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 »

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