Authors — Adam Cook
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An Evaluation of Whistler Film Festival 2012
Every November, amidst the onset of ski and snowboard season, the Whistler Film Festival attracts a crowd of producers, filmmakers, journalists, critics and the occasional celebrity (this year the token stars are Daniel Radcliffe and Rashida Jones). Left off that list would be cinephiles — sure, there may be a tiny scattering of hardcore movie buffs, but they’re the exception that proves the rule — as WFF is a deliberately uncinephilic festival composed of accessible indie-ish Canadian cinema and more emphatically put the spotlight on an industry-driven summit. You’re more likely to find a far greater number of people squeezed […]
by Adam Cook on Dec 5, 2012 -
VIFF Critics Notebook #2
The Dragons & Tigers section has been the richest part of VIFF’s legacy, dating back to 1994. Each year, the Award for Young Cinema has highlighted an as yet unrecognized talent of East Asian cinema. This year the Dragons & Tigers jury was made up of Shinozaki Makoto, Joao Pedro Rodrigues and Chuck Stephens. I was able to see a few films from the competition, including the winner Emperor Visits the Hell, directed by Li Luo. An often perplexing, but always interesting film, Li’s movie transports a story (three chapters) from the Ming Dynast novel Journey to the West to […]
by Adam Cook on Oct 15, 2012 -
VIFF Critics Notebook #1
My fifth year in a row of attending the Vancouver International Film Festival in my hometown has been unique thus far—I’m at the precise halfway point of the 16-day event as I write this—in that it’s the only time that I’ve already caught many of the films playing thanks to my trip to Locarno in August. This has afforded me the freedom to venture beyond the “festival-of-festivals” programming of obligatory Cannes leftovers and such, to explore, among other things, the Dragons & Tigers section for which VIFF is renowned. For those that don’t know, Dragons & Tigers is a long-running […]
by Adam Cook on Oct 5, 2012 -
Locarno Critic’s Notebook #3
Leviathan. You may have heard the title by now. By the time it screened to press, the film had already gained some momentous hype, and I’m pleased to report it does not disappoint. Often exhilarating, Véréna Peraval and Lucien Castaing-Taylor‘s creation is a unique viewing experience—loud, disorienting, frightening, exciting and visually awesome. The best film from the main competition, at the very least, Leviathan (above) offers the sort of sensory adventure that cinema can but rarely does offer. Using cheap GoPro digital cameras, the filmmakers show us images and perspectives we’ve never seen before. Apparently, Apichatpong Weerasethakul did not like […]
by Adam Cook on Aug 13, 2012 -
Five Questions with Apichatpong Weerasethakul
Two years after winning the Palme d’Or, Thai filmmaker Apichatpong Weerasethakul returned to Cannes. It was a rare sort of visit, in which he didn’t go home with any awards, having won three major prizes with Tropical Malady, Syndromes and a Century and of course Uncle Boonmee Who Can Recall His Past Lives. He was there with his new film Mekong Hotel, too small and resistant to categorization to neatly fit within any of Cannes’ proper sections. Now, he’s at the 65th Locarno Film Festival with Mekong and his new short film Sakda, but as the president of the Concorso […]
by Adam Cook on Aug 9, 2012 -
LOCARNO CRITICS NOTEBOOK #2
Philosophical musings on the nature of time, an unlikely friendship between a sexy Cali chick and an elderly woman, a bizarrely fast-forwarded comical look at a very sad life, and an indictment of systemic oppression in China: these are the subjects of the four films from Locarno’s main competition (“Concorso internazionale”) that I’ve caught over the past few days. First on the docket is Peter Mettler’s intriguing but disappointing—relative to his other work, at least—The End of Time, an epic non-narrative film about the multitude of perspectives that render an objective definition of linear time meaningless. At times expressive and […]
by Adam Cook on Aug 8, 2012 -
LOCARNO CRITICS NOTEBOOK #1
The Locarno Film Festival has carved out a role for itself since Olivier Père took over three years ago, in which it offers the best of all festival worlds. Acting as perhaps the best cross-section of contemporary cinema—or something very close to it—available on the festival circuit, it has often been described as one of the true “cinephilic” fests. Additionally, in order to make this possible, Locarno still needs to be something of a hotspot, and the “glamor” that makes such a reputation possible is also a key component. However, Locarno manages to avoid being an industry-driven media frenzy like […]
by Adam Cook on Aug 6, 2012
