Koji Yamamura’s masterclass jumped out of the catalogue as one can’t miss program this year. It was good, and seeing his process drawings is just as awe-inspiring as the finished product. The clips from “FranzKafka’s A Country Doctor” made me want to scuttle the festival programming and watch the queasy, dreamlike animation created for the film over and over again.
And it was a nice presentation but marred by strange use of time. He was making a point about the music and voice. In doing so he illustrated his point with very long video of voice recordings. These might be of interest to casual fans, but are pretty dull to anyone who’s been through and, moreover used up valuable time that could have been spent detailing his thinking and methods.
The picnic was sunny and pleasant. Sponsored by The Cartoon Network.
No one got hurt as far as I can tell.
The first feature I’ve screened, “Colorful”, produced out of Japan was a bit of a disappointment.
As a post-feminist North American its hard to look beyond the ingrained misogyny of a film who’s primary female characters are portrayed as whores (who had driven the hero to suicide before the film begins). The third, minor female is a bumble of neurosis who is little more than a target for sexual assault.
While I try not to let gender politics weigh too heavily on my mind while watching a film, the backwards macho stuff of “Colorful” is too much to ignore, marring what could have otherwise been a very interesting film.
Competition screening three was also marred a bit for me. They loaded up screening 2 and screwed up the signal films. Film #2 was replayed when we should have been moving on to the construction paper world of #3.
So I stewed about this a for while.
The films, for the most part, didn’t seem to mind. This has been the weakest of the three show.
The always brilliant Malcolm Sutherland started the show off strong with “Bout” and Alexander Gellner’s “One Minute Puberty” which has made its rounds on the web holds up well on the big screen.
Of interest, but not particularly good, was “I’m Fine Thanks” by Eamonn O’Neill. It’s been posited that this fluff is a David OReilly prank, but the similarities are superficial. Its more like a fan film and wit-free, pathos-lite shade produced by someone who should take lessons from the heroic young Mr. OReilly and develop his own voice. If it is, in fact, a stunt-like Paul McCartney writing for Peter & Gordon, he should be spending his energy working on the White Album.