#cineNOLA Weekly - Episode 2

On this, the second episode of #cineNOLA Weekly, I rundown some more film screenings and review one of the few movies to get New Orleans right, Flakes. The editorial segment will return next week.

If you have any comments or suggestions, feel free to write one below. Be sure to follow the conversation on twitter using the hashtag #cineNOLA:

@NOFS Review: "Herman's House"

Cross posted from MoviePass:

A good friend of mine and I have had many a late night discussion about scripts involving characters in prison. This is mostly because of our deviant interest in HBO's OZ and our willingness to write characters who live tortured lives. The one thing that always comes up in our talks is the idea of redemption. Is it possible for an ex con to live a normal life in public AND be accepted by others?

Usually, there is a stigma attached to former prisoners (especially sexual offenders) that prevents them from gaining employment, making friends and even enjoying their freedom. And, in some cases, they go right back behind bars because of a community's inability to let them move on. Can any one prisoner - current or former - change people's minds?

Artist Jackie Sumell began a pen pal kind of relationship with Herman Wallace, an inmate at Angola Prison in Louisiana, after learning about his solitary confinement. A 30 some odd YEAR solitary confinement. For a crime he and others say he didn't do. In an effort to help spread the word about his plight - and to help him mentally/emotionally - she asked him "What kind of house does a man who has lived in a six-foot-by-nine-foot cell for over 30 years dream of?”. Thus began an intriguing art installation setup, and a noble community home project.

"Herman's House" is wonderful in how it paints its central figure, Herman, without ever showing his face. He is heard through phone conversations and seen in old, faded pictures. You would think that a documentary crew would be granted some one on one time with this man... But this only further illustrates not only how cut off Herman is from society, but how he perseveres despite this lack of contact.

Mr. Wallace is extremely articulate, compassionate and inspiring. A young former inmate beams with energy when talking about meeting this man, and how he changed his life. A fellow black panther gladly represents him on the outside. And a lawyer is stunned when Herman offers evidence for a case he is working on; one that would cause Herman's family much grief. When asked why he would be willing to do this against the wishes of his kin, he said "Because it's the right thing to do."

Much of the movie involves Jackie and her efforts to make Herman's House a real home for local NOLA children a reality. She faces roadblock after roadblock, much to the detriment of her own well being. However, she doesn't see it that way. She may be in debt, making little to no money and have a lack of support for this campaign, but she moves on anyways. She believes in Herman, and will continue to fight for him "because it's the right thing to do".

For one man to be such a beacon of inspiration while living under horrendous conditions is amazing. In my opinion, people like Herman Wallace - reformed ex cons, social workers, activist parents - ought to be in the spotlight more often. THEY are fighting the battles that REALLY matter. Sure, they may not be on tv, throwing out zingers at political opponents, but that's only because it would be a waste of time. They are leading strikes, forming community projects and changing minds. Because it is the right thing to do. I'd be willing to bet that most regular people would agree.

4/5 *'s

"Herman's House" will be screening at this years New Orleans Film Festival on October 14th and 15th (filmmaker in attendance on the 14th). Get your tickets here.

@NOFS Review: "True Family"

Cross posted from the MoviePass blog:

When you think of New Orleans, what comes to mind? Food for some. Hurricanes for others. Movies for me. And, of course, no thought about the city should be without the most obvious answer - music. You don't even have to leave your stoop to hear a juicy tune playing. Without that element, this city wouldn't be as alive as it is.

And which performer best represents this?

Meschiya Lake is a sort of revivalist style jazz singer, belting out wonderful notes on street corners for tourists and city dwellers alike. She has a background in circus acts, a plethora of tattoos and looks/sounds dynamite. She bikes around town, joyfully training her voice for the next song. She is strong, fun and very talented. Alive is the perfect word to describe her.

Before watching "True Family", I had never heard of Meschiya (I ought to be shot). I knew of bands like Tuba Skinny (who were nice enough to let me use their music for my #TeamNOLAFilm podcast), but that was about it. Knowing what I know now, I'm hit with a wave of sadness that there was a whole musical community in the area that I was unaware of - This was followed by absolute happiness when I discovered her album on Spotify. But what really impresses me here is how, through this singer, we are given a novel glimpse of a thriving young creative crew.

You see, this is really more a profile on an artistic circle - one that works with one another. Musicians help each other out, floating from band to band, getting the word out and improving the culture. Others like dancers and designers get in on the act, contributing their talents not so much for the money (the little that is available), but for the joy of expression. This look at the New Orleans music culture makes my heart flutter. 

Recently, there was a tiny spat that spilled onto social networks between two local film organizations, with one accusing the other of monopolizing venues. Ironically, both groups encourage teamwork from everyone involved in the movie community, from directors to critics. Can we call the NOLA film community a true family? Well, sometimes families do argue...

3/5 *'s

"True Family" will be showing at this years New Orleans Film Festival on October 15th. Buy your tickets here.

@NOFS Review: "Dead Man's Burden"

Cross posted from MoviePass:

For most of New Orleans, Quentin Tarantino's "Django Unchained" will be THE western film event of the year. While I don't doubt that it will be an event, to call it a western is way too simple. I think it's obvious that Tarantino's works - especially since "Kill Bill" - have been beyond traditional notions of genre, and fit more under the term remix. I will most certainly be in line for that movie, but what flick should local (or any) western fans catch? What would I pick as a must see?

I would not only recommend "Dead Man's Burden" - which will be playing at this years New Orleans Film Festival - as a great western, but also as one of the best films of 2012. I'm not sure where it would be ranked exactly, but I would bet it'd be in my top 5.

The story is about a young married couple. The wife has just buried her father, and is ready to sell the land she lives on to an opportunistic mining company rep. Just before finishing business, her long thought dead brother shows up, wanting to catch up on time lost. Secrets are unearthed, justice is had and bonds dissolve. A real American tragedy unfolds.

There were two scenes in this movie that represent for me why this was extraordinary. In the first example, the mining company rep appears as the only person in the shot. No score, just the man. Suddenly, the brother moves from into the shot, and the score kicks in. I paused this moment and recorded the timecode - 00:49:50. While this bit might seem too silly (and maybe lame) as an example of a movie's great attributes, I assure you it is THAT GOOD, and just ONE OF MANY similar shots/edits. It's wonderful how a modern first time feature filmmaker has a knowledge and execution mastery of such filmmaking techniques. Too often will I see independent films that are just the screenplay on camera. Use ALL THE TOOLS at your disposal, and you will amaze!

The second example shows the level of tension. In the scene, the wife, husband and mining company rep are about to enjoy a drink and make their deal official. Before a drink could be enjoyed, the brother comes into the room, and drops a bullet into the reps drink. While he doesn't say it, we know - and the characters know - that he dug it out of his father's corpse(!). The mood is thick here. This is western storytelling at it's most hardcore. Emotions run as high as the heat in New Mexico...

"Django Unchained" comes out just before the year ends, but "Dead Man's Burden" is already making the festival rounds. The jury is still out on Tarantino's latest, but Director Jared Moshe's first is an expertly crafted cut of cinema. It is what I would pick as a must see.

5/5 *'s

@NOFS Review: "Now, Forager"

Cross posted from MoviePass:

There is a scene in the independent film “Now, Forager” that deserved not only some more time, but its own movie. It features a meeting of sorts between one of our protagonists and two Eastern European men. The two foreigners rob our main character with a machete and some vague dialogue. The loot? A bundle of mushrooms.

Yes, you read that correctly – this is a movie that has mushroom bandits in it. Well, briefly has them in it, as they are only on screen for a few minutes, and never return. Had those two thieves been in this more, my enjoyment would’ve been greater.

We follow Lucien and Regina, a married couple who live off of selling exotic mushrooms they find in the wilderness. They sell these items to New York restaurants, but barely make enough income to put gas in their car. Lucien would rather continue what they are doing, as it makes him happy, but Regina wants more stability; she wants to make cooking a career. Their individual passions lead both of them on different paths, which will ultimately test the strength of their relationship.

It’s hard to pick a side with this couple. You got Lucien, who is easily annoyed by people and is deliciously passive aggressive – scenes between him and an upperclass woman write themselves – and Regina, who is warm and a bit naive. I suppose both have personalities to agree with, but in the end, they are too idealistic to last with each other, and with others – namely the audience.

Now, I’m not saying that the main characters are unlikable, but I am saying that there isn’t much to like. They’re smart and their job is interesting, but that’s about it. The majority of the story, they talk about food and mumble about their relationship. This would’ve worked much better as a short.

Wouldn’t a sequel starring the mushroom bandits be amazing? Two thieves who’ve decided to ONLY rob mushroom foragers; something interesting has GOT to be found in that somewhere. Well, as long as they don’t spend their screen time wasting my time.

2/5 *'s

You can follow the movie @NowForager and catch a screening of it at the New Orleans Film Festival on October 13th and again on the 18th. Get your tickets here and follow @NOFS for more festival info.

@NOFS Review: "Scrappers"

Full disclosure - I am currently one of the many Americans without a job. Like others who are gainfully unemployed, I applied at many different places; data entry facilities, customer service groups, hospitals, department stores and even a few fast food joints. No bite. I have sense attempted to go a different route - stop trying to find an opening, and make myself one. I'm still not where I want to be, but this plan is at least producing better results.

"Scrappers" tells the story of two men who, kind of like me, are making their job opening, albeit in a different field. See, they scour their local area for scrap metal - aluminum, iron, copper, etc. - and sell them to a junkyard for a profit. Well, hopefully for a profit; like what I'm currently doing, money isn't always guaranteed. These guys are taking a lot of risk; police tickets, sharp metals, heavy lifting, car breakdowns, fights - all for a small reward.

But, for Otis and Oscar - a senior and an undocumented immigrant - it's not all about the reward. Both men take much pride in what they do, and feel that they are providing a necessary service for their community. This is like the feeling most people have by default of being employed - the feeling that they are doing something with themselves. The feeling that they are contributing, as opposed to "taking a handout" from others. You show me a Republican who believes some people "just don't want to work", and I'll show them this movie.

Even when the economy took a hit in 2008, putting many scrappers out of work (the price of metals fell), Otis and Oscar took on jack of all trades type positions (painting, garage sales, etc). No matter what happens, no matter how hard they get hit, they WILL find work, dammit. And they WILL survive. I may be more fortunate than these men, but I could learn a thing or two from their story. Blogging aint the only job I can do, after all...

This documentary will be screened, for free, on Thursday May 17 at The Green Project Warehouse in New Orleans at 7pm, to be followed by a Skype Q&A with the filmmakers. Be there.

4/5 *'s

@NOFS Review: "A Por Por Funeral for Ashirifie"

My grandfather’s name was Willie Laurendine, but we called him Paw Paw. He was a bus driver for the city of New Orleans. In Ghana, there is a style of music played by a union of bus and truck drivers known as Por Por, which is pronounced Paw Paw. This music is only performed by them at the funerals of fellow workers – funerals that share similarities with the jazz funerals of New Orleans.

Despite this almost Six Degrees of Kevin Bacon style connection I had with “A Por Por Funeral for Ashirifie”, there was little else for me to latch on to.

It’s not the fault of the subject matter – a variation of a jazz funeral, performed with antique car horns and played exclusively by an African driver’s union – which I was excited to learn more about; it was the presentation. There is no attempt to tell the audience about the history of this music, its importance in the area, or even who Nelson Ashirifie Mensah (this was his funeral) was as a person. We are only treated to what has to be at least 45 minutes of nonstop horn honking and street dancing (the movie is just under an hour) and a few title cards that describe the upcoming action. That’s it. Were they just dead set on making this almost feature length?

I know it’s easy to just point your one camera and shoot, but if you’re making a documentary about a little known subject, you HAVE to give the audience some information outside of a few words on a screen; interviews, historical archive materials, narration and editing are all helpful tools. Most audiences aren’t interested in the raw footage of a trip you once took.

The Por Por music reminded me of the wonderful intrusiveness of the whistle tip craze (google it); both are loud and proud. When a member of this union dies, the whole town knows, and – at least for the rest of the day – the noise will not let anyone forget. That I like.

The filmmakers are coming to New Orleans on March 23 to screen the film, and will be accompanied by a live demonstration and panel discussion. This is an excellent opportunity to learn more about this unique culture. I guarantee it’ll be more informative than the movie itself.

1/5 *'s