MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

O Christmas Tree

Published under 1,000 Monkeys. I love everything about the Christmas season, from the decorations to the Christmas music piped in to all the stores to the lights brightening up all the houses. I love planning what to get each of the kids, baking Christmas cookies, and listening non-stop to Christmas music on the radio until…

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Of Indie Film and Insularity

This Thanksgiving weekend, as I ponder my abundant blessings, one of the things I’m most thankful for is having a job that allows me not only to watch a lot of movies, but to see many of them at film festivals far and wide. As I write this, over the past couple years we’ve seen…

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Home is Where My Heart Is

Published under 1,000 Monkeys. Why 1,000 Monkeys? David and I spent a lot of time talking back and forth about a new name for this more philosophical, life-stuff column. One day in frustration, I said to David, “If you put 1,000 monkeys at 1,000 typewriters, they could never write the craziness that is my life…

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Memory Lane

Published under 1,000 Monkeys. Why 1,000 Monkeys? David and I spent a lot of time talking back and forth about a new name for this more philosophical, life-stuff column. One day in frustration, I said to David, “If you put 1,000 monkeys at 1,000 typewriters, they could never write the craziness that is my life…

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Precious Things

Back at Sundance last year, when Precious: Based on the Novel Push by Sapphire was first unveiled for critics with little fanfare but high hopes, quite a few folks thought it would never see the light of day off the fest circuit. Too dark, too depressing, too tragic … with little redemption or justice to buoy…

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The Vampire as Moral Compass

These days, it seems vampires are the new black — but they aren’t quite as black as they used to be. Today’s vampires have more than just gloomy good looks and great fashion sense; they come complete with a moral compass. If art and literature reflect the world in which they are created, what does…

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Quote Unquotesee all »

“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch