Touki Bouki (Djibril Diop Mambéty, 1973). Mambéty – who had a disconcertingly high average of masterpieces per times at bat – made this surreal-but-not-that-surreal feature and promptly went silent for a couple of decades (until the classic Hyenas). It dazzles in many ways, not least for its soundscape, and Mambéty’s feeling for his sun-baked Senegal location is unsentimentally laced with love and exasperation. The Northwest Film Forum brings it back for a 35 mm. run June 22-26.
Being 17 (André Téchiné, 2016). Just the right amount of build-up in this very roundabout story of youth; one almost hesitates describing it because of the way the film takes its sweet-and-sour time getting around to things. It’s about two 17-year-old boys, antagonistic toward each other without knowing why, who live in the country. Showed at Seattle International Film Festival.
Creepy (Kiyoshi Kurosawa, 2016). Plot elements of this film may be a little hard to accept with total credibility, but the experience of watching the thing is creepy indeed. Kurosawa’s command of image and sound will have you looking into the backgrounds to make sure something weird isn’t happening back there, although it probably is. Showed at SIFF.
Finding Dory (Andrew Stanton, 2016). A Pixar sequel, and at one point another of their gut-tightening forays into utter existential terror. I’m not kidding. (full review 6/17)
The Other Side (Roberto Minervini, 2015). West Monroe, Louisiana, given a close – at times disturbingly close – documentary examination. Here are the resentments of “ril Americans,” delivered drunkenly and with guns at hand. (full review 6/17)
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