3-Iron (2004, Kim Ki-Duk)

I liked this a lot but don't have a lot to say about it, in part because I think this is a film where going in blank is best. It has a very mystical quality to it which is really nice, and the protaganists are interesting and a bit off but in a good way. The closing scenes are absolutely amazing. Now I'm even more bummed I missed out on seeing Spring Summer Fall etc last year. Highly recommended, this is probably my second favorite film from the festival to this point.

2046 (2004, Wong Kar-Wai)

I am actually sitting in a movie theatre as I write this, waiting for the Iranian film The Lizard to start. Sweet ubiquitous wifi, thank you Seattle.

In this very theatre, three days ago, I saw my most anticipated film of the fest, Wong Kar-Wai's 2046. It was, as Melissa Schwartz so aptly put it, "a big sprawling mess. And I don't mean that in a kind Paul Thomas Anderson sort of way." At one point two of the characters have a discussion about escaping their past, and one wonders if Wong couldn't have taken this advice himself. He seems to be attempting to followup every one of his prior films all at once. Most explicitly a semi-sequel to In The Mood For Love, this also contains implicit references back to at least three of his other films without tying any of them together at all. Around the one hour point, the plot had gone so many places I began wondering how in the hell he was going to land the thing, then at around 90 minutes I actually thought he was going to pull it off. Then the movie went on for another half an hour. Still, like all Wong's films, 2046 is well worth seeing if for no other reason than the dreamy atmosphere and always-breathtaking cinematography from Christopher Doyle. Also Zhang Ziyi gives the best performance I've seen out of her so far. Mmmmm, tasty. Is Wong ever going to make another kinetic film filled with life and joy like Chungking Express again? Please say yes.

Rumors abound that this version which is being distributed is vastly different than the one shown at Cannes last year, although the only detail I know of for sure is that Maggie Cheung's role was pretty much non-existent in the Cannes version. If anyone has more details on this I would be interested. It is fascinating to me how much of Wong's films seem to come together in the editing room, see also all the deleted scenes from In The Mood For Love on the Criterion DVD, which are lovely but seem to come from another movie altogether. I'm sure its a personal thing but I can't imagine working that way, it totally makes my head hurt thinking about it.

The Aristocrats (2005, Penn Jillette and Paul Provenza)

For those who don't know, The Aristocrats is 90 minutes of comedians telling and discussing this joke (NOTE: this link points to a clip from the film and could be considered a spoiler. Also it contains language which it could be argued is not appropriate for anyone at all.) Supposedly passed down since the vaudeville days, the joke is the stuff of lore in the showbiz community. Comedians tell it to each other, but almost never to the public, giving them the freedom to riff and go off on the central bit without ever having to worry about offending anyone or bombing.

The Aristocrats is also about the funniest goddamn thing I've ever seen in my entire life. Beyond vulgar, intensely offensive, and utterly hilarious. The entire audience was rolling in the aisles from the first line. The film has a lot on its mind and is an intelligent statement on the work comedians do and how they do it. You really start to notice how every comedian makes their mark, adds their own little bit, turns this joke into their own. At its heart, The Aristocrats is a documentary about the art of comedy, and it succeeds fabulously. Thinkfilm had the balls to pick this up for distribution, look for it in your local Landmark complex in mid-August and do yourself the favor of seeing it with a crowd. This isn't one for Netflix.

Seattle International Film Festival

Its fest time in Seattle, my first chance to attend a festival I had heard so much about in the past. Its actualy day 5 now, and its been great so far. The films have been good, the crowds are great, and the fest is setup really well. My only big complaint is that the theatres are scattered all hell and gone over town, so getting around can be a chore, esp if your screenings are close together. Thankfully I have not had that problem, and everything has gone smoothly. I have also had a chance to experience the legendary Secret Festival, and while I wasn't thrilled with the film they showed, I still love the concept.

Below is a preliminary schedule, subject to change (hopefully only additions.) Grades will be appearing on my Films Seen List before any commentary appears here, and as anyone who checks know the content could stop flowing anytime.

The Aristocrats - May 20, midnight, Neptune
2046 - May 21, 1:30, Neptune
3 Iron - May 21, 6:30
Secret Festival #1 - May 22, 11:00, Egyptian
Yes - May 23, 4:45, Egyptian
Shake Hands With The Devil, 7:00, Egyptian
The Lizard - May 24, 7:00, Neptune
The World - May 26, 6:30 pm, Harvard Exit

OUT OF TOWN May 28 - June 1

After The Day Before - June 2, 7:00, Harvard Exit
Tropical Malady - June 3, 9:30, Harvard Exit
Mysterious Skin - June 4, 3:45, Uptown
5x2 - June 4, 9:00, Egyptian
Kings And Queen - June 5, 8:30 pm, Neptune
Grizzly Man - June 6, 7:00, Egyptian
Cruel But Necessary - June 7, 9:00, Broadway Performance Hall
9 Songs - June 8, 5:30
Clean - June 9, 2:00, Uptown
Max & Grace - June 9, 6:45, Broadway Performance Hall
Howl's Moving Castle - June 10, 7:00, Neptune
The Circus - June 11, 11:00 am, Egyptian
Police Beat - June 11, 1:30, Egyptian