Berlinale 2015, Day 1 (You’re ugly too)

6451 didn’t get into “Jahrgang 45” (good for him, in the end) so Loris kindly gave him his ticket for “You’re ugly too”. He figured we were going to go to see an opera and another movie later that day anyways, which is already a lot for one day. So in the end, another ‘tradition’ continued: I went to the premiere of an Irish film in the Zoopalast and, most surprisingly, got an autograph from the actor of the protagonist. Last year it was Brendan Gleeson, this year it was Aidan Gillen. Just like last year, he was sitting there in front and I just went and asked. Since I was reading “Dead Souls” on my tablet, I did not carry a book with me, but ever since Pip gave me a bunch of notebooks, I always have one with me which came in handy today. Yay! Also, they are doing something with Aidan Gillen’s face. He always plays these rugged, wrinkly characters (“You’re ugly too” is no different) that I was shocked when I stood in front of him. I honestly wondered whether I got the right person because his face was so young and smooth looking, like he’s a 25 year old with gray hair. I was baffled.

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You’re ugly too
Ireland 2014, Mark Noonan, 81′

Stacey is your average 12 year old – kind of pretty, foul-mouthed, sarcastic and a bit of a know-it-all. When she becomes an orphan, her uncle Will gets let out of prison to take care of her. At first, they don’t make a good match. She is suspicious of him and his unwillingness to tell her why he went to prison, and he lives a somewhat shitty life in a trailer park. He has alcohol and drug problems, has trouble finding a job and it’s not easy for him to approach Stacey’s cynical character. They befriend a neighboring family and Will and the wife fall in love. But then Stacey finds out what Will did, and after she runs away, Will’s ability to take care of Stacey is being doubted by the authorities.

To be honest, there is not much to say about the film. It easily reminded me of St. Vincent because you also have a child and an older guy who on the surface seems like a butt but actually is a good person. Thankfully there are a bunch of differences: Stacey is less normal (much more funny and cynical, but also more complicated) and Will is not just some grumpy old dude. On the one hand, he has actual issues, on the other hand, he genuinely loves Stacey. This makes for more genuine human interaction, and while I didn’t always think it was believable how they became closer (there was way more on that with Will and that neighbor), I think they had a lot of great chemistry together. It was ultimately a very funny, enjoyable film.

They had a Q&A afterwards and the kids asked some amazing questions. “Do they get married at the end?” (referring to Will and said neighbor) was one of these. Noonan kept the ending deliberately vague, and you don’t know if Will and Stacey end up living together or not. The kids voiced that their optimism about that, Mark Noonan was vague in his answer but Aidan Gillen (haha) pretty much shot them off and said that he thinks the main character has too many alcohol and drug and depression issues to take care of Stacey and she knows that. Oh it’s so like Aidan Gillen to prefer gloomy characters, but personally I thought that the family bond between the two came through at the end. They may not be able to live together, but there is love. Another question I really liked was: “How did you come up with the idea for the movie?” Noonan said he was chatting with Aidan Gillen’s mom who complained about he’s always evil and his films are always so serious and wanted to see him in a comedy. So here we are, a role basically written for Littlefinger.
With that said, it was Lauren Kinsella’s birthday (coincidence or was the birthday actually 3 days ago?) and I was impressed by how proper she looked and spoke. She is totally a professional and very good with the media, so she is probably actually a very good actress.

Berlinale 2014, Day 3 (Calvary)

This movie was something special. Originally, I completely overlooked this film. Without Shii, I would never have realized that this was the new McDonagh. Then, we arrived way too late at the Zoo Palast to get tickets for this film, but then Pixelmatsch randomly realized that there was another open ticket booth with virtually no line. And thus, we saw the international premiere of “Calvary”.

The director was present, and was made to go onto the stage, so he said: “It’s boring to listen to a director talking about his movie for 5 minutes. I think it’s a good movie, and I hope you do too. Enjoy.” Actually his first comment about the huge Zoo Palast theater was “I love these curtains. These are the best curtains I’ve ever had. They’re like Vincente Minnelli curtains.” Brendan Gleeson was also there and virtually refused to say anything about the film at all. He sat in the front row of the second part of the theater, and I mustered up my courage to walk to him to ask for an autograph. According to Shii and Pixelmatsch, the whole audience behind us was staring at me while I did that… uh oh.

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It says: To Felicia, Best wishes, B… G…

To be honest, this was my first autograph experience ever, and such a brazen one since it was not an autograph session, instead I probably surprised the poor guy with it. He looked quite grumpy (not just towards me but the entire time, in fact) and I got quite giddy when he looked me in the eye saying things like “What’s your name?” before writing a dedication into the copy of “The Master and Margarita” that I handed to him. A part of my brain melted and I acted like a 14-year-old, which surprised me; despite my adoration for Mr. Gleeson and his work, he’s an old man and not exactly “my type”. So my reaction was a little intense. What would have happened if I had asked Wagner Moura for an autograph instead? Would I have dripped from between my legs? *insert sarcastic smile here*

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Calvary
Ireland/UK 2014, John Michael McDonagh, 100’

James is a Catholic priest in a small Irish town by the sea. One day, a regular of his church comes to confession and declares that he had been repeatedly raped by a priest when he was 7 years old. In order to seek revenge, he will kill a good priest, namely Father James, and announces that he will leave him a week to sort out his life. Over the course of these seven days, we see how James interacts with the villagers as well as his daughter who comes to visit from Dublin, while he contemplates what to do with the death threat.
Death count: 2, plus 1 dog.

Before the film, the announcing lady mentioned how “The Guard” was a Panorama success when it premiered at the Berlinale. After the film, McDonagh commented how “Calvary” was totally not “The Guard”, but he hoped that was alright. Well, in essence, “Calvary” is about the exact opposite of “The Guard”. The former is a tragedy with comedic undertones featuring a gloomy but serious and good-hearted Brendan Gleeson character, the latter is a comedy with sad undertones featuring a jovial and cynical Brendan Gleeson character. “The Guard” is a crowd pleaser and money maker, while “Calvary” looks like a very meaningful, personal work which the director has probably thought about a whole lot. Shii always says that I need to stop comparing works of a director with his previous works, but I can’t help it, especially when these strong opposites between “The Guard” and “Calvary” call for it. As a result, despite having read the Berlinale description of the film beforehand, I was surprised at how different it really was.

To be honest, the longer I watched the film, the more I was confused. I loved its humor, which was much like “The Guard” and “In Bruges” (and gives me the impression that the McDonagh brothers share many, many insider jokes together), but I was rather confused by the characters. Why was everybody so hateful and mean? Why did the main character care about them? Why did he never get anything done and open up to his daughter for instance? Why did he not just run away? Why was there so much despair in the film in the first place? What for? Well, it didn’t take me long to understand it because both Shii and Pixelmatsch were quick to explain it. Perhaps I just have a hard time understanding the social structures in small villages, always having lived in rather anonymous cities, and I especially do not have anything like a church in my life, where people turn to the church with their life problems. In fact, it was totally lost on me that James’s goal in life was to help people, and that the villagers just didn’t want to be helped.

The premise – a man seeks revenge by killing another innocent man – is rather absurd if you think about it, because it is not likely to happen in real life, yet it feels real and human, which in turn makes the film one a hypothetical comment on humanity. A big part of it is about how people view the Catholic church, but more generally, the film contemplates faith itself through questions on life and death, and of course I loved that. I was touched by how personal this film felt, and how intensely it was written and acted out.

It was also great to see this mix of actors we kind of see here and there: Brendan Gleeson is the only old McDonagh actor, I knew Aidan Gillen from Game of Thrones (of course), Chris O’Dowd from Bridesmaids, Kelly Reilly from Sherlock Holmes and Isaach de Bankolé from a bunch of films.
Did I ever mention that I love “Aidan” as a name but it annoys me that the name is a current fad?

Even without having anything to do with the Catholic church, I loved the film to pieces. And that was certainly not due to Brendan Gleeson’s autograph although that certainly enhanced the experience.

Berlinale 2011, day 6 (the one without a single asian)

I did not watch an Asian movie today. I really didn’t, I swear!

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The Guard
Ireland, United Kingdom 2010, John Michael McDonagh, 96?

Gerry Boyle is a Garda sergeant in Connemara, a small town on the Irish west coast. He’s everything but a model officer but he does his work and life is quiet until one day, the drug trade with the FBI in tow pay a visit to his town.

Did you watch In Bruges? Liked it? Watch this then, you will be absolutely in love. I first thought this was the same director, not just his brother. Amateur philosopher gangsters, racist village cops and a lot of witty dialogue all with great music and beautifully shot. Just like In Bruges, we see a delightfully funny Brendan Gleeson become the unexpected hero and the single best line to describe him comes from the black FBI agent: “I just can’t tell if you’re motherfuckin’ dumb or motherfuckin’ smart”.

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Dernier étage gauche gauche (Top Floor Left Wing)
France, Luxembourg 2010, Angelo Cianci, 93?

September 11th (not 2001): Francois leaves his suburban home to evict people from their homes, like every day. This time however he is taken hostage by a small time drug dealer and his father and the mayor, seeing an opportunity for publicity, sets the whole machinery of police and press in motion. This brings a lot of unprecedented attention to the typical banlieue neighbourhood and while the situation shifts and the mood gets more and more tense the dealer decides that the best way to get ouf this mess is to incite an uprising in the neighbourhood and disappear in the ensuing chaos.

This was an awesome mixture of unexpected amounts of witty fun, biting criticism and a lot plot twists and turns. What starts out as a seemingly predictable hostage movie with the young dealer as a testosterone-controlled primate you’d like to just shoot in the head, very quickly shifts into a great dissection of personal and general issues and motives with a cathartic end, that does not really offer a solution, but shows in a very charming way, that the truth is always infinitely more complex than you can see on the surface.