Immerse yourself in 19th century Estonian folklore – feel the mud and cold, the fear and joy of the peasants living side-by-side with cows, werewolves and kratts, the farmers’ helpers, created out of old tools, hay, and animal bones, and brought to life by the devil himself. Director Rainer Sarnet elevates his film above mere period drama, sprinkling the fable of peasant girl Liina’s doomed romance with Hans with generous amounts of humor, and enriching its earthy fairytale milieu with beautiful black and white cinematography. Sarnet’s attention to detail, in particular in capturing the farmers’ dynamic and expressive faces, humanizes and adds a warm depth to the environment as Liina and Hans ponder the great mysteries of life, love, and the existence of the soul, looking for meaning and explanations anywhere they can.
November is everything a non-cinephile might think of when it the phrase “foreign film” is haphazardly thrown about. That is exactly what makes this film so intriguing. With its stunning black and white cinematography and its unapologetic folklore elements, the story delves into the question of living a life with or without a soul. The wonderfully weird characters and themes, including death, witchcraft, and the devil himself, all make November one completely engrossing cinematic experience. Oscilloscope Laboratories acquired North American rights to Sarnet‘s film ahead of its world premiere in the international narrative category. Below you can find the trailer, and while it does not yet contain English subtitles, you quickly grasp the tone of the film. We will, of course, keep you updated on release dates for this unique selection.
FILM INFO
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Section:International Narrative Competition
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Year:2017
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Length:115 minutes
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Language:Estonian
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Country:
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Premiere:International
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Connect:
CAST & CREDITS
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Director:Rainer Sarnet
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Screenwriter:Rainer Sarnet
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Cinematographer:Mart Taniel
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Editor:Jaroslaw Kaminski
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Composer:Jacaszek
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Producer:Katrin Kissa
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Co-Producer:Ellen Havenith, Lukasz Dzieciol
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Cast:Rea Lest, Jörgen Liik, Arvo Kukumägi, Katariina Unt, Taavi Eelmaa, Dieter Laser
This insightful doc is has a gorgeous structure. Including sit-down interviews with local police, Linda’s family, and narrated passages from Linda’s diary entries, the impact of God Knows is massive. It’s heart-wrenching as you slowly realize that this poor woman’s death could have easily been prevented. The system failed her in an atrocious way. As Bishop descends into starvation and deeper mental state, we already know the writing on the wall, but that does not make the outcome any less shocking. While difficult to watch on many levels, it’s an important and timely film in many ways in our national discussion of how we treat mental illness as a nation. I highly recommend you catch God Knows Where I Am this Friday, March 31st. Check out the trailer below for a peek into this sad true story.
Emma Roberts plays a mysterious young woman who is clearly troubled. It’s an unglamorous role but suits her well. She is, as ever, riveting on screen. Having watched Kiernan Shipka literally grow up on Mad Men, we find her in a role that’s totally unexpected and truly scary. The progression of her character is unhinged. Fun fact: Shipka has a hauntingly gorgeous singing voice. The script’s dynamic is engrossing and the concept of two stories colliding keep you consistently alert. The uncomfortable moments and there are many, will keep you on the edge of your seat long enough to get to the weird (in a good way) ending. The location screams typical New England boarding school. The winter weather adding to the gloom and darkness of the impending doom. The Blackcoat’s Daughter will stick with you in a disturbing way long after the credit roll. 
presents
Sometimes, when it’s 3 am and my unborn baby girl decided it’s an awesome time to do a dance instead of letting me sleep, I become, shall we say, a little grumpy. 3 weeks away from my second child, I’m freaking tired and sore and over being pregnant. Don’t get me wrong, I’m thrilled for this peanut. My soon to be two children will be less than 16 months apart. Yup, two under two. I shudder to think about the amount of rest I will not be getting for the next 18, nay, 19 years. All that being said, I’ll have my perfect little salt and pepper set, all we need is the dog. There will be days I will want to flee, I’m sure… but I cannot imagine a day where the acts of my kids will compel me to start, let’s say, murdering people. Though, it’s early and who am I to judge. In Alice Lowe‘s directorial debut, PREVENGE, Ruth’s unborn child is telling her to murder a very specific list of people and perhaps for a good reason.
Written, directed and starring Lowe while she was actually 7 1/2 months pregnant, Prevenge is savage and wickedly demented. Sharp British humor heightens this in-your-face rampage. As much as you attempt to figure out the actual reason for the string of murders, you won’t until very late into the film and thus a sign of great writing. Lowe’s portrayal of Ruth is frighteningly grounded and wonderful. The cast is filled with familiar faces and the chemistry between Lowe and her (mostly) victims is perfection. The colors are vibrant and the jarring jump cuts interspersed are incredibly effective. The film is weird and gruesome and unlike anything you’ve seen before. It’s just plain cool.
My Name is Emily is a stunning coming of age film. Evanna Lynch shines in this complex role of a sad and brilliant young lady. The layers of this character come from the outstanding script from writer/director Fitzmaurice. Infusing philosophy, literature, poetry, loss and teenaged angst all intertwined into a story of finding oneself through letting go and letting people in. Michael Smiley is as wonderful as he’s ever been, touching the cornerstone of every possible emotion. George Webster, in particular, is one hell of a find. His natural ability to draw you in is reminiscent of the late Anton Yelchin. He will seduce you with his awkwardness and charm the pants off you all in the same scene. The honest chemistry between Lynch and Webster makes this film what it is. Another high note (pun not intended) is the glorious soundtrack. Each song evokes a familiarity that seems to fit perfectly into the moment. With a cool mix of voiceover moments and flashbacks, My Name is Emily is a true delight.
AFTER FIRE
Writer/Director Mike Mills knows women. He appreciates the ins and outs, the nuances of age and stage and the humor in everyday life. Annette Bening asks one of her tenants Abbie, and son’s high school aged best friend, Julie to teach him how to be a food man. Since his father is out of the picture and mother Dorothea has trouble keeping an age appropriate man around for long, she had enlisted help. thankfully she has been thus far successful in raising an open-minded and perfectly curious boy. His inspiration for exploring the world is only enhanced by the eclectic females he is surrounded by. The film is funny and sweet. It’s a bit if a time capsule and yet somehow remains timeless in the theme of self discovery. The transitions are like colorful music videos mixed with punk music from Talking Heads and Black Flag.
After seeing Stewart and Assayas team up on the NYFF52 film Clouds of Sils Maria, there was doubt that we were in for a unique treat in Personal Shopper. Some might still be skeptical of Stewart’s work if they’ve only been exposed to The Twilight franchise. She admits that it most definitely gave her the option to choose her work. Her indie film roles are nothing short of impressive. Clouds allowed her to be the first American actress to win France’s most prominent Cesar award. Stewart plays Maureen, dealing or not dealing with the death of her twin brother, she floats through life by attending to a spoiled supermodel’s fashion needs all while suspecting her brother is trying to contact her from the beyond. Caught between her own sanity and a murder mystery, Stewart bares all in an emotionally wrought and frightening tale that makes us ponder our own beliefs and life choices. With some of the world’s most beautiful fashion as eye candy, Paris and London as our backgrounds, and the trust Assayas has with his leading lady, I was constantly on edge and intrigued. The pace is great and the use of texting as a major plot point brings technology to the forefront in more than one way. Assasya’ long lingering shots, he admitted in the press conference following the screening, were half by choice and half due to the performance Stewart was giving at any moment in time. Their relationship is very clear as you watch. She is in almost every frame. that is a lot to carry as a young actress, but she 100% owns this film. I was able to ask both Assayas and Stewart if they believed in the paranormal and their answers were perfection. you can watch the footage below. If eerie movies are your thing, then this is most likely one you’re enjoy. If you want to see a gorgeously shot film with a stellar leading lady, this too fits the bill. If you’re open minded about things that are considered other worldly, if nothing else, Personal Shopper begs the question, “Is death the end?”
Jarmusch does it again with this seemingly simplistic story. The film elegant in that very simplicity. Following Paterson along on his daily routine, which only slight varies as the plot rolls along, we are privy to the everyday moments we often take for granted. We watch his breakfast, eavesdrop on conversations among his route passengers, sit with him on lunch breaks, walking home, and his nightly interactions with local bar patrons, his dog Marvin, and girlfriend Laura. She is a free spirit, artist, baker, and aspiring musician, painting everything in their home in black & white patterns. This is a stark juxtaposition to the lush cinematography when Paterson is out and about. There is an abundance of visual symbolism utilizing time and shadows and even with an almost 2 hr run-time, the film never loses its gentle pace. The beautifully easy score that underlies Adam Driver‘s fantastic voice overs as he writes his poetry in real-time, only serves to highlight how lovely this film truly is. Driver brilliantly portrays a man of calm and old-fashioned demeanor. He is quietly contemplative and extremely well read. With each role, he proves more and more what a star he is.
Sieranevada takes a peek inside a grieving family and the reality of being stuck in a small space with the people you love and hate. Days after the death of the family patriarch and the recent Charlie Hebdo attacks, we find our cast gathered together to honor their beloved father. While they wait for the priest to arrive, we discover, little by little, the chaos, the meddling, the selfish, emotionally unstable ways that only your own family can throw at you all at once. Director Cristi Puiu, makes us, the audience, a fly on the wall for 3 solid hrs. This might pose a challenge for some viewers. The camera, mostly stationary, pans back and forth in place for extended periods of time, catching whispers, shouts, and much chain smoking predominantly from a hallway position. While the actors try desperately not to step on each other or wake the baby while they wait to eat once the elusive priest finally arrives. The dialogue is a beautiful mix of over the top arguments, manic bereavement, and laughter at internet conspiracy theories. It’s undeniably relatable. Only a big family dynamic can get your blood boiling and creative juices flowing for that long. 
Having graduated drama school only blocks from the NYFF, I can relate to The Rehearsal on a very personal level. Based on the novel Eleanor Catton‘s debut novel of the same name. Director/writer Alison Maclean‘s film version is slightly different but the themes remain the same. Teachers taking advantage of their students. It was lovely to see the authenticity of a performing arts school portrayed on the big screen. It’s been a while since both the discipline and seemingly ridiculous have been combined to give the viewer a slice of life in a conservatory style education. No one is nice to you. everyone is competition. The teachers are their to teach you with hard life lessons. But this story is also about the emotional responsibility of not only the teachers, but the students as they grow into mature adults. Our main plot revolves around the lives and work of the kids. More specifically, their final project. The dialogue is evenhanded in humor and drama. The performances are extremely solid.The final scene is cinematic perfection. 
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