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"There are no perfect films," says MIFF artistic director Nicole Guillemet. "There is no perfect anything. But there are more films now, and many better ones. It is a good time for the movies."
But how can a movie fan handle all of this? Like the city and the college it calls home, the festival is at the crossroads of the Americas and in a good position to reflect an ever-widening geographical and cultural reality. But if the whole seems overwhelming, the accents too many, the viewpoints a kitchen-sinkful's worth, the details are at once rich and richly entertaining. And the way to get a handle on it all is to follow the festival's own multitrack train of thought: There are festivals within the festival.
The entertainment value is high no matter how you slice it, and one random way to enjoy the extravaganza might be to simply pay attention to the glamorous gala premieres at the Gusman Center. This will be the place to catch what is becoming an annual event, beloved homeboy Andy Garcia's festival entry, which in 2006 means a first look at a love letter to Havana called Lost City sold out the minute it was announced. (Possible extra screenings might be scheduled.) Gusman also is the venue where the whole affair opens and closes, with Argentine Eliseo Subiela's Heartlift and American Nicole Holofcener's Friends with Money acting as festival bookends. In between are what promises to be a thrilling Wim Wenders tribute and the premiere of his Don't Come Knocking (cowritten with Sam Shepard) as well as high-profile international offerings such as Carlos Saura's Iberia, Anne Fontaine's In His Hands, Andreas Dresen's Summer in Berlin, plus Jean-Pierre Dardenne and Luc Dardenne's L'Enfant the best-reviewed international film in the festival and the one whose omission from the Oscar pool has already caused quite a commotion.
Elsewhere in the festival, one can concentrate on documentaries or features, from everywhere or of specifically Iberoamerican provenance, or even on movies billed as "Touching Florida." Also offered is a healthy representation of women's work, although Guillemet claims "there is no such thing as a woman's sensibility when it comes to directors."
Or you could hone in on the films that reflect current global events, such as those spotlighted under MIFF's Big Picture banner. "We always have a Big Picture program," says Guillemet, who came up with a few especially challenging themes this year, including the death penalty, the growing opposition to the war, the effect of the war on children, and the most original a series called "The Banlieue in French Cinema: Stories from the Ghetto on the Outskirts." The French, it turns out, are different, and terms like inner city and suburb connote the opposite of their meaning in American English. Yet the plight and alienation of impoverished Arabs and Jews in these Parisian suburbs are inspiring a gritty and breathtaking response from Gallic filmmakers. From Mathieu Kassovitz's now-classic L'Haine (Hate) to the several French-made festival premieres about the boiling point of postcolonial violence and its aftermath, MIFF mines for gold in one of the world's unlikeliest multicultural quarries.
"You never know what you are going to find," says Guillemet.
Here are some of this year's festival highlights, a short checklist to scratch the glittery surface and get you going to the movies.
Don't Come Knocking: The centerpiece of MIFF's Career Achievement Tribute to Wim Wenders is the premiere of the German filmmaker's latest picture, written by and starring Sam Shepard, with Jessica Lange, Tim Roth, Gabriel Mann, Sarah Polley, Fairuza Balk, and the ageless Eva Marie Saint. It is billed as a road movie about missed connections and family ties, but with this lineup it is bound to be much more and a sure sellout. The Wenders tribute also features a screening of his improbable international hit with a marked Cuban accent, The Buena Vista Social Club.
The Lost City: This one will surely resonate in Miami. Directed by favorite son, Miami Dade College alum, and international star Andy Garcia, it features an impressive cast that includes Garcia, Dustin Hoffman, Bill Murray, Tomas Milian, Steven Bauer, Enrique Murciano, Nestor Carbonell, Elizabeth Peña, and Lorena Feijoo, the exiled Cuban ballerina who is the closest thing to Alicia Alonso onstage today. Arguably the most touching aspect of this love letter to a once-gleaming metropolis is that its screenplay is the last work of Guillermo Cabrera Infante, the incomparable Cuban novelist who never quite overcame the heartbreak of leaving his beloved Havana.
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