Shooting the Moon: on the 9th Transatlantyk Festival, Łódź, 12-19 July 2019

Ja Teraz Kłamię 

"I wish you all a strange trip," said director Paweł Borowski as he introduced his new film Ja Teraz Kłamię (I'm Lying Now) to a packed house at the 9th Transatlantyk Festival, Łódź. "Strange trips" were not in short supply at this year's edition of Jan A. P. Kaczmarek's "glocal" 7 day film and music event, which, following last year's independence-themed programme, this time took as its topic "The Moon Landing and Other Interrupted Dreams" - as a way of celebrating not only the 50th anniversary of the Apollo 11 mission but also the transportive, dream-inspiring potential of the cinematic and musical arts.

Ja Teraz Kłamię

Borowski's wish was realised: Ja Teraz Kłamię, the director's first feature since his acclaimed debut Zero ten years ago, is a dazzlingly designed Rubik's cube of a movie that, in its idiosyncratic way and with a Rashomon-esque narrative structure, addresses our "post-truth" culture via the interwoven experiences of three protagonists who participate in a "reality" TV show. A pleasingly convoluted plot (which only conks out a bit at the very end) and some breathtaking visuals - don't be surprised to hear yourself exclaim "Wow!" on several occasions - are complemented by the efforts of a fabulous (and fabulously costumed) cast, with talented young Łódź theatre heroine Paulina Walendziak more than holding her own against such luminaries as an intense Maja Ostaszewska and the otherworldly Agata Buzek, garbed in black as the show's enigmatic host. A unique offering in contemporary Polish cinema, Borowski's film seems destined for major cult status.

Arturo Ripstein 

Elsewhere, the Festival's wide-ranging programme encompassed philosophical debates and such unique events as the Instant Composition Contest and the always-popular Cinema in Bed screenings, in which great recent films including Tully, Fugue, Happy as Lazzaro, The Heiresses and Summer 1993 - a highlight of Transatlantyk 2017 - were presented. The Culinary Cinema section found four new foodie documentaries and Stanley Tucci and Campbell Scott's evergreen Big Night (1996) inspiring delicious dinners and stimulating conversations at EC1, where Jull Dziamski, the artist responsible for this year's Festival poster, also exhibited a selection of his exciting work.

A rare retrospective of the films of Aleksei German was greatly appreciated, and, as usual, attendees also had the opportunity to engage with filmmakers in person thanks to post-screening Q&As and the series of special Master classes, which this year featured Mexican maestro Arturo Ripstein (recipient of this year's FIPRESCI Platinum Award 94), Wojciech Marczewski (whose Star on the Łódź Walk of Fame was unveiled during the Festival), and Martha Coolidge, whose new film I'll Find You received its Polish premiere at the Opening Gala. A soapy, well-meaning and determinedly old-fashioned WWII love story that's somewhat reminiscent of Amma Asante's recent Where Hands Touch (2018), I'll Find You was few people's idea of a galvanising festival opener but justified its inclusion due to its Łódź setting and Kaczmarek's status as the film's composer.

Synonyms

The New Cinema section, however, offered more innovative visions. The exciting new Israeli cinema was well represented by Nadav Lapid's Golden Bear-awarded Synonyms, a ludic, cerebral and sharp-edged investigation into issues of nationhood, language and identity that features charismatic Tom Mercier (variously naked or sporting a highly covetable mustard-coloured coat) as Yoav, a twentysomething who, having completed his military service, rejects his homeland for France but finds assimilation into the City of Light a more problematic prospect than might be imagined. 

God of the Piano

Meanwhile, the influence of Lapid's wonderful The Kindergarten Teacher (2014) could be felt in Itay Tal's confident debut film God of the Piano, a brisk but haunting drama that grips like a thriller as it focuses on a complicated heroine (great Naama Preis) striving to make her son a piano prodigy. Lean and stylish, God of the Piano is notable for its intelligent perspective on the place of talent in family dynamics, and, following the success of Sara Colangelo's superb US take on The Kindergarten Teacher (2018), it wouldn't be much of a stretch to imagine an American remake of Tal's film in the future, too.

Several other memorable dramas also placed complex female protagonists at their centre. Teona Strugar Mitevska's God Exists, Her Name is Petrunya focuses on the patriarchal ruckus that results when the title character (Zorica Nusheva) intrudes on male territory by being the one to pull a cross out of a river during a religious ceremony in a Macedonian village. Marie Kreutzer's The Ground Beneath My Feet plays out as a sincere, emotionally insightful counter to Maren Ade's ghastly Toni Erdmann (2016) as it critiques corporate culture through a focus on an ambitious business consultant (Valerie Pachner) grappling with her carefully compartmentalised professional and personal commitments.

Nina Wu

Premiered in Cannes' Un Certain Regard section, Midi Z's #MeToo-influenced Nina Wu oscillates compellingly between social realism and hallucinatory Lynchian weirdness in its exploration of the exploitation of an actress (the director's usual collaborator Wu Ke-xi) in the Taiwanese film industry. As in The Ground Beneath my Feet the (lesbian) sexuality of the protagonist is presented with refreshing matter-of-factness - though a lurid, overly explicit final flashback sequence unfortunately leaves the film itself open to the charge of exploitation. 

Sybil

Fresh from Cannes' Main Competition, Justine Triet's campier, all-over-the-shop Sybil features the elegant Virginie Efira as the title character, a psychiatrist cannibalising the life of a patient (Adele Exarchopoulos, perpetually tear-stained) for a novel. With Erdmann's Sandra Hüller rehashing her frazzled schtick as an under-pressure filmmaker and Niels Schneider steamily reuniting with Efira after last year's An Impossible Love, the film takes off in all manner of directions and never quite comes together, but offers a memorably off-kilter ride, held together by Efira's game, quicksilver turn. With female protagonists and performances such as these standing out throughout the festival, it was also notable that the audience-voted Distribution Award went to a female-directed film for the third year in a row: this time, the winner was Nora Fingscheidt's System Crasher, a distinctively kinetic take on the in-care experiences of a "problem" child.

Piercing

American cinema didn't have anything of substance to offer, though Nicolas Pesce's Piercing, screened in Cinema by Night, which features the appealing duo of Christopher Abbott and Mia Wasikowska in a highly stylised torture porn power game curio adapted from Ryū Murukami's  novel, is the quintessence of a guilty pleasure. International filmmakers, in contrast, were to be found grappling with intersections of personal and political histories in interesting ways. Flavia Castro's Unremember tracks a family's return from exile in France to their homeland of Brazil where teenager Joana (Jeanne Boudier), initially resistant to the move, finds herself drawn into new pleasures and memories of the past, the latter related to the fate of her father. Castro's film isn't particularly satisfying dramatically but its brooding, moody texture keeps the viewer close to the emotional experience of its young heroine.

Angelo

A belated (and cheekily titled) follow-up to his immaculately chilling debut Michael (2011) Markus Schleinzer's Angelo follows an African slave boy's progress through the 18th century Austrian court where he starts out as the favourite of a countess (Alba Rohrwacher) and ends up...well, that would be telling. With unstressed anachronistic touches piercing the period ambience, and the director's super-subtlety subverting some traditional tropes, the opening scenes promise much but the film falters due to an unsatisfying, decades-leaping structure and its frustrating failure to make its protagonist more than a cipher.

I Was Here

A welcome contrast to the celeb-struck tendencies of Asif Kapadia - whose shallow "trilogy" of Senna (2010), Amy (2015) and Diego Maradona (2019), as "tabloid" as the culture they ostensibly critique, screened as part of a retrospective - two fantastic new documentaries focusing on "ordinary" people were revelations for the festival audience. In I Was Here, directors Nathalie Biancheri and Ola Jankowska interview a range of people from around the UK about their lives, posing the question of why they would make a compelling documentary subject.

The question leads to some fascinating accounts of illness, creativity, work, and adoption. An elderly woman sings, dances and does the splits - and then shares a perceptive account of her previous life as a carer. A confident, beefy guy weeps as he recalls his separation from his sister as a child. Brief moments of re-enactment - from sleeping positions to a doctor's examination - make mimed daily activities  a strange ballet, but what captivates here are not the meta aspects so much as the articulated memories hopes, dreams, fears and fantasies of the protagonists, their faces lovingly attended to in Biancheri's and Jankowska's unflinching but tender frame.

Diagnosis poster

A unique city symphony, both intimate and monumental, in which the metropolis and human psyche become indivisible, Ewa Podgórska's Diagnosis takes a more overtly stylised approach to the documentary form, with a haunting sound design, slow zooms and some stunning overhead shots creating a hypnotic, multifaceted portrait of Łódź that might be described as an investigation into the city's subconscious. As the title indicates, Diagnosis combines elements of psychoanalysis with urban studies, as questions such as "If the city had parents, what would they be like?" and "If the city was a colour what would it be?" yield answers at once poetic and direct from the interviewees, generating insights that create a deeper, more impressionistic vision of the city than that made possible by a focus on demonstrable facts. 

Like I Was Here, Diagnosis unfolds stories of caring and compromise, loss, disappointment and resilience, and it was especially powerful to screen the film in the city that is its subject, with some of the protagonists present for Q&A discussions. By turns moving, funny and surprising, both of these empathetic documentaries deserve to be widely seen. Affirming a common humanity, they also prompt a subversive reassessment of what constitutes "ordinary" experience. In a year in which the festival celebrated the special achievement of the moon-landing, it was essential to have these films to remind us, so insightfully and intensely, of the pains, joys and complexities of our earthbound lives.

A full list of festival winners is available here.

States of Independence: on the 8th Transatlantyk Festival, Łódź, 13-20 July 2018

"You need an independent spirit if you're going to go into film or music: so many people will tell you that you can't do it," said Diane Warren, on stage at Łódź's EC1, a former power station now transformed into a vibrant cultural and exhibition centre in Poland's prime cinema city. "Independent Spirit" was not only the name of the award that the popular songwriter was receiving at the Closing Ceremony of this year's Transatlantyk Festival. It was also, in part, the theme of the entire 7 day event which, under the title "Independence Now: Myself, Freedom, Rebellion, and Homeland," took the occasion of the centenary of the restoration of Poland's sovereignty as the spur to create a programme that would explore these issues in a range of contexts far beyond those of the nation's own history, from the personal to the political to the artistic to the complex interstices between.

Joanna Kulig, Transatlantyk Best Acrtess winner 2018

As I noted in my coverage last year, such inclusivity has been a characteristic feature of Transatlantyk since its inception. Reflecting the stewardship of its acclaimed composer founder Jan A.P. Kaczmarek, it's a "glocal" festival in which music and film are equally important elements, and in which screenings and concerts are supplemented by a city-wide selection of events: master classes, political discussions, and special film-related foodie evenings presented in the "Culinary Cinema" strand.

Wolta (dir. Kotecka and Poryzała)

The festival's range was evident in the diversity of winners at the aforementioned Closing Ceremony, which, alongside Warren, included Joanna Kulig (Best Actress winner for her performance in Pawel Pawlikowski's Cold War); the critic and professor Annette Insdorf; composers Dario Marianelli and Radzimir Jimek Dębski; and the astronomer and humanitarian activist Janina Ochojska, recipient of this year's Glocal Hero Award. Emerging artists were also celebrated in the exciting Instant Composition Contest and the Polish Short Film Competition, where it was pleasing to see a preponderance of female directors, including the top prize for Monika Kotecka and Karolina Poryzała's superb, elegant Wolta. Meanwhile, an icon of feminist film, Sally Potter, received the FIPRESCI +93 prize, and gave a characteristically eloquent, engaged and inspiring master class at the beginning of the festival. Retrospectives dedicated to Miloš Forman, Andrzej Barański and Lucian Pintile were also highlights of the event.

Horizon (dir. Kajrishvili)

With new American features such as Desiree Akhavan's The Miseducation of Cameron Post, Steven Soderbergh's Unsane, Joshua Leonard's Behold My Heart and Justin Benson and Aaron Moorhead's The Endless consistently underwhelming, it was left, as often, to world cinema to provide more compelling visions. Freedom within familial and domestic contexts was the focus of a number of films presented in the "New Cinema" section, with both Guillaume Senez's likeable Our Struggles (Nos Batallies) and Tinatin Kajrishvili's terrific, Ceylan-esque Horizon (Horizonti) depicting, from opposite perspectives, parents absenting themselves from their families. 

Scary Mother (dir. Urushadze)

Horizon was part of a strong showing for the blossoming new Georgian cinema, which included Mariam Khatchvani's Dede and Ana Urushadze's Scary Mother (Sashishi deda). Khatchvani's handsome Caucasus-set drama focuses on a young woman's struggle for self-determination against prevailing cultural traditions, while Urushadze's taut film evokes the challenges involved in women's claiming of creative space, as the heroine (striking Nato Murvanidze) pens a lurid roman a clef that her family react to negatively. Already awarded at several festivals, Urushadze's movie suggests a companion piece to her compatriots Nana Ekvtimishvili and Simon Gross's similarly patriarchy-challenging My Happy Family, one of the highlights of Transatlantyk last year.

In My Room (dir. Köhler)

The influence of the Dardennes brothers' brand of social realism was evident, with varying degrees of success, in some productions, including Jean-Bernard Marlin’s Sheherazade, Sebastian Schjaer’s The Omission, Shin Dong-Seok's Last Child (Salanameun Ayi), Dario Albertin’s Manuel, and Meryem Benm’Barek's popular Sofia, which won the Kamera Akcja award, voted for by the jury of young film critics. But other filmmakers ventured into odder terrain. Isabel Prahl's Different Kinds of Rain (1000 Arten Regen zu Beschreiben) explores a family's increasingly wayward attempts to communicate with a son who's locked himself in his room and refuses to leave, while Ulrich Köhler's similarly opaque In My Room offers a lo-fi take on apocalypse, as its protagonist (excellent Hans Löw) awakens to find himself seemingly the last man left on earth.

Becoming Astrid (dir. Christensen)

More immediately accessible was Pernille Fischer's Christensen's Becoming Astrid (Unga Astrid), an exceptionally sensitive and absorbing account of the early life of the children's author Astrid Lindgren. At first - in a church scene that finds a bored Astrid subverting the priest's rhetoric and geting chided by her mother for blasphemy - it looks like Christensen is going to be too obvious and single-minded in presenting the heroine's transgressiveness. But the film's feminism deepens and complicates as it progresses, and Lindgren enters into a relationship with her married boss. Becoming Astrid doesn't fall into the typical biopic trap of elevating the heroine above all the other characters, and there are lovely supporting performances from Trine Dyrholm as the sympathetic woman who takes care of Lindgren's baby, and Maria Bonnevie as the apparently uptight mother who proves to have reserves of acceptance and playfulness. In the main role, Alba August is radiant; at times suggesting Carey Mulligan or Maggie Gyllenhaal, but with a delicacy and fortitude that's all her own, she keeps us attuned to the character's feelings all the time. Christensen's film was a deserving winner of this year's Distribution Award, voted for by the festival audience.

Swinging Safari (dir. Elliot)

At the less reputable end of the scale was Stephan Elliott's Swinging Safari, a broad and rambunctious satire on 70s Australian suburbia, which presents the interactions of a group of (would be) libertine patents and their perplexed offspring. As usual, Elliott throws too much into the mix for everything to stick, and a lot of promising elements - such as Kylie Minogue as a dog-menacing boozer - are squandered in the film's excessively manic approach. Still, there are some amusingly tasteless set-pieces, as well a few surprising moments of lyricism, and at its best the film suggests John Waters remaking The Ice Storm. 

The Harvesters (dir. Kallos)

African settings yielded several distinctive films. A French, Greek, Italian, Polish and South African co-production, Etienne Kallos's The Harvesters (Die Stropers) starts out looking like a fairly standard gay coming-of-age story, but ventures into darker, more disturbing territory as it concerns itself with the exchange of identities between two teenage boys. There are some narrative inconsistencies but the film remains engaging and provocative, with seductive, burnished cinematography by Michał Englert that sometimes recalls his work on Małgorzata Szumowska's In the Name Of (W imię…).

Djon Africa (dir. Guerra and Reis)

In contrast to the intense and brooding tone of The Harvesters, João Miller Guerra and Filipa Reis's blissful Djon Africa is the most joyous, open and relaxed of Daddy-quest films, following its ambling protagonist as he leaves his home in Portugal to seek out his unknown father in Cape Verde. Loose, digressive and fluid in its structure, and completely unpretentious in content, the film carries the viewer along on its buoyant lightness of spirit. A similar breeziness characterises Jhonny Hendrix's Candelaria, which finds a cash-strapped elderly Cuban couple accidentally turning amateur pornographers when a video camera falls into their hands. Affectionate, funny and deeply moving in the end, the film blithely transcends the potential tackiness of its premise, creating a portrait of a couple that's also a portrait of Cuba itself. A Sundance favourite, Gustavo Pizzi’s Loveling (Benzinho) charmed too, in its generous depiction of a large Brazilian family dealing with a son's prospective departure for Germany.

McQueen (dir. Bonhôte and Ettedgui)

Finally, documentaries were particularly well-served in the programme, with two artist portraits standing out. Ian Bonhôte and Peter Ettedgui's McQueen may follow the now-patented methods of recent doc hits such as Asif Kapadia's Amy and Nick Broomfield's and Kevin Macdonald's Whitney Houston films in its approach to Alexander McQueen, the talented, troubled icon of "Cool Britannia" culture, but it offers a lucid, often insightful account. The main drawback is the over-use of Michael Nyman's score, a cut and paste affair that jarringly incorporates bits and pieces of the composer's most well known soundtracks to emphasise every emotional beat in this take on McQueen's story.

Love Express: The Disappearance of Walerian Borowczyk (dir. Mikurda) 

Structured, like McQueen, in chapters, Kuba Mikurda's much-anticipated Love Express: The Disappearance of Walerian Borowczyk (Love Express. Przypadek Waleriana Borowczyka) offered one of the most potent explorations of the festival's theme in its presentation of the confounding career of the Polish provocateur who shook up cinema with his avant-garde animations and transgressive live action features before sinking into the tawdrier reaches of the porn industry in the 1980s. Avoiding the portentous, ceremonial tone that characterises McQueen and its ilk, the film is sharply focused rather than comprehensive, making no mention of Borowczyk's childhood background and instead picking up from that most turbulent of years - 1968 - when Borowczyk made Goto, Isle of Love and embarked on his most fertile creative period. A good range of interviewees (Terry Gilliam, Peter Bradshaw, and Andrzej Wajda, among them) offer funny, engaging insights, and Mikurda incorporates some pleasing, unstressed ludic touches (watch the cutting go into overdrive when a twitchy Slavoj Žižek appears). Given the dominance of male speakers, the film's engagement with the sexual politics of Boro's output feels a bit limited (despite interesting contributions from the writer and psychotherapist Cherry Potter and The Beast’'s Lisbeth Hummel). But Love Express remains a terrific, overdue exploration of one of the oddest career trajectories in contemporary cinema, as well as an intelligent inquiry into the shifting meanings of artistic freedom during the sexual revolution and beyond.

People's Republic of Desire (dir. Hao Wu)

Hao Wu's People's Republic of Desire brings us up to date with a sobering portrait of the seductions of online celebrity culture as experienced in a Chinese context. The film focuses on the ups and downs in the experiences of the singer Shen Ma and the comedian Big Li, as they compete for viewers and "gifts" in the increasingly crowded market of webcam live-streams on the YY.com network. During a period in which upward mobility in China has dramatically decreased, such platforms offer people a way to get rich, but, as the film broadens its scope to incorporate the perspectives of fans and, briefly but tellingly, the CEO of YY, it becomes apparent that it's the networks themselves that are the ultimate beneficiaries.

Faces, Places (dir. Varda and JR)

If People's Republic of Desire offers a disquieting take on the consequences of a life spent in front of a computer screen, then Agnès Varda and JR's Faces, Places (Visages, Villages) provides a counter: this is a film about the pleasure and necessity of venturing out into the world, of making contact with people and places in a sensory, tactile manner. A close attention to the haptic symphony of senses and perceptions that make up real, lived interactions has always distinguished Varda's documentary and essay films, and this time she and her collaborator are on the road through France in the latter's "photography van," interviewing people that they meet and then pasting large portaits of them on to the sides of public spaces. Miners, the wives of dockers, and a woman refusing to leave her home despite pressure from developers are among the subjects of the film's gentle, considerate and loving gaze. Varda and JR prove delightful sparring partners throughout, their affectionate bond a subversive one in a period in which divisions between genders and generations are being widely stoked.

As usual with Varda, the structure of Faces, Places is fluid and associative, constantly teasing out connections and patterns between film and life, the quotidian and the cosmic. The context is, of course, entirely - and delightfully - French, as a gleeful homage to Bande à Part and a painful non-encounter with that film's director attest. But in its unassuming way the movie's reach is much broader, as Varda once again sharpens our perception of the world, heightening awareness of what can be noticed, appreciated and loved within it.