Vancouver International Film Festival 2008

Italy

Il Divo

Review by gloria wong

Paolo Sorrentino's much-lauded Il Divo is an intense but oddly funny political biography of seven-time Prime Minister of Italy Giulio Andreotti, the last major leader of the centrist Christian Democrats. Andreotti's career and his party imploded in the 1990's amid accusations (and trials, convictions, appeals and eventual acquittals) of Mafia collusion, media suppression and murder.

It's all juicy stuff - as one might expect from a country where religion and politics are such close bedfellows. And the icing on the cake? Andreotti himself - a colourful character who was well known for his stone-faced wit, bravado and eccentricity. With a powerful, centering performance from its star Toni Servillo, Il Divo is a hugely ambitious and mostly successful portrait of corruption in the halls of power - which should give us all something to stay up at night, pace the halls and think about.

Il Divo
Paolo Sorrentino | Italy | 2008 | 117min

Fri. Sept. 26 | 1:00pm | Empire Granville Theatre 7
Wed. Oct. 1 | 9:30pm | Empire Granville Theatre 7
Fri. Oct. 3 | 10:00am | Empire Granville Theatre 7

Japan

The Witch of the West Is Dead

Review by gloria wong

The latest from veteran Japanese filmmaker Nagasaki Shunichi, an adaptation of a popular novel by Nashiki Kaho, tells the story of Mai, a young girl who refuses to go to school. Distressed but sympathetic, Mai's mother sends her to stay with grandmother's house until she feels better about school. Grandma (Sachi Parker) calls herself "The Witch of the West" (she's originally from England) and immediately begins teaching Mai about the small wonders of farm living in her idyllic country house.

On the surface, there isn't anything terribly wrong with The Witch of the West Is Dead. Unfortunately, it's just not very engaging or original. Mai is a bit bratty but predictably opens up to her saintly grandmother. There is an inevitable argument and even more predictable resolution. It's really too bad. A film about witches and the small moments that make family members love each other should sparkle; instead, The Witch of the West Is Dead feels really dull.

The Witch of the West Is Dead
Nagasaki Shunichi | Japan | 2007 | 115min

Sun. Sept. 28 | 6:20pm | Empire Granville Theatre 4
Thur. Oct. 2 | 2:30pm | Empire Granville Theatre 3

Greece

Apology of an Economic Hitman

Review by gloria wong

In an address to the American people shortly after 9/11, 'President' Bush said, "Americans are asking, why do they hate us?", then went on to explain, "They hate our freedoms... These terrorists kill not merely to end lives but to disrupt and end a way of life..." With the film Apology of an Economic Hitman, and the book that served as the documentary's basis, author John Perkins (a former economic hitman) offers an alternate and, ultimately, much more convincing answer to this question.

According to Perkins, economic hitmen are paid indirectly by the U.S. government (through consulting firms) to further the interests of the United States and multi-national corporations in resource-rich 'Third World' nations. They do this by convincing/blackmailing/seducing/bribing political leaders into entering their countries into massive, insurmountable debt arrangements with the World Bank. When these debts are called, countries are forced to create policies tailored to maximize profits for foreign companies, starting with the privatization of valuable resources - it's serfdom on a global scale.

The film offers the most details on one specific case - that of oil- and uranium-rich Ecuador - which was one of Perkins' assignments during his tenure at utilities 'consulting firm' Chas T. Main. Ecuador had been subject to a series of military governments throughout the 1970's while the country became one of South America's chief exporters of oil. Perkins claims that, around 1980, newly-elected President Jaime Roldos Aguilera refused proposals to expand Ecuador's oil exploitation. Many believe that Roldos and his wife were assassinated by the C.I.A. when it became clear that the President would not succumb to the economic hitmen. The film also documents a tense evening in which Perkins goes to speak in a theatre in Ecuador following the release of his book and is confronted by angry people who have had to live with the legacy of his and others' actions. Though an important part of the horrifying story of American empire building over the past 60 years, Apology of an Economic Hitman is unfortunately, not one of those documentaries that will likely persuade unconvinced people that it speaks some fundamental truths. Instead, it plays more as a piece in a growing body of work made for people like me who already know a lot of this stuff but like having their worst fears confirmed by people who were there.

Apology of an Economic Hitman
Stelios Koiloglou | Greece | 2008 | 90min

Fri. Sept. 26 | 7:15pm | Empire Granville Theatre 6
Sun. Sept. 28 | 2:15pm | Empire Granville Theatre 6
Thur.Oct. 9 | 7:15pm | Empire Granville Theatre 6

France

JCVD

Review by Cameron Maitland

It’s no secret that b-grade actors can revitalize their careers with unexpected turns in movies outside of their regular wheelhouse. Mabrouk El Mechri’s JCVD, exists not only as a taut action-comedy but also as what may be Jean-Claude Van Damme’s last chance to revitalize his career - by playing himself.

Van Damme plays a semi-realistic pastiche of himself, a bloated, failing actor who, after losing his child in a messy divorce, gets caught up in a botched bank robbery in his hometown of Brussels. The film refuses to let Van Damme be the action star the world, and every character in the film including the bank robbers, assumes he is. It deftly darts back and forth between serious dramatic tension and flat-out comedy, working well as a diverting, surprising portrayal of the actor and the ‘reality’ of his life.

That said there are numerous points in the film which seem to grasp at something more and fail. Van Damme gives an impassioned monologue that falls flat and often other characters try to articulate grand ideas that never make any coherent sense. Also, for a film which somewhat claims to parody the actor, nearly every scene portrays him as endlessly put-upon and sympathetic to the point where he comes off more arrogant than his public image has ever been.

As a simple comedy and action film, JCVD works wonderfully. Sadly, its failed attempts at being something bigger seem to only push against the idea that Van Damme is worth anything more than his straight-to-DVD films.

JCVD
Mabrouk El Mechri | France | 2008 | 102min

Sat. Sept. 27 | 9:30pm | Empire Granville Theatre 7
Sun. Sept. 28 | 4:30pm | Empire Granville Theatre 2

U.S.A.

Sugar

Review by Cameron Maitland

One of the most hotly anticipated films at this year’s film festival has to be the sophomore effort from the writing/directing team of Ryan Fleck and Anna Boden, Sugar. After their film Half Nelson managed to climb from an indie to the Oscars, there couldn’t be more of a spotlight on this seemingly out-of-leftfield drama about baseball.

Unlike most American baseball films, Sugar tells the story of a young Dominican player just beginning his career by entering the minor leagues in Iowa. This film is as much concerned with baseball as it is with the socio-economic truths of the game’s international presence and the effect they have has on the player. Much of the film focuses on Miguel “Sugar” Santos’ ability to cope with being thrust into a country where he doesn’t understand the language or the culture and the sadness and humour that brings.

Like Half Nelson, the strength of Sugar lies in its performances. Algenis Perez Soto’s portrayal of the titular character and his progression through America is both emotionally sound and shocking in its realism. Fleck and Boden say they started with the end of the film in writing and worked their way backwards but the forward momentum and slow progression of Soto’s character make the film smooth and seemless in its execution.

Unexpected and moving, Sugar is a film that can be enjoyed both by baseball fans and people who are simply interested in a human story about progressing towards your dreams.

Sugar
Ryan Fleck & Anna Boden | USA | 2008 | 114min

Fri. Sept. 26 | 9:00pm | Empire Granville Theatre 4
Sun. Sept. 28 | 1:30pm | Empire Granville Theatre 2
Thur. Sept. 30 | 10:00am | Empire Granville Theatre 7

Israel

Waltz With Bashir

Review by Cameron Maitland

Ever since Richard Linklater utilized documentary-like animation in his philosophical film Waking Life, directors have sought to utilize the animated documentary to tell their stories. With Waltz with Bashir, writer-director Ari Folman may be the first person to find the perfect balance between the reality of documentary and the fanciful nature of animation.

The film follows Folman’s own journey dealing with leftover dreams and memories from his time as a soldier during the 1982 Lebanon War. He’s haunted by what little he can remember but more so by how much he has forgotten. Folman journeys around Europe meeting other soldiers and trying to piece together his disparate memories into a coherent narrative. The more he hears, the more he remembers and each memory is recreated for us in rich animated form.

The animated nature of the film is really what makes it unique and, in a way, what makes it work. What would be a documentary of talking heads and sometimes cloying European psychoanalysis instead turns into a dark and surrealistic examination of the shifting memories and dreams of the soldiers. No documentary could capture a dream of a 40-foot nude woman swimming alongside a soldiers boat, but with animation the poetry and beauty of each soldier’s recollections play beautifully.

The surreal nature of the animated stories and personal nature of Folman’s vision make Waltz with Bashir an endlessly unique film with one of the most shocking and interesting takes on the Lebanon conflict in years.

Waltz with Bashir
Ari Folman | Israel/Germany | 2008 | 87min

Sun. Sept. 28 | 10:00am | Empire Granville Theatre 7
Thur. Oct. 2 | 9:30pm | Empire Granville Theatre 7
Sun. Oct. 5 | 1:00pm | Empire Granville Theatre 7

Mexico

Where Are Their Stories?

Review by Matthew Tsang

Writer/Director Nicolas Pereda's debut film Where are Their Stories? (Donde Estan Sus Historias?) follows a poor young farmer, Vincente, who lives and works on his grandmother's farm. He soon begins a journey through Mexico in search of a way to prevent the sale of his grandmother's land at the hands of his selfish uncle. Along his travels, he stops by a wealthy family's home, where we discover his mother is working as a maid. Their extremely disconnected and strained relationship forms the bulk of the plot in this turtle-paced, pretentious film.

Pereda takes an incredibly minimalist approach which forces the audience to feel the same distanced relationship to the film as Vincente feels with his mother. However, this approach results in too many over-extended travel shots, too little dialogue, and too much reliance on the audience to enjoy feeling miserable for the characters.

By dragging us along on the shaky handheld camera travelling shots where nothing is shown but the backs of the characters walking away, the film succeeds all too well in making us feel like we're involuntarily invading the lives of the characters. And, at the end of it all, we all feel that we've seen so much and understood so little that we should have left a while ago.

Where Are the Stories?
Nicolas Pereda | Mexico/Canada | 2007 | 73min

Fri. Sept. 26 | 9:30pm | Empire Granville Theatre 6
Sat. Oct. 4 | 11:00am | Vancity Theatre

France

Charly

Two Schema Writers on Charly

Review by Matthew Tsang
Charly is a poignant coming-of-age tale about a lonely, listless adolescent boy named Nicolas (Kolia Litscher). Isild Le Besco's direction of the film seems to be a reflection of Nicolas and his everlasting comatose state throughout the film. However insufferable this may sound, there is a hidden charm within the protagonist whether it be his innocence or his vulnerability, that makes audience wish for him to wake from his slumber.

At the start of the film, we see that Nicolas receives little counsel of any sort from his foster parents, and thus he attempts to find parental guidance from his teacher Francois. After talking to Francois, who offers him little advice other than the fact that his life will be an uphill climb, Nicolas picks up a copy of Frank Wedekind's “Spring Awakening” left behind by his teacher. Slipped inside the pages of the play is a postcard of a seascape at Belle-Ile-en-Mer, which Nicolas impulsively decides is his new destination. Along his journey, he meets Charly (Julie-Marie Parmentier), a young prostitute with obsessive-compulsive behaviour that ensures her trailer home is always clean and tidy. The unusual relationship forged between the awkward, drowsy Nicolas and the assertive and bold Charly excites the film greatly. With the demanding Charly in the picture, Nicolas learns lessons he desperately needs and wants – the ability to create order, fend for himself, and other life essentials (not always repeating “I dunno”). The film plays on the irony that eventually a young woman in the prostitution business is the only source that Nicolas can rely on to raise him from the dead and develop his maturity.

Overall, the film works nearly flawlessly with precise dialogue and superb chemistry. The performances from Litscher and Parmentier alone make this film worth watching.

Review by Chris Walts
Something screened before Charly. It might have been a mix-up, or a purposeful pairing of short films, but they made me want to leave the theatre and things only got worse from there. Charly is touted as a quirky coming of age story set somewhere in the French country side. It is about a fourteen year old boy who whimsically sets out in the middle of the night for beach he saw on a postcard, and winds up being taken in by a young obsessive compulsive prostitute played by the director Isild le Besco. One positive thing I can say about the movie is Isild le Besco’s performance is actually quite good and her sparse use of dialogue is an interesting cinematic experiment. It is not enough of a saving grace however, as on a whole the film simply isn’t good which was proved by the fact that a decent amount of people got up and left the theatre.

Charly
Isild le Besco | France | 2007 | 95min

Fri. Sept. 26 | 7:00pm | Empire Granville Theatre 2
Sat. Sept. 27 | 4:30pm | Empire Granville Theatre 2
Sun. Oct. 5 | 11:00am | Vancity Theatre

Brazil

Blindness

Review by Chris Walts

Blindness is best described less as a film, and more as a perverse examination of what would happen to humanity if blindness suddenly became an infectious disease. Adapted from José Saramago's novel by Don McKellar and directed by Fernando Meirelles (The Constant Gardener), Blindness is set in an unnamed city in present day, where everyone who becomes infected with blindness gets quarantined to a rundown sanitarium, and left to fend for themselves.

Under the pretense that Blindness is more an of examination than a film, it does an excellent job of making the audience empathize with the blind, while also forcing us to question our moral grounding. Julianne Moore turns in a great performance that is well supported by a large ensemble casting including Mark Ruffalo, Danny Glover, Gael Garcia Bernal, Alice Braga, and Don McKellar. The film on the whole however, starts slowly and ends abruptly without pushing its moral tightrope to its full potential. The large ensemble cast also is problematic at times as there are simply too many stories going at once to for one to absorb all the atrocities of the situation. That being said, the heart of the film and the sometimes-gruesome questions it raises are strong enough to overcome its structural flaws.

Blindness
Fernando Meirelles | Canada/Brazil/Japan | 2008 | 118min

Thur. Sept. 25 | 7:00pm | Empire Granville Theatre 7
Sat. Sept. 27 | 10:30am | Empire Granville Theatre 2

Throw Down Your Heart

Review by Chris Walts

Throw Down Your Heart is director Sascha Paladino’s light hearted film about banjo virtuoso Béla Fleck's journey to bring the banjo back to its African routes. The film is really nothing more than a series of jam sessions between Béla Fleck and an assortment of incredible African musicians - if you love music, this film is for you. Throw Down Your Heart is probably best enjoyed by simply closing your eyes and listening to the wonderful music that is created. If you are looking for any real documentary work however, there isn’t much in this film about the history of the banjo, and, even from an ethnographic point of simply seeing the African people, the film falls short. Still, Béla Fleck seems genuinely moved by the people he meets, so the film does warm the heart. In the end however, Throw Down Your Heart really is just about the music which makes it hard to complain about - the music is outstanding.

Throw Down Your Heart
Sascha Paladino | USA | 2008 | 97min

Fri. Sept. 26 | 6:45pm | Empire Granville Theatre 1
Sat. Sept. 27 | 1:30pm | Empire Granville Theatre 2
Mon. Oct. 6 | 7:00pm | Empire Granville Theatre 2

China

Good Cats

Review by Chris Walts

Good Cats is a difficult film to watch. It is not a film I particularly enjoyed watching while it was playing, and, had I not been reviewing it, I probably would have left the theatre before it was over. Oddly enough however, every time I think back on the film, I begin to like it more to the point where it now feels like a fond memory.

Luo Liang is a soon-to-be-30-year-old, middle school-educated chauffeur trying to make a name for himself in the semi-corrupt Chinese economy. Shot entirely in long master shots, the film refuses to let the audience close to Luo Liang as the action plays out on screen much as if you were watching a stage play. This forced removal is fitting however, as it reflects society’s view of Luo Liang’s status in the world: a purposeful distance/blind eye turned to the plight of the under-educated working class. Director Ying Liang pushes this idea even further by having sudden breaks in action where a rock band appears, similar to a Greek chorus. While all of this purposeful destruction of the audience’s suspension of disbelief makes the film hard to enjoy on an emotional level, it does invite the viewer to look deeper into the film and view it as a social commentary on contemporary Chinese society.

Good Cats
Ying Liang | China | 2008 | 103min

Fri. Sept. 26 | 12:15pm | Empire Granville Theatre 1
Wed. Oct. 1 | 6:00pm | Empire Granville Theatre 5
Mon. Oct. 6 | 4:30pm | Pacific Cinematheque

Japan

God's Puzzle

Review by Chris Walts

I’m going to try something a little different with my review of God’s Puzzle: I simply want to tell you to go see it - now. Talking about the plot in any sort of detail would be taking away from the sheer joy of having it unravel in front of you but if you still need incentive to go see it read on.

God’s Puzzle is an adrenaline-fueled, genre-bending film directed by Miike Takashi. Its narrative structure, about as consistent as the laws of physics on a quantum level, brilliantly skips from twin brother slap stick comedy, to effects-heavy documentary on advanced particle physics, to classic drama, to James Bond action flick, to absurdist comedy - all woven around several coming of age stories. To put it more succinctly, it’s the story of a wannabe rock star sushi chief who pretends to be his twin brother in his graduate level physics course and winds up befriending a lonely girl genius who wants to create a new universe, which will likely lead to the destruction of life as we know it. More amazingly, Miike also manages to provide several critiques and observations about the highly technological world we live in, and makes one question whether humanity’s never-ending search for ultimate, unifying answers is a worthwhile quest.

I don’t think I am going out on much of a limb here when I say this is going to be my favourite film of the festival. I sincerely hope this film gets wider distribution and comes out on DVD so I can add it to my film collection. Once again, go see it now.

God's Puzzle
Miike Takashi | Japan | 2008 | 134min

Thur. Sept. 25 | 10:00pm | Empire Granville Theatre 7
Fri. Sept. 26 | 2:30pm | Empire Granville Theatre 3

Crossing

Review by Matthew Tsang

Director Kim-Tae-kyun is best known as the director of the action-packed hit Volcano High, however in Crossing, he takes a very different turn - and audiences are glad he did. Crossing tells the immensely sad tale of a simple North Korean family of three who long for a simple, happy life together. They have all that they want and need – enough food to go around, each other's company, a loyal dog. All seems well until the mom is diagnosed with tuberculosis, which can be fatal without the right medicine and care. Yeong-su, the loyal and devoted father and husband, must leave his family for China in search of medicine. The very young son is left to take care for his ailing mother, who seems to be getting closer to death with each passing day. Yeong-su is determined throughout the film to bring the medicine back and see his family again, but troubles with the law and border crossings hinder him continuously. Meanwhile, his son endures a horrific labour camp and is forced through a childhood full of disappointments.

You need not be wary about the potential propaganda this political tale may display, North Korean policy is surely depicted as cruel, but South Korea isn't deemed as angelic either. The power this film has that tips it above many others has nothing to do with pitting the North against the South, but rather the believably harsh realism of the relationships between the characters and their unjust circumstances.

Crossing
Kim Tae-Kyun | South Korea | 2008 | 107min

Sat. Sept. 27 | 9:30pm | Empire Granville Theatre 3
Sun. Sept. 28 | 1:00pm | Empire Granville Theatre 7

Sell Out!

Review by Matthew Tsang.

Yeo Joon Han's debut film Sell Out! is a spoof revolving mainly around two characters – Rafflesia Pong and Eric Tan. Rafflesia is the host of an unsuccessful television show centered where he spends most of his time interviewing artists. At the beginning of the film, Rafflesia’s show is circling the drain and about to be replaced by a reality television show, much to his chagrin. Eric Tan is a talented product engineer who learns the hard way that it doesn't pay to be creative at FONY electronics. He is stunned to learn that his very innovative 10-in-1 soya bean food/drink product is frowned upon by the owners of FONY. In a hilarious satire of corporate mentality, the FONY owners explain that the Eric’s product wouldn’t be profitable because it’s just too durable. When they ask him to develop a built-in breakdown mechanism into his product, he balks. Unlike Eric, Rafflesia hardly hesitates to “sell out”; she succumbs to FONY and creates a reality television show where she interview dying people on camera right before they pass. Central to the film is the question of whether or not a creative talent like Eric can survive in a world dominated by practical businessmen like those of FONY.

Though the movie is on target with much of its tongue-in-cheek dialogue and witty circumstances, a lot of them don't hit as perfectly as they should or could have. The great premise for this film is eventually wasted on too many messages crammed into too little time, and it feels rushed. With a little more care, and a little bit more work on dialogue and delivery, this could have been a stand out above the others at the festival. However, although it does fall short, there are moments of pure brilliance in the film that let you know that Yeo Joon Han will be around for a very long time.

Sell Out!
Yeo Joon Han | Malaysia | 2008 | 110min

Sat. Sept. 27 | 9:30pm | Pacific Cinematheque
Sun. Sept. 28 | 10:45am | Pacific Cinematheque

Taiwan

Orz Boys

Review by Matthew Tsang

During a Q&A period with Yang Ya-che, the writer/director of Orz Boys, a question was asked about whether or not one of the two best friends in the movie was a representation of himself. To that, he answered that he created this strong bond between these two little boys because as a child he never had a relationship like that. He was usually just the kid in the library studying hard, and this film was a way to live the life he never had. It is apparent that this film urges the audience to always remember and be proud of your inner child.

Orz Boys is essentially about loyalty, comradery, and imagination, and all these things are encompassed within the relationship of the two protagonists, “ Liar No.1” and “Liar No.2”. The two boys, played by Pang Chin-Yu (No.1) and Lee Kuan-Yi (No.2) are flawless throughout the film. Yang Ya-che explains that the selection process of the boys was difficult: they chose twelve kids from hundreds of applicants, and trained those twelve for one of the two roles. Their efforts definitely paid off. The young actors are so natural in front of the camera that the characters’ creative games and activities together seem not contrived by a script, but seem rather genuinely brilliant. As a way of surviving their various family problems, the boys weave together a magical place - Hyper-Space, their fantasy land haven.

Orz Boys is not only an amazing film that is bound to touch both adults and children alike, but it provides a pure message to the audience about the irony of growing up. Because, although kids believe growing up means more freedom, the truth is that adults are like prisoners, and that it is the inner child within that sets us all free.

Orz Boys
Yang Ya-che | Taiwan | 2008 | 110min

Fri. Sept. 26 | 7:00pm | Pacific Cinematheque
Sat. Sept. 27 | 4:30pm | Pacific Cinematheque

South Korea

Tropical Manila

Review by Matthew Tsang.

Lee Sang Woo's graphic debut feature Tropical Manila explores the abusive relationships within a family living in Manila. The family consists of a Korean man, Kim Dusik, his filipino wife Medusa, and their son Philip. Kim constantly beats and abuses his wife while Philip watches helplessly unable to help his mother. Philip's hatred towards his father intensifies as it is revealed that Kim is looking forward to returning home to Korea, leaving his wife and son behind. Philip endures the destruction of his family as well as his own self-destruction. He succumbs to prostituting himself to a man for money. The film builds up to an inevitable violent confrontation between father and son that ends with the two being condemned to carry on together despite their hatred for each other.

The film does perfectly express a vision of the slums, and is realistic in its portrayal of misogyny within cultures. Lee Sang Woo makes great use of macabre images and symbols without going overboard, thus creating lasting images that you want to hold on to, no matter how much they make you cringe.

Tropical Manila
Lee Sang-Woo | South Korea | 2008 | 84min

Sat. Sept. 27 | 1:30pm | Pacific Cinematheque
Sun. Sept. 28 | 7:00pm | Pacific Cinematheque

Mexico

All Inclusive

Review by gloria wong.

Gonzalo has more than his share of problems. His wife Valentina is angry at his workload. His oldest daughter has just gotten a divorce from her husband and refuses to talk about it. His teenage son has never had a girlfriend. His younger daughter is expressing her post-adolescent rebellion with lots of attitude, too much eyeliner and overly bleached and dyed hair. And he’s just been told that he’ll soon be dead, and he has no idea how to tell his family. So, he decides, now is his moment for a family vacation at one of those incredibly luxurious all-inclusive resorts on the Mayan Riviera that, apparently, Mexicans actually go to (in addition to the throngs of obnoxious international tourists). For extra flavour, they happen to be there in the middle of hurricane season.

All Inclusive doesn’t have many flaws. It is a beautifully-shot, wonderfully-acted, satisfying family comedy. Entertainment is embedded in its DNA. What surprises is the effectiveness of the more dramatic elements of the story, how successfully it manages to use formulas we know and begrudgingly love.

All Inclusive
Rodrigo Ortuzar Lynch | 2008 | Mexico | 93min

U.S.A.

Momma's Man

Review by gloria wong.

Our story begins when Mikey, a thirty-something married man ostensibly on a business trip to his hometown of New York, half-explains to his elderly parents that his flight home was overbooked - he’d most likely return to his wife and infant daughter in Los Angeles the next morning. Only he doesn’t. He stays, and he appears to be totally disinterested in returning to his adult life for an alarming number of days. He slips easily into his childhood bedroom as well as his childhood habits – play guitar, reading comics and letting his mother care for him.

As one may well imagine, the film has many inspired comic moments, mostly featuring Mikey’s interactions with his increasingly concerned parents. What consistently surprises throughout the film is Jacob’s delicate take on Mikey which keeps the character from becoming irretrievably pathetic – a man-child cartoon character.

Jacobs is the son of legendary experimental filmmaker Ken Jacobs and visual artist Flo Jacobs. Read into the decision what you will, but his casting of his artist parents as protagonist’s artist parents in this film is genius. Gorgeously shot in the Jacobs’ actual family home in New York (a loft crammed to the rafters with stuff, junk, art and doo-dads), Momma’s Man is an oddly touching, often funny, perfectly scaled family drama.

Momma's Man
Azazel Jacobs | USA | 2008 | 94min