My First Two SIFF Films
Of the 53 films showing at SIFF that I wanted to see (out of more than 400), I've got tickets for 12. It seems a paltry few given the riches available to me. Still, 12 movies is a lot more manageable than the 20 I originally thought to schedule. As previously mentioned, I'm seeing 9 documentaries and 3 narratives. Because this weekend is pretty well-scheduled with four movies (including one tonight), I want to review the first two now, before things swing into high gear.
Under African Skies is a documentary about the making of Paul Simon's landmark album, "Graceland," and his return to South Africa 25 years after the album was released. The documentary balances coverage of the creation of the music with coverage of the political firestorm that erupted when word of the nature of the project came out. Simon went to South Africa in the midst of a worldwide cultural boycott protesting apartheid, and his work there was considered by many to demonstrate tacit support for the government. Of course, that wasn't his point at all. The movie discusses, to a lesser extent, the controversy over whether Simon collaborated with the African artists with whom he worked, or stole their music. At the center of the film is a discussion between Simon and Dali Tumbo, co-founder of Artists Against Apartheid, in an attempt for each to understand the other's point of view on the matter. The conversation is a civil and, I think, honest attempt at reconciliation. The music, of course, is spectacular, and the archival footage of the studio sessions is just marvelous. I think it's a terrific documentary and well worth seeing. It gave me a new appreciation for the music, and reminded me of just how much I like world music in general.
Love Free or Die tells the story of Bishop Gene Robinson, the first openly gay bishop in the Episcopal Church. When Robinson was ordained as bishop, he was forbidden to attend the once-in-a-decade convocation of Anglican bishops, he was the target of death threats, and he was blamed for nearly causing a cataclysmic schism. In the end, the American Episcopal Church voted to officially allow the ordaining of gay bishops and to honor same-sex marriage. The story is one of triumphal progressive change. In the process, the viewer gets to know Robinson, a man whose passionate conviction, faith, and outgoing nature can't help but inspire. This guy gets it. He lives the core of any faith, which is love and compassion first. The contrast between Robinson's love and generosity, and the hate and fear spewed at him and about him is stark and, in some cases, just chilling. At the same time, the director makes a point to include voices that oppose Robinson's ordination out of their own passion and conviction--not out of hate, but out of faith. Those voices, plain and honest, were respectful and treated respectfully, and I laud the director for giving the opposition space to say what they had to say without judgment. An excellent documentary. After the film, the director answered questions. It's been just long enough that I don't really remember the conversation, which makes me sad. But I do remember him being just as passionate about this work as Robinson is about his; it seemed like a good match of project and director.
Tonight, I'll be seeing Paul Williams: Still Alive. This guy was a fixture of my childhood through television and the movies and, like the film director, I had the idea that he was dead. Turns out that he's very much alive and will, in fact, be appearing at the screening. I'm really looking forward to it!
Under African Skies is a documentary about the making of Paul Simon's landmark album, "Graceland," and his return to South Africa 25 years after the album was released. The documentary balances coverage of the creation of the music with coverage of the political firestorm that erupted when word of the nature of the project came out. Simon went to South Africa in the midst of a worldwide cultural boycott protesting apartheid, and his work there was considered by many to demonstrate tacit support for the government. Of course, that wasn't his point at all. The movie discusses, to a lesser extent, the controversy over whether Simon collaborated with the African artists with whom he worked, or stole their music. At the center of the film is a discussion between Simon and Dali Tumbo, co-founder of Artists Against Apartheid, in an attempt for each to understand the other's point of view on the matter. The conversation is a civil and, I think, honest attempt at reconciliation. The music, of course, is spectacular, and the archival footage of the studio sessions is just marvelous. I think it's a terrific documentary and well worth seeing. It gave me a new appreciation for the music, and reminded me of just how much I like world music in general.
Love Free or Die tells the story of Bishop Gene Robinson, the first openly gay bishop in the Episcopal Church. When Robinson was ordained as bishop, he was forbidden to attend the once-in-a-decade convocation of Anglican bishops, he was the target of death threats, and he was blamed for nearly causing a cataclysmic schism. In the end, the American Episcopal Church voted to officially allow the ordaining of gay bishops and to honor same-sex marriage. The story is one of triumphal progressive change. In the process, the viewer gets to know Robinson, a man whose passionate conviction, faith, and outgoing nature can't help but inspire. This guy gets it. He lives the core of any faith, which is love and compassion first. The contrast between Robinson's love and generosity, and the hate and fear spewed at him and about him is stark and, in some cases, just chilling. At the same time, the director makes a point to include voices that oppose Robinson's ordination out of their own passion and conviction--not out of hate, but out of faith. Those voices, plain and honest, were respectful and treated respectfully, and I laud the director for giving the opposition space to say what they had to say without judgment. An excellent documentary. After the film, the director answered questions. It's been just long enough that I don't really remember the conversation, which makes me sad. But I do remember him being just as passionate about this work as Robinson is about his; it seemed like a good match of project and director.
Tonight, I'll be seeing Paul Williams: Still Alive. This guy was a fixture of my childhood through television and the movies and, like the film director, I had the idea that he was dead. Turns out that he's very much alive and will, in fact, be appearing at the screening. I'm really looking forward to it!