By Chris Luckett
The final day of the 2012 AGH BMO World
Film Festival didn’t have the spectacle or power of the opening days of the
festival, but it was an excellent way to end the festival on a lighter note.
The
World Before Her began the day very interestingly,
examining two totally different walks of life in modern India. The most
well-constructed documentary so far this year, it follows two young women both
doing what they feel they must to assert some control over their lives and
escape their conditions.
Image property of Storyline Entertainment |
Ruhi Singh has been selected as one of the
20 competitors for the title of Miss India beauty pageant. To win the title
means fame and money, two things she can use to better her and her parents’
modest lives. Conversely, Prachi Trivedi is a leader at a Hindu fundamentalist
camp, training young girls for the Durga Vahini.
Both Singh and Trivedi are running, in
their own ways, from the life they would be stuck with if not for the power and
self-confidence such things as beauty pageants and military camps imbue them
with.
The
World Before Her traces two very different lives’
paths, but never uses those lines to draw any conclusions. Audiences are left
to connect the dots themselves, making the witnessed experiences all the more
powerful.
Image property of Mongrel Media |
Lightening the mood up afterward was Boy, a delightful coming-of-age dramedy
from New Zealand.
Taking place in 1984, just after the
release of Michael Jackson’s Thriller, Boy
follows an 11-year-old who goes by the very name of Boy (James Rolleston). Boy
lives with his grandmother, younger brother, and several cousins; his mother
died years earlier and his father left a while back and hasn’t returned.
When his father, Alamein (Taika Waititi),
does return, Boy is thrilled. After telling so many stories to friends and
teachers about his heroic dad, Boy finally would be able to spend time with him
and see just how amazing he is. Alamein’s real reason for returning, though,
turns out to be more complicated than Boy expects.
Boy is the highest-grossing New Zealand film of all time, and it’s not
hard to understand why. The skilled and humourous performances, plus the
light-hearted score and the whimsical screenplay, make it one of the best
coming-of-age movies in years.
Closing the festival was Pina, a half-documentary/half-dance
performance. Nominated for the Best Documentary Oscar last year, it’s a
fascinating viewing experience.
Image property of IFC Films |
Wim Wenders was already preparing to film a
documentary about dance choreographer Pina Bausch when Bausch unexpectedly died
in 2009. Instead of scrapping the picture, Bausch’s dance company convinced
Wenders to reshape the film as both a demonstration of Bausch’s ground-breaking
choreography and a memorial for her, told through the dancers’ stories.
The dance scenes themselves are
breathtaking and an excellent reason for the movie being filmed in 3D. The
intercut testimonials and remembrances, though, while sometimes interesting and
surely cathartic for the interviewees, tended to slow the film to a crawl and
interrupt and building pace.
For a final selection in the festival, Pina didn’t wow, but that served the
festival well. Instead of audiences’ thoughts gravitating towards a
particularly memorable last film over all earlier ones, patrons were left more
able to reflect over all the films shown over the last ten days.
Whether measured in tickets, happy
audiences, film selection, or stimulating post-movie conversations, The 2012
AGH BMO World Film Festival proved to be a great success. The task ahead for
the Art Gallery of Hamilton will now be topping it in 2013.
(Check
back for a “Best of the Fest” wrap-up, coming soon.)
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