IFFBoston ’12 Review: The Queen of Versailles

IFFBoston ’12 Review: The Queen of Versailles

What happen’s when you go from having anything, to not being able to afford it?

It’s easy to look at Lauren Greenfield’s documentary the The Queen of Versailles and be shocked, even disgusted at the wealth of David and Jackie Siegel. But that’s not what the film is about. Not once did I feel that Greenfield was mocking, or asking the audience to laugh at her subjects. What she was doing was painting an elaborate, detailed portrait of an extremely wealthy family. Queen of Versailles is the anti-Real Housewives of wherever – rather than romanticizing their position in life, the film does a really great job of showing them us as they are. This isn’t a caricature, it’s definitely the real deal.

The film starts as David and Jackie Siegel are in the midst of planning and designing the largest single-family home in America. Both came from humble beginnings, and in the 70s and 80s, Siegel built his empire, Westgate, a timeshare company. Jackie, his fourth wife, was former Miss Florida, and married David in the mid 90s. Together, the couple has 7 children, and have taken on an 8th, Jackie’s niece.

The home, a merger of Versailles and the top three floors of the Paris hotel in Vegas, is a 90,000 square foot structure that is the definition of luxury. The plans for the finished house have marble everywhere, gold plating, paintings, antiques, and 30 bathrooms.

The film turns from a story about living in luxury to a riches to [almost] rags tale – following the completion of the Planet Hollywood Westgate towers in Las Vegas, the bottom falls from underneath them as the sub-prime mortgage based timeshare business falls apart along with the rest of the economy.

Greenfield followed the Siegel family for two years, and it seemed like nothing was denied as far as access goes. There’s a lot of stuff that could be fairly embarrassing for the family, moments like Jackie asking what the name of her driver is while renting a car from Hertz. With limited staff at their home, the house becomes overrun with dog feces and clutter.

Should we feel bad for the Siegel’s? No, because I don’t believe that was Greenfield’s intention either. What we have here is an amazing record of just how the economic downfall affected even the most well off family. What’s it like for the super rich to have to cut back? Just as much a culture shock as it’d be for a middle class family to cut back. Just super amplified. To borrow a quote from a friend who also saw the film, if I’m ever that rich, I’ll be sure to have a rainy day fund.

IFFBoston ’12 VIDEO: Alex Karpovsky & Garth Donovan Q&A – Rubberneck

IFFBoston ’12 VIDEO: Alex Karpovsky & Garth Donovan Q&A – Rubberneck

Following the Boston premiere of Rubberneck, filmmakers Alex Karpovsky and Garth Donovan are joined on stage with the producers and other actors from the film to field questions from the Coolidge Corner audience at IFFBoston 2012.

IFFBoston ’12 VIDEO: Stephen Kessler Q&A – Paul Williams: Still Alive

IFFBoston ’12 VIDEO: Stephen Kessler Q&A – Paul Williams: Still Alive

Following the IFFBoston 2012 screening of Paul Williams: Still Alive, director Stephen Kessler talks a bit about what didn’t make it into the film, and proves to the audience that Paul Williams and him still are friends!

IFFBoston ’12 Review: Beware of Mr. Baker

IFFBoston ’12 Review: Beware of Mr. Baker

“The Devil takes care of their own,” someone proclaims in Beware of Mr. Baker. You quickly understand what that means in this fast paced, fast moving first-person documentary of Ginger Baker, the man, the myth, the legend.

Directed by Jay Bulger, who owes his career to Ginger – we fly over to South Africa to spend some intimate time with Baker as he tells the story of his sometimes outrageous past.

Bulger interviews Eric Clapton and Jack Bruce of Cream, Charlie Watts of the Rolling Stones, Johnny Rotten, and more. Baker’s career spanned many generations, from 1958 to today. The man influenced so much of what music and drumming is today, and it’s hilarious to hear his reaction when told that, exclaiming that if he’s the father of heavy metal, it “should have been aborted.” His story is told via archival footage, his friends and bandmates, old television appearances, and Ginger (though, sometimes seemingly unwilling) himself.

So how did the filmmakers get this great access? Baker, a private, and somewhat eccentric man received phone calls from Bulger a few years prior – who lied his way into contact, stating he was a reporter for rolling stone. He then went down to South Africa, and the article ended up getting published in Rolling Stone.

The filmmakers use a stylized animation to illustrate Baker’s stories – a tool they turned to when they had no other footage. It worked for them because Baker’s tales really are so outrageous, they almost sound made up. When you see the man, and how far he goes with Bulger, you know he is the real deal.

I love that the filmmakers left material in the film to show you just how difficult a person Baker was to work with. But in the end, he’s just being himself, and legitimizes the story that much more.

Despite his eccentricities, his behavior to his family and friends, one cannot deny Ginger Baker’s immense contribution to percussion, and the music scene as a whole. Remember, when you’re driving around a neighborhood and you see a sign “Beware of Mr. Baker,” you probably shouldn’t go in – you might end up with a cane to the face. So better play it safe, just see the movie instead.

IFFBoston ’12 Review: Fairhaven

IFFBoston ’12 Review: Fairhaven

Fairhaven is the first feature from writer/director Tom O’Brien, and tells the story of three friends, reuniting in their hometown.

Jon (O’Brien), a former high school football star, is aspiring to be a writer, and is leaving his job assisting as a fisherman to pursue his dream. Dave (Chris Messina), is brought back to Fairhaven due to the death of his Father. Sam (Rich Sommer), is the only one in the bunch to have a child, and is divorced.

The film goes back and forth between the complexities of Dave’s relationship with his family and friends, to the challenge’s Jon is having with his impending life changes.

O’Brien’s love of Woody Allen and Robert Altman is clear by the dialogue – just about every scene is focused on dialogue. Characters will talk over each other, and everything almost has an improvised feel (whether or not it was, I’m not sure), but it still feels natural and realistic.

On the surface, the Fairhaven is a fairly simple story – however, the depth of the characters and their relationships complicates things. It takes the film longer than usual to set up where its headed, but once the course is set, its smooth sailing from there.

The film was shot mostly in Fairhaven and the surrounding towns. They did an amazing job picking great locations, every scene felt extremely natural and realistic. Almost as if they showed up, set the camera up and went. The DP did a great job pushing what was no doubt a digital cinema camera to the limit, with rich contrasts, and great lighting.

I enjoyed the film, and am definitely curious what O’Brien will do next. The film is currently seeking distribution, but with some fairly recognizable cast members, I hope the next step will come to them with ease – Fairhaven definitely worth seeking out.

IFFBoston ’12 Review: Time Zero: The Last Year of Polaroid Film

Time Zero: The Last Year of Polaroid Film is a love letter to instant photography. What seems to have started as an extended eulogy to the medium, the film evolves from various Polaroid Photographers talking about their love for Polaroid, to a chronicle of the efforts to save it from fading away forever.

Interviewing Polaroid artists, and former employees of the company, we get a great sense of the passion these people had for Polaroid and their cameras. Rather than constantly cutting between various voices, director Grant Hamilton stays with each interviewee, giving every single person ample time to reflect on, when they started using it, why they love it, and how the medium disappearing effects them.

The drawback to telling the story this way, many of the speakers echo/repeat the thoughts of others. But it is clear that the film began as a collection of voices. But as Hamilton revealed during the IFFBoston Q&A, as the closing of the plants neared, the “Impossible Project,” began. He does an amazing job capturing the grass-root efforts to keep the format alive. People truly working against all odds, all to save their format of choice.

We learn quite a bit about Dr. Edwin Land, the inventor of Polaroid instant photography. I would have loved to learn more about the company and its corporate history, but again, the film is more about the enthusiasts and artists that love Polaroid photography.

I really enjoyed the film, it’s always amazing to see how passionate people are about the photo-chemical process. Polaroid being an even more unique part of that tangible, printed photo world.

If you’re a fan of Polaroid, or even someone who has a love of photography, and preservation of the photo-chemical way – you will definitely enjoy this love letter to an art that almost went away.

IFFBoston ’12 Review: Headhunters

IFFBoston ’12 Review: Headhunters

Headhunters is one of the most edge of your seat, darkly funny, action packed films that I’ve seen in a long time. This Norwegian Action/Crime/Thriller from Morten Tyldum is violent, at time gruesome, but our main protagonist finds himself in so many crappy situations (this’ll make more sense once you see the movie), you can’t help but laugh.

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IFFBoston ’12 Review: Burn

IFFBoston ’12 Review: Burn

One of my favorite films in my younger years was Backdraft. I mean, what young person didn’t love a movie about firefighters. Firefighters are our local heroes, they ride the iconic red fire truck to save citizens and their homes. I had the opportunity as a High School student to ride along with firefighters for a few days, and one of the first things they told me was that Backdraft, wasn’t very realistic. While they appreciated the publicity, there was nothing real about the way fighting fires was portrayed in the film. What stood out to me so much about this documentary, Burn, was the incredible realism. I walked away feeling like I had spent a year with real firefighters, learning their stories, their struggles, and saw first hand, what its like to be inside a dangerous, frightening fire.

Detroit is infamous for its “rates.” Murder rate, unemployment rate, crime rate, povery rate. Once a vibrant, well-off, well populated city, now, its mostly vacant, and economically suffering. Vacant homes = fires. Some legitimate, but many of the fires are a result of arson. A frightening statistic is given by one of the firefighters in the film, informing us that most of the fires they fight are because of arson, ranging from trying to hurt someone, or trying to have some fun. “A gallon of gas is still cheaper than a movie ticket.” Scary.

We follow a few specific characters, a driver/operator, a young 10 year veteran who suffers a serious injury, and the newly inducted Fire Commissioner. We see the struggles, both at home, and at work, and hear their stories in their own voice.

We learn that the economy just hasn’t taken a toll on the city proper of Detroit, but it has gotten to the point that the firefighters meant to protect the city, don’t even have the equipment they need to do their job. Most trucks are aging, and “stuck together by duct tape and gum.”

For the new Commissioner, his battle is trying to bring his department within budget, and gain the loyalty of the frustrated firefighters within his department.

Denis Leary, Jim Serpico, Brenna Sanchez, Tom Putnam at the IFFBoston 2012 Premiere

So how did the filmmaker Tom Putnam and Brenna Sanchez get such amazing footage from within the fires? Putnam said during the Q&A following the screening at IFFBoston, “Firefighters make great cameramen.” Using helmet cameras otherwise used in filmin extreme sports, they mounted cameras onto the firefighters helmets, to capture a point-of-view otherwise only seen by the folks on the frontlines of these fires. They did such an amazing job capturing this, all that was missing was the heat and smoke emptying out into the theater.

Burn: One Year on the Front Lines of the Battle to Save Detroit is an amazing documentary that tells an important story. About service, dedication, and the state of affairs within the Fire Department. What we learn about in this film is not just local to Detroit, but an issue that effects many other departments across the country. Executive Produced by Denis Leary and Jim Serpico, the film hopefully has the name attachment it needs to find wider distribution. It is an important film, and I urge you all to seek this one out.

Visit the film’s website to learn more about how you can help.

IFFBoston ’12 Review: Andrew Bird: Fever Year

Andrew Bird is a unique artist and performer. I went into Fever Year knowing very little about him beyond what I’d seen in the trailer for the film, and I left the theater knowing only a little bit more. This isn’t a bad thing however, because I don’t believe Fever Year set out to be a biography of Bird’s life. To me, the film is a window into Bird as an artist, and into his creative process.

The film, commissioned by Andrew Bird, is essentially a concert film. Capturing a performance at the Pabst Theater in Milwaukee. We go back and forth from him on stage, to practicing and setting up for the show, and even collaborating with his supporting acts. We travel with Bird to his family home on a farm in Illinois, capturing an intimate moment as he develops and records a song – and sit with him as he talks about his life and history as a performer.

He’s a unique artist, and I don’t think I can place him in a particular genre. His music ranges from indie rock to folk, and the film does a great job of capturing his performances. Bird combines guitar, voice, whistling, and violin to create a beautiful unique sound that stays with you.

Director Xan Aranda’s touch is delicate, we are involved but we are removed, much of the film feels like we are a fly on the wall – watching Andrew Bird exist in his environment. The film is lensed beautifully, the organically shot concert footage melds perfectly with the rest of the documentary footage. Aranda had access to some archival footage of Bird earlier in life, and makes great use of it. Everything about the film fits together with precision.

Bird at one point in the film sums up exactly how I felt about this film. His music is very personal, but he doesn’t really like to go into it – his work says everything he needs to and wants to say, and so does Fever Year.

Click for a Q&A with Xan Aranda that followed the IFFBoston screening!

IFFBoston ’12 Review: Sleepwalk with Me

IFFBoston ’12 Review: Sleepwalk with Me

Sleepwalk with Me is a wonderful, relatable film that is based off the life of co-writer and co-director and star Mike Birbiglia, and adapted from the one-man-show of the same name.

Matt Pandamiglio (Birbiglia), is a struggling comedian, stuck behind a bar serving drinks at a New York City comedy club. His long-time girlfriend Abby (Lauren Ambrose), is supportive, but frustrated with Matt’s unwillingness to move their relationship forward. Given the opportunity to get on stage to tell a few jokes, Matt struggles for a laugh from the audience.

Matt also begins having sleepwalking episodes that grow increasingly dangerous, starting as kicking a hamper he thinks to be a jackal, and jumping off a table.

A chance encounter gets him booked at a comedy club in upstate New York, where he stumbles upon new material, expressing his fears about marriage and commitment to big laughs. So begins Matt’s journey, touring thousands of miles at a time, using his own life and problems as his material.

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