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Movie City Indie Archive for October, 2009

Yes… feeding squirrel-like kitten with chopsticks

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Good days? Bad days? Good days.



Week later, two million views, still a classic.

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Charles and Ray Eames' Polaroid SX-70 promo film



Technology arrives…

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Out of the box: Richard Kelly's 1996 The Goodbye Place

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VIFF 2009 trailers: Sexuality and Subtitles



Vancouver’s fest trailers are always pretty swell.

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Picturing Chicago International Film Festival 45 award ceremonies

The Chicago International Film Festival’s 45th edition runs through Thursday, but juried awards were handed out Saturday night at the Pump Room of the Ambassador East Hotel. In the International Feature Film Competition, three prizes went to Tina Mabry’s Mississippi Damned, a Gold Hugo for Best Film, a Gold Plaque for Best Supporting Acress to Jossie Harris Thacker and another GP for Mabry’s screenplay. Andrea Arnold’s Fish Tank took a Silver Hugo Special Jury Award for “esthetic boldness” along with a GP for Michael Fassbender for Best Supporting Actor. Vincere took Silver Hugos for Marco Bellocchio as Best Director, Giovanna Mezzogiorno as Best Actress and Filippo Timi for Best Actor, along with a Gold Plaque for Best Cinematography, Daniele Cipri. Hipsters took a Gold Plaque for Best Art Direction. Only a handful of winners were present: the Mississippi Damned crew was happy to be there. New Directors and Short Film nods listed in the festival press release after the jump, along with video (below) of Martin Landau accepting an Achievement Award in the Chicago hotel where North by Northwest was shot. [Ray Pride.]
John Russell Taylor's 39th Chicago International Film Festival


This is critic John Russell Taylor’s 39th consecutive CIFF, he says.


David Robinson

David Robinson served on the documentary jury.

Bruce Webb, director, The Be All And End ALL

Bruce Webb directed competition entry The Be All And End All.

Martin Landau

Martin Landau says the film industry has changed in 50 years.

Bisset signs

A scrum of autograph hunters outside the hotel sought a signature from jury president Jacqueline Bissett.


Remarks

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An hour of Hitchcock on the "Tomorrow" show



The wavy rainbows when the VHS recorder was restarted after commercial are a nice throwback as well. The other embeds are below on a single page. Via @Ebertchicago. And here’s sixteen or so hours for your iPod: the complete recordings of the Hitchcock-Truffaut interviews.

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Für Falcon: A fictional, non-hoax balloon ride gone wrong



Roger Michel’s beautifully edited opening scene of Enduring Love, dubbed in German, but it still looks swell.

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Trailering Edge of Darkness

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Oscar's got 65 foreign-language contenders

Sez the Academy:
Albania, “Alive!,” Artan Minarolli, director;
Argentina, “El Secreto de Sus Ojos,” Juan Jose Campanella, director;
Armenia, “Autumn of the Magician,” Rouben Kevorkov and Vaheh Kevorkov, directors;
Australia, “Samson & Delilah,” Warwick Thornton, director;
Austria, “For a Moment Freedom,” Arash T. Riahi, director;
Bangladesh, “Beyond the Circle,” Golam Rabbany Biplob, director;
Belgium, “The Misfortunates,” Felix van Groeningen, director;
Bolivia, “Zona Sur,” Juan Carlos Valdivia, director;
Bosnia and Herzegovina, “Nightguards,” Namik Kabil, director;
Brazil, “Time of Fear,” Sergio Rezende, director;
Bulgaria, “The World Is Big and Salvation Lurks around the Corner,” Stephan Komandarev, director;
oscahs2010.jpgCanada, “I Killed My Mother,” Xavier Dolan, director;
Chile, “Dawson, Isla 10,” Miguel Littin, director;
China, “Forever Enthralled,” Chen Kaige, director;
Colombia, “The Wind Journeys,” Ciro Guerra, director;
Croatia, “Donkey,” Antonio Nuic, director;
Cuba, “Fallen Gods,” Ernesto Daranas, director;
Czech Republic, “Protektor,” Marek Najbrt, director;
Denmark, “Terribly Happy,” Henrik Ruben Genz, director;

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#chaosreigns: IFC embraces viral goofing for Antichrist

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IFC’s circulating the link to Peter Debruge’s The Satanic Mr. Fox mashup: a warning that there’s footage from the thus-far most notorious scene from Antichrist. (But not involving human mutilation.) Here’s the YouTube link.

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John Woo at U.S. premiere of Red Cliff at Chicago International Film Festival

John Woo
John Woo screened


Woo was late to a pre-premiere reception; journalists traded Hong Kong gangster film scenarios for the director’s non-appearance.

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Movie City Indie

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Quote Unquotesee all »

“Women’s power is too potent to waste on selfies… Truly dangerous women aren’t looking for dates or husbands, and they do not travel in packs. They rarely have many female friends. Their register is either universal, or intensely personal. They play mind games and make promises. Whether they deliver or not remains a secret, and secrets are essential to seduction. The Web has eroded every notion of privacy and stolen the real power of women: the threat of mystery itself.  “I can see you’re trouble” was once the biggest compliment a man could pay a woman. There was going to be a dark spiral into the whirlpool of sex; there were going to be tears on both sides, secrets and regrets, scandal. Today, everyone is trouble.”
~ Joan Juliet Buck in “W”

“You have to watch the end of the show to see how I feel—I mean, kids are a wonderment. I am quite fond of most of the young people in ‘The Slap,’ actually; it’s the grown-ups who have so much to learn. But to think of ‘The Slap’ as being a critique of contemporary parenting would be to miss the point. Like saying Birdman is about a life in the theater, instead of about a vast pool of narcissism that, again, denudes all grace until all you have is blistered (male) rage and bruised egos. I can’t speak to helicopter parents, but I sure do know a lot about not waking up every day and counting your goddamn blessings, and how fucking toxic that is. And that’s what I see all around me, a kind of spiritual autism, a narcissism of small things, and that’s ‘The Slap.’ Argh. But I like to think that it’s not immutable, that there are still synaptic charges toward doing the right thing, that we are capable of recognition—and being better. I think it’s about what happens when kindness is obliterated by desire.”
~ Jon Robin Baitz

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