Raindance 2024: Dog War

Touching and action packed, Raindance selection Dog War follows a team of war-hardened, canine-loving combat veterans fighting to stop the dog meat trade in South Korea. Covertly and overtly, they infiltrate hidden farms and markets to rescue as many dogs as possible. The film’s wide range of interviewees—activists, politicians, dog meat farmers and vendors—provide a 360-degree view of this complex issue. Dog War is not just about dogs, but the clash of perspectives about what is right, ethical, and even natural or cultural.

Director Andrew Abrahams: “My films often focus on hidden stories of suffering, places where boundaries or assumptions collide, and where new life can spring forth. Dog War can be intense and disturbing, but avoids demonizing a people or culture—or showing the brutalization of dogs, which could turn off viewers. Rather, it gives us a window into a country in transition, asking universal questions about animal rights vs. human livelihood, heroism vs. vigilantism, and the breach of contract with man’s best friend.”

The dog meat trade is most widespread in China, South Korea, the Philippines, Thailand, Laos, Vietnam, Cambodia, Indonesia and Nagaland in northern India. This trade is well-organized, with high numbers of dogs being stolen or taken from the streets, transported over long distances and brutally slaughtered. In South Korea, dogs are also intensively farmed for the meat trade. Dogs are also known to be eaten in certain African countries, but nothing compares to the sheer scale of the trade across Asia.

Source/images: ARPR

Raindance 2024: Sting Like a Bee

It is now almost twenty years since Leone Balduzzi—better known by the mononym Leone—made his short film Splendida Giornata, and in the intervening years he's directed several other shorts including French Toast and Tram Stories.  The sometimes large gaps between his films can be accounted for by both Leone's prolific work as a photographer and his role as the publisher of C41 magazine.  With Sting Like a Bee, Balduzzi steps behind the camera for his first feature as director; this assured debut, which was filmed in Leone's native Italy, is one of the selections for this year's Raindance Film Festival, where it has been nominated for the Best Documentary Feature award.  

Sting Like a Bee unfolds in and around Leone's hometown of San Salvo, a southern Italian resort on the Adriatic coast.  The film's opening stretch focuses on the Piaggio Ape, that distinctive three-wheeled light commercial vehicle favoured by many Italian youths; in Italy, you only need a moped licence—available to those aged 14 and over—to drive one.  The Ape ("bee") is basically a scooter with a cab, and it's the slightly younger sibling of Piaggio's ever-popular Vespa ("wasp"), with both models having remained in continuous production since the mid-late 1940s—a period when, with the economy having tanked on account of WW2, Italians were in need of cheap transport options.  

Apes aren't so cheap nowadays, and the youths featured in Sting Like a Bee spend much time and money on all kinds of after-market modifications for their prized vehicles.  As Leone goes about interviewing a selection of San Salvo's Ape enthusiasts, Sting Like a Bee feels very much like a garden variety documentary—albeit a highly engaging one.  But once the film has settled down into familiar territory, a very different picture emerges, one in which the director sets about casting some of these Ape-mad teens in a film centring on first love.  Thus, Sting Like a Bee morphs into a hybrid work where these young adults attempt to navigate the choppy, uncharted waters of dating and romance.  

In a sense, the film's slippery blend of reality and fiction recalls Ben Petrie's The Heirloom—another Raindance 2024 title—in that there are times when it isn't clear if what we are watching is scripted or simply documented.  Parallels can also be drawn between Leone's film and Gaspar Noé's Lux Æterna: each work was commissioned as a piece of branded content—Piaggio sponsored Sting Like a Bee, while Noé received funding from Yves Saint Laurent—before it veered off into very different territory from what its financer had expected.  This charming, engrossing film plays on Thursday, when it is showing at the Genesis cinema; the screening will be followed by a Q&A session with Leone.

Darren Arnold

Images: Festival Scope

Raindance 2024: The Heirloom

Having had its world premiere at this year's International Film Festival Rotterdam—where it took its place alongside the likes of Jonathan Glazer's Oscar-winning The Zone of Interest, Julien Maury and Alexandre Bustillo's horror The Soul Eater, Kaouther Ben Hania's documentary Four Daughters, and Sean Durkin's biopic The Iron Claw—Ben Petrie's The Heirloom plays at the Raindance Film Festival tomorrow, when it screens at London's Prince Charles Cinema.  In terms of the festival's prizes, The Heirloom has been nominated in the same categories as Dorka Vermes' Árni, with both films up for Best Debut Director, Best Performance in a Debut, and the Discovery Award for Best Debut Feature.    

Prior to The Heirloom, Ben Petrie had made half a dozen shorts, the most recent of which is also the best known: Her Friend Adam (see trailer below).  Heavily reliant on a DIY aesthetic, Petrie's feature debut feels like a very natural progression from his short film work.  In The Heirloom, the director himself stars as Eric, a filmmaker labouring over a script he started some years earlier.  As in Her Friend Adam, the writer-director's real-life partner Grace Glowicki plays Petrie's character's companion, and as Eric toils over his screenplay, Glowicki's Allie is desperate to get a rescue dog.  Eric has some misgivings about such an endeavour but eventually agrees, and the wheels are set in motion.

With lockdown looming, the race is on to secure a dog before the pandemic makes such a transaction impossible, and Allie and Eric arrange to rehome Milly, a whippet from the Dominican Republic.  Given the restrictions that are in place on account of COVID, Allie and Eric need to collect Milly directly from the airport; cue a vaguely threatening nocturnal scene in which the couple meet their new pet on the wintry tarmac.  Once this tense sequence passes, Milly is taken to Eric and Allie's home and, as you might expect, it takes some time for her to get used to these new surroundings.  Milly is a sweet girl, but one lacking in confidence, and Allie and Eric work steadily to integrate the dog into their lives. 

As Milly becomes established in the couple's home, Eric—who now firmly states his desire to achieve a work-life balance—abandons his moribund screenplay in favour of making a film about the couple's relationship with their pet.  From this point on, The Heirloom turns into a most slippery metafiction, one in which we're never entirely sure if what we're watching is simply the film, or the film within that film.  There are a few clues here and there—a stray boom mic, multiple takes of Allie reacting to Milly urinating on the floor, the diegetic noise of a drone engine as it films an overhead shot—but it says much about Ben Petrie's filmmaking that The Heirloom works so fluidly.  The screening will be followed by a Q&A.

Darren Arnold

Images: IFFR

Raindance 2024: Árni

Dorka Vermes' debut feature Árni has already enjoyed outings at both the Hong Kong International Film Festival and La Biennale (the film was developed by Venice's Biennale College Cinema initiative), and it continues to play the fest circuit with a screening at this year's Raindance Film Festival.  As of now, Raindance has been moved from its traditional autumn berth in the festival calendar, and the 2024 edition will occupy a midsummer slot, running June 19–28; shifting the festival away from the crowded autumn season seems a sensible move, although Raindance 2024 is very much a pilot edition as far as its timing is concerned.  A ticket for Wednesday's UK premiere of Árni includes a nice extra in the form of a Q&A session with the film's director.

Vermes, who previously directed the short films Anyák napja and Alba Vulva, has made a remarkably assured film in Árni , in which the lead role is played by the excellent Péter Turi—an actor who provided the inspiration for both the title character and film.  Turi's Árni is a handyman at a travelling circus, and he appears to be the only non-family member in the setup.  The circus itself is a truly joyless spectacle, one populated by forlorn animals and grim-faced humans, and Árni appears to have more in common with the creatures he cares for than the family circle he sits on the fringes of.  Árni is a hard worker: in addition to looking after the circus' animals, he is tasked with various other jobs such as putting up advertising boards and recruiting local manpower to help erect the big top.   

While Árni says very little, it's clear that he's a much deeper thinker than most of his colleagues, who are content to party the night away once the day's business has been concluded (it doesn't take very long to tot up the daily sales of souvenir pictures and bags of popcorn).  But Árni's quotidian drudge is interrupted by the arrival of a python, who the family have ordered for the circus' reptile show segment; the snake is way bigger than expected, and as such the owners of the circus are wary of incorporating it into their act.  Yet Árni forms a bond with the reptile, whose presence seems to unnerve many of the other workers.  The film's final stretch sees it take a sharp left turn as it moves into an extended trance-like sequence in which Árni, for once, takes centre stage in his work milieu.   

I'm not sure if this closing passage is entirely successful but, for the most part, Árni is a highly compelling work.  Wednesday's screening of the film takes place at the Curzon Soho—one of five London venues being used for this year's festival (the others being the Genesis, Prince Charles and Curzon Mayfair cinemas, with the industry hub based at Wonderville on Haymarket).  Made under the auspices of none other than Béla Tarr (Werckmeister Harmonies, The Turin Horse), who, seven years ago, was the subject of an exhibition and retrospective at Amsterdam's EYE Filmmuseum, Árni is nominated for several awards at this year's Raindance: Best Debut Director, Best Performance in a Debut, and the Discovery Award for Best Debut Feature.  Don't bet against it winning at least one of these prizes.  

Darren Arnold

Images: Proton Cinema

Raindance 2024: Eternal You

What if a person's death did not mean their end of life? What if their loved ones could still talk to them long after their body has been cremated or is lying lifeless in the ground? Eternal You—which screens tomorrow as part of this year's Raindance Film Festival—accompanies people who use AI to ‘connect with the dead’. Offering a powerful commentary on the commercialisation of grief, from the perspectives of ethicists and technologists to entrepreneurs, the film follows Joshua who chats day and night with the digital clone of his deceased first love and lets her take part in his everyday life; Christi, who just wants confirmation that her late best friend is doing well in heaven, but has a harrowing experience with his AI likeness; and Jang Ji-Sung, who meets the VR clone of her daughter. 

The inventors of the services deny any responsibility for the profound psychological consequences of those experiences. Numerous competitors hope for a lucrative market, with major players such as Microsoft and Amazon entering the race for afterlife-related services. A new, secular narrative of salvation through ‘digital immortality’ is emerging, as religious and collective forms of mourning lose relevance. From the multi-award-winning directors of The Cleaners (2018), Hans Block and Moritz Riesewieck, Eternal You is an exploration of a profound human desire and the consequences of turning the dream of immortality into a product—and in turn the possibility of the end of human finitude.

Source: Margaret London

Images: Max Preiss / Konrad Waldmann

Queendom (Agniia Galdanova, 2023)

Jenna Marvin, a queer artist from a small town in Russia, dresses in otherworldly costumes and protests the government on the streets of Moscow. Born and raised on the harsh streets of a frigid outpost of the Soviet gulag, Jenna stages radical and dangerous performances in public to change people's perception of beauty and queerness and bring attention to the harassment of the LGBTQ+ community. Queendom is a breathtaking portrait of creative courage. "I’m proud and excited to share this important coming-of-age story of this fearless artist Jenna Marvin who celebrates queerness and fights Putin's regime," states director Agniia Galdanova. "Her art is unique, rebellious, and hopeful, while her life story is urgently timely."

Queendom is produced by Agniia Galdanova and Igor Myakotin with executive producers Jess Search, David France, Arnaud Borges, and James Costa. It is a Galdanova Film production in association with Sundance Institute Documentary Film Program, International Documentary Association, InMaat Productions, Doc Society, and Sopka Films. Greenwich Entertainment's Andy Bohn negotiated the acquisition with Submarine's Ben Schwartz on behalf of the filmmakers. The film received its World Premiere at SXSW, followed by screenings at numerous festivals including BFI London Film Festival and International Documentary Film Festival Amsterdam (IDFA). Greenwich will release the award-winning film in cinemas and everywhere you rent films on June 14, 2024.

Source: DMAG PR

Images: BFI

Four Daughters (Kaouther Ben Hania, 2023)

Earlier this year, acclaimed filmmaker Kaouther Ben Hania's Four Daughters (Arabic: Banāt Olfa; French: Les Filles d'Olfa) fell slightly short in its bid to win the Oscar for best documentary feature.  Ben Hania is no stranger to the Academy Awards, as her 2020 narrative film The Man Who Sold His Skin was nominated for best international feature; centring on a Syrian man who went to desperate lengths to reach Brussels, the film was based on a bizarre true story and starred Monica Bellucci and Belgian actor Koen de Bouw.  The Man Who Sold His Skin would eventually lose the Oscar race to Thomas Vinterberg's excellent Druk (AKA Another Round), and Four Daughters also faced some stiff competition in March when it came up against Maite Alberdi's The Eternal Memory, Christopher Sharp and Moses Bwayo's Bobi Wine: The People's President, Nisha Pahuja's To Kill a Tiger, and eventual winner 20 Days in Mariupol.

Four Daughters'  Dutch premiere took place in January, when it played in International Film Festival Rotterdam's Limelight strand, which also included such titles as Bertrand Bonello's The Beast, Sean Durkin's The Iron Claw and James Nunn's One More Shot.  This year, the Limelight section opened up its scope beyond Rotterdam, with audiences in Arnhem, Groningen, Maastricht and Den Bosch getting the chance to catch an advance screening of a film from the strand's eclectic selection.  Ben Hania's film focuses on a Tunisian family headed by single mum Olfa Hamrouni, who, as per the title, has four daughters.  In the wake of the First Arab Spring (which began in Tunisia, the only democracy to emerge from the uprisings), Olfa's two eldest girls—Rahma and Ghofrane—were radicalised and left home for a jihadist training camp in Syria.  Understandably, this left a huge hole in the lives of Olfa and her other two daughters, Eya and Tayssir.

In Four Daughters, actresses Nour Karoui and Ichraq Matar respectively take the roles of Rahma and Ghofrane, while Eya and Tayssir play themselves as events from the four girls' past are restaged for the camera.  While this is all quite straightforward—in essence, the sisters are joined by proxies for their absent siblings—matters get much cloudier when it comes to the mother's part in the film: even though Olfa is still very much present in the family home, she too is played by an actress (Hend Sabry), but the real Olfa is always ready to interrupt a scene when she feels it isn't playing out as she remembers.  It's suggested early on that Sabry's function is to act in those episodes which are too painful for Olfa to relive, although Eya and Tayssir are afforded no such safety net.  Given its slippery mix of fact and fiction, some may have been slightly surprised to see Four Daughters nominated for the best doc Oscar—it is certainly more of a docudrama than a strict documentary—but on balance it is fair to say that the film always has reality at its core.

As formally interesting as it is sincere, Four Daughters is sadly lacking when it comes to providing genuine insight into why these two girls decided to join Daesh; in this regard, Benedetta Argentieri's The Matchmaker—which documented the story of student Tooba Gondal, who left London to link up with ISIS in Syria—offered a more compelling look at the radicalisation of young women.  With her novel setup established, Kaouther Ben Hania appears wary of doing anything that could upset the metafictional apple cart, and the upshot is that the form eclipses the content.  But the quasi-family dynamic presented here is both moving and undeniably impressive, and there is much to like about the ways in which the performers interact with Olfa and her two remaining daughters.  Surprisingly, given its grim subject matter, Four Daughters is not without humour, and several of the reënactments elicit genuine laughter from all involved.  Yet no amount of hilarity can obscure the keen sadness at the heart of this fitfully engaging film.

Darren Arnold

Images: Jour2Fête