JIMFF 2012 - Gainsbourg By Gainsbourg: An Intimate Self-Portrait (Je suis venu vous dire..., France) 2012

Part of MKC's coverage of the Jecheon Intl. Music & Film Festival.

When I noticed this documentary among the many titles on offer at this year’s JIMFF, I quickly saved a spot for it in my schedule. It was my first time hearing of it but as I count myself one of Serge Gainsbourg’s many fans it was out of the question that I should miss it. However, following the thrill of seeing it in the schedule and my rising excitement as I recalled this great artist’s legacy, my initial enthusiasm soon turned to trepidation. Gainsbourg, of course, is no mere pop star (not that I mean to denigrate anyone associated with that label). He is one of the most complicated mainstream artists of the 20^th century. Following his death, the president of his native France declared him a national treasure, placing him in the same pantheon as Apollinaire and Baudelaire, two of the finest poets to ever put pen to paper.

My fear was that he is a towering figure, a versatile musician with an enigmatic persona: how does one adumbrate his life and work in a mere 100 minutes? There was no doubt in my mind that the music would be up to par (as it would be his) and that I could expect a number of interesting anecdotes coupled with footage and audio of the great man himself outside of his recorded oeuvre. What did nag at me was that I could scarcely imagine how the film could live up to the man.

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PiFan 2012: The Suicide Shop 3D (Le Magasin des Suicides, France) 2012

Part of MKC's coverage of the 16th Puchon International Film Festival.

Animation was featured quite prominently at this year’s PiFan, with Japanese works such as Gyo, Rainbow Fireflies, Blood C: The Last Dark, not to mention some retrospectives on the Space Battleship Yamamoto series and Czech animation. Sadly, by the end of the festival the only one I was able to see was The Suicide Shop 3D, a French offering from live-action filmmaker Patrice Leconte.

It looked to be a cross between the stylings of Sylvain Chomet (The Triplets of Belleville, 2003; The Illusionist, 2008) and the playfully macabre storytelling of Tim Burton. In many ways the film was a combination of those aesthetics but what it lacked was what makes those filmmakers so successful in their craft: originality and heart. Burton may have lost his edge in recent years but his style, which itself was a combination of horror, vaudevillian and campy influences was fresh and invigorating when he burst onto the scenes 30 years ago.

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