[Our thanks to Teresa Nieman for the following review.]
Part of what I love so much about attending the Vancouver International Film Festival is the opportunity to see so many obscure Asian films (in the fest's renowned Dragons & Tigers section). Of course, it's also fun to see the big films that have everyone talking--like this year's Antichrist--but that's never as rewarding as seeing something that you, most likely, never would have heard a peep about otherwise. For example, last year's Dragons & Tigers award winner, Emily Tang's Perfect Life, was one of the most assured, intelligent and moving films I've seen anywhere. I haven't noticed hardly a mention of it since.
While Sun Spots, which had its World Premiere at this year's VIFF, is not on the level of Perfect Life, it strikes me as something that might (sadly) suffer the same fate. Though the film is stunningly shot, and poignant in a beautifully subtle way, it has even less going for it than Perfect Life, as far as wide-audience potential goes. I mean, for one thing, neither of the two main characters utters a single word throughout the entire movie. For another, the 2-plus hour runtime is comprised of only 34 shots--which means those shots are each held for a very long time. It's the definition of an art film, and the kind of thing that does not invite casual viewer participation. The audience for it was only peppered with patrons, with probably 2/3rds of the theatre left empty. I have to wonder if Sun Spots will ever find the distribution it deserves.
The festival guide, in what was probably a valiant effort to get more butts in seats, describes the movie as a "tale of love, betrayal and revenge". While technically true, this description certainly paints the movie as something much more fast-moving and exciting than it is. In reality, the plot is extremely threadbare, with two young people stumbling into one another's path and drifting through the days together (as aforementioned, without ever speaking). The girl is mad at her cheating boyfriend, and takes it out on everyone else. The boy is directionless and crude, but tries awkwardly to woo her by providing shelter and a light for her cigarettes.
One of the first notable shots in the film contains a shaman, performing a ritual on a mountain at dusk, while the boy faces the opposite direction, drinking liquor. Another shows the boy fishing in a river, while the girl reclines on a lawn chair on a suspension bridge in the distance. These are just two examples, but every one of the frames is breathtakingly gorgeous, with so much to look at and take note of. The symbolism of the shots never goes overboard, which is probably thanks in part to the lack of dialogue. Everything in this movie speaks for itself, and allows the viewer to project their own emotion and experience onto the events. I could compare this movie to a lot of things, but really, I've never seen anything quite like it.
If this happens to make it to a festival or other screening near you anytime soon, I really encourage that you check it out. It's a striking movie that deserves to be seen one way or another, but especially on the big screen.
Review by Teresa Nieman
Part of what I love so much about attending the Vancouver International Film Festival is the opportunity to see so many obscure Asian films (in the fest's renowned Dragons & Tigers section). Of course, it's also fun to see the big films that have everyone talking--like this year's Antichrist--but that's never as rewarding as seeing something that you, most likely, never would have heard a peep about otherwise. For example, last year's Dragons & Tigers award winner, Emily Tang's Perfect Life, was one of the most assured, intelligent and moving films I've seen anywhere. I haven't noticed hardly a mention of it since.
While Sun Spots, which had its World Premiere at this year's VIFF, is not on the level of Perfect Life, it strikes me as something that might (sadly) suffer the same fate. Though the film is stunningly shot, and poignant in a beautifully subtle way, it has even less going for it than Perfect Life, as far as wide-audience potential goes. I mean, for one thing, neither of the two main characters utters a single word throughout the entire movie. For another, the 2-plus hour runtime is comprised of only 34 shots--which means those shots are each held for a very long time. It's the definition of an art film, and the kind of thing that does not invite casual viewer participation. The audience for it was only peppered with patrons, with probably 2/3rds of the theatre left empty. I have to wonder if Sun Spots will ever find the distribution it deserves.
The festival guide, in what was probably a valiant effort to get more butts in seats, describes the movie as a "tale of love, betrayal and revenge". While technically true, this description certainly paints the movie as something much more fast-moving and exciting than it is. In reality, the plot is extremely threadbare, with two young people stumbling into one another's path and drifting through the days together (as aforementioned, without ever speaking). The girl is mad at her cheating boyfriend, and takes it out on everyone else. The boy is directionless and crude, but tries awkwardly to woo her by providing shelter and a light for her cigarettes.
One of the first notable shots in the film contains a shaman, performing a ritual on a mountain at dusk, while the boy faces the opposite direction, drinking liquor. Another shows the boy fishing in a river, while the girl reclines on a lawn chair on a suspension bridge in the distance. These are just two examples, but every one of the frames is breathtakingly gorgeous, with so much to look at and take note of. The symbolism of the shots never goes overboard, which is probably thanks in part to the lack of dialogue. Everything in this movie speaks for itself, and allows the viewer to project their own emotion and experience onto the events. I could compare this movie to a lot of things, but really, I've never seen anything quite like it.
If this happens to make it to a festival or other screening near you anytime soon, I really encourage that you check it out. It's a striking movie that deserves to be seen one way or another, but especially on the big screen.
Review by Teresa Nieman
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