MWFF ’15: Ernie Biscuit (short)

Cinema has not been kind to taxidermists. Norman Bates is the classic example amongst a small sampling. Ernée Bisquit is nothing like him, except for his extreme shyness and awkwardness around women. Spurred by an unlikely catalyst, the sad sack Bisquit takes drastic steps to rejuvenate his drab existence in Adam Elliot’s Claymation short, Ernie Biscuit, which screens during the 2015 Montreal World Film Festival.

Bisquit was always a bit of an outsider, but it was a cruel childhood prank that rendered him deaf. He inherited his family’s Parisian taxidermy shop, but he never had much passion for it. The last time he felt a deep personal connection was with a young Jewish girl, whose family lived in the flat next to Bisquits’ in early 1940s. Tragically, they were never seen again after the infamous round-up, but Bisquit still cares for her pet duck. Realizing taxidermy is out of fashion in 1966, Bisquit impulsively sells his shop intending to relocate to Venice, where he and his first and only love dreamed of visiting.

However, Bisquit and his duck get on the wrong plane, ending up in Australia instead. Complications and misadventures necessarily ensue, including the Australianization of his name. Yet, Bisquit also manages to meet a flesh-and-blood woman. She has plenty of issues too, but that might just make it perfect, provided he survives the rest of the chaos engulfing him.

If Biscuit qualifies for Academy Award consideration, it should be the odds on favorite. Elliot already has one Oscar for his short Harvey Krumpet as well as considerable name recognition amongst the animation community for his feature film Mary and Max. His style is instantly recognizable, particularly his sensitively grotesque characters. Clearly, Elliot has a keen empathy for underdogs like Bisquit, but there is still a sense of playfulness throughout Biscuit. Somehow, the film manages to be consistently funny and genuinely touching, without ever getting shticky or saccharine, which is a neat trick really.

The distinctive music heard over the closing credits is Simon Park’s orchestration of the Van Der Valk theme, “Eye Level.” Evidently, music written for Dutch canals works just as well for those preoccupied with Venice. Regardless, it is another eccentric element that turns out perfectly. Occasionally somewhat macabre, but ultimately quite beautiful, Ernie Biscuit is very highly recommended when it screens this Tuesday (9/1) and the following Monday (9/7), as part of this year’s Montreal World Film Festival.

MWFF ’15: North by Northeast

Cai Bing is sort of like a Chinese Miss Marple, but in addition her fellow villagers’ business, she also knows a heck of a lot about breeding hogs. It was not always so. The former university professor was sent down to the provincial breeding station during the height of the Cultural Revolution, but she adapted to her new environment remarkably well. She has just been rehabilitated, but before she returns to her old life she will help the local bumbling police captain hunt down a mysterious sex offender in Zhang Bingjian’s North by Northeast (trailer here), which screens during the 2015 Montreal World Film Festival.

By applying Chinese medicine to pig husbandry, Cai produced some big hogs. She also found more personal contentment than she expected, even “adopting” Xiao Cui as her granddaughter. Frankly, she has made the best of the Cultural Revolution, all things considered, but she still does not suffer fools gladly. According to her withering judgement, Li Zhanshan, the village constable, is one such idiot.

Li and his tiny militia have been chasing the serial rapist known as “Liumang,” a loaded colloquial term meaning thug, pervert, or something in between. Unfortunately, the case gets personal for Cai when Xiao is raped by Liumang. Using Chinese medicine and deductive reasoning, Cai will try to guide “Footprints” Li’s investigation in more promising directions. Yet despite her wisdom, the mystery will outlast the waning Cultural Revolution.

While Northeast boldly invokes Hitchcock right there in its title, it is a bizarre tonal mishmash. It is probably safe to say you will never find a sunnier, more upbeat film about sex fiends and the Cultural Revolution. Seriously, do not try this at home, but somehow Zhang pulls it off. Of course, it all starts with Li Bin’s wildly charismatic and wonderfully acerbic performance as Cai. Acidic on the outside, but sweet and sentimental deep down, like Marianas Trench deep, she raises the cozy sleuth bar well above anything Margaret Rutherford or Angela Lansbury ever did. If you were ever a victim of a crime, you would want her giving the cops what-for on your behalf.

It is a tall order hanging with Li, but Ban Zan grows into the job, playing “Footprints” Li with far less shtick than his character’s pear shape and general level of incompetence would suggest. In fact, he gets as serious as the plague during the masterfully dark third act. He is indeed a major reason why this film will surprise you.

Where Xin Yukun’s A Coffin in the Mountain feels like a twisty top tier Coen Brothers’ movie as exemplified by a Fargo, Northeast is more closely akin to their bold but uneven mid-level films, like Hudsucker or O Brother. Still, that means there is more to recommend it than ninety-five percent of films can lay claim to. Li Bin is unquestionably the X-factor. Her turn as Cai is a thing of beauty and a force of nature. Recommended for her vinegary power and Zhang’s considerable style, North by Northeast screens this coming Tuesday (9/1) and Friday (9/4), as part of this year’s Montreal World Film Festival.

MWFF ’15: Kimi Kabuki (short)

Fandom can be creepy. Just ask Madeline. She was rather surprised to learn her husband is quite the admirer of a well-known porn performer. In fact, he will be attending an adult entertainment convention to meet her. Madeline will follow him there. Her intentions are unclear, but there is a good chance a scene will ensue in Yoko Okumura’s short film Kimi Kabuki (trailer here), which screens during this year’s Montreal World Film Festival.

Yes, Madeline found the stash on Robert’s computer and has been absolutely beside herself ever since. When she makes her way onto the exhibit floor, the sheer volume of the assembled naughtiness nearly overwhelms her. However, as she mills about looking for her about-to-be-busted husband, she kind of-sort of starts to enjoy herself. Unfortunately, there will still be the anticipated scene, but at least she gets to meet his favorite porn actress, Kimi Kabuki, who turns out to be way cooler than she expects.

It is hard to judge whether Okumura’s film is pro or con when it comes to pornography, but it is safe to say it advocates more open communication. In fact, the climatic dialogue shared by Madeline and her unattainable rival stands out so distinctively, because it cuts both ways. Arguably, the film is forgiving of human weakness and foibles, but it is not a push-over.

Given the context of the film, it might sound a little awkward to say we’re big fans of Jo Mei, so let’s argue she deserves wider recognition for her work in J.P. Chan’s excellent short films (such as Digital Antiquities and Beijing Haze) as well as his feature, A Picture of You. In fact, she might be one of the best and most prolific screen thesps appearing in serious short form dramas on a regular basis. You could program a super retrospective of her short film appearances, most definitely including Kabuki.

Once again, Mei delivers a tough, smart performance that contrasts nicely with Teresa Hegji’s naïve Madeline. While it is a more emotional role, Hegji keeps it grounded, avoiding cheap histrionics or any sort of phoniness.

Like many AFI supported films, Kabuki was produced by a lot of talent on both sides of the camera (see the recent Fandor spotlight for more examples). One can only imagine the coordination required to recreate the look and vibe of the adult trade show. (All you Roberts out there should take note, industry professional Alexa Aimes plays herself.) It is a perceptively written film, brought to life by an equally sensitive cast. Recommended for mature audiences (in the best sense of the term), Kimi Kabuki screens this Saturday (8/29) as part of the 2015 Montreal World Film Festival.