|
|
|
|
|
The most prestigious film festivals are glitzy, glamorous events—celebrities partying in extravagant locations. There, deals are made and stars are born. In Woody Allen’s delayed romance, Rifkin’s Festival, though, one festivalgoer gets caught up in the glamour and romance of the event, only to have it all crumble down around him.
Rifkin’s Festival travels to Spain’s San Sebastián Film Festival with former film professor Mort (Wallace Shawn) and his publicist wife, Sue (Gina Gershon), who’s spending the week working with celebrated director Philippe (Louis Garrel). While Sue goes from press conference to cocktail party to screening with her handsome client, Mort becomes jealous, and his jealousy causes him to have strange black-and-white dreams, inspired by his favorite classic films. Suddenly concerned for his health, he seeks out Dr. Jo Rojas (Elena Anaya), and he immediately falls in love with her and spends the festival coming up with excuses to see her.
As frumpy, neurotic New Yorker Mort explores this gorgeous seaside town, with its markets and beaches and colorful city streets, he finds himself in the company of two beautiful younger women—as is often the case for Allen’s leading men. But while he truly believes that he’s quite a catch—clearly better than pompous Philippe or Jo’s cheating artist husband—he also realizes that (according to his therapist) he’s attracted to women who will only hurt him in the end.
The personalities here are definitely amusing—from Philippe, the pretentious director, who believes that his next film will bring about peace in the Middle East, to film snob Mort, who drives people crazy with his rambling monologues about obscure films. But it feels as if, in mocking these snobbish film fanatics, Allen becomes one himself, loading the film with black-and-white dream sequences that point to classic films that the average moviegoer probably hasn’t seen. The sequences can be amusing, but most viewers probably won’t fully appreciate the references.
As Mort’s story plays out, it has its share of clever moments, but, for the most part, it feels entirely forgettable. None of the characters really stand out, and it doesn’t feel as though anything of interest happens. Overall, it feels just like a run-of-the-mill Woody Allen movie in a beautiful setting.
For fans of Allen’s films, Rifkin’s Festival is more of what you’ve come to love: the neurotic character, the constant chatter, the clever comedy, the romantic foibles. But it’s far from the filmmaker’s best work.
Rifkin’s Festival opens in limited theaters on January 28, 2022.
Listen to the review on Reel Discovery:
|
|
|
|
