Today will conclude the first weekend of the 49th Chicago International Film Festival. Here are some of the notable film screenings.
"Blue Ruin" is already attached to a distribution company(RADiUS/TWC), and rightfully so. It's a cinematic powerhouse, and resembles experienced, professional filmmaking mores than a traditional festival entry. If tickets are still available, this is the one to see. "Blue Ruin" screens its last at the Festival tonight at 8:15pm. Click here for the full review.
Film festivals are often splitting at the seams with drama, and the Chicago International Film Festival is no exception. While those films are excellent and necessary in their own right, sometimes it is nice to take a break, and take the funny bone for a walk. Festival goers looking for more lighthearted fare will find it in today's "Tanta Agua", which takes its final bow at the 6pm screening this evening.
Set in Uruguay(the entry is actually credited to three countries: Uruguay, Mexico and the Netherlands), "Tanta Agua" follows a family trio as they embark on vacation. The film opens with an in-the-car perspective as the windshield is soaped-up and squeegeed down. As the window is cleaned, the father comes into focus, as do his children over the course of the film. Obviously separated from his wife, Alberto picks up his kids for a week-long getaway. The children, obviously divided when it comes to their feelings about their parents, don't seem too excited about the premise. "Tanta Agua" is an instantly relatable comedy with hints of seriousness; a very good comedy by Ana Guevara and Leticia Jorge. This dynamic duo earns "Tanta Agua" a notable spot in the Festival's ReelWomen spotlight in 2013.
Last night, Festival attendees went gaga for this ensemble comedy. In structure, it resembles Garry Marshall's latest efforts "Valentine's Day" and "New Year's Eve", following five leads as their lives intersect in Sweden's capital city. Working from a book of short stories, first time director Karin Fahlen manages to juggle an ambitious narrative. At times, the screenplay almost has too much to do, jumping between characters almost frantically. And this is the kind of film where happy endings for all are nearly a surety. But that is exactly what the more casual moviegoer wants to see. Those looking for the 'safer' side of Festival films should consider taking a peek at "Stockholm Stories."