In recent years, I have spent the first two weeks of October covering the Mill Valley Film Festival (check out my MVFF37 coverage HERE, my MVFF38 coverage HERE and my MVFF39 coverage HERE). The festival celebrated its 40th anniversary this year, honoring the gamut of independent film, from star-heavy productions with awards in their sights (Sean Penn, Greta Gerwig and Andrew Garfield were among the celebs who passed through town) to low-budget local productions that might never screen publicly again.
I intended to cover this year’s festival in the usual copious detail, but quality screeners were especially scarce this year, and my plans to visit Mill Valley/San Rafael were waylaid first by work and later by my reluctance to travel into the fire zone (donate to fire victims HERE). But I did screen a handful of films before my plans collapsed, so I’ll talk about them in this space.
In many respects, writer-director Jessica M. Thompson’s debut feature The Light of the Moon (GRADE: B-) is the sort of movie that you attend film festivals to discover. It tells the story of Bonnie (Stephanie Beatriz), a successful New Yorker who gets raped while walking home one night, deeply affecting her personal and professional relationships. The production values are low and the performances are amateurish, but the film is thoughtful and detailed and non-exploitative, and Thompson is clearly one to watch.
A less delicate but more striking discovery comes in the form of Alain Gomis’ Félicité (GRADE: B), a Kinshasa-set hybrid of kitchen sink drama and dreamy musical. Molten-lava newcomer Véro Tshanda Beya Mputu stars in the title role, playing a bar singer scraping for money after her hooligan son gets in a motorcycle accident. Save for the rhythms, this could be a Dardenne Brothers production.
Swiss director Petra Volpe is another up-and-coming auteur, and the arthouse-ready The Divine Order (GRADE: B-) shows a potential for making smart movies for the indie mainstream. A fictionalized story about the 1971 referendum to allow Swiss women the right to vote, the film follows Nora (a wonderful Marie Leuenberger), a prim housewife unleashing her inner feminist. There are few surprises here, and the manipulative third-act twist is unnecessary, but Volpe and her star keep the film relatively grounded and humane.
Old-school auteurs also came out in droves for Mill Valley. I’ve only seen a handful of pictures by the Finnish filmmaker Aki Kaurismaki, but he strikes me as the sort of international director who has been making endless versions of the same movie for decades. The dour comedic tone and discarded protagonists of The Other Side of Hope (GRADE: C+) feel very familiar, and the film comes off as a forgettable chapter in a long book.
French director/adorable woodland creature Agnès Varda, on the other hand, remains a restless fountain of creative reinvention, even as she approaches her 90th birthday. Her latest film is Visages, Villages (GRADE: B), a collaboration with French artist JR that sees the duo traveling the countryside, bringing art to small villages while playfully examining their creative approaches. Jean-Luc Godard makes the perfect cameo by refusing to make a cameo.
Barbet Schroeder’s stomach-turning documentary The Venerable W. (GRADE: B) continues the Iranian-born Swiss director’s profiles of evil, this time focusing on Wirathru, a Myanmar monk who became famous by vilifying the country’s Muslim minority. This is just as pungently intimate a portrayal of evil as Schroeder’s career-defining 1974 documentary General Idi Amin Dada. The most disturbing part: how easily Wirathru’s invective could be re-worded for the mouths of conservative American politicians.
Sorry to say, but for all of the strong independent visions at Mill Valley, the best festival film I’ve screened so far is Noah Baumbach’s The Meyerowitz Stories (GRADE: B+), a Netflix production that debuted on the service the same day it was released in theaters. Wah-wah. This is more acridly intellectual extended-family comedy from the director of The Squid and the Whale, and a powerful reminder that Ben Stiller and Adam Sandler are wasting their best years on crap.
In addition to screening those films, I joined some of my San Francisco Film Critics Circle colleagues in selecting an award for the best documentary with Bay Area ties that played the festival. Nine films were eligible for the award, but only a few of them are worth talking about.
The winner, thank God, was Richard O’Connell and Annelise Wunderlich’s powerful The Corridor (GRADE: B), about Bay Area convicts enrolled in a GED program, a groundbreaking rehabilitation program initiated by the San Francisco Sheriff’s Department. Intimate yet epic, compassionate yet unflinching and filled with raw and honest emotion, The Corridor is one of the top documentaries of the year so far. This film desperately deserves exposure.
Narrated by Ralph Fiennes, André: The Voice of Wine (GRADE: B-) tells the story of André Tchelistcheff, a Russian immigrant who helped create the Napa Valley wine scene. The film was directed by Mark Tchelistcheff, André’s grand-nephew, which allows for access to a treasure trove of archival material but also makes the film uncritical and purposefully vague in places.
Finally, Kim Swims (GRADE: C+) follows New Zealand open-water swimmer Kim Chambers as she prepares for one of her greatest challenges: swimming the 30-mile, shark-infested span between the Farallon Islands and the Golden Gate Bridge. Director Kate Webber keeps the film focused on the process rather than the personalities, but I was left with unanswered questions for a woman who seems hellbent on torturing her body for no reason. Questions like, “Why?” and “What the fuck, why?” and “Dear God, why?”
That’s all I’ve got. See you next year, I hope!