By Kim Voynar Voynar@moviecitynews.com
Santa Barbara Dispatch Day One
Due to being busy with our Sundance coverage, immediately followed by a need to spend a few days with my kids between travels, I just got into Santa Barbara yesterday in time to cover the last five days of the Santa Barbara International Film Festival. I’ve never covered this fest before, but now that I’m here I’m thinking it won’t be the last.
Much as I enjoy Sundance, Cannes and Toronto, those fests are exhausting to cover. Three-four hours sleep a night, so many films a day they start to all blur together, because you know however many you see, you’ll still end up missing some great films for the sake of mediocre ones. I wish I could clone myself for those major fests and have enough time to see everything I want, write all of it up, and still get sleep.
So I love coming to these smaller fests like Santa Barbara. It’s a great way to unwind off a fest like Sundance in a beautiful, warm location, catch up on some films I’ve missed that I’ve wanted to see and discover a few I hadn’t heard of, see some tributes and panels, and not have to worry about what film might be selling tonight over late-night drinks. It’s lovely here: sapphire skies, the ocean on one side and mountains on the other, palm trees, sunshine. The cute little airport looks like a big Mexican restaurant, and the fest press office folks are delightfully warm and familiar, instantly making you feel welcome. Plus my husband came with me, and it’s nice to have him at a fest with me for a change.
Last night was the Virtuoso’s Award Tribute, featuring Viola Davis, Rosemarie DeWitt, Richard Jenkins, Melissa Leo and Michael Shannon. Someone around here was sure prescient in booking that lineup way back in September, before the Oscar noms came out.
We’ll be hitting a couple of the tributes later in the fest, but last night I wanted to catch a Japanese film, Ryoichi Kimizuka‘s Nobody to Watch Over Me. The director gave the audience some context for the subject matter, telling us that in Japan, the family of crime suspects is often considered as responsible as the person who committed the crime, and relatives are targeted for harassment and even violence in the wake of particularly heinous crimes.
The script addresses issues around Japanese societal conformity, pressure to excel, and the idea of an entire family being held accountable for the actions of one member through the story of Saori, a 15-year-old girl caught up in the maelstrom of public disdain and media harassment after her 18-year-old brother is arrested for the murder of two young sisters.. Against all this public anger and outcry, a police officer still haunted by his own inadvertent role in the tragic murder of another child is assigned to protect Saori from the mob mentality that considers her as bad as the murderer merely because she’s his sister. He finds himself a target of media scrutiny as well when his old case becomes an issue along with this new one, and has to protect both Saori and himself.
The script and director keep things moving along in spite of some minor plot holes, and the film overall is an interesting examination of blame and guilt in Japanese society. The opening scene, with no dialogue and some lovely, haunting music, juxtaposes Saori’s last few moments of normal life as a schoolgirl — playing sports, laughing with friends, flirting with a boy — against the police showing up at her house to arrest her older brother for the shocking murders, changing Saori’s life forever. It’s a beautifully shot scene that sets the stage for the rest of the film perfectly.
My one quibble with the film is that the tone shifts abruptly, a lot. Emotional meters are all over the map, and the characters’ reactions sometimes feel overly melodramatic. Also my husband, who speaks and understands Japanese, noted that some the dialogue issues that distracted from the film seemed to be the result of meanings getting lost in translation; there was at least one significant bit of dialogue he caught where the subtitles totally changed the meaning of what was actually said. Still, decent film overall, and I was glad we caught it.
After the screening, we stopped by the party for the Virtuosos Awards recipients. I saw both Richard Jenkins and Michael Shannon on hand for the festivities, and I’m told Viola Davis and Rosemarie Dewitt were there as well; we stuck around for a while before heading back to the hotel for a few hours sleep before an 8:15AM screening of Poppy Shakespeare, about which I’ve heard good buzz.
More on that later …