LFM Reviews Gaamer @ The Odessa International Film Festival

By Joe Bendel. Really good film festivals are not just an assortment of screenings. They provide a sense of community. Every year, I look forward to fests like Sundance, NYAFF, and the Bosnian-Herzegovinian Festival because of the people I expect to see there. That is why the continuation of the Odessa International Film Festival represents a small but significant victory for Ukraine’s cultural sector. Unfortunately, there is one particular filmmaker who will not be able to attend.

Pro-Ukrainian democracy activist Oleg Sentsov was arrested by the Russian military while attempting to smuggle food to barricaded Ukrainian military personnel in the occupied province of Crimea. He is now being held on trumped up terrorism charges, awaiting a show trial in Moscow. To date, Ukrainian consular personnel have been denied access to Sentsov, in clear violation of diplomatic law and custom. In his place, Sentsov will be represented at this year’s inspiringly defiant OIFF with his 2011 feature directorial debut, Gaamer, which has a special screening this Tuesday.

Ostensibly, there are no political implications to be gleamed from Gaamer. The extra “a” represents a distinctively Slavic pronunciation of “gamer” adopted by video game fanatics in parts of Eastern Europe. Sentsov was once part of the subculture, just like his protagonist. Alex is an unrepentant underachiever. However, under his gamer handle Koss, he is one of the top players of the first-person shooter Quake in his depressed post-industrial town.

Much to his long suffering mother’s frustrations, Alex/Koss has been expelled from his technical school, preferring to idle his time away in a computer gaming parlor, presumably much like the one Sentsov once managed. When he places highly in a local tournament, he is recruited by one of the top national teams. At least he will have free gaming for the near future, but then what?

It is tempting to try to read further political significance into the work of filmmakers like Sentsov or Iranian dissident Jafar Panahi, because you would think it has to be in there somewhere to justify such heavy-handed human rights abuses. However, there is absolutely no commentary on neo-Soviet Imperialism to be found in Gaamer.

Instead, it is a film about lifestyle choices and their consequences. Specifically, it examines the awkward period when gaming loses its thrill. After all, a video game is by its nature fleeting and apparently Quake is one of those games that always ultimately ends with a player’s in-game death. So just what does Alex/Koss have to show for his monitor time?

Frankly, Putin would probably prefer an anesthetized Ukraine, lulled by video games or whatever into a state of extreme myopia. In that limited sense, Gaamer’s get-out-and-get-involved-in-life message is somewhat at odds with his expansionist agenda. However, the truth of the matter is Sentsov was simply rounded up for being a prominent ethnic Ukrainian in the Crimea, with a history of democratic activism.

Clearly, Sentsov also understands the characters of Gaamer and the worlds in which they interact. Vladislav Zhuk is totally convincing as the socially underdeveloped Alex/Koss, but his distant, cipher-like nature is sometimes frustrating. While it is not exactly a showy role, Zhanna Biryuk perfectly calibrates her performance as his mother.

From "Gaamer."

All things considered, Gaamer is a very promising first feature. It has its odd rough edges and pacing issues here and there, but those who see it would be intrigued enough look out for Sentsov’s follow-up film. Unfortunately, production on what was to be called Rhino was postponed due to the Maidan Square protests and the Russian invasion. Any serious filmmaker like Sentsov deserves to have a chance to develop his art over the course of several pictures, but his abduction and incarceration now makes that impossible. Even Putin-approved filmmaker Nikita Mikhalkov has (somewhat boldly) joined the chorus of voices demanding his release.

If you happened to be in Odessa attending the screening of Gaamer on Tuesday (7/15), that was a great way to show solidarity, while seeing a good movie in the process. For the rest of us, light up the social networks and online petitions. Free Oleg Sentsov.

LFM GRADE: B+

Posted on July 16th, 2014 at 10:39am.

LFM Reviews All-Round Appraiser Q: The Eyes of Mona Lisa

From "All-Round Appraiser Q."

By Joe Bendel. Riko Rinda is sort of the Japanese Lovejoy, except she is far more reputable and much cuter. She can appraise anything, but she specializes in fine art and jewelry. Much to her surprise, she will be called upon to evaluate a masterpiece that should need no appraisal in Shinsuke Sato’s All-Round Appraiser Q: The Eyes of Mona Lisa, which screens as a co-presentation of the 2014 Japan Cuts and New York Asian Film Festival.

Rinda, a.k.a. All-Round Appraiser Q, is good at her job. Struggling journalist Yuto Ogasawara is not. They both happened to be working the same gourmet reception. Rinda’s client is concerned the slicker than slick outfit renting his restaurant is too good to be true. Ogasawara’s boss thought a cooking demonstration would be the only assignment he couldn’t possibly make of hash of. He was wrong. Rinda duly foils the criminal goings on, but Ogasawara misses the photo. However, he suspects Rinda might be an even bigger story, especially when she is offered a chance to serve as a special Japanese curator on the Mona Lisa’s world tour.

After sleuthing out the real La Joconde to pass her audition, Rinda is whisked off for training with her snooty colleague, Misa Ryusenji. Rinda eventually develops some fake-spotting chemistry with her. They appear to have the makings of a real team, until Rinda falls sway to a sinister force. At this point, the eager Ogasawara takes up the case in earnest.

Yeah yeah, Dan Brown, right? In point of fact, Manbu Uda’s adaptation of Keisuke Matsuoka’s source novel rather cleverly incorporates the painting’s strange history, including handyman Vincenzo Peruggia’s unlikely theft in 1911 and the recent discover of the initials in her eyes. However, Appraiser Q is considerably more fun than a month of Da Vinci Code clones.

From "All-Round Appraiser Q."

In large measure, this is due to the character of Rinda. While she is as brilliant and nearly as eccentric as Cumberbatch’s Sherlock, she is also warm and empathetic. Frankly, it is nice to see an endearing underdog find her niche, especially when seen shortly after the emotional angst of Yoshihiro Nakamura’s The Snow White Murder Case. Haruka Ayase’s performance is scrupulously demure, yet she lights up the screen.

Tori Matsuzaka’s Ogasawara trails after her as best he can, largely keeping the shtick in check. Asian film connoisseurs will not be shocked to hear that awkward looking westerner Pierre Deladonchamps is embarrassingly clunky as Rinda’s French instructor, but Eriko Hatsune delivers some subtle surprises as Ryusenji.

Appraiser Q has several nice twists and loads of genre appropriate atmosphere. The “Monna Lisa” misspelling is a tad unfortunate, but these things happen. Ayase and company put on a great show, which is the thing to focus on. It makes you hope this is the start of a franchise. Highly recommended for those who enjoy old fashioned romantic mysteries, All-Round Appraiser Q screened this week at the Japan Society, as a joint selection of this year’s NYAFF and Japan Cuts: the New York Festival of Contemporary Japanese Film.

LFM GRADE: A-

Posted on July 16th, 2014 at 10:38am.