In more than one way Ari Folman’s The Congress reminds me a lot of last year’s Cannes film Holy Motors. The most obvious way is how both films can be said to be about the future of cinema. In The Congress Robin Wright essentially plays herself, a B-list actor who is complimenting on whether or not to allow herself to be sampled by the studio who can digitally re-create and place “her” in future films. Holy Motors was also a futuristic take on cinema where the camera never stops thus the actor is always acting. Both films are incredibly creative, fascinating, and push the envelope in terms of filmmaking; all things that by itself is worth a lot of praise. Another more personal reason why they both are alike to me is that I opened film festivals with these two wild mind-trip films. I am starting to question whether diving head first into these film festivals is really a good idea.

The first half of The Congress is displayed in live-action form and is relatively straight forward. A boss from a fictitious studio company named “Miramount”, played by spectacularly by Danny Huston, expresses to Robin Wright that she should allow the studio to sample her as it is the future of cinema. And we are not just talking about sampling her voice, but all her emotions and facial expressions. This way the studio can then re-create a version of Robin Wright that will live on forever, allowing them to place in her an infinite amount of films over the next two decades. This is the path that they claim cinema is going on and it is without a doubt an interesting concept.

Robin refused to sign the contract which states she has no choice of what kind of films will be made with her digitally assigned to. Freedom of choice is what the actress fights for, at least initially. Although her son’s recent poor health begins to outweigh her dignity and she caves in. Later on in the film, an even newer trend is discovered which allows a film to be completely unique to its viewer. Technology advances far enough to be able to trigger personal emotional experiences from the audience member’s brain, making the film watching experience feel more intimate. It is even suggested that audience will be able to literally taste actors and actress that get sampled into future (which is basically the entire plot of Brandon Cronenberg’s Antiviral).

The second half of the film takes a wicked turn. All of a sudden the live-action film turns into the kind of digital animated world that was talked about in the first half. Here Folman creates a trippy environment that is beautiful to look at and hard to look away from. Just imagine if Yellow Submarine was combined with Waking Life, you would likely get something close to The Congress.

The Congress seems to be an obvious satire on movie studios, but the film continues to explore other plotlines along the way that makes it difficult to pinpoint exactly what message the film was trying to get across. The truth is, there are many ideas expressed in the film and that might be its biggest downfall. There are laugh-out-loud moments when the film is making fun of movie studios. There are some fascinating insights on the future of cinema. There is even some good old family drama and love interests in the film. The problem is some areas work much better than others. One thing is for sure, it is a wildly ambitious film – perhaps it was trying to achieve just a little too much though.

Originally published on May 17th, 2013

It’s hard to imagine an out of work, undesirable version of Robin Wright (congrats on that second Emmy nomination, girl), but that’s the beginning premise of Ari Folman‘s (Waltz with Bashir) new film The Congress. After gaining a reputation as a hard to work with actress, Robin Wright is offered one last acting gig. Her son’s failing health skewing her decision-making, she agrees to a process which will capture her look, mannerisms, and personality in order to “bring her to life” in animated form for future projects. Essentially the studios are aiming for a future where they can capitalize on the names of their stars without having to work with them.

The film covers a lot of time and slips in and out of Robin’s real and delusional mental states. After premiering at Cannes in 2013 the film has spiked the interest of filmgoers, though hopefully its theatrical rendition doesn’t get too caught up in all of its themes and anti-Hollywood messages as this was most of the criticism it received at Cannes.

The Congress will be released on VOD July 24 and in limited release on August 29.

Watch the new clip from The Congress below:

And if you haven’t yet caught the trailer, watch just how incredible the entire film looks:

Check out the official poster (courtesy of EW.com) and trailer for Ari Folman‘s upcoming film The Congress, starring Robin Wright. In the film, Wright plays a version of herself, who sells her digital likeness to Hollywood producers in order to help care for her sick son.

Folman’s previous film, Waltz with Bashir, was an intriguing blend of documentary and animation — The Congress looks to blend the lines between reality and art in similarly interesting ways.

The film premiered way back when at the 2013 Cannes Film Festival where we had a chance to see it (read our review), and after a long line of festival showcases, is set to be released by Drafthouse Films and On Demand starting July 24, 2014.

Watch the trailer for The Congress

The Congress movie poster

SF Indiefest kicked off its “Sweet 16” celebration at the beautiful Brava Theater last night with a screening of Ari Folman’s The Congress, a buzzing after party in the theater lobby, and a live music show that had the indie-lovin’ festival-goers on their feet late into the night.

After we shuffled down the aisles and settled into their seats to fill up the theater at the night’s outset, Indiefest founder Jeff Ross took the stage to welcome us and tell us what we can expect of our two-week festival experience this year. The lineup was carefully picked–the festival programmers watched and considered around 1,000 films and plucked 75 prime selections. (That’s dedication, people!) San Francisco’s famous Roxie Theater is the undisputed epicenter of the festival, but Ross noted that for those living in the East Bay, Oakland’s New Parkway Theater will be showing selections from the festival program as well.

Ross’ brief introduction was followed by the opening night screening of The Congress, which proceeded to blow half of the audience’s minds while befuddling the rest (see my thoughts on the film below). It’s a heavily experimental film that could only ever exist in the indie landscape, so it was a fitting choice to set the tone for the rest of the fest. (Check out these five films at the fest to get excited about.)

Following the screening, libations flowed in the lobby while people attempted to reorient themselves with reality. Struck with a case of the munchies, I walked down the street and ate best tacos I’ve ever had (seriously). When I returned to the Brava Theater, the drinks were still flowing (Indiefest doesn’t slouch on the booze!), and the live music portion of the night was in full swing. Hip Hop/EDM band Vokab Kompany and Motown revivalists Gene Washington and The Ironsides sent the crowd home happy and capped off the night in style.

The Congress

With The Congress, director Ari Folman refused to follow anyone’s roadmap and made the movie he wanted to make, without pretense, or timidness, or restraint. The film centers on Robin Wright, playing herself, as she sells her digital likeness to “Miramount Studios”, with which the they can make any movie they please. The catch is, she must never act again. It’s a strange, beautiful, part live-action, part animated film about the fickleness of reality, the toxicity of media and celebrity, and the ephemerality of life itself. It’s also flawed; the psychedelic animated portion feeling inflated and meandering, and the story can feel more elusive than intriguing at times. But the boldness and ambition of Folman’s vision helps to polish up the film’s rough edges.

From Febuary 6-20, SF Indiefest will be celebrating 16 years of independent film goodness with a stacked program of indie films of all kinds, from docs, to comedies, to horror flicks, to dramas, to shorts…and the list goes on. The lineup is super exciting: for fans of independent film (you guys), this is going to be freaking Disneyland. Plus, to get to talk to up-and-coming filmmakers before they hit it big is indie cred in the bank. The films will play at the Roxie and Brava theaters in San Francisco, and at the New Parkway Theater in Oakland.

This year’s theme is “Sweet Sixteen”, and keeping with the tradition of “keeping the festival festive”, there will be a slew of off-the-wall parties and events to keep you busy: an opening night party, a Roller Disco Party, the Bad Art Gallery (awesome), a Pub Quiz, an Anti Valentine’s Day 80’s Power Ballad Sing-along, the famous annual Big Lebowski Party (featuring a 35mm screening of the film and a costume contest), and more. It’s a great time (I had a blast last year), and the parties give the festival a more quirky, fun, inviting atmosphere than any other film fest in the Bay Area. For more info, visit sfindie.com

This is my personal favorite festival of the year, and we at Way Too Indie obviously have a close connection with the films being showcased. Stay tuned for comprehensive coverage, including reviews, interviews, photos, videos, and more. If you live in or around the Bay Area, I hope to see you there!

Here are 5 films we’re looking forward to (though there are plenty more):

I Hate Myself : )

This subversive documentary by filmmaker Joanna Arnow should please fans of Girls and docs alike. Centering on Arnow’s relationship with her racially provocative, instigative boyfriend, the film features exceedingly intimate, hard-to-watch footage of the couple (both emotional and sexual) that will make you cringe and squirm in your seat, guaranteed. Themes of femininity, sexuality, dysfunctional love, and racism pervade, making the film a catalyst for rich post-screening conversation. The film has been garnering a lot of buzz on the festival circuit, and it’s heading into San Francisco with a lot of momentum. Arnow will be in attendance at the festival along with her “naked” co-editor Max Karson, who bares all in the doc. It’s said he may appear “in costume”, whatever that means…

Screens at New Parkway 2/11 7pm, Roxie 2/14 7pm, 2/18 7pm

A Field in England

At last year’s festival, Ben Wheatley’s Sightseers was one of the strangest (in a good way) films that played, and his entry this year, A Field in England, looks to be just as darkly bizarre. Set in the English civil war, the film follows a group of starving soldiers fleeing from battle. They fall under the control of a sadistic necromancer who induces them into a state of wild hysteria. I’m a big fan of strange cinematic mindfucks (The Legend of Kaspar Hauser, which played at last year’s Indiefest, was one of my favorites), and Wheatley’s film looks to scratch that itch. Shot in grimy black and white, it’s praised by Martin Scorsese as being a “stunning cinematic experience”. If Scorsese’s endorsement isn’t enough to whet your appetite, I don’t know what is.

Screens at Roxie 2/8 7pm, 2/9 1215pm

 The Congress

Based on a sci-fi novel by Stanislaw Lem, The Congress stars Robin Wright as herself in a version of the future where actors can sell their digital likeness to movie studios for them to use in any way they see fit (depending on contract stipulations, of course). She’ll be gracing the silver screen for all eternity, forever young, and she gets a hefty payday, but as she grows older the ugly ramifications of signing away her likeness begin to surface. Waltz With Bashir director Ari Folman utilizes both live-action and animated techniques to tell his story, with a trippy, psychedelic animated middle section that’s sure to blow a mind or two. The Congress will open up the festival this Thursday at the Brava theater, and should set the tone for the festival nicely with its reality-bending style.

Screens at Brava 2/6 7pm

Blue Ruin

Jeremy Saulnier’s outrageous horror-comedy Murder Party played at SF Indiefest in 2007, and after a long directorial hiatus he returns to the festival with Blue Ruin. The film Dwight (Macon Blair), an unassuming bum who lives in his car, as he seeks to avenge the death of his parents by tracking down their recently-released-from-prison killer. It won the FIPRESCI prize at Cannes and kept the buzz buzzing at Sundance. Blair’s performance has been garnering universal acclaim as well. It’s great when you find the rare genre piece crafted with an artful sensibility (You’re Next), and Blue Ruin looks to be a violent, thrilling piece of indie filmmaking. The film will close out the festival.

Screens at Roxie 2/9 7pm, 2/20 915pm

Proxy

Zack Parker’s Proxy harbors some of the most unsettling, look-through-your-fingers movie moments I’ve seen in years, and as far as I’m concerned, it’s a must-see for festival attendees, if only to share the shock of these devilish images with a room full of people. Collective gasps, moans, screams, and theater walk-outs are almost a guarantee, and honestly, there are few festival experiences more enjoyable than watching a crowd of people pushed to their limits by a movie. The film opens with  a pregnant woman, Esther Woodhouse, being brutally attacked in an alleyway. The film only gets darker and more disturbing as she seeks mental help at a support group and descends into a world of sexual obsession as she befriends a woman who may be just as fucked-in-the-head as she is. The film, which features indie darling Joe Swanberg in a supporting role, is best suited for those with an appetite for unadulterated sadism and gore.

Screens at Roxie 2/16 915pm, 2/20 7pm

Here is a quick numbers breakdown of my 2013 Cannes Film Festival coverage. I spent about 8 full days (I had two half days that I am counting as one) watching a total of 17 films (not counting the one I walked out on). So I managed to see just over two films on average a day with an average rating of 6.8 that I gave out. All in all, I saw a lot of daring films, many of which were hard to watch, but all were crafted among the best talent in cinema today. So while my ratings may seem a little on the low side, it was only because it felt appropriate to critique them on the upmost of scales considering the extraordinary stage they were presented on.

NOTE: Here is a few films that I did not get a chance to see either because of schedule conflicts or general availability of the release in the US after the festival. Some of the the following could have changed the list; Inside Llewyn Davis, Blue Is The Warmest Color, Fruitvale Station, Behind the Candelabra, The Immigrant, The Missing Picture.

My Top 10 Films from Cannes 2013:

#10 – Ain’t Them Bodies Saints

Affleck dominates the screen when he appears and makes a good case for one of his better roles as an actor. The sun-filled landscapes of Texas provides great cinematography.
Ain’t Them Bodies Saints review

#9 – The Dance of Reality

Although The Dance of Reality is a bit disorganized, the film was extremely playful and entertaining. Feels more like a theatrical play than a film.
The Dance of Reality review

#8 – Nothing Bad Can Happen

Do not be fooled by the title, enough bad and painful things happen in this film, and they will stick with you long after the film is over. Emotions are definitely evoked.
Nothing Bad Can Happen review

#7 – The Congress

Of all the films at this years Cannes Film Festival The Congress may be have the strongest and ambitious plot. The biggest downfall might be that it tried to achieve too much, a shame because it had potential to be much higher on this list.
The Congress review

#6 – As I Lay Dying

This film has to earn the most uniquely shot films of the festival. Several parts of the film are shot in split screen to show perspective and reactions of multiple characters at once. And it did it without it feeling too gimmicky!
As I Lay Dying review

#5 – Borgman

Borgman was this year’s Holy Motors or Dogtooth for Cannes, a film that cranks the bizarre factor to the max. Films that are unlike any others typically sit well with me.
Borgman review

#4 – Nebraska

There is not a whole lot that goes on in Nebraska, similar to the small towns that are featured in it, but this is a road trip/family bonding film that is extremely heartwarming and entertaining.
Nebraska review

#3 – Sarah Prefers To Run

Sarah Prefers To Run wonderfully allows the audience to make their own guesses on what results in the film because of how subtle the film handles much of what is shown. The film contains a great message of controlling your own destiny.
Sarah Prefers To Run review

#2 – The Great Beauty

The Great Beauty takes a few jabs at the current snapshot of Italian culture and does so by showcasing hilarious satire with magnificent cinematography. It ends up being a love letter to Rome, or at least the great beauty of it.
The Great Beauty review

#1 – Like Father Like Son

Like Father Like Son shows its cards nearly right away but it remains intriguing long after you think it has played its hand. It takes a rather simplistic plot and turns it into something of a complex story that explores every angle.
Like Father Like Son review

There cannot be much to complain about when your travels go relatively to plan, but that does not mean that the first day of the 2013 Cannes Film Festival was not a long and hectic day for me. Having less than an hour between both of my flights, one of which included customs, I arrived just as the boarding was about to end for both of my connecting flights. But when I arrived I was greeted with “Video Games” by Lana Del Rey’s that played on my bus ride from the Nice airport into the city where I will call home for the next 10 days, Juan les Pins. I knew that only getting 3 or so hours of sleep was going make the first day challenging and exhausting, and it proved to be so.

Juan les Pins beach

Because I only had time for one film on the first day I decided to give Ari Folman’s buzzed about film, The Congress, a look. The Congress is a part of the Director’s Fortnight program, a sidebar event that is held in tandem with the actual Cannes Film Festival. The screenings for these films are not at the famous Palais des Festival, but are instead held in other theaters spread across the city. I took a few wrong turns but eventually found Studio 13, a theater that is tucked into the residential section of the city. Waiting outside the theater for it to open its doors, I found a few people that spoke fluent English. Turned out that they are all writers from different publications in New York. The screening went mostly fine, apart from an awkward minute or two when the lights suddenly turned on about half way through the film. Afterwards, I made a mad dash to try catching one of the last trains back to Juan les Pins. Because there was a train that was running late, plus the fact that the station announcements are in French only, I nearly got on the wrong train about three different times. I did eventually find the right train back and it felt amazing to finally be done with the day that felt close to two days because of the time change.

In front of Studio 13 at MJC Picaud

The Congress

The Congress seems to be an obvious satire on movie studios, but the film continues to explore other plotlines along the way that makes it difficult to pinpoint exactly what message the film was trying to get across. The truth is, there are many ideas expressed in the film and that might be its biggest downfall. There are laugh-out-loud moments when the film is making fun of movie studios. There are some fascinating insights on the future of cinema. There is even some good old family drama and love interests in the film. The problem is some areas work much better than others. One thing is for sure, it is a wildly ambitious film – perhaps it was trying to achieve just a little too much though.

Read my full review of The Congress