2024 Telluride Film Festival Report – Day 2 – Everybody’s Unique

One realization for Telluride Festival goers is that no matter what else goes on around you here, there are great and special films to be seen, spirits to be lifted or challenged and masterful filmmaking on display.

Aside: Evidence is starting to look conclusive

Continuing to gather unscientific evidence about my suspicions (aka asking people in line how their experiences have gone this year), it is pretty clear that everyone is having to adjust to the shut out phenomenon. One couple I talked to said that they now have to arrive at least three hours before a showing just to feel comfortable about getting a seat. This, by simple math, means that they can see fewer films because they spend the length of one film waiting in line each time. There are untold numbers of people (but my estimation is, a lot) who arrive at the venue, look at the line, and just turn away. The overwrought volunteers at each venue do what they can to accommodate as many people as possible, but, I’m not even sure they are fully aware of the problem. It appears that there are less volunteers working at each venue as well this year, which if true, is a worrying sign for next year’s situation. But enough of dark thoughts.

On to the films

Although it is one of the only perks extended to the press here I am loathe to use the few Priority Passes that allow us to get in line with the Patrons in order to assure a seat at movies we can’t miss for our publications. I usually rather experience the fest as a regular pass-goer since my mandate isn’t particular film coverage but an overall sense of being there. But, begrudgingly, I took out one of my precious little yellow slips of paper and headed to the most Telluride of Telluride’s venues, the Sheridan Opera House.

The Seed of the Sacred Fig

Set in the political upheaval of recent-day Iran's Mohammad Rasoulof’s film boils down to the intimate family dynamics when pressures boil over. Ambition, self-interest, lying to protect or punish, the same tools work (or don’t work) in politics and at home. Facing the consequences of their actions, all these characters show the range of human coping with the unthinkable.

A master director who is no stranger to conflict leading to drama, his inspiration for character came from his interactions while in prison with those in charge, he has a deft hand at crafting story within the flawed and complex characters that feel so real they could bleed. Politics or family handled with equally deft hands, Rasoulof always delivers, even if he has to climb a mountain to do it.

The End

Joshua Oppenheimer has had a long burn of development time for this film. For eight years this consummate, groundbreaking documentary filmmaker has wanted to turn his hands to drama. And as usual, he’s done it in a completely unique way.

If you think your family drives you crazy, wait until the apocalypse. Oppenheimer conceived of a Golden Age musical with all the genre’s subtly hidden angst and pathos hidden behind smiles and catchy tunes. The end of the world is the perfect setting to play out familial conflict, lying and consequences, to last just that little bit longer even if that’s not so far in the future. Unlike anything you might be prepared for, but is relatable to everyone with a family. Nice to see Oppenheimer still pushing the boundaries with what’s achievable in cinema.

Themes starting to show?

Although we are told that the Festival programmers’ only desire is to pick the best films available, often certain themes rise out of the mix that are either in the zeitgeist or just a sign of random order out of chaos.

Both of the films I saw today fall right into a pattern I’m seeing as unexpected themes of the festival. I’m taking to calling these first hints at themes as “Politically/Musical” and “non-traditional, traditional family fare.” In the next days, we’ll see if the themes resound in other films or we find something else entirely. Stay tuned.

The 2024 Telluride Film Festival runs August 30 - September 2.