On Wednesday January 25th, the official opening of the 35th International Film Festival Rotterdam took place. Audience members could see the Dutch premiere of what has been described as Ang Lee’s ‘gay western’, Brokeback Mountain, a film awaiting Oscar gold. The honor of being the official opening film went to Shunichi Nagasaki’s remake/make-of/sequel of Heart, Beating in the Dark. Here on Choking on Popcorn I will post regular updates. I hope to do one every day, but with the tight schedule of five to six films a day, that is a hard task. I will also post very small reviews and ratings of the films I saw. That way, you can still go see some of the films you can read about in the updates. Longer, more elaborate reviews will be posted when the festival is over, so after February 5th.

Heart, Beating in the Dark (2005)

In 1982, Japanese film maker Nagasaki Shunichi made a pretty intense film about an even more intense relationship, called Heart, Beating in the Dark. Some years ago the director decided to do a remake, with a more contemporary setting. Whilst making the film he was reunited with one of the lead actors of the 1982 version. Basically the story is about a couple on the run, because they have killed their new-born child. What this remake adds to the original, is that it is not just the same story retold, but we see the original actors/characters of the 1982 film in present time. They still regret their crime and have drifted apart. Fate brings reunites the,. Their storyline is intersected with the ‘remake story’ of a young couple who basically went through the same.

This 2005 version is interesting, not only because of its ability to compare to the original, but also stylistically. One might wonder what Nagasaki Shunichi’s intentions were, since the result is somewhat messy, yet still very enticing. The film starts with a documentary piece about the actor of the 1982 original asking the producers for a part in the remake. Then we cut to the young couple, who have just fled. Their storyline is crossed by the couple of the original who are guided by fate and find each other again. What is also interesting is that scenes of the young couple’s storyline are mirrored by fragments of the 1982 original. The result is a bit presumptuous, yet very emotional. This is mainly caused by the brilliant acting and the smooth directing.

Naito Takeshi, who played the main lead in 1982 and who opens this modern take, explains his main motivations to be part of this remake lied within the possibility to comment on and explain his character’s motivations. This is not always clear, and feels a bit forced. The scenes of the young couple that have sought refuge in an almost empty house have the appearance of a stage play. The acting in these scenes is theatrical, yet very shivering. Near the end, as the two couple meet, a truly moving climax is reached, which alone makes this remake worthwhile. Not a remake in a very strict sense, Heart, Beating in the Dark is an awe-inspiring ride, despite its rather voluptuous and somewhat forced structure.

Bahag Kings (2005)

Six kings wearing thongs, crazy stuff. Accompanied by crazy music and crazy lyrics. The director introduced the film by saying he hoped people could actually sit through it. Movies don’t have to make sense. Art doesn’t make sense. This is rubbish.

Me and You and Everyone We Know (2005)

Directing debut of Miranda July. Mosaic of stories, involving a video-artist who drives a cab to accompany the elderly and a shoe-salesman who just got out of a divorce. There is also the dirty man enticing teenage girls and the salesman’s sons who secretly chat and date via the internet. Great film, somewhat pretentious, but never of the annoying kind.

La Perrera (2006)

Uruguyan film and directing debut of Manuel Nieto Zas. A university student comes home in a small costal town. He can’t study due to a strike at the Montevideo University. His father assigns him to build a house, because he thinks his son is now good. When the house is finished the student gets his university papers back as well as some money to continue his studies. Long, at times boring, simple.

The Great Ecstacy of Robert Carmichael (2005)

Sometimes you come across a film of which you have no idea what to think, until a plot changes your perspective completely. A perfect example is Thomas Clay’s The Great Ecstasy of Robert Carmichael. Initially this film seems to be about a sleepy and bored coastal town somewhere in Britain. There is no way you could see the outburst of violence, that closes the film, coming on a first view. It may in fact be interesting to watch it again, because the film maker might have left small clues for attentive viewers.

The title character is a somewhat gangling and shy boy who is a very good cello player. He lives with his mom, which whom he seems to have okay contact. Robert hangs out with a bunch of lads in his town, who don’t seem to have much on their hands either, except for too much time. You might even wonder if the boys are truly friends, since all they seem to be focused at is killing time, smoking, a bit of drug dealing and hanging around. After a school performance the group of boys decide to undertake some unusual action to make their lives a bit more interesting.

What director Clay does perfectly is portraying the truly sad, boring lives of the inhabitants of a dull British coastal town. After having created this perfect atmosphere, as a viewer, you are under the assumption this is basically what it all comes down to. You seem to know in what Clay tries to point out. Further notice learns there are all kinds of subtle pinch marks that foretell the gruesome climax. Robert is reading a book by the Marquis de Sade, for instance. Still you have no clue of what is to come.

The final scenes that takes place in a mansion outside the village are of an extremely cruel nature. In fact, it may be too much to take for some viewers. It is also important in the sense it unites certain unrelated or seemingly uninteresting storylines. At the beginning of the film you get the sense Clay is playing tricks. He follows one character, who meets another, who is then followed. It is a great way to introduced characters to the audience, but seems more of a trick than really efficient. The acting is natural and so is the setting. It is impossible to leave this film without the urge of thoroughly discussing it.

Frankie (2005)

The modeling career of German actress Diane Kruger served as an excuse to make this film. Shot in documentary style, this is a plain boring film, lacking any substance. Every time it is promises to get body, the story collapses. A former model is brought to a mental institution. With the use of flashbacks it becomes clear why and how she ended up there.

All photographs courtesy of International Film Festival Rotterdam