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

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson