Three U.S. films did make it into Rome’s competition. First up is the eventual winner, “Marfa Girl,” which doesn’t feel that different from previous Larry Clark films, only now the grungily filmed lack-of-story is set in the titular Texas locale, a sleepy town and artist hangout. Almost hairless adolescents, most of them in need of Subway sandwich or two and an open-ended subscription to Clearasil, hang about and don’t do much except talk about sex, have sex, or just lay about. The “Marfa Girl” of the title is only a supporting character, though she does gain more prominence as the film, for lack of a better term, develops, and she philosophizes about threesomes and how to pleasure women properly.

Interestingly, the film, which stars a cast of unknowns, will never be released theatrically or on DVD, with the director self-distributing access to his film through his website for $5.99 for 24 hours, starting on Tuesday.  It seems like the Rome premiere and win might have been the first and last stop on the festival circuit.

A Glimpse Inside The Mind Of Charles Swan III

A director who’s first name seemed appropriate enough for inclusion in Rome, Roman Coppola, presented his second film as a director, “A Glimpse Inside the Mind of Charles Swan III.” This comeback of sorts for Charlie Sheen, who stars in the title role, is less batshit crazy than say, “Holy Motors,” but that isn’t saying much. It would be hard to describe it as a purely logical and narrative film, as it keeps crossing over into Charles/Charlie’s subconscious (the protagonist is actually named after another Charles, not Sheen, though there are numerous instances in which the lives of the actor and his character intersect). Italians at the festival seemed a lot more taken with it than the international press that was present, despite the absence of subtitles for an entire reel.

Last but not least, a film that felt like a Sundance possibility, with three stars (Stephen Dorff, Dakota Fanning and Emile Hirsch), a bleak and downbeat story with flights of (animated) fancy and a literary inspiration, “The Motel Life,” instead decided to have its world premiere in Rome. Whether that was a good decision is hindsight will depend on the further career of the uneven but well-acted film by newcomers the Polsky brothers, who produced Herzog’s “Bad Lieutenant." Audiences in Italy certainly liked it: It won the Audience Award, given to a film in competition, as well as the jury’s screenplay award, though that was oddly one of its weaker elements.

"The Motel Life"
"The Motel Life"

The jury, headed by director Jeff Nichols and composed of director Timur Bekmambetov, actress Valentina Cervi, writer-filmmaker Edgardo Cozarinsky, festival director and critic Chris Fujiwara, actress Leila Hatami and director P.J. Hogan, made some odd decisions in general.

Jérémie Elkaim won Best Actor for his role in the French dance-laden farce-cum-drama “Hand In Hand” from Valerie Donzelli, and while he’s great in the film, he wasn’t a standout and the award suggests they wanted to give the film something and ended up with an empty best-actor slot that needed filling.

Similarly, the Best Emerging Actor award, which also went to a French film, felt like an odd choice. Actress Marilyne Fontaine is not bad in “You, Me and Us,” a relationship drama from veteran director Jacques Doillon, but she’s in only half the film.  Some time in, she suddenly disappears never to heard of again and plays only a small role (there are too larger female roles, including another one by a very young actress).

But the most talked about film of the festival, for a change, was actually Italian: Paolo Franchi’s “E lo chiamano estate” (roughly translatable as “And They Call It Summer”) was on everybody’s tongues, even during the first press screening, when many of those present loudly booed the film. It looks at a man (French actor Jean-Marc Barr) who prefers to visit hookers than have sex with his wife (Italian diva Isabella Ferrari), and starts with a closeup of the intimate parts of the latter. Franchi is no stranger to hardcore contents, his 2007 Venice competition film “Nessuna qualità agli eroi” featured a sex scene with actor Elio Germano’s erect penis in full view for several minutes. A few praised the film, which went home with Best Director and Best Actress honors, though many more reviled it. “It’s a love or hate kind of film” jury member P.J. Hogan said at the closing press conference.

The other Italian drama in competition, the youth-oriented drama “Ali ha gli occhi azuri” (“Ali Has Blue Eyes”), was more widely seen and discussed as one of the better films in competition. Claudio Genovesi’s film, heavily indebted to Pasolini, looks at the life of a 16-year-old second-generation immigrant in Rome, which won a Special Jury Prize and was also awarded another jury’s Best First or Second Film Award.


The competition also had room for two high-profile Chinese films, the war and famine drama “1942” from “Aftershock” director Feng Xiaogang and Johnnie To’s contemporary “Drug War,” both washed-out and gray-looking widescreen dramas about some bad people and the consequences for a lot of innocent people of their actions. Both were originally billed as surprise films, though rather than intimate and independently-made films that had to be smuggled out of China for censorship issues, they revealed themselves to be big-budget, sweeping spectacles (that said, neither is entirely uncritical of China). “1942” proved to be the duller of the two films, with To offering rollicking police procedural compared to Feng’s rather dull history lesson occasionally and incongruously spiced up with Michael Bay-type air attacks from the Japanese.

Though there’s no doubting that Marco has clout as a programmer, international sales agents and distributors have to keep an eye on the calendar and their wallets when considering where to take their films, and each title can have its world premiere only once. For most, Rome doesn’t have enough foreign press coverage to fly in the stars and do the European junket for the film in the Eternal City (that honor still goes to Venice and London).  The timing for the much-desired U.S. titles and potential Oscar contenders is entirely off if the festival wants world premieres, since most Oscar hopefuls prefer to launch earlier or, if they aren’t ready earlier, closer to home in New York or at AFI, since at least the American press corps will be present. (In Rome, there are more Americans during any given 15-minute stretch in the Sistine Chapel than Yank journalists covering the festival for even a minute.) “Life of Pi” by two-time Venice-under-Marco winner Ang Lee opened New York, while “Lincoln,” about perhaps the most American of subjects, preferred AFI.

The first year of the event under the high-profile Muller certainly leaves room for improvement. Announcing a lineup consisting of 60 world premieres while it was still putting its program together certainly didn’t help matters; Rome’s November slot (moved from late October) means that movies have countless more high-profile venues to have their world premieres in the two months preceding it, from Venice, Toronto, London and San Sebastian to Tokyo and Busan (if they don’t get into Cannes, Locarno or Karlovy Vary).  For next year, Muller surely has his work cut out for him.

Award winners listed on next page.