CMFH Massive Missives

This program had been getting much pre-show buzz and had the attendance numbers to prove it. The films did not disappoint.

Throughout the weekend I have spoken to many British filmmakers and ahead of time had interviewed John Hannah, and each independently stressed the dire state of filmmaking in the UK. When a production has no ties to Hollywood, the money just isn’t there. Filmmakers are desperate for creative outlets for their own ideas, and thank goodness for films like the following.

“Home” may be where the heart is, but unfortunately not the underwear. In Johnny Burns and Pier Van Tijn’s (credited as Big Red Button) quirky little short full of dry British humor, a string of events leads to a son coming home, digging through memories stashed in the closet and surprising his mum while naked with Groucho glasses on. They end up sitting down to play “Heart & Soul,” so no worries.

In Susan Jacobson’s powerful “One Hundredth of a Second,” a photographer reflects on what she did (or didn’t do) to attain an award-winning photograph of the brutalities of war. Inspired by the book, “The Bang-Bang Club,” the film asks at what cost does the media pay to present the horrors of the world? How far can we distance ourselves from humanity?

James Hughes’ “Maude” fits well with “Home” humor, though more off the deep end. The title character is played by Superman’s mom (among other things), Susannah York, who discovers companionship in a teddy bear her son has sent her. Sure, it makes tea, but how many scoops of arsenic would you like?

“Stone” is John Comerford’s beautiful presentation of a father-son relationship (read my review here). Every small detail is captured visually and in between the words of the dialogue. Comerford’s dad was a bricklayer, and he wanted his father to build something in his garden before he died. He was never able to, so Comerford made the film instead.

“Daddy's Girl” is Marcella Forster's tale of a girl who carries on as normal despite her father’s tragic situation. Softly delivered with sharp edges. The story is based on a period when Forster was 12 years old, and her father had cancer of the eye and thought he would go blind.

I chatted with Noel Kearns, the director of “The Cleaner,” before the program. A very nice fella, he was nervously excited about seeing his film with an audience for the first time. No need to fear -- he received great reaction for his tight little drama. Karma bites a Russian war lord on his keister when he winds up in a hospital with a witness to his crimes as his translator. Kearns was inspired by a documentary about a hospital that had workers who knew a total of 135 languages, and he wondered whether any of the translators ever knew the victims.

“RedBlack” is Mal Woolford’s (also director of the fest’s “Fluffy”) tale of a dark and tempting cab ride. Silly cabbie, knives are for blondes. Woolford’s inspiration sat in the backseat, as he wanted an excuse to use the American actress, Molly Ryman.

“True Colours” is Barney Elliott’s thought provoking film about a man on hard times who just can’t seem to get a break and doesn’t quite know how to contain his frustrations.

“Always Crashing In The Same Car” is Duncan Wellaway slick story of figureheads and the men who pull their strings (read my review here). Wellaway was motivated by his hatred of British politics. Great casting reunites Withnail & I’s Richard E. Grant and Paul McGann, and supposedly McGann labeled his costar as febrile. Wellaway admitted to being a little in awe of his actors, but if they were effing up, he had to tell them.

In true rockstar fashion, the director headed to the Q&A stage with not one, but two, pairs of sunglasses on his head. His attitude was present when he got off a bit as the screen expanded for his film, but hey, he deserved to be a little cocky for such a well-done flick.