SPECIAL INDIE MOVIES REVIEW - FILMS FEATURED AT THE SEATTLE INTERNATIONAL FILM FESTIVAL

FROM THE 51ST SEATTLE INTERNATIONAL 

FILM FESTIVAL -

cINDIGENOUS PROGRAM

 

I received the distinct pleasure, previewing a section of the 51st Seattle International Film Festival called "cINeDIGNEOUS". This description of that program is from the Film Festival website:

SIFF acknowledges that we are on Indigenous land, the traditional territories of the Coast Salish people. This program centers the works of Indigenous filmmakers from across the globe, amplifying these oft-silenced voices whose words are essential to the well-being of our planet and all its peoples. cINeDIGENOUS is curated in partnership with Indigenous peoples and organizations that support Indigenous creatives, cultures, rights, and activism globally. 

 So I want to talk about 2 short films and 2 features within this program. While the opportunity to actually see these films is in Seattle for the next 10 days will not apply to most who read this, myself included, I thought it was too important not to write about them. I will give the links to the actual films after each review as well, so you can at least follow them if you aren't in Seattle and find out when an opportunity might happen that you can see them. 

If you are in Seattle or in a surrounding area, this is a great opportunity to catch these films over the next 10 days, plus so many more awesome films. You can learn about how here: https://www.siff.net/

TIGER

Tiger is one of those unique visual and psychological experiences that really uses the medium of film to create this incredibly powerful look into a life and business that has not gotten its just due for what it actually meant to people and a family. 

I really enjoyed this framing in the frantic manner in which it sets forth and provides. There is jus this punk rock feeling, one of those euphoric fuck yeah experiences you get when it has reached the 13 minute mark. Granted, I don't know many things in true punk rock fashion that can sustain 13 minutes, but I really think editors Eva Dubovoy and Amanda Moy really capture the essence of what Loren Waters' script lays out, and not letting this be a typical infomercial-like doc. Some layers get peeled by the sheer punching of the edit, and then some by the words being said here. It is that balance that really pushes this narrative into a state of "you can't ignore it."

That is what a documentary should do. especially one with a colorful aspect to it like this. There is a nice sheen of flashes, vibrant color palettes, and camera movements that also lend themselves to that frantic feel. This is all well orchestrated, well executed, and it thus makes it unforgettable. I think if this film speaks to you, your curiosity will pique as to explore what this was really about.  

DROWNED LAND

Even with this being a very conventional framed documentary with a powerful message, where we get some nice drone shots and some good voice over work, there is something very poetic and haunting about this 90 minutes that resonated very strongly for this viewer. 

I love the edit here too, like the above short film, there is a nice even flow that pushes past the conventional. It starts with home/archival footage mixed in. I think that nice blend brings about a personal touch that really strikes you with the message being sent here. 

However, the real gold here is the amazing Courtroom drama stuff that we get about 30 minutes in. Wow, this plays almost like a reenactment, staged narrative production. I am sure amongst all the procedural aspects of filming this, framing by the way, in a lot of these shots is spectacular. I especially liked the two-shot half profile we get in one or two of the scenes; there had to be some lackluster moments, but we get the juice, and that really changes the tempo here. In doing so this documentary can go back to its conventions and stay true and on message and I feel like that element makes those moments resonate even stronger. Great filmmaking choice there. 

This film's message is not unique to indigenous lands or even lands that have held a mystique or prestige, that are being decimated for automation and corporate greed but it is made very personally by Colleen Thurston and her aptitude to bring those personal stories of hers and others to the forefront really pushes this to a different level.

YOU CAN FOLLOW THIS FILM HERE:https://drownedland.com/

REMAINING NATIVE

  

Leave it to the absolute last shot in the movie to be the most artsy and yet leave me smiling and tearing up; one of the best shots I have ever seen framed, by the way. However, that is a surface scratch to what is most impressive about this amazing portrait documentary. 

This was an incredibly powerful portrait of a family, a culture, and a young man who straddles the line of fitting in and yet making sure to fit in who he is and what he represents, if not hammering it home. This is handled so beautifully by a first-time documentarian in Paige Bethmann. I love the patience and wide framing that enhance our experience as an audience and give us this incredible sense of loneliness and yet gratefulness all in one space. Ku is a special talent, and that is more than highlighted here, but what this narrative accomplishes is to show us what a special person he is as well. There could have been so much that was different about this young man than what we got, because he really is a special generational talent, but he shows us what that truly means in being the special human he is. 

In a current climate of dividedness and selfishness, here is a rainbow of hope, and Paige chooses for us to see that for ourselves, never guiding an opinion of own here, instead pressing the pacing and framing by simply pointing and shooting. Giving us the sight of seeing somewhat what Ku sees, and then what everyone sees of him, it is the best example of expert documentary filmmaking I can think of. I love the duality of this way of shooting; it provides both perspectives without tainting the other. This is perfect in what it is and for what it says. 

 
You can follow this film here: https://www.remainingnativedocumentary.com/  

DEAR ALOHA 

This is another great example of how to take conventional tropes of documentary film and work them to your advantage. I won't say this is as unique as the others here but it is as personal, and such, the filmmaker Cris Romento, allows us to see a more intimate ideaolgy by not only how she turns the camera on the native cultures and the beautiful longing shots of her parents but by how she in front of the camera interacts within this landscape. I thought that was a smart choice. 

This is beautifully shot, and the conversations here are nicely framed so you maintain the intimacy it is trying to sell. The only thing is I am not sure this is a love letter as it proclaims, as it is hard to do in 17 minutes, but it is a warm and affectionate look at how lives go on, how you can honor yourselves, your culture, your heritage by being authentic. I loved that about this piece. 

YOU CAN FOLLOW THIS FILM HERE: https://www.dearaloha.com/  

All in all, I am so grateful for having been given the opportunity to experience these opportunities and for these filmmakers who all do an exceptional job of providing the visual and emotional components to very deep personal stories that matter and resonate at a time when we need to hear them most. I implore anyone who needs love in their lives right now to seek these films out and give them a chance to shine in your hearts, like they have mine.