Movie City Indie Archive for April, 2011

Animated: “Stanley Kubrick: A Filmography”

Gentle. Bittersweet.

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Chuck Jones’ “Crawford” On Marriage

[Via Cartoon Brew.]

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Teasing Takashi Miike’s Cannes-Bound 3D HARA-KIRI: DEATH OF A SAMURAI (Ichimei)

http://www.youtube.com/watch?v=EmeMHi1MQAs&feature=player_embedded

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Postering “Jane Campion presents SLEEPING BEAUTY”

Julia Leigh on the making of her debut feature. [Click several times for the largest scale.]
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TRANSFORMERS 3: Great Chicago Fire For The 21st Century?

A Great Chicago Fire for the 21st century? A Chicagoan can only hope.

Beautiful waterfront…

The gorgeous green of the Chicago River…

And with only a couple more weeks of Mayor Daley in office, it’s about time we got rid of the terrible concrete planters choking traffic medians in the more moneyed neighborhoods.

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MIKE MILLS MEETS A LOT OF PEOPLE

He’s Beginnering to blog his festival and press tour for the summer release of Beginners.

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Hal Hartley “Blogs” In The Form Of A “Screenplay”





























INTERIOR, BISTRO, LOWER MANHATTAN.

Hal Hartley (early-fifties, laid-back but troubled) sits and frowns at a page deep in the middle of Roberto Bolano’s The Savage Detectives. He turns over a page, finishes a chapter, and removes his reading glasses. He contemplates his double espresso. Meanwhile, to his left three casually well-dressed young executives continue a heated discussion…

CHET: It’s outrageous!

LOLA: Let me see.

Chet holds out his mobile device and shows Lola a text message. Their friend, Kurt, paces nearby, scheming distractedly.

CHET: Why text “would you like to meet for drinks at seven?

KURT (stops and turns): Did he spell “seven” or just use a number?

LOLA: He spells it out!

CHET: Now that’s just verbose.

KURT (his suspicions confirmed): Or worse!

LOLA: “Drinks at numeral seven question mark” is like I guess beneath his dignity? Look, he even spells out “at!”

KURT: (fatigued) This is more complicated than I thought.

Hartley decides it’s probably a good time to evaporate. He leaves some bills on the small table and heads for the door with his book. Lola notices him and grabs Chet’s arm…

LOLA: Hey, is that?

CHET: You mean?

LOLA: The guy who made, oh, you know, what’s it called?

KURT: You mean with the girl and the book and the guy from the television repair shop?

LOLA: Something like that. It’s unimportant, really. I was moved, true. But I was young.

In the doorway, Hartley bumps into his publicists, Emily and Roger.

. . .

With more of the same at the link. There, that was simple enough to finance, wasn’t it? While he’s at it, a couple of double-trucks from “The Heart Is A Muscle,” a new Swedish book of photos from his earlier films, available at the link, signed, for $99.95.

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Trailering Hong Sang-Soo’s THE DAY HE ARRIVES

http://www.youtube.com/watch?v=pqR6gr80feI&feature=player_embedded

Just a short part of his new film, 북촌방향, bound for Cannes, or a device throughout? Sweet in a Hong Sang-Soo kind of way…

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Trailering Kim Ki-Duk’s Cannes-Bound ARIRANG

http://www.youtube.com/watch?v=rSN3p9uWNK4&feature=player_embedded

O.S.: A quiet “Oh, dear.” Kim Ki-Duk’s movies have crude and strange things in them, but this… it’s a mystery. And apparently a documentary about his life.

His director’s statement:
Arirang is

about Kim Ki-duk
playing 3 roles in 1.
Through Arirang I climb over one hill in life.
Through Arirang I understand human beings, thank the nature, and accept my life as it is now.

We are now…
in the terrestrial world lurking with desires,
in the ghostly world lurking with sorrow
in the imaginary world lurking with dreams,
with no beginning nor end,
slowly going crazy.

What is affection that it still remains all around me decaying?
It’s still stuck to the crown of my head, testing my emotions.
It’s still hiding deep within my heart, testing my sense of compassion.
If I didn’t give my heart, they would be bad people erased from memories but if I gave my heart, I couldn’t let them go till the day that I die as despicable people.
Ah…
Arirang
Alright
Let’s mercilessly kill each other in our hearts till we die.

Even today
I hold back as I get angry
I laugh as I get jealous
I love as I despise
And forgive as I quiver with the urge to kill.
Wait
I will kill
Myself, who remembers you.”

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Trailering Cannes’ “Jane Campion Presents SLEEPING BEAUTY” [mnsfw]

http://www.youtube.com/watch?v=yskjRo7RXIw&feature=player_embedded

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Raw Tornado Footage From Tuscaloosa And Birmingham

Tuscaloosa “Lord jesus”

Tuscaloosa

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Elmer Lynn Hauldren, Empire Carpet Pitchman, Was 89-588-2300

How do you know when you’ve lived in the Midwest a long, long time? When the news of this man‘s passing brings a tear. Sun-Times obit. (I’m reminded Chicago’s WGN is on cable and satellite around the world, so Lynn’s more widely known than I realized.) Two more below; lots more on YouTube.
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Benicio Del Toro in Conversation with Japanese Director Kaneto Shindo

[Via @janusfilms.]

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David Lynch Sells You His Signature Cup

http://vimeo.com/21939919&feature=player_embedded

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Movie City Indie

Quote Unquotesee all »

Who are the critics speaking to?
Nobody seems able to answer the question of how you can make theatre criticism more appealing, more clickworthy. One answer is to be a goddamn flamethrower every week, be a bombthrower, to write scorched-earth reviews. Just be completely hedonistic and ego-driven in your criticism, become a master stylist, and treat everything in front of you onstage as fodder for your most delicious and vicious language. That’s one road. And people may enjoy your writing. The thing that’s sacrificed is any sense of a larger responsibility, and any aesthetic consistency. I don’t think anyone is following that model right now—just being a complete jerk.

Well, Rex Reed is still writing.
Ah. Well, you can also be a standard bearer, and insist that work doesn’t measure up to your high standards. But I think the art makes the standards. I’m not going to sit there and say, “This is the way you do Shakespeare.” I believe that every play establishes its own standards, and our job is to just evaluate it. But everybody’s looking for the formula for how to talk about culture so that people who don’t have any time to read want to read about it. Is there something beyond thumbs-up, thumbs-down criticism? I would hope there’s a way to talk about a theatre event in real time—meaning while it’s still going on—in a way that’s engaging, funny, witty, and evaluates the elements of the thing. But it’s like if you had a friend who was like, “Gee, are you working out? You look great. But that’s a terrible haircut.” Nobody wants that person around.
~ Time Out’s 17-Year Theatre Critic, David Cote, Upon His Exit

“Now I am awake to the world. I was asleep before. When they slaughtered Congress, we didn’t wake up. When they blamed terrorists and suspended the Constitution, we didn’t wake up either. They said it would be temporary. Nothing changes instantaneously. In a gradually heating bathtub you’d be boiled to death before you knew it.”
“The Handmaid’s Tale,” Bruce Miller