Start off 2012 right with these fine films and eclectic film experiences in and around the city.

Cheap Explosive Fun

The Rum Diary
Magic Bag, January 4

Mission Impossible: Ghost Protocol
State-Wayne Theatre, January 4-5

Classics On The Big Screen

Seven Brides for Seven Brothers
Redford Theatre, January 6-7

For Your Consideration…

Shame 
Main Art Theatre, January 4-8

The Artist
Maple Art Theatre, January 4-8

Mark Your Calendars!

Le Havre
Detroit Film Theatre, January 13-15 (DFT Winter Season Opening Film)

Man on a Mission
Detroit Film Theatre, January 13-15

Touch of Evil 
Detroit Film Theatre, January 14

Carnage
Main Art Theatre, Starting January 13

Forbidden Planet
Redford Theatre, January 20-21

Corktown Cinema Kick-Off Party
Corktown Cinema, TBA

The 36th Annual Toronto International Film Festival  (TIFF) opened last night and your humble World Cinema Detroit author is “oout and aboout” (eh!) covering it in all of its cinematic glory.  A celebration of an art form, the start of the Oscar race, a meeting of influential and up-and-coming filmmakers–the festival is all of these things and more.  With humble beginnings in 1976 as a location to screen films from other film festivals (hence the “festival of festivals” nickname), it has since become an international cinematic powerhouse and a cinephile’s paradise, rivaled only by a handful of other film festivals.  Festivals like Lincoln Center’s New York Film Festival and the Telluride Film Festival in Colorado, offer similar programming, but the sheer size (300+ films) and accessibly (all films are open to the public) of TIFF allow it to outshine even Cannes.

I will be here through opening weekend and have a jam packed lineup that, dare I say, might be the perfect mix between world premieres and little known international gems. Covering almost all the festival categories, my schedule as its stands at the moment looks a little something like this:

Thursday 9/8
From Up On Poppy Hill
The Raid

Friday 9/9
Lost in Paradise
Urbanized
Goodbye First Love
Trishna

Saturday 9/10
The Last Gladiators
Fable of the Fish
Melancholia
Drive
You’re Next

Sunday 9/11
Think of Me
Last Winter

Although the two films that I kicked the festival off with were about as far apart in terms of content and style that any films at TIFF could be, both From Up On Poppy Hill and The Raid were spectacular in their own right.  I should have a more thorough description The Raid up shortly as it was one of the highlights of my experience at the festival thus far.  Both films were good enough to warrant more analysis and discussion, something that will follow the week after the festival.

Although World Cinema Detroit will be reporting live from Toronto this weekend (check back this Thursday), for those still kickin’ it in the Motor City, the local cinema selections are hard to beat.  World Cinema Detroit recommends the following:

This Week

September Mitten Movie Project
Main Art Theatre, September 6

The Treasure of the Sierra Madre
Redford Theatre, September 9-10

Viva Riva!
Detroit Film Theatre, September 9-11

The Killer
Detroit Film Theatre, September 10

Firehouse Detroit
Detroit Film Theatre, September 11

Mark Your Calendars!

Burton Theatre Cinema BBQ VI: Rock & Roll High School and Pink Flamingos
OmniCorp Detroit (temp Burton Theatre location), September 17

The Interrupters 
Detroit Film Theatre, September 16-18

Circumstance
Main Art Theatre, September 16

Theatre of the Week

Allen Park Cinemas
$1.00 Matinees (Weekends/Holidays)
$1.50 Evening Shows
http://www.allenparkcinemas.com

As if the theaters, independent film scene and creative tapastry provided by Detroit were not enough for a cinephile, one of the main benefits of residing in the vicinity of the Motor City is its proximity to the Toronto International Film Festival (TIFF).  Arguably the film event in North America, TIFF screens more than 300 films over the course of ten days.  A stones throw across the Detroit River, the VIA Rail Windsor Station provides a leisurely (and wi-fi connected) way to arrive at Toronto’s Union Station, smack dab in the middle of all the festival action.  Although the bells and whistles may have changed over the years, it is nice to know that the mode of transportation featured in Auguste and Louis Lumière’s L’ Arrivée d’un train (Arrival of a Train at La Ciotat) is still the best way to get around in this individualistic, car saturated age.

Known as much for its international lineup (over 60 countries are represented through the festival programme) as its star-studded world premieres,  the collection of international cinema screened at the festival often has close ties to Detroit.  Those familiar with the film lineup at the Detroit Film Theatre (DFT) will recognize that more than a few festival titles have made their way from TIFF to adorn the seasonal DFT schedules over the years.  Although film curators may scour the festival for hidden gems to bring back to eager Detroit audiences, it is hardly a one-way street.  The images, sounds and stories of Detroit are represented in numerous ways on festival screens, demonstrating that even with the loss in economic might, Detroit still provides a rich tableau for filmmakers to present their visions on an international stage.

Take Gary Hustwit’s Urbanized for example.  Screening as part of the festival’s opening weekend in the Reel to Reel section (documentaries), the film examines urban planning around the world and explores the question of who and what are changing the cities we live in today.  Locales from Mumbai to Detroit make an appearance and issues from transportation to housing are examined in order to predict what the future of cities will look like.  The timing of the film is uncanny, as Detroit is on the verge of historic decisions concerning the population, transportation and geographical layout of the city.  Those that cannot make the trek to the festival should not despair however–Hustwit will be on hand at the Detroit Film Theatre in October for a special screening of his film.  Revisiting his previous two documentaries–Helvetica (2007) and Objectified (2009)–may provide interesting insights into the filmmakers documentary style, as Urbanized is the closing chapter of Hustwit’s “design” trilogy.

For a more detailed look at Urbanized and other films at the Toronto International Film Festival, check back often this week.  World Cinema Detroit will be at TIFF opening weekend and will be reporting live each day starting Thursday, September 8.  Expect daily updates, photo essays, video clips,  full reviews of stand out films and, most importantly, an examination of the theatre venues and cinema culture that make Toronto one of the film capitals of the world. 

It is a simple fact of life: Midwestern folk enjoy summers more than their cousins in balmier climates. With the threat of snow looming almost half the year, three full months of sun and heat seems almost therapeutic.  Gone are the shovels and ice scrapers.  Gone is the salt and sand.  Instead, the smell of fresh cut grass saturates the afternoon air.  Gloves are traded for sunglasses.  A haze of heat forms over strips of construction crew-filled roads as the yearly repair of scars left from man’s wintry battle with nature commences. Old top-down convertibles cruise back roads in the evening, the sight of which evokes a powerful sense of nostalgia. This nostalgia is particularly potent in and around Detroit where the automobile played a role in shaping the city, its entertainment and its people. It is fitting then, on the most perfect of summer evenings, that people would gather underneath a giant outdoor movie screen in their cars to view Hollywood’s latest bombastic offerings.

Drive-in theaters still dot the landscape of Michigan, ranging from the Dearborn-based Ford-Wyoming (one of the largest operational drive-in theaters in the world) to the aptly named Cherry Bowl outside of Traverse City.  Each one provides its own novel brand of nostalgia, a combination of atmosphere, concessions and close ties to the local community.  The idea of shared experience, one of the pillars of film as an art form, is at no greater apex than during a drive-in film.  Take, for example, the Compuware Drive-In in Plymouth, Michigan.

 Serving as a hockey arena during the fall and winter months, the parking lot is converted into an outdoor cinematheque from June until September. That the venue is itself a staple in the local community and serves as more than a theater creates a connection that a chain multiplex cannot hope to match.  As the sun goes down and vehicles filter in, the parking lot essentially becomes the site of a large community picnic.  Frisbees are tossed, children chase each other and parents sit trying to catch up on their summer reading as the screens are slowly raised.  The immediacy and the noise of people–something normally shunned at the multiplex–becomes part of the charm of watching an outdoor film and plays a major role in creating a sense of enhanced shared experience.

At $9 per person, the Compuware Drive-In offers a relatively low-cost way to see the latest summer blockbuster films, as all screenings are double features (for those mathematically challenged, that works out to $4.50 per person–cheaper than most matinees and decidedly less expensive than a late-night screening at a multiplex).  On this particular evening Captain America: The First Avenger and Transformers: Dark Side of the Moon projected their duelling visions of action filled patriotism into the warm summer night.  The dirty off-white of the screens towered over the parking lot and surrounding wilderness as images of superheroes and childhood toys were brought to life in scene after scene of PG-13 goodness.  Captain America was the better of the  two Hollywood behemoths, but as 2:00 a.m. rolled around (the first film didn’t start until 9:00 p.m.) the amalgamation of bright explosions, lens flares, thin plots, robots and supernatural Nazis blended together, leaving only a few scenes worth noting.  One such scene–and by far the most clever moment between the two films–occurs shortly after Steve Rogers (Chris Evans) emerges from the lab as Captain America.  Instead of being shipped off to the front lines, he is forced by his government handlers to perform morale boosting stage performances and musical numbers for the public.  As for Transformers, I gave up trying to make sense of Shia LaBeouf’s rambling dialogue or attempting to decipher what was actually happening in the spastic action sequences.  Instead I spent my time trying to spot the various Detroit locales used throughout the film.

Quite frankly, a drive-in is the perfect way to see films of this nature.  The dark multiplex feels a bit too serious for overblown popcorn pictures of the Michael Bay variety and the outdoor setting turns what is normally a simple movie screening into a celebration of entertainment, community and beautiful Michigan weather.  With Labor Day quickly approaching, check out one of the few remaining screenings at Compuware.  Full schedule listed here.

As summer winds down, the cinema throughout Detroit still sizzles. World Cinema Detroit recommends the following:

This Week

Gone With The Pope
Magic Bag, August 25

The Great Muppet Caper
Penn Theatre, August 25

The Guard
Main Art Theatre, August 26-28

Motor City Movie House Screenings – People’s Art Festival
Russell Industrial Center, August 27-28

Point Blank
Maple Art Theatre, August 26-28

Mark Your Calendars!

Burton Theatre Cinema BBQ VI: Rock & Roll High School and Pink Flamingos
OmniCorp Detroit (temp Burton Theatre location), August 27

September Mitten Movie Project
Main Art Theatre, September 6

The Treasure of the Sierra Madre
Redford Theatre, September 9-10

Viva Riva!
Detroit Film Theatre, September 9-11

Korean revenge.  Japanese blow-up dolls.  Psychotic Englishmen.  Hunting for Santa.  Low budget sci-fi.

These words describe just a few of the titles that comprised the eclectic selection of films the Burton Theatre offered over the course of its short two-year lifespan, those being I Saw the Devil, Air Doll, Bronson, Rare Exports and Monsters, respectively.  The Burton, which closed at the beginning of May was, hands down, one of the most creative, original and sorely needed concepts to come to Detroit in a long time.  Not only did it help revitalize a section of the Cass Corridor, but it filled a much-needed cinema gap in Detroit and the Midwest.  It was one of the only places in Michigan (if not the only place) to see many under-the-radar films that normally only play in cities like New York.  It had spunk, style and a kick-ass milieu that you couldn’t help but love.  Even without the carefully curated selection of cinema curiosities, where else could you kick back in classic movie theater seats, watch a film in 35mm and enjoy a cold bottle of Rock & Rye soda–all in a refurbished elementary school auditorium?

It’s original mission of providing classic art house, independent, LGBT,
foreign and cult films, expanded to include everything from outdoor cinema barbecues to showcasing the latest work of underground film star/artist Crispin Glover.  It was also a glowing example of the possibilities for young people looking to start a business in the city.  There are very few places in the world where four friends with $6000 can realize their dreams and end up getting press in everything from the Metro Times to the New York Times.

The exact details behind the sudden closure of the Burton are still unknown, but reports from the Detroit Free Press and interviews with the Metro Times point to a landlord dispute and the lack of a long-term lease.  The Burton crew posted this on the theatre’s website:

Dear Friends and Patrons,

It has been a pleasure to serve you over the past two years and, it is with heavy hearts we must inform you that, effective immediately, the Burton Theatre is ceasing operation at the 3420 Cass Avenue location.

It has been a great honor and a privilege to bring you carefully curated film offerings at the Theatre and we look forward to being able to serve you again in the coming months. During this difficult time, we ask for your patience as we work towards resuming our regular operations.

We have existed for the past two years entirely because of your tremendous support and faith in our mission. It is our honest belief that Detroit needs and deserves the variety of interesting works we have strived to show. We can no longer do that at The Burton School, but we assure you that our story is not yet over. We are committed to this community and will do everything in our power to open our doors once again, strengthened by the ideas you have all so graciously shared with us.

We will be sending out information to our members in the coming weeks, and will work tirelessly to ensure that the events already planned will be reworked, promoted, and produced. However tired this platitude may seem, we truly believe that “The Show Must Go On!”

We offer our genuine thanks for everything you have done for us over the years. We cannot express enough the gratitude and love we feel for you: the community, the film afficionados, and the cineastes.

Cheers

Mathew, Nathan, David, and Jeff

As the teachings of directors John Avildson (Rocky) and Paul Verhoeven (RoboCop) have demonstrated, the Burton Theatre may be down, but it is certainly not out.  The Burton’s website is still up and running and you can contact them here.

Just as news broke about the Burton’s closing, the Senate Theater on Michigan Avenue re-opened its doors to the public.  Built in 1926 primarily as a venue for film (although it had a full stage and seated about 1200) , it has had a spotted history since.  From x-rated films and horror movies to church services and abandonment, it took a two-year restoration in the 60s to bring it (and its famous organ) back to life.  After closing in 2009 when the Detroit Theater Organ Society (DTOS) put the building up for sale, it again returned to operation last month when the owners decided to stay in the historic theater.  Although the Senate is no longer a cinema venue like its cousin the Redford Theatre, it is still a great classic theater where you can hear one of the most interesting instruments around–the indomitable Wurlitzer Organ.  The organ is steeped in almost as much history as the theater itself, having originally been built foir performances in Detroit’s Fisher Theatre.  The next opportunity to visit this classic theater is on Sunday, June 12, but  the full schedule of organ concerts can be found over at the Detroit Theater Organ Society.  Expect a more in-depth look at the Senate and the rest of the historic theatres in the Detroit area soon.

Cognitive Dissonance:  an uncomfortable feeling caused by holding conflicting ideas simultaneously. The theory of cognitive dissonance proposes that people have a motivational drive to reduce dissonance. They do this by changing their attitudes, beliefs, and actions.  Dissonance is also reduced by justifying, blaming, and denying.

—

One of the few topics that I still retain from my freshman college psychology class is that of cognitive dissonance.  I remember immediately making the connection between concept and reality during subsequent visits to the movies.  I have noticed many people associate this “dissonance” with dislike of a film, but over the years I began to realize what a powerful and revealing force it is in filmmaking.

A film like James Cameron’s Avatar uses vibrantly stunning visuals to intoxicate the viewer into accepting what they see.  Forgettable dialog, familiar plots and re-hashed storylines are used in excess, but because the in-your-face nature of the visuals, they are hardly noticed upon the initial viewing, allowing the audience to slip comfortably into a dissonance-free, three-hour coma.  The result is a purely eye candy-based moviegoing experience, the content of which is easily forgotten minutes after the film has ended.   The best films use dissonance to their advantage, giving us memorable characters or creating situations that make us feel anxious or uneasy (Hitchcock was a master of this, especially in Rear Window).  Rarely does a film use the concept of dissonance so well that the entire moviegoing experience is a psychological adventure for the minds of the characters and audience members alike.   How I Ended This Summer is one such film.

This film takes place in the most remote of areas—the arctic peninsula of Chukotka—where two men, Sergei (Sergei Gulybin) and Pavel (Grigory Dobrygin), are stationed at a meteorological outpost surrounded by stark and haunting natural beauty.  Their world is one of routine where measurements are checked and readings reported as unremittingly as the arctic sun.  Pavel is the younger of the two and seems to be living in this terra incognita as part of a summer internship.  He soaks in the natural beauty of the place, happily exploring the area around the outpost—much to the chagrin of his companion.   Sergei on the other hand is a weathered veteran of the arctic whose devotion to his job is eclipsed only by his desire to be reunited with his wife and daughter after his stint at the station ends.  Even with sparingly few words spoken between each other, Pavel and Sergei begin to develop a small amount of trust throughout their monotonous daily routine.  With the summer winding down, the normally focused Sergei dreams of bringing his family home a haul of arctic seafood and sets off on a fishing trip.  The trip presents Pavel not only with an opportunity to take on more responsibility, but also to have some free time away from the scrutinizing eyes of his elder companion.

What makes How I Ended This Summer such an interesting film is its ability to push boundaries—both on screen and in the mind of the viewers.  Director Alexi Popogrebsky clearly had a purpose going into the film and as his characters are pushed to their limits, so is his audience.  When Pavel receives news of a tragedy involving Sergei’s family on the mainland, he is put in a tough spot.  Even left unsaid, we can see the questions racing through his mind:  How does he cover for Sergei?  When should he tell him?  How should he tell him?  What will his reaction be?  When Sergei returns from his excursion, the right situation never seems to present itself and Pavel is forced to go to even greater lengths to conceal the truth.  It is here the film rapidly shifts gears from something almost resembling a documentary to an intelligent psychological thriller.   In this shift, the director is able to paint a picture of the fragility and complexity of the human mind.  The toll of concealing the truth mentally fatigues Pavel, but also pushes viewers repeatedly to the edge—so much so, I half expected someone to snap and yell at the screen during the film.  When Sergei finally does realize what happened to his family, Pavel flees the outpost into the wilderness, fearing for his life.

Pavel’s flight into the cold arctic landscape sets up what could be considered the last third of the film and adds another layer of psychological tension to the mix.  A game of cat and mouse begins with Pavel trying to hide from Sergei, convinced his gruff companion is out to kill him.  The brilliant part is, we as the audience have no idea who to side with.  Has Sergei really turned into a homicidal killer?  Is Pavel losing his mind?  Director Popogrebsky keeps his cards close to his chest and keeps viewers guessing until the last emotional moments of the film.  Popogrebsky clearly has insight into the deep recesses of the human mind and uses his knowledge to build a story that plays across multiple physiological and psychological landscapes.

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Additional Information:

How I Ended This Summer was screened as part of the 35th Annual Toronto International Film Festival (TIFF).  Having the world’s preeminent film festival just a short train ride away is yet another benefit of living in and around the Detroit area!  Expect live World Cinema Detroit coverage of the films and beautiful theaters in the Toronto area when the festival rolls around again in September.

Official Film Website: http://www.howiendedthissummer.com.au

Theater: AMC Yonge & Dundas 24 (Toronto, ON)  http://www.amctheatres.com/YongeDundas