Jimmy P – Way Too Indie http://waytooindie.com Independent film and music reviews Fri, 02 Dec 2016 17:34:42 +0000 en-US hourly 1 Way Too Indiecast is the official podcast of WayTooIndie.com. Our film critics grip and gush about the latest indie movies and sometimes even mainstream ones. Find all of our reviews, podcasts, news, at www.waytooindie.com Jimmy P – Way Too Indie yes Jimmy P – Way Too Indie dustin@waytooindie.com dustin@waytooindie.com (Jimmy P – Way Too Indie) The Official Podcast of Way Too Indie Jimmy P – Way Too Indie http://s3-us-west-2.amazonaws.com/waytooindie/podcast-album-art.jpg http://waytooindie.com Cannes Day #2: Jimmy P. & The Dance of Reality http://waytooindie.com/news/film-festival/cannes-day-2-jimmy-p-dance-of-reality/ http://waytooindie.com/news/film-festival/cannes-day-2-jimmy-p-dance-of-reality/#respond Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=12127 This morning I made a rookie mistake by leaving my umbrella at the hotel and not checking the weather before I left. The weather in Cannes can turn from sun-baked beaches surrounded by palm trees to a cold downpour in an instance. As I made my way down to the Croisette for a bright and […]]]>

This morning I made a rookie mistake by leaving my umbrella at the hotel and not checking the weather before I left. The weather in Cannes can turn from sun-baked beaches surrounded by palm trees to a cold downpour in an instance. As I made my way down to the Croisette for a bright and early 8:30 AM press screening for Jimmy P. I was astounded by just how quiet the streets were. It makes sense as the parties here in Cannes can go on all night as long as you know the right people to get in. It seemed as if only once the rain started to let up a little that the security guards felt like opening the gates for the press to walk up the red carpet into the breathtaking Grand Lumiere Theater. It may be just another way that the guards remind everyone who has power at the festival.

Cannes Red Carpet

Cannes Red Carpet

Jimmy P.

Jimmy P. movie

After suffering apparent brain trauma a few years past his time spent at war, Jimmy Picard (Benicio Del Toro) has frequent migraine attacks and even experiences temporary blindness from time to time. Doctors examine him only to stubbornly conclude that because Jimmy P. is an Indian, that they cannot accurately determine the extent of his psychological issues that plague him. That is not until a new arrival of a doctor that a more sympathetic view on the Native American culture takes place. The portrayal of ignorance that Americans had at the time toward the Native Americans is heavily present in the beginning of the film, but the film ends up being less of a history lesson as it is an unlikely friendship bonding film between Jimmy and the only doctor that seems to want to understand.

The new doctor (Mathieu Amalric) explains the phenomenon of how the Native American tribe Blackfoot tends to believe dreams shed light on the future rather than on the past. So when Jimmy has a frightening nightmare about killing animals, the doctor suspects that it could potentially unlock what is going in Jimmy’s head. Their daily sessions quickly become the main focus of the film, which subsequently shifts the overall theme that the film began with.

Even though there was some great acting by Benicio Del Toro and some dream reenactments that were entertaining to watch, nothing else is very groundbreaking. Given the time period the film is set in and the stereotypes against Native Americans in that time period and even still today, I felt like the story could have been more than just a bland narrative that is was. Jimmy P. is a straight-forward film that could have been better if it did not feel so uninspired. This true life story makes for a better case study than it does a feature film.

RATING: 6

My original plan was to head to the second press screening of Inside Llewyn Davis, but the chatter on Twitter expressed the demand was very high for the first screening (not surprising) but that many people who were turned away from it immediately formed a new line for the later show. Therefore, I decided to catch another Director’s Fortnight film by the legendary filmmaker Alejandro Jodorowsky. Unbeknownst to me, and likely everyone, Nicolas Winding Refn, who is in town for his own film which is In Competition for the Palme d’Or (Only God Forgives), came on stage to introduce the filmmaker. Refn proclaimed, “[Jodorowksy] is the last king of cinema”.

Alejandro Jodorowsky and Nicolas Winding Refn

Nicolas Winding Refn introduces Alejandro Jodorowsky

La danza de la realidad (The Dance of Reality)

The Dance of Reality movie

Alejandro Jodorowsky’s The Dance of Reality pans out to be more like a theatrical play than your typical biographical film. Which is what the film dramatizes; Jodorowsky’s own upbringing. Everything found in the film is presented and told in fairy tale style. The mother who is portrayed as a heavenly angel of sorts, sings each one of her lines in an operatic fashion.

Although much of The Dance of Reality is rather comical and playful, there are some depictions of some deep personal emotional pains in the film. For example, the young Jodorowsky boy seeks constant approval from his father, Jamie (Brontis Jodorowsky), who is nothing but resentful of his son. The first half of the film is about the son trying to earn his father’s respect. Jamie claims that his long curly blonde haired son is more like a whore than a real man, and eventually resorts to some gruesome tests to prove the manhood of his son. For instance, for each slap across the face the young boy’s face received from this father, gains him more admiration from him.

The Dance of Reality is certainly not for the squeamish or the easily offended. A buzzed about topic around the festival is how shocking it was for the film Mexican film Heli to feature a man’s genitals set on fire. Perhaps equally as shocking is when a female urinates on her husbands face in full detail. There is no doubt that this film contains the work of a legendary filmmaker, but Jodorowsky’s style alone cannot save for the film’s lack of overall consistency. Parts of the film are semi-autobiographical and other parts are flamboyantly told in a over-dramatic ways. Jodorowsky himself makes several cameos in the film but does not always help improve the scene or story. All said and done, the film felt equally as great as it did disorganized.

RATING: 6.8

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Cannes 2013 Lineup Announced http://waytooindie.com/news/film-festival/cannes-2013-lineup-announced/ http://waytooindie.com/news/film-festival/cannes-2013-lineup-announced/#comments Mon, 30 Nov -0001 00:00:00 +0000 http://waytooindie.com/?p=11516 The wait is now over as the lineup for the 2013 Cannes Film Festival has been announced this morning. While a few film festivals such as Sundance and Berlin have already given us a small taste of what is in store for 2013, Cannes ultimately sets the stage for what is to come for the […]]]>

The wait is now over as the lineup for the 2013 Cannes Film Festival has been announced this morning. While a few film festivals such as Sundance and Berlin have already given us a small taste of what is in store for 2013, Cannes ultimately sets the stage for what is to come for the rest of the year’s festival circuit. Also, it is my pleasure to announce that Way Too Indie has been accredited to attend the festival this year, so stay tuned during May 15th through May 26th while we bring you up-to-date coverage during the Cannes Film Festival.

Now back to the lineup, it has been known for quite some time that The Great Gatsby would be the opening film of the festival and yesterday it was announced that Sofia Coppola’s The Bling Ring would open the Un Certain Regard program. This morning the rest of the lineup for the Cannes Film Festival was finally announced. Some of the more anticipated films that were announced today were; Coen Brothers’ Inside Llewyn Davis, Nicolas Winding Refn’s Only God Forgives, Steven Soderbergh’s Behind The Candelabra, Paolo Sorrentino’s The Great Beauty, and Sundance standout Fruitvale Station previously entitled just Fruitvale.

Unfortunately, absent from the announcement was Steve McQueen’s follow-up to Shame, Twelve Years a Slave. There was also no works from the onslaught of projects Terrence Malick has going on. And many people were disappointed to hear that Bong Joon-Ho’s rumored to play film, Snowpiercer, would not be done in time for the festival.

The full lineup for 2013 Cannes Film Festival:

Opening Film: (Out of Competition)

The Great Gatsby (director Baz Luhrmann)

Official Selection

Behind The Candelabra (director Steven Soderbergh)
Borgman (director Alex Van Warmerdam)
Un Chateau En Italie (director Valeria Bruni-Tedeschi)
The Great Beauty (director Paolo Sorrentino)
Grisgris (director Mahamat-Saleh Haroun)
Heli (director Amat Escalante)
The Immigrant (director James Gray)
Inside Llewyn Davis (directors Joel & Ethan Coen)
Jeune Et Jolie (director Francois Ozon)
Jimmy P (director Arnaud Desplechin)
Michael Kohlhaas (director Arnaud Despallieres)
Nebraska (director Alexander Payne)
Only God Forgives (director Nicolas Winding Refn)
Only Lovers Left Alive (director Jim Jarmusch)
The Past (director Asghar Farhadi)
Like Father, Like Son (director Hirokazu Kore-eda)
A Touch Of Sin (director Zhangke Jia)
Venus In Fur (director Roman Polanski)
La Vie D’Adele (director Abdellatif Kechiche)
Shield of Straw (director Takashi Miike)

Out of Competition: (Films are played but do not compete for the main prize)

All Is Lost (director J.C Chandor)
Blood Ties (director Guillaume Canet)
The Last of the Unjust (director Claude Lanzmann)

Un Certain Regard: (Films from cultures near and far; original and different works)

Anonymous (director Mohammad Rasoulof)
As I Lay Dying (director James Franco)
Nothing Bad Can Happen (director Katrin Gebbe)
Bends (director Flora Lau)
The Bling Ring (director Sofia Coppola)
Death March (director Adolfo Alix Jr)
Fruitvale Station (director Ryan Coogler)
Grand Central (director Rebecca Zlotowski)
L’Image Manquante (Rithy Panh)
L’Inconnu Du Lac (director Alain Guiraudie)
La Jaula De Oro (director Diego Quemada)
Miele (director Valeria Golino)
My Sweet Pepperland (director Hiner Saleem)
Norte, The End of History (director Lav Diaz)
Omar (director Hany Abu-Assad)
The Bastards (director Claire Denis)
Sarah Would Rather Run (director Chloe Robichaud)
Wakolda (director Lucia Puenzo)

Special Screenings:

Max Rose (director Daniel Noah)
Weekend Of A Champion (director Roman Polanski)
Muhammad Ali’s Greatest Fight (director Stephen Frears)
Stop The Pounding Heart (director Roberto Minervini)
Seduced & Abandoned (director James Toback)
Otdat Konci (director Taisia Igumentseva)
Bombay Talkies (directors Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar, Karan Johar)

Closing Film: (Out of Competition)

Zulu (director Jérôme Salle)

Director’ Fortnight: (Sidebar event held in parallel to Cannes)

Above the Hill (director Raphael Nadjari)
Até ver a luz (director Basil da Cunha)
Blue Ruin (director Jeremy Saulnier)
The Summer of Flying Fish (director Marcela Said)
Henri (director Yolande Moreau)
Ilo ilo (director Anthony Chen)
Jodorowsky’s Dune (director Frank Pavich)
L’Escale (director Kaveh Bakhtiari)
The Dance of Reality (director Alejandro Jodorowsky)
The Rendez-Vous of Déjà-Vu (director Antonin Peretjatko)
Les Apaches (director Thierry de Peretti)
Me Myself and Mum (director Guillaume Gallienne)
Magic Magic (director Sebastián Silva)
On the Job (director Erik Matti)
The Congress (director Ari Folman)
The Last Days on Mars (director Ruairí Robinson)
The Selfish Giant (director Clio Barnard)
Tip Top (director Serge Bozon)
Ugly (director Anurag Kashyap)
Ain’t Misbehavin (director Marcel Ophuls)
We Are What We Are (director Jim Mickle)

International Critics Week: (Sidebar event held in parallel to Cannes)

Suzanne (director Katell Quillévéré)
Ain’t Them Bodies Saints (director David Lowery)
You and The Night (director Yann Gonzalez)
The Dismantlement (director Sébastien Pilote)
Los Dueños (directors Agustín Toscano & Ezequiel Radusk)
For Those in Peril (director Paul Wright)
The Lunchbox (director Ritesh Batra)
The Major (director Yury Bykov)
Nos héros sont morts ce soir (director David Perrault)
Salvo (directors Fabio Grassadonia & Antonio Piazza)

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