By Amy Nicholson
By LA Weekly critics
By Zachary Pincus-Roth
By Amy Nicholson
By Amy Nicholson
By Amanda Lewis
By Amy Nicholson
By Anthony D'Alessandro
What is the shape and size of a human soul? Does it look like a chickpea? A gumdrop? A pet rock? And if you could somehow extract your soul from your body, what would be left? Would you still be you? These are among the concerns taken up by writer-director Sophie Barthes’ Cold Souls, an amusing divertissement that has injected some welcome levity into the dramatic-competition section of the 2009 Sundance Film Festival, which has otherwise been dominated by visions of poverty, incest, domestic violence, dead children, bloody border crossings and the shadow of 9/11.
Barthes’ film, which could alternately be called Being Paul Giamatti, features the hangdog American Splendor star as himself, in a gently existential comedy about the little-known but highly lucrative world of international soul trafficking. During the rehearsals for a stage production of Uncle Vanya, Giamatti begins to feel consumed by Chekhov’s lovelorn, chronically dissatisfied protagonist, finding himself unable to slip out of character when he goes home at night. At the suggestion of his agent, the actor puts his soul on deposit at a Roosevelt Island “soul-storage facility” run by a kooky David Strathairn (not playing himself), then later opts for a Russian transplanted soul that has been ferried to the U.S. in the belly of a human mule (played by the excellent Russian actress Dina Korzun, last seen at Sundance as the wife of Rip Torn in Forty Shades of Blue).
Maria Vasilyevna Voinitskaya Full of Grace? Not exactly. Like a lot of Sundance entries past and present, Cold Souls begins with a blast of self-assured ingenuity that it can’t quite sustain over the course of an entire feature. But Barthes’ low-fi futurism and respect for the audience’s literacy are easy to admire, and certainly vastly preferable to this year’s other competition film about people searching for the answers to life’s big questions. In writer-director John Hindman’s Arlen Faber, Jeff Daniels plays to the back row as a reclusive Philadelphia author who 20 years ago published a book, Me and God, that came to define spirituality for an entire generation. Now, as reclusive authors are wont to do in Sundance movies, Faber is slowly lured out of his shell by an aggressively annoying cast of supporting characters, which includes an overbearing, overcaffeinated single mother (Lauren Graham) and a self-pitying alcoholic bookseller (Lou Taylor Pucci). “Hell is other people,” Faber says at one point, quoting Sartre; but unlike the self-absorbed, misanthropic writer Daniels so effortlessly brought to life in The Squid and the Whale, this one never convinces as anything but the destined-to-be-lovable central figure in a wide-screen sitcom.
An existential quandary of a different sort drives director Nicholas Jasenovec’s Paper Heart, a hydra-headed narrative/nonfiction hybrid in which the diminutive Asian-American comedienne Charlyne Yi (Knocked Up) sets out on a cross-country journey to discover whether true love is a reality or merely an illusion. For a while, as Yi decamps in Tennessee, Texas and Oklahoma and poses her disarming questions to real ministers, psychics, biology professors and barroom gurus, Paper Heart is a delight, as are the construction-paper and fishing-wire animated interludes Yi uses to dramatize key events from the lives of the several longtime-married couples she interviews along her way. Of considerably less interest is the contrived “B” storyline (which eventually becomes the “A” storyline), in which Yi’s own budding romance with Superbad and Juno star Michael Cera (who appears as himself) wreaks havoc with her progress on the documentary.
While the characters on Sundance’s screens were gripped by such life-altering conundrums, Sundance audiences wrestled with an even greater one: Will Susan Sarandon stop playing grief-stricken mothers before this once-great actress becomes a one-trick caricature of her former self? Having fretted over a son feared missing in Desert Storm in Safe Passage, mourned the death of her son’s fiancée in Moonlight Mile and, most recently, grieved for a son killed upon returning from Iraq in In the Valley of Elah, Sarandon makes it a four-peat with Shana Feste’s dubiously titled The Greatest, in which her 18-year-old son dies in a car crash and his surviving girlfriend (newcomer Carey Mulligan) subsequently announces that she’s pregnant. Seemingly included by the festival only because of its shameless plagiarism of Sundance founder Robert Redford’s Ordinary People, The Greatest is a mourning-family turkey with all the trimmings: a father (Pierce Brosnan) who can’t bring himself to grieve; a mother who refuses to alter so much as one dust mite in the dead boy’s room; a recovering-addict brother (Johnny Simmons) forever in the shadow of his golden-boy sibling; and an incessant love-songs-with-Delilah soundtrack meant to wring tears from even the stoniest of viewers. No movie at Sundance this year has depressed me more — not because of the story it tells but because of the creative bankruptcy it embodies.
By the midpoint of Sundance 2008, the standout film of the dramatic competition was Lance Hammer’s Ballast, which mined unexpected poetry from the story of a poverty-line black family making ends meet in the Mississippi Delta. This year, it’s a film that casts an equally penetrating gaze on the trials and tribulations of disenfranchised blacks in the urban jungle of pre-gentrification Harlem, circa 1987. Adapted from the first novel by the Nuyorican poetess known as Sapphire, Push: Based on the Novel by Sapphire immerses us detail by agonizing detail in the life of a morbidly obese 16-year-old, Clareece “Precious” Jones (newcomer Gabourey Sidibe), whose welfare mother (Mo’Nique) beats her with a frying pan, who is repeatedly raped at the hands of her father (resulting in one Down Syndrome baby and, early in the film, a second pregnancy), and whose only escapes from her bleak existence are the vivid daydreams in which she imagines herself a ghetto-fabulous fashion model or pop star.
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