In Paris in 1969, a young American film editor (Jeremy Davies) works on a dumb European SF thriller set in the year 2000 while trying to film his own life in his spare time; he lives with a French stewardess (Elodie Bouchez), but spends a lot of time fantasizing about the lead actress in the thriller (Angela Lindvall), who plays a secret agent. Asked to replace the director of the thriller (Gerard Depardieu), he goes into overdrive. Writer-director Roman Coppola (son of Francis Ford Coppola) may rely too much on David Holzman’s Diary (a key pseudodocumentary of the 60s) for the hero’s own film — a debt he seems to acknowledge by casting that film’s writer and lead actor, L.M. Kit Carson, in a bit part — but he has a field day with the tacky SF movie. It’s sort of a blend of Barbarella, the Matt Helm movies, and Modesty Blaise, and Coppola imagines it in hilarious detail, bringing it the same kind of devotion shown the equally imaginary Hotpants College II in Love and Death on Long Island. As energetic silliness, this gave me a good time. 91 min. (JR)
Juan Jose Campanella, who splits his time between making features in Argentina and directing TV episodes in the U.S., cowrote and directed this Oscar-nominated comedy-drama, about the midlife crisis and diverse family dealings of a restaurateur (Ricardo Darin). (There are a few anticipations of Argentina’s current economic crisis in the plot, but they’re incidental to the sitcom situations.) The other characters include his girlfriend, estranged wife, remote daughter, mother (in a nursing home, afflicted with Alzheimer’s), and father (who sentimentally wants to renew his wedding vows). This has the sort of good-natured mildness I would associate with Paul Mazursky on one of his less energetic outings; I didn’t feel I was wasting my time but I started looking at my watch long before it was over. With Hector Alterio and Norma Aleandro. In Spanish with subtitles. 124 min. (JR)
This poetic masterpiece (1988) is the crowning work of Joris Ivens, the great Dutch documentarian and leftist, who made it in collaboration with his companion, Marceline Loridan, shortly before his death at age 90. (In fact there’s reason to believe the film was mainly written by Loridan, though this makes it no less Ivens’s own testament.) Neither a documentary nor a fantasy but a sublime fusion of the two, it deals in multiple ways with the wind, with Ivens’s asthma, with China, with the 20th century (and, more implicitly, the 19th and the 21st), with magic, and with the cinema. Ivens was born only two years after Georges Melies screened his first work, and this imaginative, freewheeling, and often comic film reflects on that fact, and on the near century of intertwining film, political, and personal history that made up Ivens’s life. For all its cosmic dimensions, it’s funny and lighthearted rather than pretentious and ponderous; it may even renew your faith in life on this planet. In French with subtitles. 78 min. Gene Siskel Film Center, 164 N. State, Friday, May 24, 8:00, 312-846-2800.
Aside from a tacky epilogue, this is a surprisingly faithful (albeit updated) adaptation of Herman Melville’s eerie yet funny 1853 story about a Wall Street drudge who unexpectedly refuses to work or do anything else, meeting every request with the response, I would prefer not to. Crispin Glover seems born to play such a part, though Jonathan Parker, in his first feature, transfers the character to a drab office building on a hill overlooking a freeway, and, in keeping with the spirit of the original, makes the story just as much about the narrator, the hero’s boss (effectively played by David Paymer). The secondary castGlenne Headly, Joe Piscopo, Maury Chaykin, and Seymour Casselis equally good, and the degree to which Melville’s story registers as a kind of satire about capitalism, alienated labor, and the resistance engendered by both, hasn’t escaped anyone. Catherine di Napoli collaborated with Parker on the script. 82 min. (JR)