Looking at the opening images from the feature documentary Detroit Wild City, the Motor City look more like something made like Mad Max film or as one of the Detroit locals mentioned in the film that the Motor City resembles Dresden after the war.

Despite the negatives that the film focuses on – blight, crime, decay, French director Florent Tillon offers some alternative philosophies and ideas that may be surprising in the sustainability of the decaying city.

The French point of view from Tillon highlights how numerous citizens have started growing victory gardens in the midst of all the decay. The fact that Detroit used to be farm land before an auto city may come full circle (to a point) with abandoned lots being turned into local farms.

Detroit Wild City also makes a point to show how native falcons and other birds have returned to the city using deserted skyscrapers as artificial cliffs and nesting grounds.

Tillon uses arresting images to make his point while limiting interviews and dialogue to a sparse number of lower and working class Detroitians. Although it might have been interesting to get some point of view from local business people, Tillon obviously wished to keep the focus on the hard core locals who remain.

Detroit Wild City offers some hope but leaves many questions unanswered. People may have different takeaways from this striking travelogue but it does bring awareness to a supposedly dead city on the the mend.

The Pipe

Screening at the San Francisco International Film Festival  - 2011

In another documentary that takes the familiar   David versus Goliath
theme, the Irish entry “The Pipe” looks at the plight of the citizens of the small Irish enclave of Rossport versus Shell E & P Ireland. Shell wishes to lay the huge Corrib Gas Pipeline through the picturesque  community but the locals fights back.

The Pipe states that Shell refused to participate in the making of this film. The fact that an energy giant refused to offer their side doesn’t come as a big surprise.  Besides the film Crude, few of the community versus energy giant (e.g. On Coal River) docupics have included participation from the Goliath.

The Pipe’s director Risteard O Domhnaill quickly sets the mood and
location by offering glorious sweeping vistas, seascapes and verdant
shots of the local region. He captures the local fisherman catching
crabs, and others walking their dogs. All things that one would expect
people in the local community to take part in.

The Pipe quickly slides into a series of conflicts that that locals initiate
against the energy giant. The film captures the protests that have a
grass roots feel with sit ins, vocal demonstrations, and town
meetings. Much of the initial conflict pits the locals versus the town police, and then later shifts to infighting as the village residents argue about the best way to attack the energy giant.

The protests include the notable 2005 arrest of “The Rossport Five”
who made international news and served as the spark for the base of
the continuing flight against Shell.  Domhnaill follows one of the
Rossport Five, fisherman Willie Corduff who remains firm in the fight
against the pipeline construction.

Although the film creates a compelling story, it suffers somewhat from
repetition and fails to fully address certain local issues. The film skims over the involvement of local and governments and only focus on the battles
between the police and the residents.  Other “oil documentaries” such
as “Crude” create more complexity by delving into the various layers
in a big oil versus local community story.

Despite some of the shortcomings the film offers high production
values and colorful locals, and enough conflict to fill the a pipeline.  The
film’s energy picks up some of the slack but not enough to raise it to
the standards of other docufilms of this genre.

“The Pipe” screens Apr 30 and May 2

Sticking with the theme of energy, the “Light Thief ” caught our eyes as a local electrician known as Mr. Light finds himself in a dilemma when a politician embraces the idea of generating wind energy for his destitute town.

Although we enjoy seeing the green wave of films with an environmental slant, we also maintain a keen eye for good film so that means the Errol Morris film “Tabloid” about the bizarre 70s tale of girl gone wild Joyce McKinney.

We keep salivating about Michael Winterbottom’s “The Trip” which we hear tastes like a food version of “Sideways”. We hope that it comes served organically.

Happy viewing.

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.

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.