NY Film Festival: Energy From Abroad
The New York Film Festival defines itself as an annual chance to take account of the state of film as art.
Last year's story line was obvious enough: American filmmakers, from Julian Schnabel to Wes Anderson, were making - and finding ways to distribute - some excellent movies.
What a difference a year makes.
This year's festival - which opens Friday with the U.S. premiere of the Cannes Palm d'Or winner "The Class" - still boasts a number of high-profile American films. But the stronger energy - as it often is at the NYFF - is from abroad.
Clint Eastwood's "Changeling," which stars Angelina Jolie, will make its U.S. premiere, as will Steven Soderbergh's 4-hour epic "Che," the festival's centerpiece. Closing the festival will be Darren Aronofsky's "The Wrestler," which features an already much acclaimed performance from Mickey Rourke.
Throughout 2008, much of the dialogue in the art film community has been about the declining state of independent film as independent and boutique studios have shuttered. This year's slate of American films at the NYFF is down to six (at least one of which was financed outside of the country) out of 28 films in total.
The New York Film Festival's purview has never been constrained by borders. In its nearly five decades of existence (this is the 46th NYFF), it has specialized in introducing audiences to new filmmaking talent from around the globe.
The NYFF, which will run from Friday until Oct. 12, doesn't give awards like most festivals but simply exhibits a curated batch of highly selective movies - many of which have played at earlier festivals. (This year's selection committee is Richard Pena, chairman and program director of the Film Society; Kent Jones, associate director of programming at the Film Society; LA Weekly critic Scott Foundas; The Village Voice's J. Hoberman; and Entertainment Weekly's Lisa Schwarzbaum.)
Jean-Luc Godard, Francois Truffaut and Pedro Almodovar are just a handful of the filmmakers the festival supported early in their careers and watched as their international regard and fame grew. The Hong Kong director Wong Kar-Wai, who this year is showing "Ashes of Time Redux," was first screened at the festival in 1990 ("Days of Being Wild").
As of yet, American filmgoers have been reluctant to explore contemporary foreign filmmakers - even those who have amassed a large body of work, helped along by festival support and critical acclaim.
"Generally speaking - and this is a terrible generalization - among my students and among younger people, there's a marked lessening of interest in international cinema," said Pena, who also teaches film at Columbia University. "I don't think the work is less good."
Pena believes there are many reasons for this, but specifically cites a kind of close-minded cultural attitude he says has accompanied the Bush administration. It's a lost opportunity, he says, because of the general public's international curiosity following Sept. 11.
So for lazy film buffs and aspiring moviegoers, here's a quick rundown on four filmmakers at this year's festival who are worth knowing.
- Laurent Cantet: Cantet's "The Class" gets the plum opening-night spot. The French director, whose movies include 1999's "Human Resources" and 2001's excellent "Time Out," is known for his realistic, almost documentarian style that nevertheless maintains a kind of cool control. He often uses nonprofessional actors and lets improvisation steer many scenes. "The Class" features a cast of French students in an urban mix of cultures and ethnicities that reflects French society.
- Jia Zhangke: The Chinese filmmaker's "24 City" is his third feature film at the NYFF following last year's "Useless." His movies can be treated as documents of the modern transformation of China. Says Pena: "There's not anybody who's been the chronicler, the poet, the critic of that more than Jia Zhangke."
- Agnes Jaoui: Jaoui's third film as a director, "Let It Rain," follows her popular "Look at Me" (2004) and "The Taste of Others" (2000). Jaoui is often compared to Woody Allen both because she also acts in her films and because of her satirical wit. "Her films are every bit as good as the last 10 Woody Allen films," says Pena. "They're as amusing, as enjoyable - they just happen to be in a different language."
- Hong Sang Soo: "Night and Day" is a story of love in Paris, made by this revered South Korean director. It is Hong's fifth film in a row to play at the festival, dating back to 2002's "Turning Gate." As a film about expatriate life and the interesting - and often funny - clash of cultures, it's perfectly reflective of the New York Film Festival's border-crossing ethos.
By Jake Coyle