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Ray Pride

By Ray Pride Pride@moviecitynews.com

Tasty passages from Manohla Dargis

In Friday’s New York Times, Manohla Dargis limns a lovely 800-word rhapsody to Phillipe Garrel’s love tragedy Frontier of Dawn, a film that knocked me out. I always admire how Dargis writes when she’s swept away: a precise swoon, a cadence of admiration, a flick of the wrist. “Love is a universe of two in Philippe Garrel’s fatalistic romance Frontier of Dawn… Serious movies that insist on their own seriousness almost always face a difficult reception, whether they are intellectual puzzles or, like Frontier of Dawn, romantic cries from the heart…. The nakedness of this melancholy, its unvarnished, unapologetic blatancy, partly explains, I think, the difficulty some viewers have had with the film. That, and love. It seems strange to say, but even as cinemas of all national origins continue to find new and expressive ways to convey violence on screen, many now seem at a loss when it comes to love. Certainly that’s the case in America, where passion is often tempered with laughs (as in innumerable buddy romances) or becomes an excuse for sublimation (as in those orgies of consumption known as chick flicks). But love is the drug in Frontier of Dawn, the thing that pulls people together, tears them apart and defines their relationship with other people and the world… Time and again, he inserts two lovers inside his meticulous compositions, where they reveal passions that by virtue of their excesses remind us of how drained of life the modern world truly is. He transforms a private reverie into a public sacrament, invokes the eternal, risks absurdity, invites derision, seduces, shocks, transcends.” Oui, oui.


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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