Vivacious Visions & Lurid Perceptions: The 2009 Cinevegas Film Festival
Cinevegas always is the cauldron of the edgy and interesting. Even in these harsher economic times, the fun can still come through and through. Even with an abbreviated schedule and less star power, the vision of what this festival perceives is, as usual, more interesting and intrinsic than mostOpening Night Arriving into Vegas with gusto as multiple car accidents and fuel spills closed down Interstate 15 up the Cajon Pass between Glen Helen and Hesperia, the sight of cars backed up for miles reminded one of a CG shot from "War Of The Worlds". But as the sun dimmed approaching the strip, all seemed intrinsic.
The essence of "St. John Of Las Vegas" revolves around what constitutes identity. Placing Steve Buscemi as a man haunted by his past but with enough humor to realize the futility of his endeavors allows the movie to shine in more contexts than most. Steve's foil is Romany Malano of "Weeds" who plays against type as a man scamming the scammer. The relation to Vegas and of course the intrinsic value of tax credits from currently hot New Mexico gives the movie perception. However it is two characters outside the mains that truly make parts of this movie shine. Sarah Silverman shines as a secretary office worker in a dress (surprise) who seems to love Buscemi for perhaps all the right reasons. She loves him simply "because". There is the moment where she is laying backwards in a bed like a girl from one of those 50s movies trying to get Buscemi to tell her over the phone that he loves her. She does and her simple ad lib of "Yea!" very softly just tweaks your funny bone. The other part is a man that Buscemi and investigate at a carnival. The guy is stuck in a fire suit that is hooked up to a firestarter. All he wants is a cigarette but his suit keeps blasting up with flames. He can't get out until it runs out of fuel which is going to be awhile. The performance is done without even seeing the actor but the physical, emotional and audio comedy simply lifts the picture.The movie was produced by Lawrence Mattis of Circle Of Confusion who also reps The Wakowskis. The film is also exec produced by Spike Lee whom the director counts as a mentor and actually according to the Q&A after offered distinct structure advice. The key was simplicity. The movie is framed in a convenience store after Buscemi's ordeal where he hits on the girl at the counter and buys 1000 lottery tickets inducing his addiction to gambling again. Life changes but it is all about who wears the pants
The Opening Night Party at Prive @ Planet Hollywood used the space as a structure with the main side bar allowing a freedom of movement. Setting up shop on a couch lifted up on a pedestal leading to a hidden bungalow which later opened up with a flurry of acrobatic dancing where Stella and Goose specialities flowed gave credence as the main dance floor, which, while not too teeming, fluttered with everything from Beyonce to Journey remixes.
Films In Tandem Some films create a set mood to them whether it be isolation, regret or simple survival. The one of these "Moon" which is very much an ode at times to "2001" and in a smaller way, according to director Duncan Jones, "Dead Ringers". The impressionistic imprint of "Space Oddity" via Bowie also cannot be denied. The movie is undeniably sustainable and unique and for the pricem unbelievable. The textures of the effects meld seamlessly with inside the moon station and the psychological play that actor Sam Rockwell must undergo is quite impressive considering that at many times he had to play against himself. Hence in terms of sheer technology and how to accomplish it, Jones says that the Criterion Collection DVD of "Ringers" helped him immensely. He even points out to me and the audience that at one point there is sheer physical interaction which took some interesting wrangling to get.
"Moon" is the kind of introspective movie that is hard to find but sometimes is out there although the production value here and the sheer artistry is quite high. Jones also points to "Outland" as another influence. Simple isolation in the hands of the right people goes a long way. While Rockwell (who was a honoree at last year's Cinevegas) was unable to attend, he did bring a yellow space suit from the film. Jones had been in the trades with the development of a new movie "Deep" about a sunken submarine that is lost and must be risen to the surface during World War II off the coast of Asia. It seems something that with his experience on "Moon" that he would be very good at as he would have to switch space for underwater. Another movie he is working on is a sequel of sort to "Moon" called "Mute" which takes place back on Earth, and seems to revolve around the same isolation concept. He wants Sam to return in a cameo as a character he played in "Moon" which I cannot explain without giving the secret away.
"Daylight" in comparison to what the aspect of what "Desperate Hours" with Bogie seemed to intrinsically say is that no one can escape whether you are the captive or the captor. The key here is who is the bigger danger. Made in record time by an independent company of theater actors and a director from Manhattan in the Hudson Valley in the space of around 10 days, the movie feels quite wonderfully, in a wretched way, paced. The key is the lead female played by a Swiss actress who was actually pregnant at the time. It brings an unbelievable vividness to it since you know that it is not a body suit as several shots attest to. Her attention to both survival, her morality, her thoughts of insignificance to the life of her baby and her mind still working around the hormones creates a neat layer to the proceedings. The story follows two brothers in a way who kidnap the woman in an attempt to extract a ransom. One believes the girl is much like his ex-wife but varies back and forth from simple lust to caring while his younger, more psychopathic sibling has a much more dire situation. Being socially and mentally unstable he switches between homicidal impulses and just wanting to hear the baby kick. The resolution of her fervor is startling but, narrative-wise, still expected.
"Mercy" by comparison is a contradiction of sorts. When Scott Caan came with his directorial debut "Dallas 362" a couple years ago, it played to the bad boy image that many associate with him. With his new indie "Mercy", written and starring him but not directed by him, there seems a tonal shift. This is a Caan that much more brings to mind his father which indeniably will be brought up. But what really sells his performance in a script that does have the propensity to fall into melodrama is the performance of the luminiscent and simply stunning Wendy Glenn. You believe her balance of falling in love with this man but it being intellectual and well as emotional and physical. It plays very well and you can't keep your eyes off her. She brings to mind the model from the beginning of DePalma's "Femme Fatale" but with much more emotional range. The story structure is non linear at times which represents a jump forward in terms of perspective. The movie keeps itself cool but lets Caan and the rest of the actors (including Troy Garity and a hardly recognizable Erica Christensen) shine by biting into the material with viciousness. The movie also tends to have a little bit of autobiography to it. When Scott's character speaks of his father it sounds very similar to life and gives interesting insight. What is even more perceptive is that his father actually plays the character.The Q&A was equally interesting with the whole cast available. I told Wendy Glenn of her "luminscence" which James Caan told me he quite liked (the word that is). Even told me he would like to use it. She said that there was a depth to this girl because you get to see her reasoning and work out why she would indeed fall for this guy. In asking James Caan to remark about the material his son writes and its strengths, Caan responds that Scott's material comes off as "grounded" and "organic" and encompasses real situations although he admits that their relationship is much better and different than the one portrayed in the film. The key also is getting along and creating a family. He says that many films he has been in, you would show up and get the paycheck but there would not be that camraderie. It does make a difference.Films Envisioned & Honored Inside Rain, the aspects of winners and losers seems vast as everyone tries to have a good time. The honorees this year have very different bodies of work and different perspectives of success. They are also very different people personally.
The Vanguard Award went to Willem Dafoe who recent film "Antichrist" very much cements his aspect as an actor who still takes risks despite his success. He says that he never regrets a movie, whether it was successful or not, as long as it was the right decision. "Antichrist" which premiered at this year's Cannes Film Festival, will certainly polarize audiences to no end. Coming to the podium on the auspice of Cinevegas Chairman Dennis Hopper, Dafoe says that he had never been to Vegas before but that simply all he wanted to say was "Thank you".
By comparison, Jon Voight who was honored at the same reception with the Marquee Award which was given to him by director Hal Ashby's daughter recollects working for the director at a time when he couldn't get things done the way they should have been which he says changed later in his career. He seemed to love the fact of being in front of new filmmakers and imparting his knowledge.
"All In: The Poker Movie" won the Jury Prize for Documentary. It tells the story of poker from the basic side of the media and how the profitability and politics of its essence changed its new transformation. Interestingly enough, the docu takes the position that the new wave of poker began with the movie "Rounders" back in 1998 which was in retrospect was based on writers David Levien and Brian Koppelman's discovery of the underground poker rooms in NYC. I remember doing the junket for that movie and related that to this film's director at a very specific point. He made the movie in the midst of other documentaries but admits it became about "where does he want to go next". He, however, is able to get the perspective of all the right players and gets a nicely rounded view of the transition from TV to internet and the chaos that ensues. Having worked for Casino Player and interviewing alot of the major players including Phil Hellmuth, the conundrum is sound. When the law passed effectively banning internet gaming in terms of poker, it hit the industry hard and changed many publications including the one I wrote for. What is interesting involves the perspective of how technology has changed how the game is seen and played. The hole cam which made the TV version interactive and accessible as well as the rise of Chris Moneymaker from the realm of nothing to becoming the World Series Champion Of Poker are cited as major point. The future of internet gaming is also a serious point in reference to the growth of its staying power. Poker, which was simple an underappreciate American game a little more than a decade ago, has now become a worldwide phenomenon.
"Easier With Practice" won the Jury Prize For Narrative Film. It tells the story of a writer who on the road with his brother falls for a woman that he knows only over the phone. Brian Geraghty, who was in "Jarhead" and who I had just met the week before for Kathryn Bigelow's war film "The Hurt Locker", completely 180s his normal persona as this guy who is removed from who he could become. The idea and its interrelation to the continual isolation of people by technology even when that someone is standing right in front of you gives the film an apt metaphor. Granted the pacing at times is slow and the essence of its true nature overrelated but sometimes indie film is overindulgent for purely artistic reasons.Films In Transit Film have to be perceived also on the go as that is how people function. With the next two films, the aspect becomes how do balance inner and outer turmoil in two completely different arenas: the dark forest of one's mind and the insane asylum different from the everyday world.
Despite the talk of some people walking out, there are aspects of the next film "Impolex" that are utterly fascinating. Granted the acting is done in a certain style but it is a style. There is a balance between, lets says, "Paths Of Glory", "Johnny Got His Gun" and "Antichrist". The cadence and the John Carpenter-seemingly-influenced music really strides to what the film is which is a meditation on the subconscious but with a Lynchian turn. The monologue of the supposed girlfriend as the soldier ties to clear his mind is rambling but oddly intrinsic."Impolex" has a quality of removal and closeness that makes it unlike anything recently seen. Because of this people will be polarized by it or think it lazy when it is anything but. The style is an extension of that and is a real perception of what can be done with few props, some costumes, the woods and a synthesizer. Considering those restrictions, the essence of the mood, especially if you are versed, makes the effectiveness that much more evident.
Vying on the other end of the spectrum is "Asylum Seekers" which most of the time overcompensates with too much style. Mirroring certain aspects of "Repo: The Genetic Opera" without the music or the rhythm, this play on surrealism can be interesting at times but falters under the weight of its own precociousness. It wants to be an edgy contemplation on the state of the media in relation to mental stability but the ideas are never given room to breathe because of the frenetic and paradoxical nature of the images it is trying to purvey.In terms of production value for an independent however, it is quite impressive but then so was another film that played the festival circuit a couple years ago called "Viva". The problem with that one, as with "Asylum", is a lack of true storyline or visceral concept where the narrative progression stands out from the image. Unfortunately that is lost here as well. There is one sequence (which the photo above highlights) where a dreamlike progression shows the internalization of a disjointed man who realizes he was insulating himself from the outside world. The music allows the idea to slow down and breathe for a second which is what makes it stand out. However the film overall loses this focus.Party Interludes The parties of Cinevegas have always been the essence of the community because the life of what is seen and what Vegas represents seems to be enhanced within the structure and what is possible. Granted with a shorter timeframe and less budget, the soirees were fewer but the vibe still shown through
The Jackpot Premieres Party, held at the new LAVO nightspot at The Palazzo, comparatively to the Prive Opening Night, was relatively small. The encircling bar which leads down to a harem style sunken bungalow floor gives the intimate crevices the ability to flourish. The white underlit bar and white roses reflective despite a somewhat higher than usual reactive factor as the Grey reverberated in the ice crusted glasses.
The Moorea Beach Club Party a couple nights later, sponsored by Cirque De Soleil, was a picture of grand vision in terms of the way the arena looked as the Mandalay Towers rose behind. However, despite an interesting modern dance performance by a Cirque troupe member, the actual logistics of the party were flawed despite an increasing energy. With a start time of 11pm, the crowd gained their true momentum at 12:30am with the music blasting outside in force which must have been interesting for hotel guests. The bar itself is what both enhanced and restricted the party flow. The upper and lower level were separated by a small long and narrow pool which many partygoers dipped their feet in or immersed themselves depending on the time. This left less than four feet with which to access the bar. Granted below on the beds near the pool below from a key vantage point, the swaying of dresses and tilting of glasses became more frenetic but with nowhere to go.
The Happy Hour interludes at CVHQ inside the Key West Room at The Palms have evolved over the years. This year, held on only two days, the amount of patrons seemed to have nearly doubled from the year before with the line elements almost non-stop. This was surprising and, while vodka concoction were the norm, the drinking of Bloody Caesars with the requisite olive juice and Mr. T's Mix were the inherent tumbler ingredients poured for two people as the "groupie" contingent hung out at the end of the bar waiting for the next real fix.The music, unlike last year which rocked with one rockabilly/jazz quartet in particular, seemed to be more focused on films in the festival with a connection. However, despite good intentions, the desired effect fell short of the mark. The first was an almost karaoke rendition of a Billy Idol impersonator who stars in the feature documentary "Vegas: A True Story". As with all elements, playback and repetition was the problem. If we had even an acoustic accompaniment playing for a couple songs it would have worked but many people were cringing. The next day, Mike & Jerry Thompson who made "Thor At The Bus Stop", also showing at the festival, got up with a full band and fiddle but unfortunately they were almost completely out of key half the time. It interrupted the feel good flow which could have been accomplished by only doing two songs and having a DJ spinning 80s tunes in remix mode the rest of the time which would have gotten the place jumping even more.Closing Night is always an interesting affair because the retribution of Vegas is what happens when you pass Day 4. Granted usually, this night happens around Day 9 so it becomes an almost surreal experience. The compacted vision of the arena here made for an unbalanced and, at times, anti-climactic experience despite best intentions.
This was not the film's fault at all. "World's Greatest Dad", another subversive film for comedian turned behind-the-scenes TV maven Bobcat Goldthwait plays on the aspect of what people will believe versus expectations of what they saw. Robin Williams plays a teacher at a school which his son (played by Spy Kids' Alexis Vayra) also attends. To many, the boy is a louse and a pig. When he shows up dead from an apparent suicide, his father, in an attempt to assaude his own guilt but also seeing a possibility, begins writing supposed poetry and journals by his son which convey an internal struggle and maturity that wasn't there. The farce which is played very dramatically ultimately builds to a crescendo. Goldthwait has always took elements that, if perceived right, are the blackest of comedies which this functions as in turn. It is accessible on a basic front and the aspect of Williams give it some interesting credence.
After the screening, Goldthwait as well as new actress Alexie Gilmore (who looks suspiciously like Bobcat's love interest from the "Police Academy" movies) spoke on the gestation of the movie and how its ideals play out. Goldthwait seems to revel in making audiences feel uncomfortable with his films but most of time it is because it examines a truth or stasis of life that most people don't want to admit happens and usually involves gluttony, greed, ego or the like.
The after party for Closing Night took place at The Playboy Club. Two years earlier, a similar set up had been done in reverse at Moon taking place for the main party during the week and The Playboy Club for the late night. While very lurid with elegance and decadence to boot, the Playboy Club is best as an exploring structure while Moon is better for a bigger party. The Playboy Club is intimate and high end which in turn means it is meant for a more discerning crowd. A Closing Night party is boisterous by nature as last year's soiree at the newly opened Palazzo Pool highlighting various restaurants attested. By this token, The Playboy Club was humming but elusive in its focus in terms of the festival. But again this kind of party shows the committment of The Palms to this confab which, as a partner, gives an added element of pedigree in terms of coolness necessary to be successful.
Cinevegas 2009, although a shorter affair, continues to offers a definitive cross-section of indicative films which while not as edgy or star studded as in recent years, still maintains itself as vision of specificity with the circuit and a vivid location to boot.