57th Chicago International Film Festival: Dispatch 3
Beautiful landscapes and outstanding performances are inescapable in Iranian director Panah Panahi’s wonderful debut feature Hit the Road. What begins as a charming and rather lighthearted family road picture quickly gives way to something far more mysterious as Mother, Father, and Little Brother (Pantea Panahiha, Hasan Majuni, and Rayan Sarlak) playfully push each other’s buttons and joke around while Big Brother (Amin Simiar) broods silently in the driver’s seat. As the miles tick away, and as their destination is only occasionally hinted at, it becomes clear this is no ordinary family trip. Something is off about this ride — that much is clear — but Panahi’s pacing ensures that the continuously evasive destination never outweighs the love and sincerity that motivates the journey. As a family comedy/drama, Hit the Road has plenty to offer, but as its secrets are slowly revealed (watch as Big Brother explains the climax of 2001: A Space Odyssey to his mother), it becomes the rare film that proves to be much more than the sum of its parts. Grade: A-minus —James Rosario
With virtually unlimited access to Pete Buttigieg as he goes on the campaign trail, Mayor Pete offers a fascinating look at the inner workings of running for President. Jesse Moss’ documentary chronicles everything from the politician’s grassroots start (with four staffers) to the absolute joy of watching Buttigieg and his husband celebrate the small victories, resulting in the infectious energy of believing they could win the ticket. It’s intimate and unflinching, showing the negatives of Buttigieg’s run, including his overwhelmingly white supporters and his young age, but watching him and his staff tackling different issues as they arise is something I’d like to see a lot more of — possibly as a TV series. Throughout the film, it’s easy to see why he endeared himself so thoroughly to his city of South Bend, Ind., and to the American public at large. Hot off the success of Boys State, Moss keeps his streak going with another polished and engaging political documentary. Highlighting the highs and lows of a presidential run as well as allowing viewers to know the man behind it all makes for a breezy but charming watch. Grade: A-minus —Joel Winstead (World Premiere)
Based on the real life and death of East German intelligence officer Werner Teske, The Last Execution often flirts with the kind of compelling intrigue found in great espionage procedurals like Tinker Tailor Soldier Spy (2011), but never quite hits the mark. While well-acted and written, The Last Execution suffers from a rather perfunctory presentation that dilutes what could be a truly gripping spy story. Director Franziska Stünkel wisely chooses to stay clear of the James Bond-styled antics normally associated with cinematic spydom, but The Last Execution is still meant to be a thriller. Unfortunately, it fails to thrill to its full potential.
However, if you, like me, are a sucker for Cold War era period pieces, The Last Execution still has much to offer. Stünkel excels at highlighting the drabness of her setting and the very real human cost of competitive spying and propaganda. In addition, from a historical standpoint, the recruitment and career of Werner Teske (who was the last man to receive the death penalty in East Germany, and is fictionalized in the film by Lars Eidinger) is an fascinating example of the kind of petty and vindictive intelligence gathering happening all over the world during the tumultuous 1970s and ‘80s. It's a great story that falls just short of the expository and stylistic mark. Grade: B-minus —James Rosario (International Premiere)
(Photos courtesy of the Chicago International Film Festival)
