MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Agnes Varda, Macbeth, Coming Home, Finding Gaston and more

At 87, the much celebrated European filmmaker Agnès Varda doesn’t show any signs of slowing down. Aligned with the French New Wave, her early work not only pre-dated the movement and but also influenced its more identifiable practitioners. If she isn’t as well-known as André Bazin, Jean-Luc Godard, François Truffaut, Éric Rohmer, Claude Chabrol, Jacques Rivette and her future husband, Jacques Demy, it’s because of her desire to make films that didn’t focus on established traditions or classical standards. So it took longer for American audiences to warm to her singular vision and experimentation. Being a woman in an industry dominated by men couldn’t have helped her chances for commercial success, either. Varda also has remained active as a creator of stylized documentaries, a judge at prestigious festivals and frequent recipient of honorary awards. Cinelicious Pics has done the arthouse crowd a huge favor by releasing a double feature of rarely seen films Varda made concurrently with Jane Birkin in the mid-1980s: Jane B. Par Agnès V. and Kung-Fu Master.

Read the full article »

The DVD Wrapup: Danish Girl, Boy, Intruders, Beautiful When Angry, Iron Sheik and more

The Danish Girl is an intelligent and absolutely gorgeous movie. If neither the book nor the movie bear much resemblance to the historical facts, the film’s interwar European settings, set design and period costumes are splendidly rendered and the lead characters’ paintings are very easy on the eyes.

Read the full article »

Dretzka

Quote Unquotesee all »

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch