SFIFF, 4/23.

The San Francisco International Film Festival has begun. Being the oldest of something fosters a tendency towards both meritorious deeds and regressive stagnation, and the festival has been aggressively persuing both agendas. Despite our bitter grumblings (as cinephiles and locals, both), the festival is a highlight for many Bay Area residents, who may only venture into the art film world a few times in a year. This represents a chance for people who really enjoy films to see some things that won't make it in to a cinema, or even onto DVD.

Opening night began well with Le Couperet (The Ax) from Costa-Gavras, a competent thriller and timely, despite being based on Donald Westlake's late-90s book of the same name, which clearly took its own cues from the "kill everyone for the throne" historical tragedies of Shakespeare.

Bruno Davert (José Garcia) is, in resume-speak, a proactive problem solver facing his biggest work related issue yet - unemployment. A victim of inevitable downsizing and relocation, the highly skilled paper chemist decides to reduce the number of those in his niche job pool to one. This film is both comedy and commentary, and possibly great therapy for those dealing with the boredom, madness and panic of being unemployed in a job-centric world. Costa-Gavras was there in person and rounded up the screening with an audience Q&A.

I didn't see any personally, but I am assured that the Gala Opening Night Party was a star-studded event. It took place in the outdoor courtyard of Giradelli Square, a San Francisco tourist centerpiece. Several attendees told me how nice it was to be outside on such a lovely evening, and I nodded my agreement through chattering teeth. Apparently, the indoor VIP section was hot and stuffy, so I guess it was the sauna mentality - out of the hot room and into the cold pool.

There will be some interesting high profile events in the coming days. Academy Award winner Brad Bird will talk about the state of cinema. Two strong, creative women will take the stage when Sally Potter interviews Peter J. Owens Award Winner Joan Allen, who plays a role that seems suspiciously based on Potter herself in Yes.

Abel Raises Cain, Cinévardaphoto, and Innocence have all been positively reviewed here in days (and festivals) past. And we just can't stop talking about Adam Curtis's The Power of Nightmares.

Earlier this year, Adrian Martin wrote an excellent if brief essay on the inherent difficulties of screening short films. In lieu of finding a copy of this online, here is another one he wrote about the problems we have even defining these films (does any film deserve to be defined by its length?). The most tolerable way to watch shorts is on a DVD at home, and only one at a time. Almost as good is in front of a feature film, as long as it hasn't been chosen only for its similarity to the feature. It is unfair to screen shorts in a group, especially when they are linked thematically, because the tastes of the curator(s) will often go beyond theme; stylistically similar films tend to be grouped together. Occasionally, there is some attempt to resolve this problem by adding animated films to the program, but that is a ruse.

The only straight up and down international narrative shorts program being offered this year at SFIFF suffers from this very problem. Children, and the problems children face all over the world, are front and center in this program designed for adults. If that's your kind of thing, you'll be in a sort of kinder-paradise. Grouped under the title "Revelations," these films ostensibly mine what is unique or out of the ordinary. Only two films really succeed, and they succeed exceptionally well: La Vie d'un Chien and Two Cars, One Night. Not surprisingly, both have screened all over the place, here and around the world. If you're in San Francisco, now is your chance to see them.

Coming from New Zealander Taika Cohen, Academy Award nominee Two Cars, One Night has won awards at Berlin, AFI and Seattle. Three kids are left in two different cars while their parents have a drink at the local pub. Strangers, they strike up a conversation (of sorts). While the film that beat them to the Oscar, Wasp, is a highly realistic drama, Two Cars, One Night has the same level of realism in its comedy. It's great when kids can be funny and natural without being syrupy, too.

La Vie d'un Chien is a satirical homage to Chris Marker's La Jetee that can easily be enjoyed by audience members unversed in French film history. This "photo-roman," comprised entirely of stills, follows the highs and lows of a scientist who has discovered a way for humans to transform into dogs. As a result of either great skill or accidental success, the film manages to be both infectiously tongue-in-cheek and occasionally touching.

La Jetee, mentioned above, is an example of all that short films can be. It screens alone around the country and is the most commonly included short film on "100 best films" lists. Lately, films of diminutive length have been breaking out of the mould with their innovation (Flotsam/Jetsam, The Raftman's Razor, etc.). When they manage to combine their stylistic uniqueness with emotional gravitas, they can truly stand on their own. Neither of these films quite manage that transcendence, but I have great hope for the future. Perhaps in Tracing Paths, SFIFF's program of international short documentaries? We'll see.

Posted by dwhudson at April 23, 2005 5:45 AM