From daring reimaginings to masterful homages, the 14th Montclair Film Festival proved a feast for cinephiles—spotlighting bold visions from Nia DaCosta to Park Chan-wook, BI Gan, and Richard Linklater.
It was another remarkable year for the Montclair Film Festival, which celebrated its 14th anniversary with a diverse lineup of films from around the world. The festival opened with Noah Baumbach’s Jay Kelly, starring George Clooney and Adam Sandler. Hikari’s Rental Family was featured as the Fiction Centerpiece, while Ryan White’s Come See Me in the Good Light served as the Documentary Centerpiece. Academy Award winner Brendan Fraser was honored with the Performer Award, and David Michôd’s Christy closed out the festival. Additional highlights included Bugonia, directed by Yorgos Lanthimos, and Sentimental Value, directed by Joachim Trier. Let’s take a look back at some of the standout selections from this year’s festival.
Hedda by Nia DaCosta
Tessa Thompson stars as Hedda Gabler in Nia DaCosta’s period piece, a reimaging of Henrik Ibsen’s classic. This latest collaboration for Thompson and DaCosta, as they’ve worked on other projects together, included DaCosta’s 2018 directorial feature debut, Little Woods. Hedda Gabler is an acclaimed stage drama from 1891 by Henrik Ibsen, and DaCosta put a modern twist on the classic play. DaCosta was also the screenwriter of the film, which is set over the course of one night in 1950s England. Hedda (Thompson) and her husband, George Tesman (Tom Bateman), throw a lavish and over-the-top party in their home that they cannot afford. The drama begins when Hedda’s previous lover, Eileen Lovborg (Nina Hoss), shows up with her girlfriend, Thea Clifton (Imogen Poots), along with a copy of her new manuscript. Many have called this adaptation provocative (which it is), as there have been other adaptations of Hedda Gabler, but this one tells a queer story. In Ibsen’s play, the character of Eilert Lövborg is gender-swapped, becoming Eileen Lovborg, which presents an interesting take on how the film explores sexuality and social obstacles. Hedda has a slow, rocky start, setting up the story and its characters, as it features a large cast. This is a story that features tension, romance, jealousy, and sabotage, but fails to leave the emotional impact that DaCosta was looking to deliver. Thompson is sensational as Hedda, and she also serves as a producer of the project. It’s a fascinating character study piece, but when it comes to other characters, such as her husband, George, played by Bateman, they lack depth. DaCosta’s take on Hedda takes on a daring approach filled with ambition, thanks to its strong casting from Thompson, but it does not entirely resonate.
No Other Choice by Park Chan-wook
One of my favorite films from the festival, and a must-watch, is Park Chan-wook’s No Other Choice. The film is based on the 1997 novel The Ax by Donald Westlake and is the second adaptation of the novel; the first adaptation was released in 2005 by Costa-Gavras. Yoo Man-su (Lee Byung-hun) leads a happy life, is married, has a beautiful family, two Golden Retriever dogs, and a job he loves at a paper company. That all changes for him when he is suddenly laid off, and after being unemployed, he comes up with a plan to eliminate his competition and secure a new job. No Other Choice is a wicked dark comedy that is flawlessly told with unexpected twists and turns. The film tells a compelling story about unemployment and capitalism, making it incredibly relevant to today’s society. Lee Byung-hu delivers a brilliant performance, allowing the audience to sympathize with his character despite the violent choice he makes as he is desperate to secure employment. His performance helps him shine alongside the supporting cast, also helping balance the film’s tone and complements the narrative, which in turn helps establish the film’s themes. Kim Sang-bum’s camerawork contributes to the film’s style, as it is both vibrant and tense. Park Chan-wook’s film is South Korea’s entry for Best International Feature Film for the 98th Academy Awards, and I hope it snags the Oscar.
Resurrection (KUANG YE SHI DAI) by BI Gan
Resurrection, directed by Bi Gan, delivers a unique cinematic experience to the audience. The non-linear sci-fi story is set in a world where humans lost the ability to dream. Miss Shu (Shu Qi) falls into a surgical coma, where she discovers the Fantasmer (Jackson Yee), an inhuman being who can still dream, and embarks on a sensory cinematic journey. Audiences see the film incorporate different genres of cinema, including silent film, film noir, and vampire romance/horror. Resurrection is a movie that requires a lot of patience, as it’s an experimental watch that is visually stunning. One of the most impressive scenes includes a 40-minute-long take, which is fantastic to see all unfold on screen. A film that is almost three hours long delivers a captivating cinematic experience, but it can be frustrating to follow due to its narrative complexity. Some audiences may find the narrative slightly confusing at times, given the scope of the ideas presented. Bi Gan was awarded a special prize at the 78th Cannes Film Festival for his film, and due to his bold ambition to honor cinema, it’s clear to see why, even if the story isn’t perfectly played out.
Nouvelle Vague by Richard Linklater
Another film, that’s a love letter to cinema, is Nouvelle Vague, directed by Richard Linklater. This film isn’t just a tribute to cinema, but to the French New Wave movement. Linklater’s film offers his take on how the 1960 classic Breathless was made. The story follows young director Jean-Luc Godard (Guillaume Marbeck) as he shoots the film, starring Jean Seberg (Zoey Deutch) and Jean-Paul Belmondo (Aubry Dullin). After watching Linklater’s film, I appreciate Godard’s film even more. The film pays tribute to the French New Wave movement, as it is in French, shot in black and white, and features a 4:3 aspect ratio. Deutch vibrantly stands out as the iconic Seberg with her take on the actress, while Marbeck is the perfect Godard, capturing the spirit of the filmmaker. However, for an audience unfamiliar with Godard or the French New Wave movement, the film may not be appreciated or may be found boring. Nouvelle Vague has charm and is a must-see for aspiring filmmakers or true cinephiles.
