The Summit

Ireland/UK/Switzerland/US | 2012 | directed by Nick Ryan

Logline: A documentary about the tragedy and controversy that involved two-dozen mountaineers on K2 in 2008.

Fashioned in the same compelling way as Kevin MacDonald’s brilliant Touching the Void (2003), by using extraordinary re-enactments interwoven with interviews, but also utilizing existing video footage and still photography, this is documentary filmmaking at its most powerful and mesmerizing; utterly suspenseful, beautifully shot, and undeniably fascinating.

K2, the second highest natural peak in the world, is often shadowed by the exploits of climbers conquering Mount Everest. The reality is, attempting to reach the summit of K2 - nicknamed the Savage Mountain – is a far more dangerous endeavour than its higher Tibetan neighbour. For every four mountaineers that reach the summit K2, one will perish on descent.

The death is a tragedy that becomes a statistic. One of hundreds. 

Over 48-hours from August 1st, 2008, a tragedy occurred that resulted in the deaths of eleven climbers, members of several teams, including Sherpa’s. It was a terrible loss that became a controversy, as many conflicting stories emerged from the survivors, of which there weren’t many.

At the heart of the documentary is the story of Irishman Ger McDonnell, a hero who broke the mountaineers’ unwritten code (leaving a climber for dead who wanders off or falls or is too incapacitated to move). McDonnell attempted to rescue three Korean climbers who were incapacitated and perished in an ice collapse from the notorious serac that overhangs the equally notorious bottleneck, all of which is in the Death Zone (above 8000 metres).

McDonnell’s immediate family are desperate to find out the truth of what happened on that perfect cloudless day that turned into the perfect storm of grief. The inherent confusion surrounding the events (time and space become very fragile in the Death Zone) and with only a clutch of survivors, the truth lay with just two people: the Italian Marco Confortola and Sherpa Pemba Gyalje.

As contrast to the recent events there is the first conquering of the mountain by the Italians in 1954 with fantastic footage of the gung-ho team setting off and on the Savage Mountain itself. Combining stunning widescreen cinematography of K2, brilliant CGI compositing of climbers upon the mountain, and an editing/narrative style reminiscent of a thriller, The Summit is one of the best documentaries of the year.

The Summit screened as part of the 60th Sydney Film Festival. 

I Am Divine

US | 2013 | Directed by Jeffrey Schwarz

Logline: A documentary on the life and career of Divine, a drag queen, and the muse of director John Waters.

Harris Glenn Milstead was never going to be the shy and retiring type. From his time spent in hair salons as a young boy, he knew from an early age he was destined to perform a little differently. He was bullied at school and although he dated a girl for several years, deep down he knew he needed to step up to the plate to bat for the other team. But it was Baltimore maverick film director John Waters who was instrumental in creating the extreme exhibitionist sensation known to the world as Divine.

This isn’t an “underground” documentary, and as such it doesn’t get its paws anywhere near as grubby as one of Waters’ early features, but it still manages to successfully champion the body of work and the work of body that was Divine, “the most beautiful woman in the world”, and at one career defining point, “the filthiest person alive!”

Divine’s rise to stardom has the result of several key elements: John Waters no-holds-barred approach to no-wave stylistic excess, the early 70s climate of sexuality in society, and Glenn Milstead’s sheer tenacity and fearlessness. After appearing in several of John Waters’ early black and white Super-8mm and 16mm movies that had been showing on the underground Midnight Movie circuit it was the dirty shock glamour of Waters’ first colour feature (a 35mm blow-up), Pink Flamingoes (1972) - made for ten grand, which was a huge budget for Waters at the time – that propelled the drag queen to the attention of Hollywood A-listers who queued with others to see the movie.

It wasn’t until 1984 that Divine finally reached the mainstream he (she) always had dreamed of. It was Hairspray, also John Waters’ most accessible and successful movie. Divine had been on the up and up, having appeared in several more of Waters’ features since Pink Flamingoes, including Female Trouble and Polyester, and also Paul Bartel’s Western spoof Lust in the Dust.

Divine was set to star in a guest capacity on Married ... With Children which, at the time, was one of the most successful sit-coms in America. But Milstead’s obsession with eating had done irreparable harm to his heart and on the night before he was due to start work on the TV show he suffered a massive coronary and died in his sleep.

Jeffrey Schwarz has made a very affectionate and endearing portrait of Divine and his conquering of the world of female impersonation to become an international drag icon. Numerous celebrities are interviewed including many of his film colleagues, John Waters, Mink Stole, Tab Hunter, Ricki Lake, but also his mother (whom the film is dedicated to, as she passed away during post-production).

I Am Divine screens as part of Revelation - Perth International Film Festival, Monday 8 July, 7pm, Paradiso, and Saturday 13 July, 11pm, C1 Luna. 

The Crash Reel

US | 2013 | Directed by Lucy Walker

Logline: A documentary about the rise, crash, and rehabilitation of Kevin Pearce, a furiously talented young snowboarder, and of those around him who were affected.

Kevin Pearce, or KP as he was nicknamed by his loyal followers, was a gifted athlete; an adventurous child who tackled and mastered skateboarding and surfing before moving on and conquering the highly competitive extreme sport of professional snowboarding. When I say, “conquering” he didn’t actually reach the heights he was aiming for, but he had the aptitude, and he had the momentum.

Then, one bright clear New Year’s Eve morning on the slopes of Park City, Utah, KP launched himself down into the half-pipe for a day’s training leading up to the 2010 Winter Olympics, three months away. He caught a toe edge and slammed into the icy packed snow, a full face-plant from a drop of about three metres. He was knocked unconscious, bleeding from his mouth, nose, and his left eye bloodshot - all of it being videoed by his mate.

Pearce underwent surgery, was in a coma for two weeks, and endured a two-year rehabilitation program. He was very lucky to survive, and was left with TBI (Traumatic Brain Injury), resulting in memory loss, tremors, mood swings, and a very fragile head. But Pearce wanted to return to snowboarding; firmly believing he had what it took to be a champion again.

Director Lucy Walker’s compelling and heartbreaking documentary is helped tremendously by Kevin’s innate charisma and endearing personality. But also of great exception is the fifteen years of video footage taken by various family and friends that tracks his obsession with snowboarding. It’s as if the film has been created, rather than molded.

The Crash Reel is awesome documentary filmmaking, challenging the viewer’s opinions, revealing very raw human emotions, the vulnerability of the human psyche, but even more importantly, the fragility of the human body. A friend of mine once said, “Nothing good ever comes from sport.” Of course this is a massive generalisation, but the kernel of truth points to the extreme sports, those that continue to push the human body into doing things they were never, ever, meant to do. When Kevin Pearce first started snowboarding the half-pipes were 8 or 9 feet high, but by the time of his accident they had reached the 22 foot-high mark giving snowboards serious air at serious speed.

Kevin Pearce’s family and his close-knit friends feature prominently, his mother terrified of his desire to return to the sport that almost claimed his life and has left him with permanent scars on his brain and the psychological handicaps that come with that. His Down Syndrome brother constantly cries over KP’s decision. His older brothers and father try to reason with him. His mother takes him to visit another snowboarder who has suffered two TBI’s. It’s a sobering experience.

The Crash Reel screens as part of the 60th Sydney Film Festival; Monday 10 June, 2pm, at Event Cinema 9, and Sunday 16 June, 5:05pm, at Event Cinema 4, George Street. 

Blackfish

US | 2013 | Directed by Gabriela Cowperthwaite

Logline: A documentary about the sometimes-devastating consequences of keeping orca, ferociously intelligent creatures, in captivity, and the trainers who work with them.

There’s a quote from the late Carl Sagan, the renowned cosmologist and science communicator (amongst other things); “It’s of interest to note that while some dolphins are reported to have learned English – up to fifty words in correct context – no human begin has been reported to have learned dolphinese.” While this might sound like a silly observation there is much weight behind it.

Orca - more commonly known as killer whales (a troubling, but sadly accurate description) - share much with dolphins, most notably their fierce intelligence, for these are sentient creatures, capable of a wide range of emotions and are equipped with a complex understanding of the power and breadth of language.

Of course humans needed to have these magnificent mammals controlled so they could harness their spectacular presence and showcase them for profit. And so Sealand of the Pacific and SeaWorld were created.  Tilicum was captured as a baby in 1983, and is now nearly 7 metres long and weighs in at 5,400 kilos. His dorsal fin is collapsed and he was involved in the deaths of three people.

Tilicum isn’t the only captive killer whale to have responded aggressively toward humans. It is this fascinating and distubring documentary that raises the very serious question of whether such facilities as SeaWorld, essentially a large swimming pool with sea cells for when the whales aren’t performing, should be in operation. Or to be more precise, whether animals such as killer whales, should be in captivity.

Numerous former SeaWorld trainers are interviewed; many of them overcome with emotion when describing the treatment of Tilicum and of the circumstances surrounding the death of trailer Dawn Brancheau, who was killed by Tilicum in 2010. One interviewee is certain that in forty or so years we will look back on this period and shake our heads at the barbaric nature of keeping these magnificent mammals in captivity.

If you’re an animal lover, you’ll find much of this documentary hard to take, but its essential viewing for anyone even remotely interested in the future welfare of our planet’s inhabitants. Cleverly and profoundly, director Gabriela Cowperthwaite has stated her case. SeaWorld repeatedly declined to be interviewed for the doco, and that speaks volumes.

Blackfish screens as part of the 60th Sydney Film Festival, Friday 7 June, 8:45pm, and Saturday 8 June, 12.30pm, at Event Cinema 4, George Street. 

Bellflower

US | 2011 | Directed by Evan Glodell

Logline: A young man deals with the tumultuous juggle of a long-standing friendship vs. a new romance.

"Pursuit of Happiness"

Woodrow (Evan Glodell) and Aiden (Tyler Dawson), two young restless men, plan to take the inevitable apocalypse’s bull by the horns. They will arm themselves with DIY flamethrowers and cruise the ruined landscape in Medusa, their souped-up Mad Max-inspired ’72 Buick Skylark, as legendary bandits.

"Memories"

Then Woodrow meets Milly (Jessie Wiseman) and everything changes.

"Almost Home"

Bursting with the colour of a sunburnt summer’s edge, drifting with the curious irresponsibility of a dog off its leash, resonating like a tequila hangover after you’ve sculled the hair of the mutt that bit you, Bellflower is the cure for the romance you never want to find, it’s the answer that never had a question, the kiss that leaves a scar you’ll cherish.

"All Things End"

Made on the smell of an oily rag, Bellflower is a true labour of love, made with a bunch of friends who shared the rose-coloured vision through cracked lenses. This is a movie that basks in the sunshine of pure cinema; moments in love, be it friendship or a relationship, be them drunken, stoned, happy, angry, or sad. These are scenes imbued with the fragility, urgency, carelessness, and intimacy of living in the moment.

"Legend of The Medusa"

At the core of Bellflower – the title takes its name from the Californian suburb where the friends roam – is the friendship of Woodrow and Aiden. In this respect it’s a buddy flick. But the greater picture reveals more complex relationships - and romance, both direct and indirect, rears its head to turn those to stone who spit at it.

"Nobody Gets Out of Here Alive"

The gorgeousness of broken youth, Bellflower blooms with flames of rage and despair. This was a movie that resonated with me for days after. The distinct, expressionistic cinematography – courtesy of a unique Glodell-customised digital camera – the use of hip source music and an evocative original score, and the charismatic, naturalistic performances of the unknown cast; in particular, Rebekah Brandes’ as Milly’s friend Courtney.

"In the Darkest Hour"

Bellflower is an acquired taste, but it tickled my dark fancy something exquisite. You haven’t seen anything quite like it, yet so much feels familiar. This is the mumblecore masterpiece that wasn’t even aware of its hip trappings, and my personal favourite movie of the year.

Bellflower DVD is courtesy of Accent Entertainment, many thanks.