Movie City Indie Archive for July, 2009

Kiarostami: like tears in rain

Abbas-Kiarostami-Rain-001.jpg


Abbas Kiarostami reflects on rain and the digital image. “The idea for this series of “rain” pictures is one I had a long time ago. I had spent years looking through my car windscreen, admiring the rural landscape, admiring the raindrops and the effect of light on them. I tried taking photographs through the windscreen, but at that time I was using film, and I could hardly ever get the right light effect to make the pictures work.
It was only when digital cameras arrived that I thought: now I can go back to this idea. I could work with very little light, and while I was driving. I drove with one hand on the wheel, and used my other hand to take pictures. But maybe I shouldn’t say that—I wouldn’t want to promote bad driving. I’ve often noticed that we are not able to look at what we have in front of us, unless it’s inside a frame. So I took my car windscreen as a frame, and I turned off the windscreen wipers so as not to wipe off the rain—I wanted the raindrops to remain on the glass. Everything we can see in the photographs—the yellow-brown, the green, the black—we owe to the light. It’s the reflection of the light on the raindrops that gives the pictures these subtleties and nuances.” {More from the Guardian at the link.]

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Batman lives, even if she's lost

Boo Boo

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Selling Mumblecore on Brit TV



But you can hear what they’re saying in this promo! Seriously, wasn’t that word stillborn? A season of movies on Film Four in the UK, which explicates here. [Via Karina Longworth.]

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When Macaulay Culkin met Harmony Korine…



Just because the music in the cafe is too loud and not as good as this: Sonic Youth’s “Sunday.”

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Indie returns Tuesday

Buzz

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The English Surgeon in NYC

GEOFFREY SMITH’S THRILLING, TONIC THE ENGLISH SURGEON [****] follows Henry Marsh, a doctor with a decade-plus humanitarian history of visiting Ukraine for several days at a time to perform brain surgery with whatever means at hand. Marsh, with large owlish glasses and a stubborn steady stare, remains cool-tempered and inventive in every circumstance, a wizard, like Harry Potter grown wise and gray. (A scene in which he discusses a fatal diagnosis in front of a patient who knows no English is simple, direct and stunning.)The_English_Surgeon_transp.JPG
Beautifully structured and edited, with an effective, understated score by Nick Cave and Warren Ellis, this tremendously moving film’s extremes include a surgery that has to take place while the patient’s awake, a horrifying and horrifyingly funny sequence that we see from the perspective of both patient and doctor. Marsh is steely when reflective: “When push comes to shove, we can afford to lose an arm or a leg, but I am operating on people’s thoughts and feelings. And if something goes wrong I can destroy that person’s character… forever.”
“The film is really about one man’s struggle to do good things in a flawed and selfish world. It’s a moral fable, right?” Smith said to me when we talked after its premiere at Hot Docs 2008 in Toronto. With figures that range from generous neighbors, to church folk who raise money to get a stricken woman to Kiev for treatment, says Smith, “right through to Henry Marsh, who’s coming from another country to try to save lives. That whole web of connection [works] at all levels. And I simply want people to see it for what it is, a series of links, a series of kindhearted people who are doing [good] for no particular reason other than the humanity. It’s so clichéd to speak like that. It’s so cliché to end a film with the words ‘What are we if we don’t help others? We’re nothing, nothing at all.’ If you hadn’t been on the journey to that point, you could write it off as being sentimental. But actually, there’s not a trace of sentimentality in there. Because it never lets you up, [my film] never indulges in sentiment. You go from one good thing, to humor, then straight back to absolute tragedy. Whenever we get too comfortable, [things] come crashing back down again. There’s the grandmother who loses her granddaughter, there’s the little girl who’s blind, and of course, there’s the girl at the end who’s 23, who’s going to be dead in two years time. [The film] is simply a reflection of the world out there. That was my only model, a mix of farce and humor and tragedy and then start up again. Hope mingling all the way through. That’s what was important to hold onto, because I knew that was real.”

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"Vampires are cuter than I thought": a clip from Park Chan-wook's Thirst



Opens July 31 in NY, LA and San Francisco.

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Trailering the Branchage Jersey International: A Cutting Hedge Film Festival

Branchage Jersey International Film Festival 2009 .

There’s a whole story about this not-that-remote event here.

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Lessons in youth interviewing, Japanese style


She likes Daniel, she really does.. Below, the 11-year-old Japanese fangirl asks to sniff Rupert Grint. [Via JapanProbe.]

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OnePiece: do Charlyne Yi and Jake Johnson believe in love now



After talking Paper Heart for half-an-hour, I only had this fallback question left: is there anything you’re surprised people haven’t asked you since Sundance? Johnson has his own question to prompt a question. The film opens August 7 in NYC and LA, goes wider August 14. [The trailer's after the jump..]

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Cronkite's coverage of Moon landing, July 20, 1969



Forty years ago come Monday…

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Movie City Indie

Quote Unquotesee all »

“By the time the sounds of the Von Trapp children warbling ‘Silent Night’ drift through The Giver, you may find yourself wondering what fresh movie hell this is. In truth, the enervating hash of dystopian dread, vague religiosity and commercial advertising-style uplift is nothing if not stale. Adapted from Lois Lowry’s book for young readers, the story involves an isolated society that, with its cubistic dwellings, mindless smiles, monochromatic environs and nebulous communitarianism, seem modeled on a Scandinavian country or an old Mentos commercial.”
~ Manohla Dargis’ Deadly Lede For Review Of The Giver

“It’s possible that in the coming days or, God forbid, weeks, the president could have something more specific to say about the freighted decades-long history of political imbalance at work, in this case between a mostly black working-class town and its majority white government and police force. But this is a black man who must choose his words about race, governance, and law enforcement even more carefully than a white politician would. And this is the third summer in which, as president, he would have to do so…

“Until this point in the turmoil, the absence of the crucial second face in the incident seemed to heighten the distance between police and the people they serve. It grants them both an anonymity and autonomy that matches the bizarre transformation, in Ferguson and elsewhere, of police into troops. The riot gear turns 2014 into a dot on a Jim Crow–era timeline. Since the officer’s name wasn’t made public more immediately, it should have seemed urgent for the police to lose the riot attire and take steps to minimize distrust, to dispel the contagious assumption that silence equates racism…

“What is so affecting isn’t just that 18-year-old Michael Brown was killed when he was barely a man. It’s other things as well. One was how many reports of the incident that first day mentioned that he was about to start college. That’s a rite that’s universally emotional. But for a black male from a poor family, the first day of college is a freighted day that usually requires the sacrifice of more than one person. Black people know the odds of getting to and graduating from college, and that they’re low. That Brown seemed to be on the right path compounded the parental, local, and national outrage over his being wiped from it.”

~ Wesley Morris On Let’s Be Cops, The Shooting In Ferguson, Obama…