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Ray Pride

By Ray Pride Pride@moviecitynews.com

Klawans on Cronenberg's At the Suicide of the Last Jew in the World in the Last Cinema in the World

From Nextbook, Stuart Klawans‘ “Endgame” considers a 2007 David Cronenberg short: “[A]t the broadest base we define ourselves as a touchy people, a people constituted by our touchiness. Why, I can’t imagine; but listen now to the words of a Jew, who at most times would not bother to call himself one: My parents were secular. I was never bar mitzvahed. At a very early age, I decided I was an atheist, and I still am. I don’t feel the need to involve myself with the traditions of Judaism. In fact, I’m rather anti-religious. . . . I wasn’t hiding my Jewishness. It just never seemed to be an issue. But when I started to make this little short, suddenly, it was. It was provoked by what’s going on in the world right now. The pronouncements of various Islamic leaders about how nice it would be to kill all the Jews in the world—you know, like the Hezbollah leader. I thought, “Well, what if that would happen? How would that happen?” The lights go down; the movie starts…” Cronenberg’s contribution to Chacun son cinéma:


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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).

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“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