BAFICI, Day 4


The Island at the End of the World (2005)

BAFICI, Day 4
By Robert Koehler

Of the several “retros & focus” sections that BAFICI has organized this year–organizers swore to me weeks ago that they would trim down from last year’s bulging 15 or so retrospectives, but being true cinephiles, they simply couldn’t help themselves, and have arranged 19 for our viewing pleasure–I most want to catch the surveys of Luc Moullet, Malaysian filmmaker Ho Yuhang and 23-year-old Filipino artist Raya Martin. Now, 23 seems like an awfully young age to have a retrospective, but as I noted to Quintin …

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BAFICI, Day 3


Tout refleurit

BAFICI, Day 3
By Robert Koehler

Now that I’ve washed Kim Ki-duk right out of my hair, on to stuff that matters…like the fascinating co-mingling of life and death that I found yesterday running through AurÈlien Gerbault’s intriguing and personal portrait of Pedro Costa, Tout refleurit (whose English title, All Blossom Again, hints at some of the film’s innate optimism about the filmmaking process), Claire Simon’s engrossing and brave «a br˚le, and the final film from that greatest of filmmaking couples, Straub-Huillet, Quei loro encontri (whose title translates roughly as “Those They Encounter” and which I …

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BAFICI, Day 2

BAFICI, Day 2
By Robert Koehler

All festivals must get smaller. That much is obvious in the scattered world of film festivals, where the urge to spread like kudzu is almost universally irresistible. (A notable exception–and one wouldn’t think of it–is Cannes, which has pretty much kept to its self-imposed limits for each section, with the one variation being the recent addition of the way-out-there-past-the-marina “Tous Les Cinemas du Monde” section, which nobody goes to anyway…)

So…BAFICI is getting bigger, like every other festival. I’m awaiting word on the total number of features, but if the catalog is 512 pages …

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BAFICI, Day 1

Robert Koehler, who writes for Variety, Cinema Scope, Cineaste, and other publications, is not only one of the most dependable and active critics in Los Angeles, but he’s also a friendly and engaging cinephile. We’ve crossed paths at several film events–including a lengthy conversation after the Q&A for Honor of the Knights at this year’s Palm Springs International Film Festival–and he has graciously agreed to send in some exclusive festival reports from the Buenos Aires International Independent Film Festival, where he is serving on the jury for the international competition. –Doug

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By Robert Koehler…

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The Girl Who Leapt Through Time

Yesterday, the Japan Foundation of Los Angeles hosted a lovely event, a free screening (with a box lunch!) of Mamoru Hosoda’s sweet and captivating anime, The Girl Who Leapt Through Time (2006), the latest adaptation of the 1965 serialized novel by SF author Yasutaka Tsutsui (Paprika).

Hosoda is a Ghibli veteran (he was originally slated to direct Howl’s Moving Castle), and the film boasts a polished, vibrant aesthetic–a sunny rendition of contemporary Tokyo teeming with background detail–populated with well-rounded characters. Makoto is a perpetually late, tomboyish (as befits her masculine name) high school student who doesn’t excel …

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Cria cuervos

The excellent Janus film series has been moving through Los Angeles, but a couple nights ago, the American Cinematheque screened a particularly noteworthy title (one of the films not yet released by the Criterion Collection), Carlos Saura’s CrÌa cuervos (1976). Critics have been summarily referencing Spirit of the Beehive (1973) in reviews of Pan’s Labyrinth, but Saura’s film–at once a sister work to Erice’s classic in theme, tone, even shared actress (Ana Torrent)–is no less rich a reference point.

Torrent plays a young girl named Ana who has to navigate the hushed, repressed adult world of the final days …

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