Movie City Indie Archive for May, 2013

New On DVD: Lore, Side Effects

Lore

Cate Shortland’s exquisite second feature, her first since her 2004 debut, the cunningly, thrillingly detailed Somersault, makes you wonder why we’ve missed two or three Cate Shortland features in the meantime. Australia’s 2012 Oscar entry for Best Foreign Language Film, Lore is a brute coming-of-age story about five German children who scatter across the countryside in the spring of 1945 as the Allied forces claim the country. (“Laura” is the pronunciation of the diminutive of “Hannelore,” the Nazi-indoctrinated teenager’s name.)

Shortland’s the sort of filmmaker, you watch a scene unfold and you simply say to yourself, I remember, yes, this is what movies ought to look like, what movies can look like, with casting, color, composition, tempo: they can tactile, empathetic, empathic, detailed, suggestive, bold, fragile and altogether a thing of life and dream at once. The blue of inked numerals on forearm effaced by tugging down a deep blue wool sleeve; glisten of child’s blue eyes above rudely blushing mouth, ants prickling at a the vinous red darkened onto a blooded thigh; figurines emblematic of innocence crushed with grown-ups’ finality: painterly yet photographic conjuring.

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Nic Refn On Prostitutes; Hw’d (4’09”) MNSFW

“It’s like sex, you know there’s going to be a climax, you just don’t know when… If you make a movie that costs $100 million, you may have as much control as you want but if that movie doesn’t make half a billion, you’re going to have an issue. Creative control doesn’t mean a whole lot if what’s at stake is so tremendous. Hollywood is like going into a hotel room, a hotel lobby, the Carlton, and seeing the most gorgeous escort girl. And she will say to you, ‘You are the greatest filmmaker in the world, I will do whatever you want,’ do with me what you want, and you’re like so tempted, but you’re also a bit like ‘Am I gonna catch something?’ That’s still how I feel about it. I really want to fuck but I’m not sure that I can, y’know, come yet. Therefore? I have to feel ready to do that.” [Embed via Variety.com.]

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Trailering AIN’T THEM BODIES SAINTS (2’29”)

Yes.

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GREAT GATSBY Party Preem In Sydney (4’43”)

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Borzage’s MOONRISE (1948) opening (4’58’)

Underappreciated darkness. Borzage’s not just a romantic.

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Class Photo For NYMPH()MANIAC, Opening Christmas Day

They seem nice. Do you think Lars knows about James Griffith’s campaigns for Club 18-30?

“Whether Lars von Trier would return to Cannes withNYMPHOMANIAC has been the subject of speculations ever since the project was announced. Even when the producer publically announced a timeline that didn’t allow for the film to be ready for screening in May, many were still looking for Trier’s two-part work on the Official Competition Lineup for Cannes 2013, when it was revealed. Continued speculations are now directed towards the next question: When will NYMPH()MANIAC have its world premiere?

Zentropa Entertainments and domestic distributor Nordisk Film are happy to put an end to the speculations and announce that Copenhagen, Denmark will be hosting the World Premiere of Lars von Trier’s NYMPH()MANIAC in December 2013. The premiere will consist of a red carpet Galla in early December and a domestic theatrical release on December 25th.

Peter Aalbæk Jensen, CEO Zentropa: “Seeing the film’s visual effects will be a significant part of the storytelling, we’re facing a huge post-production phase and Lars has just begun editing PART II. So December is a good month. Besides, what’s more Christmassy than a film like this?”

To celebrate a locked date for the film’s world premiere, Zentropa Entertainment has released yet another piece of information disclosing the universe of NYMPH()MANIAC; a voluminous ensemble still presenting the main cast. The ensemble still is photographed by Casper Sejersen and features (from left to right): Stacy Martin, Lars von Trier, Shia LaBeouf, Jamie Bell, Udo Kier, Uma Thurman, Sophie Kennedy Clark, Willem Dafoe, Mia Goth, Stellan Skarsgård, Christian Slater, Nicolas Bro, Charlotte Gainsbourg and Connie Nielsen. ” [Nordiskfilm.]

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Newt Gingrich’s Compelling New Andy Rooney Impersonation

“Here, at Gingrich Productions…”

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Teasing “Cinéma, de notre temps: James Benning and Richard Linklater” (1’58”)

“In 1985, former oil rig worker Richard Linklater began a film screening society in Austin, Texas, that aimed to show classic art-house and experimental films to a budding community of cinephiles and filmmakers. Eventually incorporating as a nonprofit, the newly branded Austin Film Society raised enough money to fly in their first out-of-town invitee: Milwaukee native James Benning, visionary filmmaker, who was then based in New York. Accepting the invitation, Benning met Linklater and immediately the two began to develop a personal and intellectual bond, leading to future screenings and encounters.” [More.]

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Trailering FRUITVALE STATION (2’19”)

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Movie City Indie

Quote Unquotesee all »

Dear Irene Cho, I will miss your energy and passion; your optimism and joy; your kindness towards friends, colleagues, strangers, struggling filmmakers, or anyone who randomly crossed your path and needed a hand. My brothers and I have long considered you another sibling in our family. Our holiday photos – both western and eastern – have you among all the cousins, in-laws, and kids… in the snow, sun, opening presents, at large dinner gatherings, playing Monopoly, breaking out pomegranate seeds and teaching us all how to dance Gangnam style. Your friendship and loyalty meant a great deal to me: you were the loudest cheerleader when I experienced victories and you were always ready with sushi when I had disappointments. You had endless crazy ideas which always seemed impossible but you would will them into existence. (Like that time you called me and suggested that we host a brunch for newly elected mayor of LA, Eric Garcetti because “he is going to president one day.” We didn’t have enough time or funding, of course, only your desire to do it. So you did, and I followed.) You created The Daily Buzz from nothing and it survived on your steam in spite of many setbacks because you believed in a platform for emerging filmmakers from all nations. Most of all, you were a wonderful mother to your son, Ethan, a devoted wife to your husband, and a wonderful sibling and daughter to your family. We will all miss how your wonderful smile and energy lit up the room and our lives. Rest in peace, Irene.
~ Rose Kuo Remembers Irene Cho on Facebook

“You know, I was never a critic. I never considered myself as a film critic. I started doing short films, writing screenplays and then for awhile, for a few years I wrote some film theory, including some film criticism because I had to, but I was never… I never had the desire to be a film critic. I never envisioned myself as a film critic, but I did that at a period of my life when I thought I kind of needed to understand things about cinema, understand things about film theory, understand the world map of cinema, and writing about movies gave me that, and also the opportunity to meet filmmakers I admired.

“To me, it was the best possible film school. The way it changed my perspective I suppose is that I believe in this connection between theory and practice. I think that you also make movies with ideas and you need to have ideas about filmmaking to achieve whatever you’re trying to achieve through your movies, but then I started making features in 1986 — a while ago — and I left all that behind.

“For the last three decades I’ve been making movies, I’ve been living, I’ve been observing the world. You become a different person, so basically my perspective on the world in general is very different and I hope that with every movie I make a step forward. I kind of hope I’m a better person, and hopefully a better filmmaker and hopefully try to… It’s very hard for me to go back to a different time when I would have different values in my relationship to filmmaking. I had a stiffer notion of cinema.”
~ Olivier Assayas