Shanece’s Compass Festival of The Worlds

This is it! The chashama Film Festival begins this week. Did you mark your calendar? Did you buy your tickets? Are you ready for the experience? Of course you are; I have been preparing you since August. And, though our time is ending together, I will not leave you hanging during the final hours. Today, I bring to you “Desert in the Coffeehouse,” “Dolly Belle,” “Echoes,” and “Empty House.”

While filming “Dreaming in Morocco,” Pamela Nice was confronted by eager young Moroccans who wanted to know American opinions about Arabs. She was unable to speak for all Americans, so the interesting questions inspired her next film “Desert in the Coffeehouse.” Although the film is intended for an Arab audience, I think Americans will find this film absolutely fascinating. The interviews will have you laughing, gasping and scolding.

Arming herself with a camera and the young Moroccans’ questions, Nice proceeds to raid coffee houses in America’s own “middle America,” the twin cities in Minnesota. She interrogates a wide variety of Americans, who had some shocking responses to the questions, “What are your images of the Middle East?” and “How do you think Arabs view the U.S.?” Some respond that the Middle East makes them think of silver Audi made out of actual silver, and the video game “Call of Duty.” Some believe Arabs look to America as having an exciting culture with bigger-than-life personalities and a pioneering mentality. I suggest watching the “Desert in the Coffeehouse” to hear the rest of the responses and questions.

Tajna Tanovic’s short film “Dolly Belle,” is filmed in black and white with touches of color here and there. For a good chunk of the film, you are wondering “is this woman running a marathon by herself?” Once you see the movie, you will understand my question, and you may just feel out of breath after watching it. There is barely any dialogue, but serious background music. Tanovic explains “The soundtrack played an important part as it had to carry the tension and lead up to the ending which is left bare and has no music. I wanted it to be simple yet strong.”

Tanovic incorporates all her skills from acting, the performing arts, singing and songwriting in her first film “Dolly Belle.” She plays the lead actress, the running woman. Her idea for the film was inspired by her “wish to show a girl running in a Renaissance gown through the streets of Brooklyn.” And, where is this running woman going? You’ll never guess until you see the end for yourself.

Before you see Cara Mumford’s “Echoes,” I suggest putting on a black turtleneck sweater, a beret and a pair of dark sunglasses. To go the extra mile, bring some bongos if you wish. “Echoes” has this edgy and underground appeal that makes you want to snap your fingers, not clap your hands, at the end of the movie. It is a short film blending contemporary ballet and spoken word into a visual poem. The images move with a rhythm.

Mumford includes graphic images of the World’s history into “Echoes.” It is her way of illustrating how echoes of past atrocities shape the world today and making a political statement. She is inspired by “the mythopoetic work of Maya Deren, the enigmatic storytelling of Darren Aronofsky and the beautiful cinematography found in the films of Luc Besson.”

“Empty House” is a more personal short film. Sean Christensen explores his parent’s divorce by fusing his perspective as a teenager with his reflection as an adult. The motivation behind the film comes from his desire “to tell genuinely human stories that are relatable on many different levels… I’m drawn to real stories, because I don’t feel that enough of them are shared with audiences as they should be.”

Watching “Empty House” is like viewing a slideshow and home videos on an old-school projector in a living room set in the 70’s. The idea behind using dollhouse miniatures in the film is to push the concept of substitution, “trying to compensate or make up for everything that you’ve lost in a tragedy,” says Christensen. “The dollhouse reminds you of home, but it’s not real, it’s made of paper and cardboard.”

Exciting news! I am introducing a new element to our chashama viewing experience: the perspective of the filmmaker. While my commentaries and interpretations remain the central driving force behind the blog, the opportunity to learn the filmmaker’s intentions will enhance our understanding of the film’s purpose and provide background to the creative process. Today, I’m looking at the historically educational documentary “Virtual JFK” and the disturbingly comedic “Le Chat Noir.”

Koji Masutani’s “Virtual JFK” provides a new angle on history in a look back to John F. Kennedy’s presidency: the “what if” angle. The film stimulates an onslaught of alternative possibilities to widely held historical interpretations. It’s a smart documentary that could be used as a supplemental learning tool for educational purposes, with the potential to encourage and excite discussions in and outside the classroom. Masutani hopes the audience will “consider the possibility that a devastating war in Vietnam could have been avoided had Kennedy not died in 1963 and had been re-elected in 1964.”

“Virtual JFK” is Koji Masutani’s first non-student film. It took him three years to gather never-before-seen footage and never-before-heard audio from the Kennedy administration. His documentary will get history buffs all tingly and eager to speculate over “what if.”

Tristan Convert’s “Le chat noir” is a lot of fun to watch. It has an Edgar Allan Poe-meets-Twilight Zone edge to it. It is filmed well and incorporates various shots that entices the audiences to voyeuristic activities. The lack of a dialogue is not unnerving since it’s not needed to convey the plot. Not to mention the music soundtrack. The Savage Resurrection’s psychedelic rhythms and lyrics add to the film’s heightened tension. The best part, though, is the actor. He’s hilarious with his obsession with his toy train set, a psycho and annoying black cat. This film will remind people why a dog is a man’s best friend and how it is bad luck for a black cat to cross your path.

Convert explains the genius—and perhaps madness—behind the creation of his film, “Le Chat Noir:” it was his first time experimenting with a “dysnarrative story based on images, feelings and ambiance, in a thriller/funny/horror genre.” His style involves jumpy continuums and psychologically induced horror. He wants it to be an interactive movie where the audience “feels more than just sitting in the front of a show.”

Last week, I provided a glimpse into Casey Moore’s “Her Special Day.” The American short film recalled to mind Richard Donner’s 1976 classic creepy horror film, “The Omen.” This week, I bring to you four films that peak into the lives of real people. The films are profiles on the political woman, the poor mother, the destitute husband, and the activist.

The documentary “American Faust: From Condi to Neo-Condi” illustrates a different side of Condoleezza Rice than the one often portrayed in the media. The film is by no means pro-Condi. In fact, it is balanced between Rice’s successes and failures, strengths and faults. The profile is quite compelling and intelligent, transitioning between personal one-on-one interviews, video clips, graphic timelines, and photos. It eloquently presents the transformation of Condoleezza from a little girl growing up and dreaming in Birmingham, Alabama to a young woman thriving in her academic endeavors to the political powerhouse breaking barriers and setting new heights. After watching this film, Rice will no doubt become the new “it” woman of choice in college essays. Move over Hilary Clinton and Eleanor Roosevelt.

George Walker Torres’ “Maria y el Nuevo Mundo” follows a poor Venezuelan woman, Maria, throughout her daily life. The film is touching, sad and uncomfortable. The audience is forced to suffer alongside Maria as she struggles to make ends meet in order to provide a better life for her daughter Joanna. Torres intricately ties in the past and present, intermingling Maria’s life and the Venezuelan village. It provides the audience with an understanding of current situations through the lens of Maria’s experiences.

Young filmmaker Nelson Vasquez brings to life the story of his father in the short film, “On a Clear Day.” It moves with a poetic flare, incorporating a single tune that weaves in and out in the background. Vasquez quickly illustrates how his father Roberto lost his job and his family, leaving him broke and alone. In the end, Vasquez will have you pondering: If I lose it all in a day, what would I do? Am I prepared for the worst? The film carries the message that tomorrow is not a guarantee.

Finally, actor Jim Grollman takes a fresh look on a historical event in “The True Story Behind The Plot To Blow Up The Washington Monument.” Grollman gives an innocent look into the life of the man behind that plot, Norman Mayer. The film travels seamlessly back and forth between 1982 and the present with photos, news footage, one-on-one interviews, and televised interviews. All the while, Grollman is trying to provide evidence that Mayer was just a political activist wanting to be heard and recognized, and not a terrorist trying to harm the nation he loved.

The best part of this job is that I get a sneak peek at some of the exciting entries to this year’s festival. This past weekend, I curled up on my couch and watched two documentaries, a short animation, and one feature film. I’m biased towards the horror/thriller genre, so my personal fave is “Dirty Step Upstage.” Director Amber Moelter keeps the viewer guessing: is it a real documentary or a fictional thriller? It reminded me of Jacob Aaron Estes’ gritty and brooding “Mean Creek” (2004). Both films share a sense of suspense and mystery that ooze through the films. The characters are ominous, secretive, and oblivious, driven by obsession, fame, and revenge. With all the proper thriller elements in place, a slow documented pace adds an underlying tension to the film. The visuals are supplemented by a soundtrack that is both memorable and infectious.

“But Some Are Brave,” an animated short, reminded me of the films shown on PBS. Grace Channer added raw and dark elements to her animation that would probably prohibit it from being aired on TV. Definitely more appropriate for a mature, adult audience. The short is vividly colorful with no dialogue, and the sounds recall the drumming often heard during folklore storytelling. Channer’s animation has the cool appearance of moving paintings. Without words, the viewer is left to interpret each scene in his or her own way.

The documentaries transport the viewer across seas to Germany and Lebanon. Gerburg Rohde-Dahl’s “Expansive Grounds” documents the construction of the massive Holocaust memorial in Berlin, Germany, and explores the current German perspective about the Holocaust. Behind the lens is the daughter of a Nazi supporter. The documentary provides a channel for her and other adolescents of the Nazi regime to express their disillusions and ignorance regarding the Holocaust. Like the massive memorial, the documentary represents another symbol for the German guilt.

Deborah Harse’s “Marathon Beirut,” also touches on political unrest and how people learn to cope. Footage and interviews illustrate the motivation behind the creation of the marathon, and how the love for Lebanon keeps the marathon going. This documentary inspires hope and demonstrates love for a country.