This makes Woody Allen’s Rifkin’s Festival, kicking off this year’s event in San Sebastián, a singular phenomenon – not so much a movie, more a piece of site-specific art. ‘Rifkin’s Festival’ Review: Woody Allen Travels to Movie Memory Lane The filmmaker seems to acknowledge the world has changed in this light tale of a …
The film is set at the San Sebastián Film Festival, where it also played on Friday. As he tells his therapist in voice-over, he only went to San Sebastián to keep an eye on his publicist wife, Sue (Gina Gershon, relishing a better role than she’s had in a while). Connect with friends faster than ever with the new Facebook app. Share this review.
Once again, he has made a brittle comedy about marital angst in a glamorous setting.
and that she hates Philipe’s new film.
But as the film explores San Sebastian — with its marvelous architecture and sprawling beaches — it starts to feel like “Rifkin’s Festival” is content to get lost with its anti-hero rather than trying to find a substantial narrative to support his existence. There’s a strange meta quality to the way the movie drifts around, dipping in and out of a tepid plot. Related: 'Do I really care?' It’s the same tried-and-tested plot the director has toyed with for ages. (What, you thought he’d do Tarantino?). Anyway, it’s flashback time. Oh, and don’t worry: The jokes about how he’s also a terrible Jew are just around the Spanish corner.
Supplies dwindle. “Life is meaningless, not empty,” chides Death, when Mort finally meets him in the inevitable “Seventh Seal” pastiche.
So so so beautiful! The contrast works particularly well when Sue doesn’t hide her fascination with Philippe (Louis Garrel), the pretentious director of a European anti-war film (which kind of sounds like a wry wink at Garrel’s real-life filmmaker father, Philippe Garrel). Reblog.
More than merely an Allen persona, Mort embodies the filmmaker’s complicated relationship to the world surrounding his vocation: “Film festivals are not what they used to be,” he says at one point, and later reveals that he used to write criticism and teach, resenting all of it. Once again, he has made a brittle comedy about marital angst in a glamorous setting.
She is played by Elena Anaya, from Almodóvar’s The Skin I Live In, here decidedly uncomfortable in her skin. (No reason to speculate on this: Yes, he’s trolling us.)
Needless to say, the young Garrel is fun to watch as a lovable lothario. Sign up for Indiewire's Newsletter.
Having said that, “Rifkin’s Festival” is a notch above middling Allen comedies like last year’s “A Rainy Day in New York,” thanks to delightful turns from Shawn and Gina Gershon as well as some zany stabs at film history in a series of black-and-white dream sequences that seem as if they’re lifted from those earlier, funnier days. The rest of “Rifkin’s Festival” is basically tourist porn: As the character wanders the city streets, San Sebastian looks like heaven on Earth, and Allen recreates the festival atmosphere in remarkable detail. Sign Up: Stay on top of the latest breaking film and TV news! For the latest news, follow us on Facebook, Twitter, and Instagram. Regardless, Allen can’t seem to find his way to a storyline to support these oddball tangents, which even includes an eye-opening tale about Mort fancying his sister-in-law. “Rifkin’s Festival” is far less objectionable, and though that is praise so faint it needs smelling salts, with latter-day Woody Allen, we must be thankful for small mercies, and this bauble is, at least, a mercy of the smallest kind.
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There’s a strange meta quality to the way the movie drifts around, dipping in and out of a tepid plot.
Allen may not have found any breakthrough inspiration, but Rifkin’s Festival at least has its riffs.
Gina Gershon and Wallace Shawn play a publicist and her filmmaker husband.
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