7 items from 2014
How sweat it is for Canadian film. There’ll be a maple syruppy touch to the Cannes Film Festival presence to the 67th Cannes Film Festival with a trio of Canuck films among today’s 17 Main Competition (we expect the number to possibly increase by at least one before the fest breaks). We have David Cronenberg, Atom Egoyan and while there is no Denys Arcand this year, the baton has been passed over to Xavier Dolan, who we believe becomes the youngest ever filmmaker to be included in the section. The influx of Canadian helmers means a depletion of U.S fare, with only the opener, Tommy Lee Jones and Bennett Miller breaking into the group.
- Eric Lavallee
The 2014 Art of the Real series, running from April 11th through the 26th at New York's Film Society Lincoln Center, could not have possibly asked for a more appropriate film with which to kick off its exploratory ruminations on documentary filmmaking. Raya Martin and Mark Peranson’s La última película is, among several things, a meta-commentary on its own layered being, a jocular doomsday journey through the collapsed scaffolding of the medium itself. Largely riffing on Dennis Hopper’s 1971 acid anti-Western The Last Movie (as well as its behind-the-scenes companion piece, The American Dreamer), Martin and Peranson employ varying film formats—everything from Super 8mm to HD digital—to weave a postmodern quilt that’s forever ripping at the seams. It’s a purposely paradoxical work, caustic and vulnerable, playful and grave, a flickering montage of photographs and an upside-down tracking shot—and, in its mingling of artifice and raw materials, »
- Fernando F. Croce
The Moon, the opposite of the sun, hovers over us by night, the opposite of day.
And indeed, when Matahi chases after her, the moon spreads its path on the sea.
He runs and swims after her, moving faster than a normal human being, defying the laws of gravity.
Miraculously, he catches up to the boat.
Thus, he must die, sinking back into a void…
…while ghost ships linger on in the distance…
…carrying another hopeless romantic, and a moving corpse—A second Nosferatu.
The moon is absent in Murnau’s earlier film, made nearly ten years before Tabu, but it is in the one he made nearly five years after Nosferatu, when George O’Brien leaves his wife for a midnight rendezvous with another woman.
And indeed, »
- Neil Bahadur
There is no need for you to leave the house. Stay at your table and listen. Don't even listen, just wait. Don't even wait, be completely quiet and alone. The world will offer itself to you to be unmasked; it can't do otherwise; in raptures it will writhe before you."
—Franz Kafka, "Reflections on Sin, Suffering, Hope, and the True Way."
Above: Director Vítor Gonçalves
Behold the Palace Square in Lisbon—or rather, Praça do Comércio, where the Royal Ribeira Palace stood for nearly two hundred years. In the 18th century, the palace was destroyed by the Great Lisbon Earthquake, never to be restored (instead was built a new one, though, not for the King to live) hence the new name—The Square of Commerce. Here, in the seat of Fascist power, tens of thousands people would gather to listen to Salazar's orations (see Brandos Costumes by Alberto Seixas Santos); then came the Carnation Revolution. »
- Boris Nelepo
Written and directed by Anne Émond
Two bodies, first in sexual motion, then in a dark stillness accompanied by conversations of previous grief and existential dread. It’s a subject explored before by Éric Rohmer and in a much lighter sense with Linklater’s Before trilogy. It’s a certain style of romantic trope in cinema history to focus heavily on interesting protagonists as they attempt to connect with each other, revealed who they are with brevity, jokes, and noxious nostalgia. Nuit #1, the first feature of Québécois Anne Émond, aspires to this lineage, taking us from a glitzy, sweaty club nightlife to a dingy, starving-artist-approved apartment for real-time, blunt sex until the title card announces the time for the sometimes illuminating, yet always sophomoric dialogue.
Nikolai (Dimitri Storage) stops Clara (Catherine de Léan) as she takes her exit from what she assumed to be a typical one-night stand. »
- Zach Lewis
Via The Criterion Collection, "Mad World Locations, Then and Now". Serge Daney in English has published a three-part series entitled The "Berri affair", "...which Serge Daney described as one of the 'two moments in my life where I was ashamed to belong to something idiotic' Future posts will attempt to describe what happens in 1991 (a year or so before Daney's death)." Part: 1 | 2 | 3. Also, check out the blog's summary of Daney translations from 2013.
Above: the trailer for Aïda Ruilova's Head and Hands: My Black Angel, a documentary that captures a conversation between writer Alissa Bennett and Abel Ferrara. For The New Yorker, Richard Brody writes on Alex Ross Perry's Listen Up Philip:
"The movie is another installment in a decadelong run of independent films with career-centric stories. It’s a tradition that goes back more than half a century, which arises from the practical difficulties built into the process of making films. »
- Adam Cook
The Trylon Microcinema Location: 3258 Minnehaha Ave. S., Minneapolis, Mn No. of Screens: 1 Opened: July 2009 History: You can’t properly tell the story of the Trylon without pausing to remember the late, great Oak Street Cinema, an Art Deco style movie house in Minneapolis that screened classic and indie selections from around the world. The Oak Street was kind of like my first car: It was old, clunky and died an ignoble death, but it took me places I’d never been. Trylon repertory programmer Barry Kryshka takes the story from here: “A lot of the people who were instrumental in founding the Trylon were involved in the Oak Street Cinema. The big impetus was we loved the programming the Oak Street was doing, and when it stopped we wanted to continue it somewhere else, some way.” Barry and others launched the nonprofit Take-Up Productions and started showing movies in 2006 anywhere they could, whether »
- J.L. Sosa
7 items from 2014
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