into great silence Tagged Articles at Cinematical

Back in January, we wrote about director AJ Schnack's (Kurt Cobain: About a Son) efforts to create awards for non-fiction filmmaking that would be ... somewhat more relevant than the Academy Awards. Back when the Oscar shortlist for docs came out, Schnack wrote an angry diatribe about the process and the films selected (and, more importantly, those that were not selected) that echoed the sentiments of many of us who write about, or make, documentary films.

Although I'm not at all displeased that Alex Gibney ultimately won the Oscar for Taxi to the Dark Side, and would have been equally happy if No End in Sight had won, there were some glaring omissions in the Oscar shortlist that were truly appalling, most notably In the Shadow of the Moon and King of Kong: A Fistful of Quarters.

Earlier this week, I along with 20 other San Francisco film critics assembled at an undisclosed location -- okay, it was a café -- to vote on the best films, best performances and best other stuff of 2007. It's an interesting experience. I spent a few weeks combing through the year's releases, coming up with my own choices. Then I second-guessed some of them, deciding whether I should eliminate certain choices. If I was absolutely certain that someone would make the final ballot, then I would cast a vote for someone more obscure, someone I really liked. After doing that, I scrapped the whole thing and went back to my favorites in each category, regardless of where they placed.

For Best Supporting Actress, I selected Amy Ryan in Gone Baby Gone (301 screens) as my #1 choice, comfortable in my certainty that she was a dark horse and that no one else would pick her. She was far from being the focus of that film, but she knocked a home run in her few scenes as a horrible, drug-ridden mother who has lost her baby girl. As a bonus, she was also in Before the Devil Knows You're Dead (321 screens), a film that also made a decent showing on my personal ballot. (She lost a few points by being in the wretched Dan in Real Life, but gained them back again by being on TV's "The Wire.") In any case, Ryan not only made our final ballot, but she actually won. Congratulations, Amy! My other picks, Taraji P. Henson in Talk to Me, Kristen Thomson in Away from Her, and Maggie Smith in Becoming Jane, didn't make it so far. As for my fifth pick, Cate Blanchett in I'm Not There (148 screens), you've not heard that last of her.

I know people have said this every year since digital video became a viable filmmaking tool, but 2007 really has been a great year for documentaries. Still, it takes more to impress me than a film about the war or the environment, and cute penguins only go so far. Most documentaries behave as if they were newspapers. They're relevant today, but tomorrow they're lining birdcages. Or at least someone is making pretty hanging mobiles out of discarded DVDs. This is not to disparage hot topic films; they serve their purpose. Though Michael Moore's Fahrenheit 9/11 failed to prevent G.W. Bush from being re-elected, it sure stirred up some discussion. And it's possible that Al Gore's An Inconvenient Truth actually helped, in some small way, improve our planet's chances at a bright future. No, I ask a lot of a documentary. I ask it the toughest question of all: do I ever want to see this again?

I ask this because I'm concerned about film as an art form. Even a newspaper story has to be -- or at least should be -- well written. A great story has a hook, a way with language, and an emotional center. It's one thing to report on an amazing story, but it's another thing entirely to ask people to sit through a dull film. I have no patience for objective journalism in documentaries, mainly because there's no such thing. If a film tries to be objective, it's only pretending. I love films in which the maker throws him or herself into the very fabric of the film. What I hate most of all is films that use the same, tired old documentary format: talking heads and photos, and if we're lucky, some video clips. If you're just going to photograph someone sitting in a room and talking, why not write it as a newspaper story?

2007 is now one-third over, and four movies have broken $100 million: 300, Wild Hogs, Ghost Rider and Blades of Glory. Eddie Murphy's Norbit is creeping up on a $100 million score as well. Only Blades of Glory is interesting in the slightest. It's a poorly-directed, uneven comedy, but with plenty of laughs, all thanks to Will Ferrell. I guess I could waste time wondering why people are paying good money to see these so-called movies, but the fact remains that they all opened on more than 3000 screens, and were available for just about everyone in the country to see.

Despite these duds, the year in movies hasn't been so bad so far. I'd rather focus on some of the year's really good entries, the ones that will probably be forgotten eight months from now when the list and awards season starts all over again. I haven't been able to see it yet, but Syndromes and a Century (1 screen) from Thai director Apichatpong Weerasethakul should be enlightening. His Mysterious Object at Noon (2000), a beautiful combination of documentary and storytelling, is on my personal list of the best films of the past ten years. His amazing Blissfully Yours (2002), among other things, rolled the credits right in the middle of the movie, and his Tropical Malady (2005) had a gay romance far more tender and engrossing than the more widely celebrated Brokeback Mountain.

I just caught Philip Gröning's extraordinary documentary Into Great Silence (2 screens and opening wider), about Carthusian monks living in a charterhouse in the French Alps. It runs just past two hours and 45 minutes and I would wager that no more than two hundred words are spoken throughout. The film merely shows the monks going about their daily business: praying, chanting, caring for gardens, shoveling snow, sawing firewood, cooking, eating, etc. I have to admit part of my enthusiasm for the film stems from the fact that it contains no talking heads or clips; I was just about ready to scream if I saw one more documentary shot in that tired old PBS format. But I was also drawn to the film's meditative rhythm.

Or is it just slow? Already some of the reviews have trudged out the word "boring" to describe the film, and certainly it's a hard sell. But why? It's apparent that Gröning doesn't have any particular viewpoint about the monks; he's not trying to sell us on their dignity or righteousness, nor is he trying to uncover some secret, seamy underbelly. He merely wishes to show them to us. And in his great, quiet stretches, a viewer can easily get lost in his or her own thoughts. Indeed, I believe that Gröning actually prefers us to get lost in our own thoughts.

There's a certain satisfaction in reading about distribution deals for independent films that have caught your interest -- the smaller the film, the greater the satisfaction. Suddenly, there's a real possibility that you might actually get to see the film without having to live in New York or LA. And if you did catch the film at a film festival, and loved it, now you can persuade all your friends to see it too, when the movie arrives in theaters or on DVD. (If you hated it, well, then you can boast to everyone that you saw it already, that was soooo last week, and it's not worth bothering over ... and that's a whole other type of pleasure.)

When Kim reviewed Penelope (pictured right) at TIFF, I was intrigued and hoped I'd get a chance to see the movie. Fortunately, IFC and The Weinstein Company have jointly purchased the North American rights to the film produced by Reese Witherspoon and starring Christina Ricci and James McAvoy. Kim was worried that the movie had no clear audience, but I'm sure that IFC and the Weinsteins will find one. IFC is handling the theatrical distribution, and TWC will handle TV and video rights. My only worry is that Penelope seems to share certain superficial story elements with Gretchen, an Austin-shot feature I enjoyed at SXSW, and I hope that this buy doesn't harm Gretchen's chances at distribution.

In addition, Zeitgeist films has acquired the U.S. distribution rights for the film Into Great Silence, a documentary about the Carthusian Order monastery in the French Alps. Cinematical interviewed the film's director, Philip Groening, at Sundance in January. Zeitgeist faces a challenge: marketing a nearly three-hour documentary that contains almost no dialogue, because the filmmakers respected the monastery's vows of silence. (Perhaps they could persuade Morgan Freeman to record narration? I hope not.) The distributor is planning a release timeframe of next February or March.

The eight annual Thessaloniki Documentary Festival opened on Friday, and in addition to having the massive pleasure of spending time in northern Greece (I'd like to officially volunteer right now to be Cinematical's eyes on the ground at next year's event), festival attendees have the opportunity to see nearly 200 documentaries from all over the world. The films are organized into theme-based programs, including Stories to Tell, which consists of 16 films "exploring distinctive subjects"; Greek Panorama, made up of local projects (88 of the 180-odd films in the festivals are of Greek origin); and Views of the World which, with its focus on "social topics," bring together perhaps the most prestigious pool of the festival, including Into Great Silence (screening later this month in New York as part of the New Directors/New Films series) and Sundance award-winner Iraq In Fragments.

In addition to its myriad screenings, the festival offers a series of events aimed at filmmakers, the coolest of which is the three day workshop with Canadian documentarian Peter Wintonick. In addition, there is a forum on pitching (no, not the Roger Clemens kind), as well as a buyers market at which filmmakers will have the opportunity to secure distribution for their projects. The festival runs through next Sunday, if you've got some frequent flier miles you'd like to burn.

Yesterday, I sat down with Philip Groening, Scriptwriter, Producer, Director, Cinematographer, Sound Editor, and Film Editor of Into Great Silence (Die Grosse Stille), the first film about life inside The Grande Chartreuse, the mother house of the legendary Carthusian Order in the French Alps.

The majority of the film becomes a study in silence, as there is nearly no dialogue in this 164 minute long film recorded over the course of six months Groening spent in the monastery, participating in the silent life there. According to Groening, the film would seem to answer the question, "How does one make a film that, more than depicting a monastery, becomes a monastery itself?" Groening found the answer outside of language, logic, and discursive processes and in the visual power of film.

Our video interview lasts 8:56 minutes and weighs in at 40.9 MBs and should be enclosed with this post and available via the Cinematical podcast in the iTunes Music Store. If you find the discussion of interest then make sure you check out the final screening of the film on Friday, January 27th at 6pm at Broadway Centre Cinemas V in Salt Lake City.