite directors of all time – and I have learned that in order to truly appreciate works in this genre, you have to allow yourself to become absorbed by the mood of the films rather than trying to make sense of story lines or the logic of plot points. That was certainly important in the case of The Strange Color of Your Body’s Tears, a movie with a narrative so convoluted that I have trouble summing it up. In rough outline, it has to do with a man who, upon returning home from a business trip, finds that his wife is missing. As he investigates her disappearance, he discovers that there are passageways behind the walls of his apartment. The passageways obviously are intended as a metaphor for the main character’s mind, and at the end of the film he reaches what appears to be a psychological epiphany: all of the women that he has ever been involved with turn out to be aspects of a single girl, who is someone that he encountered as a child. As the mystery unfolds there are plenty of bright colors, and images of blood, guts, mayhem and sex to keep you riveted. All of this is accompanied by a loud and pounding musical soundtrack, reminding me of Argento’s Suspiria. This is a movie that is visually exciting, fun to watch, but nearly impossible to make logical sense of.
I saw The Double, directed by Richard Ayoade, the following evening and was disappointed by it. I enjoyed the Dostoyevsky book, but Ayoade’s rendering of the story is a rehash of dystopian clichés piled one on top of the other. The film stars Jesse Eisenberg as Simon, a mousey office worker who, despite his talent, just can’t get ahead at work because of his low self-esteem and inability to assert himself. His office is a retro-futurist nightmare of dim lights, malfunctioning technology, and bureaucratic dead ends straight out of films like Brazil, 1984, and 12 Monkeys. When his arrogant and aggressive doppelgänger James appears, Simon is taught how to get what he wants in life. Soon, however, Simon realizes that James is going to take away his job and the girl he loves, and so he must confront and eliminate his double.
Richard Ayoade attended the screening and answered audience questions afterwards. I have to admit that I was just as disappointed in him as I was in his movie. He came across as a hipster who was too cool to really say anything serious. When asked about the meaning of his film or his intentions in making it, he simply responded with answers like, “I don’t know what I was trying to do,” or other noncommittal statements to that effect. I actually left the theater before his interview was over since he seemed not to have much to say about his own work.
After the disappointment of The Double, It was refreshing to see The Homosexuals play right down the street at the Center for Contemporary Arts. This show was in conjunction with the film festival, as the lead singer of the band, Bruno Wizard, is the subject of a documentary that would be playing the very next day. I wrote about the show in a previous posting, so I’ll simply say here that the band was very enjoyable. They are from the early days of British punk, and the music they play is thick with snotty, sarcastic and angry attitude. This is no slick, commercialized band, but an authentic example of what punk rock is really meant to be. Great show!
The Heart of Bruno Wizard, directed by Elizabeth Rasmussen, played the next evening, and while it was an interesting film in many ways, it was not great. This was the director’s first crack at filmmaking. As she explained after the screening, she quit her job once she met Bruno Wizard and decided to make a movie about him; a fact which testifies not only to her own courage, but to the charismatic power of Bruno Wizard himself. You experience his charisma not only when he is performing on stage, but when he is speaking to a group or when he is encouraging the adoring young artists who seem to flock to him like seagulls around a fishing boat. I wish more of this came through in the movie, but I think the mistake that the director made was to focus too much on Bruno’s own life outside of the punk scene and not to give enough attention to his music. We don’t see enough of him singing and performing and we see too much of him painting his apartment and riding on the subway. While Bruno seems to have been through some rough times in his life, honestly, his struggles are not that unusual. What is truly interesting about him is his energy and creative spirit. Unfortunately the film doesn’t go far enough to convey this, so while I think that he is a terrific and inspiring artist, I would prefer to watch his band play than to sit and quietly watch a movie about his life.
The Dance of Reality is Alejandro Jodorowsky’s newest film, coming almost 25 years since The Rainbow Thief was released. Jodorowsky’s newest movie is an autobiographical account of growing up in Chile, and as you would expect, it is surreal, bizarre, colorful and filled with an assortment of freaks, deformed characters and shocking acts. It tells the story of Jodorowsky as a small boy who is coddled by his big-breasted, opera-singing mother, while his Stalin-worshipping father treats him harshly and tries to make him into a hard man. The father is portrayed by Jodorowsky’s real-life son, Brontis, who was present after the screening to talk with the audience and answer questions. I loved this movie. It is an oddly touching and authentic attempt by Jodorowsky to make sense of his life now that he is an old man reaching the end point of his career.
The question and answer session with Brontis Jodorowsky after the film was very enlightening. He spoke about the difficulties involved in working on a film with his father not only as the director, but as the subject of the movie. The atmosphere on the set, he confessed, sometimes became very intense, as the elder Jodorowsky demanded that everyone remain solemn and serious at all times. This was his life being put on the screen after all! There was no joking around between takes, no monkey business to blow off steam. And yet, what comes across on the screen is something that, while certainly conveying deep and profound insights, still has a sense of humor and playfulness. The acting, Brontis explains, was intended to be rather stiff and cartoon-like in order to highlight the surreal qualities of the story. Here you have Jordowsky’s form of a waking dream in which the elements of his life are combined in a free flowing manner that, while not historically accurate in detail, no doubt are more true than any literal account could ever be. His mother, who was beaten by her own father for wanting to be an opera singer, finally gets to realize her dream in this movie by delivering all of her lines in song. His father appears as a stiff and cruel man, engaging in slapstick fights with amputees. He is finally redeemed by his wife, who baptizes him in a stream of her own urine. Weird, gross, fascinating and honest, The Dance of Reality is one of the best films that I saw at the festival.
The last screening I attended was for a Swedish film titled The Hour of the Lynx. This film tells the story of a young man (Frederik Christian Johansen) who murders an older, married couple and is then committed to an insane asylum. The young man has religious visions, and so his psychiatrist calls in Lisbeth (Sofie Grabøl), a female priest, to talk with him. As the two characters develop a relationship of trust, the young man opens up and discloses his background of abuse at the hands of his mother and his discovery of happiness with his grandfather in the very house later occupied by the murdered couple. This is a gripping film, well acted and well made, that addresses the points of convergence and the points of conflict between science and religion. In the end, religion is depicted as the hero, being shown as a far more appropriate and authentic avenue toward the exploration of personal suffering and turmoil than is the science of psychology, which is depicted as cold, calculating and overly rational.
None of the films that I saw during the film festival were Scottish, which was due to the fact that by the time I went to buy tickets, all of those movies were sold out. As a consequence, I missed Everybody’s Child, a documentary by Gary Fraser that chronicles his hardships kicking heroin in his hometown of Muirhouse, Edinburgh. I also missed Under the Skin, directed by Jonathan Glazer and starrring Scarlet Johansenn, which played during the closing gala of the festival. Under the Skin is about an alien who drives around Glasgow and the Highlands of Scotland picking up hitchhikers for nefarious purposes.
Despite missing these films, I did get to attend some panel discussions dealing with Scotland and Scottish identity. The first was chaired by David Archibald from Glasgow University and focused on the effects that independence might have on the Scottish film industry. The participants represented a variety of filmmakers and scholars, all of whom seemed to have the same opinion on the state of Scottish film: it is not living up to its full potential. The consensus was that more needs to be done to support and promote film making in Scotland, and that there are not enough resources currently being devoted to this task in comparison to what is taking place in other countries such as Ireland or Norway. Ian Smith, in particular, stressed the need for the development of a greater film infrastructure – to include post-production facilities – in order to attract filmmakers who will stay in Scotland in order to complete their projects after filming on location. Phillip Sclesenger also pointed out that the government appears to be more concerned about the status of television than of film, this being reflected in the “White Paper” issued by the SNP concerning their strategic plans after Scotland gains independence. Most of the hour and a half focused on the current, sad state of Scottish movie making rather than on how independence would actually affect the film industry in Scotland. A few voices in the audience objected to this, coming to the defense of Scotland’s creative vitality, suggesting that with independence there would no doubt be an explosion of excitement and pride that would contribute to even more creativity.
The other panel discussion I attended was titled “Writing and Filming the North.” It brought together a number of writers and filmmakers from the Shetland Islands to talk about the challenges and the rewards of working in the Shetlandic dialect. The participants read some of their poetry and shared their experiences as artists who are largely marginalized because of their choice to write in Shetlandic. “It is a kind of career suicide,” said one of the panelists. And yet, as others pointed out, there is a sense of pride that they experience by keeping the culture of these far northern Scottish islands alive.
I found the Glasgow Film Festival to be an exciting and invigorating experience. The selection of films, the various panel discussions and the associated musical events were informative, entertaining and just a lot of fun. As I mentioned earlier, however, it would be helpful if in the future, organizers are able to publish a printed version of the schedule before the commencement of the festival. This would help people like me who find it more convenient to browse a physical program than to search through a website when trying to select and plan which events to attend.