Director Lixin Fan

In the last days of the 53rd SFIFF we must attend the parties (oh yes, it is a chore) and awards ceremonies. Last night we milled about the Golden Gate Awards with lots of buzz, drinks, food and happy filmmakers. The under appreciated and deserving filmmakers stood in the spotlight and garnered more than just awards but cold hard cash. (That’s what indie feature and docu filmmakers need most).

Held at the Temple Bar which does more than the average bar/club and adheres to the People, Profit and Planet philosophy (but we wish that they would do away with the paper towels in the bathrooms) the Golden Gate awards spotlighted several films and filmmakers who created sustainable and socially responsible films. Among the big winners, Director Lixin Fan picked up an award for best Investigative Documentary (along with oh so welcome cash) for his intriguing and visually stunning Last Train Home which highlights the story of a group of migrant factory workers on a taxing holiday trip back to their small village in modern China. It offers a stirring look at social justice and the dichotomy of modern versus old school China life.

The film beat out other feature documentary contenders including: Colony, where two Irish directors (Ross McDonnell and Carter Gunn) investigate the mystery of the vanishing bee colonies in California’s Central Valley and The Investigation of Dr. Nakamats.

In a nod to festival award recipient Roger Ebert, here’s a thumbs up to films that don’t have to resort to 3D to tell a story.

Directed by Stephanie Soechtig, the film deconstructs the various aspects of the bottled water industry. Tapped examines the role of the bottled water industry and its effects on our health, climate change, pollution, and our reliance on oil. Unlike oil which people think of as a commodity, water hasn’t truly hasn’t been considered a commodity until recently. Although water wars and rights have become big news in various countries, Tapped jumps into the fray and pulls no punches right here in the U.S. The film targets (among others) the big three bottled water companies (Nestle, Coke and Pepsi who declined to be interviewed for the film), the International Bottled Water Association, and the FDA.

Tapped leaps right into water rights war between Swiss owned Nestle (who owns various bottle water brands including Poland Springs and Arrowhead) and the town of Fryeburg, ME. The film shows compelling footage and as well as local interviews which show that Nestle stealthy bought the rights to land in an effort to suck all of the water supply from the ground that it can without the consent or payment to the public. The film captures footage of tanker trucks quietly rolling into town but instead of loading up with black gold, they fill up with blue gold (H2O). Soechtig creates more drama as she displays the protests and grassroots movement demonstrations while showing and discussing the Nestle tactics.

They say that oil and water don’t mix, but nothing could be further from the truth when considering the plastic water bottles. The film flows with information about the hazardous materials found in the petroleum based plastic water bottles. Most companies produce water bottles using BPA which as the film claims can causes cancer, brain disorders and diabetes among other diseases. Even though the FDA claims that small levels of BPA to be safe that approval is based upon two chemical company studies. We loved the footage of Senator John Kerry grilling an FDA employee about the lack of third party, independent studies that the FDA uses to determine the safety of various plastic water bottle ingredients.

Speaking of the FDA, the bottled water does not fall under FDA jurisdiction as far as water quality, and it’s horrifying to watch the FDA spokespeople (as well as the spokespeople from the International Bottled Water Association) refuse to answer or simple gloss over questions about various studies and quotes about the quality of the water and the containers. It’s pretty much a self regulated industry so caveat emptor to all bottled water drinkers.

The film also pulls a few heart strings when Soechtig interviews local residents in Corpus Christi who live next to the largest private manufacturer of plastic water bottles. The documentary makes a strong case that the manufacturer looms as a sort of plastic Three Mile Island for the local residents who deal with various diseases and defects because of their proximity.

Tapped surprises with info about the worldwide effects of plastic water bottles (i.e. the Great Pacific Garbage Patch is only one of five ocean plastic zones in the oceans) as well and lots of insider info from various experts and even an ex-FDA employee.  At some points the film becomes a bit repetitive as it encircles the same points but overall the film offers keen insight into the bottle water industry and leaves the companies making the bottles, sucking the water from the ground, and regulating the industry looking all wet.

In the McMansion and McMall loaded Prince William County, a wealthy suburb of Washington D.C., directors Annabel Park and Eric Byler weave a hot button topic film that shows a community hatefully splitting itself in half  — one side the conservative, wealthy lower and middle class Anglos who wish their community to remain lily white and the other side the immigrants who moved into the lower and middle class neighborhoods but also built the McMansions, cook the food and represent much of the quiet economy of the town. The film shows the racial divide that forms as a result of a one notable blogger who creates a fear campaign camping and gets the city council to enact an immigration policy that requires police officers to question anyone they have “probable cause” to suspect as being an undocumented immigrant.

Although the film documents the protests in and front of the local government offices, the real battle takes place through the Internet as the immigrants and their supporters create their own resistance using You Tube videos (shot by the filmmakers) as well as counter blogs.  The filmmakers create an all too scary vibe mostly because of the scary xenophobia and racism that exists under the guise of politicking. As director Byler mentioned before last night’s West Coast Premiere in San Francisco, “When people are made to be afraid, they tend to act in very predictable ways, and there are people who know to exploit these fears, in particular racial or cultural fears, in order to influence elections or advocate for or against legislation.”
“This is a cautionary tale where people are afraid to act in predictable ways.” He followed up by saying, “It’s a cheap lesson.” For the price of a movie ticket, the people who see the film will get a town full of objective education.

While some film fans may be psyched to see the Matt Damon’s newest role as Mark Whitacre, and others queue up too see director Steven Soderbergh do something other than an “Ocean’s” film, my friend and I liked the whole corn based aspect of the film. What other film maybe except for documentary flicks like King Corn, or Food Inc. open with such info about how corn exists in a ridiculous amount of food and even non food items.  The Informant! delves right into the world of the corn based lysine and even high fructose corn syrup (the photo depicts a scene where one of the FBI agents spies yet another product containing high fructose corn syrup).

While most people might be excited to see this film, the people at agri-industry giant Archer Daniels Midland (ADM), probably won’t be lining up anytime soon to see it. As Whitacre mentions in the film that most people haven’t heard about ADM but they have their hand in an outrageous number of processed foods. The film cleverly follows and comedic/dramatic line to show how ADM got caught price fixing lysine in the 90s. What’s another five cents for the liter of soda among friends?

Even though The Informant isn’t a “food film” per se, it gives us a peak behind the corporate food world curtain. Movies like The Informant! normally have the intent to entertain first (which it does) but it also educates as well which in its subtle ways creates a small glimpse behind that man (or in the case agri-giant) behind the curtain.

The Cove refers to a sea inlet of the coast of Taiji where on the surface the town seems to embrace dolphins but in reality some of the local politicos as well as a handful of fisherman keep the dolphin slaughter a secret to not only most locals but the rest of Japan as well.

The Cove not only captures disturbing, bloody footage of the carnage (via various stealthily hidden high-tech cameras, lenses and sound equipment) but uses former TV show Flipper trainer Richard O’Barry as an emotional through line. Director Louie Psihoyos, co-founder of the Oceanic Preservation Society, and his crew expose the local fisherman slaughtering dolphins but they also show how the government allows mercury filled dolphin meat to be mislabeled and sold in Japanese markets, and for a time allowed local school children to eat the toxic dolphin as part of the school lunch program. The film also delves into utter bureaucracy, toothlessness and corruption of the International Whaling Commission (picture a watered down UN council meeting) to regulate or offer any solutions to the ongoing dolphin slaughter.

As the original trainer for various bottlenose dolphins who played Flipper, O’Barry blames himself for the dolphin craze (dolphin theme parks, shows) where all over the world dolphins suffer in confined conditions. Blaming himself for the dolphin demise, O’ Barry risks personal well being in an effort to tear off the veil of secrecy that this one area of Japan has covered up (and continues to hide) for many years.

The Cove captures not only startling footage of the dolphins (although one of the producers admits that they could have shown more gruesome scenes) but cleverly swims through various meetings (many with hidden cameras) and old TV footage to not just entertain but to thrill and enrage anyone who watches it.

People interested in more information or campaigning against the dolphin slaughter can visit TakePart.com/TheCove

Now Tom Hansen, (Joseph Gordon-Levitt) isn’t exactly Howard Roark but his some of the film’s core revolves around Hansen’s progressive architecture thinking. Even more he talks about density in Los Angeles as he admires Pershing square. Density in Los Angeles of all places. We can hardly stand it.

Even later in the film after the romances goes South, Hansen picks up a Green architecture book and delves into it. Maybe this film won’t be an LA Story or When Harry Met Harry film for the ages but now we have sustainable architecture thinking sneaking into progressively solid romantic comedies. For us, that’s better than a tub of organic popcorn and a soda without high fructose corn syrup.

For those in America who have yet to read The Omnivore’s Dilemma, Fast Food Nation or even The Jungle, the new docu pic Food, Inc. smoothly stirs the boiling pot of food production controversy while allowing those not familiar with the dark secrets of the food production industry to enjoy a film in bite size nuggets.

With Fast Food Nation author Eric Schlosser a co-producers and Omnivore’s Dilemma writer Michael Pollen one of the consultants (in addition to being on-screen participants) the film offers a solid, well presented structure that offers not only scary, gut wrenching even stomach turning scenes in meatpacking plants, chicken coops and but offers a silver lining into the future of food.

Producer/Director Robert Kenner weaves the film through the various food landscapes from the cramped chicken coops of Maryland to the aerial CAFO vistas to the open grasslands of Polyface Farms. Inside one of the chicken coops live chickens that wallow in their own filth and barely have room to move. Factory farm shots show downer cows being uplifted by forklifts to be transported to the slaughterhouse. The film makes a point of showing people how dangerous and unregulated our food system remains.

Besides showing the torturously nauseating animal conditions, the film doesn’t forget the human factor and the social justice issues. Food, Inc. follows undocumented factory farm workers being arrested while making the point that the huge company that they work for should be the ones under the squad car lights. Kenner also captures the human element in the case of one California family that must decide between fast food hamburgers and broccoli as a result of economic hardship. (Guess which they choose?) Food, Inc displays the bigger-breasted chickens, the perfect pork chop, insecticide-resistant soybean seeds, and even tomatoes that won’t go bad, but also shows the new strains of e coli—and the deadly results.

But the film is not all about “dishonest food” and the “ugly truth” as Kenner captures lively footage of environmentally progressive owners such as Stonyfield Farms’ Gary Hirschberg and Polyface Farms’ Joe Salatin who both proudly declare and demonstrate how food can be produced honestly and without a wall of secrecy. Like The Wizard of Oz, Food, Inc. reveals that cow behind the curtain.

Already this docu pic has several large food conglomerates just a tad worried with companies like Monsanto and the American Meat Institute creating their own websites in response to the film. It’s curious why it took till now to get a response from these food giants because according to the filmmakers representatives from Monsanto, Tyson, Perdue and Smithfield, declined to be interviewed for the movie.

Food, Inc. comes off less like a documentary and more like a food based 1984 where the food conglomerates act like Big Brother. Parts of this film appear to be as scary as any recent horror film. But consider, most horror films are works of fiction while this film deals with stuff that sits on your dinner plate.

The Age of Stupid takes place in the year 2055 with a man called the Archivist (Pete Postlethwaite) sitting in a Noah’s Ark type storage tower with a collection of famous art, pairs of animals, and enough computer servers to make Google envious.  The tower exists because the world has turned into a fiery, and flood ridden disaster area. The Archivist  searches through archived video footage to see where man went wrong after having the opportunity to change things. The film takes futuristic standpoint of looking at the present (like right now).

Instead of following one narrative, director Franny Armstrong takes a Traffic style approach with six different narratives. Instead of the drug trade, this film cleverly looks at the climate change.

Armstrong weaves the film’s central climate change core through various through lines, among others, transportation, war, consumerism, natural disaster, and alt energy and ties them together with intense and striking visuals. One story follows a local New Orleans hero Alvin DuVernay who rescued about 200 people and animals after hurricane Katrina hit but later we find out that he has worked for Shell for 30 years. Another narrative highlights Jeh Wadia who launches a discount Indian airline and honestly believes that he’s aiding the poor masses with cheap fares and thinks that the environmental aspect of flying an airline will just work itself out. The film smoothly displays how each of the characters has their own justification for doing something or their own hypocrisy toward climate change.

Like any multiple story line film, some characters and stories offer more connection, insight, emotion and education than others. On a creative level, for a low budget film, this pop-style documentary offers high production values with its spirited animation sequences and an often high charged music score. It also offers a clever way of telling  the cautionary climate change tale that has been seemingly uttered countless times in recent years. Armstrong obviously created this film as a two-minute warning leading up to the Copenhagen treaty in December 2009 and although the film isn’t perfect hopefully she will be able to make a sequel called the Age of Smart.

Photo by David Gilbert, http://www.uncontacted.com/

A documentary or any feature film, like a good dessert, needs good texture. Some docs offer light delicate flavors, while others serve up crisp tawdry offerings but Crude, the latest feature documentary from director Joe Berlinger (Brother’s Keeper, Metallica: Some Kind of Monster) brings a feel so viscous its some wonder that the film and the emotions within it don’t just ooze into the theater.

And why wouldn’t the film be viscous with center of the film swirling around a legal case about the black gold being pumped out of the jungles of Ecuador. Some have called the case the “Amazon Chernobyl” but whatever the name, Berlinger delves head first into this the David versus Goliath story that circles around one of the longest and most controversial legal (not to mention environmental and human rights) cases ever.

Crude aptly gives a balanced view of the various sides involved in the case which pits plaintiffs (30,000 indigenous and colonial rainforest dwellers) versus U.S. oil giant Chevron. The plaintiffs claim that Texaco – which later merged with Chevron – systemically contaminated an area the size of Rhode Island over a period of three decades. The plaintiffs allege that the contamination has led to numerous birth defects, increased rates of cancer leukemia, not to mention deaths.

Shot in cinéma vérité style Crude brings together various elements that one might not expect from a single documentary including: high stakes legal motions, backroom legal maneuvering,  global politics, environmental causes, social justice, media frenzies, celebrity activism, multinational corporate power, and disappearing culture.

With so many layers, the film could have easily been bogged down (like the over 10 year still on going trial) but Berlinger keeps much of the film out of the courtrooms and in and around the alleged contamination sites where both the judge and attorneys for both sides trudge through the sludge and jungle to the various inspection sites. Crude deftly moves from the jungle to health clinics to the celebrity scene where rainforest advocates Trudie Styler and Sting helped bring attention to the case.

Crude come off like a war documentary shot in the trenches but instead of offering a dry, matter-of-fact 60 Minutes style, Berlinger makes the film personal. Looking at the smaller picture includes heartbreaking scenes with local ingenious people who have suffered through various illnesses, tragedies and deaths. But the doc also captures the lawyers and scientists and their opinions not to mention their polarized philosophies. Berlinger doesn’t set out to take sides but it’s easy to tell from the various on-screen quotes about who offers sincerity versus others who “hang themselves” with their own words.

Although Crude could have delved deeper in the minutiae, the 101 running time severs as a reminder about not only how powerful film making can be but how important and informative the subject can be as well.

Crude shows May 2nd at the 52nd San Francisco International Film Festival