It’s been a long, but brilliant week at the Glasgow Film Festival, and it was with great sadness that I embarked on my last day here. It started with the world première of Staande! Debout!, a Belgian/Finish film about the after-effects of an autoworkers strike that paralysed Belgium in 1997. It’s a fictional account (but based on the very real experiences of the striking workers) of Felix, an old man who never got over the closure of the car plant where he worked. When his best friend dies, Felix decides to gather his surviving comrades to honour him. It’s an emotionally stark and desolate film, complimented by shots of a decaying industrial town in provincial Belgium. But also a powerful exploration of the human cost of capitalism, and a reminder that figures on a balance sheet are individual people, with their own hopes, fears, and varying levels of resilience.
The afternoon presented me with A Late Quartet, the fictional feature debut of Yaron Zilberman. Starring Philip Seymour Hoffman, Christopher Walken, and Catherine Keener, it tells the story of a string quartet’s struggles to stay together in the face of Parkinson’s disease, infidelity, and competitiveness. Sadly, it’s a rather boring and navel-gazing glimpse into the world of ‘rich white people’s problems’. Eastenders for the upper-middle-classes. Imogen Poots impresses as the daughter of Robert and Julliet Gelbart (Hoffman and Keener), and Christopher Walken is surprisingly not playing Christopher Walken for once. Overall though, the pace is flat, the characters are self-obsessed and uninteresting, and I couldn’t wait for it to end.
Before I head home to work on a film of my own (and who knows, maybe I’ll be back here next year in a slightly different capacity), I’m going to sign off with a few awards. I’m thinking of calling them the Glasgees…
There have been a number of great performances this week; Imogen Poots in The Look of Love; Ann Dowd in the otherwise pretty nasty Compliance, Soren Malling in A Hijacking; and Jack Black’s career-best turn in Bernie. A special mention should go to the cast of Cloud Atlas, who do an incredible job charging through multiple eras, races, and even genders. For me though, I have to give the award to Theo Green in Breakfast with Curtis. A non-professional actor, who puts in the kind of performance you might see in a Ken Loach film, but a happy one.
Although Indie Game: The Movie and The Day that Lasted 21 Years were both excellent films, The Final Member is the one documentary that really caught my imagination. A incredibly story, told by fantastic characters, with a wonderful soundtrack. This will be a firm festival favourite in the coming months.
Best Foreign-Language Film
The Thieves came mighty close to winning this, but it just felt a little too Hollywood. A Highjacking however, is the type of film Hollywood would never make, and that’s a real shame. It’s an incredibly tense film about the hijacking of a Danish freighter by Somali pirates, and the increasingly fraught negotiations between Peter (CEO of the shipping company) and the hijacker’s translater and negotiator. A battle of wills and wits commences, and caught in the middle is the ship’s cook Mikkel. Brilliant.
It has to be Cloud Atlas, with its bold, brave, and breathtaking take on David Mitchell’s ‘unfilmable’ novel. You have to admire the film’s incredible ambition, and if you’re in the mood to forgive its sense of self-importance, and some ridiculous make-up jobs, you will be knocked over by a juggernaut of a movie. An absolute must-see.
And that’s it. I would like to thank everyone at Glasgow Film Festival (particularly Kirstin Innes, Laura Doherty, and Hannah Cosgrove), and of course our coverage sponsors Brewdog Glasgow. See you back here in 2014!
The Failed Critics coverage of Glasgow Film Festival was sponsored by Brewdog Bar Glasgow – providing award-winning beers and brilliant food in one of Glasgow’s friendliest bars. Cheers for all the beer & burgers.