The Dallas International Film Festival runs March 31 – April 9, 2017
It’s hump day Wednesday and I’m feeling a bit refreshed after only two movies yesterday. Flashing the wisdom that should accompany my age, I have followed up two-for-Tuesday with another two movie day today. Both films are narratives, so my documentary addiction is on hold until tomorrow. Below is a recap of the two films I watched on Wednesday April 5, 2017:
BUSTER’S MAL HEART
A film festival wouldn’t be complete without at least one mind-blowing avant-garde cinematic experience. I’m not the kind that needs every ending neatly bow-wrapped, and I often enjoy having conventional story structure challenged and even dissolved. Writer/director Sarah Adina Smith seems to thrive in such an environment in this twisty psychological thriller covering three timelines (one of which may be a dream) … or a split personality … or two/three men from one … or some combination … or something else entirely that I might have missed. (I’m not too proud to admit this distinct possibility).
When a filmmaker bravely dives into the bizarre, casting becomes crucial. Ms. Smith nails it with Rami Malek, DJ Qualls and Kate Lyn Sheil. Thanks to the popularity of TV’s “Mr. Robot”, Malek is now a leading man – albeit a tad unconventional. Here he plays Jonah, a struggling family man with a wife (Ms. Sheil) and young child. Working as a night Concierge at a hotel, Jonah tries to make the best of the lack of sleep and minimal contact with his family. In addition to Jonah, Malek plays Buster, a slippery and hirsute mountain man who negotiates his way through the Montana mountains by hanging out in the multi-million dollar vacation homes vacated by their owners for the snowy winter months.
The film bounces between 3 periods for Jonah/Buster: the elusive mountain man running from the law, the bleak nights of the family man, and a dream-like sequence where he is adrift at sea in a row boat. Throughout the film, references to “sphincter” and multiple proclamations that “The Inversion is coming” lead us to believe there could be a sci-fi connection or an apocalyptic ending headed our way. Instead, it’s “the belly of the whale” that might unlock the mystery or mysteries serenaded by the thunderous techno-bass bass. It’s a head-scratcher for sure, but one that manages to keep us engaged despite our whirlwind of theories and uncertainly.
KATIE SAYS GOODBYE
The latest exciting new filmmaker to burst on the scene is writer/director Wayne Roberts, whose wonderful indie is my favorite narrative of the festival so far. Of course there will be those who decry yet another film exploitation of women as a victim of society. However, there is definitely another way to view the story of Katie, the good-hearted dreamer played beautifully by Olivia Cooke (“Bates Motel”).
Initially, Katie’s unflappable optimism seems unlikely, if not impossible. She walks miles to work along a dusty highway. She lives in a trailer park with her deadbeat mother (Mireille Enos), whom she supports both financially and emotionally. She works double-shifts as a waitress at a truck stop, where she’s known to toss in a couple extra bucks when a particularly frugal customer stiffs the other waitress. She also works a side job as a prostitute for locals and a regular trucker named Bear (Jim Belushi). Despite a life filled with *stuff*, Katie doggedly pursues her dream of saving enough money to move to San Francisco and become a hair stylist. Of course, she has to save enough money for her trip AND for her mother to live on. Her dream seems lofty, yet almost achievable.
When Katie falls for Bruno (Christopher Abbott), the new guy in town, she tries her best to fall in love and pull him into her dreams for a better life. It doesn’t take long before Bruno is made aware of Katie’s side job, and her fantasy world begins to crumble. On a daily basis, Katie happily (of course) drinks up the truck stop wisdom of diner owner Maybelle (Mary Steenburgen), who spouts such gems as “A man with a smile will hurt you”. Good intentions abound here, but we realize … even if Katie doesn’t … that the reality of people’s self-interest is the immovable object that so often tears down the dreamers of the world.
As with much of life, one’s enjoyment of the film is likely contingent upon the perspective you bring. A caustic, cynical view will have you waving off Katie’s lot in life as exploitive movie-making; while those who can share even a spoonful of Katie’s spirit, will find themselves rooting exuberantly for her dreams to come true … or at least to sustain her refreshing outlook on life and people.
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