Ballast (Alluvial Film Company) Elite Squad (IFC Films) Still another extraordinary new American director comes along--the third in just a few months. After Courtney Hunt with Frozen River and Chris Eska with Autumn Evening, here is Lance Hammer with Ballast. Though these three directors have little in common stylistically, all three of their films deal with working-class people. Hammer's film, which he also wrote and edited, is his first feature. Set in the Mississippi Delta, its three principal characters are black, yet the first person we see is white.
Vicky Cristina Barcelona (Metro Goldwyn Mayer and the Weinstein Company) A Secret (Strand Releasing) Two young American women, Vicky and Cristina, go to spend a summer in Barcelona. Dining one night in a restaurant, they see a good-looking man across the room. Soon the man, a Spanish painter fluent in English, comes over to their table, says that he is about to fly to Oviedo to look at a favorite sculpture there, and invites them to come with him. To their own surprise, they accept.
The Pool (Vitagraph Films) August Evening (Maya Releasing) Place, the place where a story is set, can figure powerfully in our encounter with a film--perhaps even more in our memory of it. Think of what Manhattan did for some of Sidney Lumet's films, or Arizona for some of John Ford's, or that Swedish island for some of Ingmar Bergman's. Surely the overwhelming example is what the desert did for David Lean's Lawrence of Arabia. The Pool by Chris Smith raises the subject again, in an unusual way.
'I Served the King of England' (Sony Pictures Classics) 'Momma's Man' (Kino International) Jiri Menzel is back. This Czech director made a considerable splash in 1967 with Closely Watched Trains, but although he has been busy since then, his later work has not had comparable impact. Now comes I Served the King of England, and strangely, the intervening four decades whisk away. The new film has the same deceptive light touch as the earlier one, a lightness that partially masks the serious subject and yet explores it. The time frame is again around World War II.
Man on Wire Magnolia Frozen River Sony Pictures Classics A Girl Cut in Two IFC On August 7, 1974, a man walked across a tightrope stretched between the roofs of two Manhattan skyscrapers. The buildings were the twin towers of the World Trade Center. The funambulist was a Frenchman named Philippe Petit, to whom the feat was much more than daredevilry. Man on Wire tells us how Petit came to do what he did and what it meant to him. The buildings had figured in his mind since he was a teenager.
A Very British GangsterAnywhere RoadBoy AThe Weinstein CompanyThe base, the very source, of many documentaries is not often acknowledged-- the confidence that the people in the film have in the director. In A Very British Gangster, a criminal named Dominic Noonan, notorious in the extreme, talks on camera about his career with almost complete frankness. Murder he evades, though not the murders he has threatened. Everything else he talks about in a chatty way, as if he were discussing a conventional life.
The Last Mistress (IFC) Trumbo (Samuel Goldwyn and Red Envelope) The French director Catherine Breillat uses plentiful sex in her films. This is notable not for its candor, a quality that is nowadays general, but for its cunning purpose. Her easy, open attitude toward sex makes the viewer wonder (this seems to be Breillat's plan) what the difference is between her films and pornography. So we consider the context of those naked scenes even more thoroughly, and we decide that the context gives her films a thematic texture that pornography never has.
MongolPicturehouseThe Edge of HeavenPyramidWhen Did You Last See Your Father?Sony Pictures ClassicsTolstoy was the source of an earlier Sergei Bodrov film, Prisoner of the Mountains, a subtly shaded drama about two Russian soldiers. Bodrov's new film, Mongol, could hardly be more different.
Savage Grace (IFC) Sangre de Mi Sangre (IFC) The Battle for Haditha (DreamMachine) Rich people are the center of Savage Grace. This is not only a fact, it is the mode of the film's being. From first moment to last, the film breathes the attar of richesse. The rooms designed by Victor Molero, the costumes by Gabriela Salaverri, the lapping of them by Juanmi Azpiroz's camera--all these confirm that we are leagues above any pleasure-limiting care. This is not a historical film where extravagance is expected: Savage Grace begins in New York in 1946 and continues through a couple of decades.
Roman de GareSamuel Goldwyn Stuff and DoughMitropoulos Up the YangtzeZeitgeist The leading man in Roman de Gare is middle-aged and short, with a jutting jaw. His presence in a role that is supposed to be magnetic and sexy is an immediate clue that something odd is en route. Another quick clue: the title translates as Train Station Novel (something like our phrase "airport novel").