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Ray Pride

By Ray Pride Pride@moviecitynews.com

Six Moral Reviews: considering Rohmer

The epochal Criterion edition of Eric Rohmer‘s Six Moral Tales is under the microscope. First, in Slate, Stephen Metcalf says that he’s realized Rohmer’s his favorite auteur,  Jean-Marie Maurice Scherer_5345.jpg writing also, “The default state of mankind is bullshitting, or the foisting of our self-deceptions onto others. For Rohmer, film was a uniquely apt way of putting this fact before an audience, though he did so without a tincture of contempt, either for the elaborate evasions themselves, some of which… are quite beautiful, or for the animal need being evaded by all the persiflage. Rohmer, a late bloomer, coffret_235.jpghad started out a teacher and a critic, and by the time he ceded his life to making movies, he was well into his 40s. He once described his method this way: “When filming, it’s usually: ‘Camera,’ then ‘Clapper,’ then ‘Action.’ I did the opposite. First I said, ‘Action!’ Then if it was going well I tapped the cameraman and he started filming.” He is still a vigorous presence in international film at the age of 86, thanks to a very Rohmerian contradiction: His love of people and ideas has always exceeded any affection he may or may not have for the monomaniacal cult known as “cinema.” More: At Senses of Cinema, Tamara Tracz offers a career summary. A selection of brisk thoughts on Rohmer from the likes fo Adrian Martin and Philippa Hawker is here. Click here for the 1978 National Film Theater retrospective brochure. And of course, here’s the Criterion page on the boxed set.

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch