Wildlife focuses on a struggling family in 1960 and is mainly from the perspective of the 14-year-old son, Joe, played by Australian actor, Ed Oxenbould. At the post-screening Q&A with the director, Paul Dano admits that he only shot in digital because he was worried they’d have to do a lot of takes with a young actor. Turns out, Oxenbould was quite perfect from the first take. I would not have guessed digital as the color and tone was quite rich and retro.
With no previews, the film started and I was instantly struck by how the camera didn’t move with the action and often dialogue took place off-screen. The film begins with mother, father, and son in the same shot at the kitchen table and slowly erodes throughout the film to only show close-ups with the characters, rarely showing them together. Once you see it, it becomes so obvious. Art imitating life. It’s brilliant.
Carey Mulligan is somehow old and young, frustrating and empathetic. It’s mind-boggling that she’s old enough to have a 14-year-old. Her character does the most outlandish things yet the audience somehow forgives her. While he doesn’t have as many scenes as Mulligan, Jake Gyllenhaal gives a desperate and hopeful performance as the father. However, the most expressive and stoic performance comes from the young Ed Oxenbould.
After this tragic yep hopeful film, Film Comment put on a free talk with writer/director Paul Dano and the author of the novel on which it was based, Richard Ford. It’s a very interesting talk, as you discover that Richard Ford did not want Paul Dano to make a scene-for-scene recreation of his novel, he wanted him to take inspiration and make it his own.
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PERSONAL SHOPPER
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?”
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. 
In 2004, Director Catherine Breillat suffered a stroke. In 2007, she met conman Christopher Rocancourt. In 2009, she wrote a book titled Abus de faiblesse. In 2012, Rocancourt was sentenced to prison. Now, in 2013, Catherine’s story comes to the big screen. 
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