Sometimes you catch a movie at a film festival, in this case the AFI FEST 2012, and are immediately taken in by the story, cinematography, and characters. But then the film disintegrates from memory upon exiting the theater. Strangely, the opposite is true for Zach Weintraub’s sophomore film and festival stalwart, “The International Sign for Choking.
The film’s leisurely pace and unique shot compositions coupled with its sparse storytelling initially creates a distancing effect upon viewing. But then somewhere along the line, total immersion occurs and its memory lingers on.
Writer/director/editor Weintraub casts himself as main character Josh, an American abroad, in this case in Buenos Aires. He’s returned to the city on a vague assignment to photograph (or film) people of the “real” Buenos Aires. But as the story unfolds, it seems that Josh has only used this assignment as an excuse to find a woman he once knew, Martina, who has moved on.
Renting a room from a lady who leases to students, Josh meets fellow tenant, Anna (Sophia Takal – writer/director “Green”). Anna is less fluent in the language, but easily mingles with others, including Josh. As the two begin an affair, Josh continues to yearn for the mysterious Martina.
Wondrously capturing Josh as a man dissatisfied with what’s before him, cinematographer Nandan Rao’s unique frame compositions help flesh out Josh’s isolated, unrealized yearning. Rarely does the camera move. It remains static, focusing on a specific space that characters may or not be fully part of. Conversations may start onscreen and then move off; characters may have full conversations without ever being seen. Many scenes are composed with actors delivering lines in profile or shot from behind.
Weintraub and Rao certainly cannot be accused of coming from the school of quick, music video-style editing or traditional modes of filmmaking where scenes are set up with establishing shots, close ups and reactions shots. Instead “The International Sign for Choking” is akin to watching a series of static framed portraits playing out in real time.
For some viewers, this might strike a pretentious chord, but if you allow yourself to settle in, you’ll find yourself thinking about what’s seen (or not seen) in the frame or what is audible on- or offscreen. One pays closer attention to the dialog beats and the framed compositions, which ultimately gives, what on the surface is a simple story, a deeper, textured meaning.
The film’s publicist, Sonya Bhatia mentioned that a core group of four filmed “The International Sign for Choking,” and that the film itself started from an $8000 Kickstarter campaign as Weintraub wrote the script.
In an email series of questions, Weintraub, through his publicist, further states that in addition to the $8000 raised from Kickstarter, he put in about a thousand of his own dollars for miscellaneous expenses. Weintraub also served as editor for the movie, and his producer, Bradley Smith, got the post-productions expenses done through favors.
After screening at AFI FEST 2012, “The International Sign for Choking” went on to screen at the Starz Denver Film Festival and goes on next to the Torino Film Festival. The filmmakers ultimately hope to land a VOD/Internet distribution deal through the festival screening circuit. Hopefully, the film’s assured visual style will remain in the minds of distributors long after they leave the theaters.
“The International Sign for Choking” is 80 minutes and Not Rated.
For other film reviews by Lori Huck, check out:
AFI FEST 2012: Gala Screening of ‘Life of Pi’ and a Virtual Ang Lee
‘A Royal Affair’ Film Review: Denmark’s Enlightened Love Triangle
