MCN Curated Headlines

“Women can achieve everything, but it’s appallingly hard work and shouldn’t be as difficult as it is.”
British Doc And Shorts Producer Anne Balfour-Fraser Was 92

“If I’d never seen you I could always dream that I’d be better off alone… Be alright ‘til we get back again… Be alright ‘til we get back again…”
Filmmaker Nadia Litz On The Canadianness of Gord Downie And A Moment When She Was 14

NY Times

“You and I are buying a house together, and it is called a fixer-upper, darling. The main question is, what is Shari going to do?”
Second-Largest Voting Shareholder In Viacom And CBS Comments

“Rohmer did not live the way other filmmakers lived. Not just other filmmakers of the French New Wave, of which he was both a kind of father figure and crucial component. I mean pretty much all other filmmakers.”
Glenn Kenny On The Éric Rohmer Bio

“This isn’t curation – this is typing keywords into your iTunes search bar and downloading the top result.”
Jason Bailey On The “Autopilot Music Supervision” Of War Dogs And Suicide Squad

“Since the state has given an order, we will listen.”
China Ratchets Down On Control Over Live-Streaming And “Bullet Screens”

“We’re basically color-blind in terms of how we cast our films, and I think you can see that when you look at the totality of our movies.”
Kubo And The Two Strings Director Rejects Casting Contention

“I can understand that it would seem funny if those were our normal ‘hey Jonathan, what’s going on’ emails, which is not the case at all… It’s not what we write on a Tuesday afternoon. Obviously.”
Natalie Portman Says That NYT Profile With Email Between Her And Jonathan Safran Foer Was A Narrative Device

“In a way, it’s an artificial business to begin with. But still, you have to survive, and the people making the films have to survive. If you can’t [shoot your doc] in a year and a half or so, you’re into some sort of charitable endeavor. And that’s what this kind of filmmaking is – you satisfy your curiosity at whatever cost. It’s very hard to raise money to make these films, and we got some smaller grants, but just not enough to follow the story for three years. So it was essential for Kickstarter to keep this project going.”
Pennebaker & Hegedus On The Fraught Finance Of Unlocking The Cage (And Docs In General)

NY Times

“I cannot separate the art and the artist, just as I cannot separate my blackness and my continuing desire for more representation of the black experience in film from my womanhood, my feminism, my own history of sexual violence, my humanity.”
Roxane Gay On “Nate Parker And The Limits Of Empathy”


“It is indelicate, but the advice grows from a pragmatic assessment that, in the current climate, ‘race trumps gender,’ if only by a little, when it comes to demands for social justice.”
Michael Cieply Surveys Unnamed Publicity Hands To Help Nate Parker

“The simple allure of an auteur and his singular artistic vision to usher a film to greatness: They simply failed to fully research, contemplate, or understand the implications of that alignment.”
Anne Helen Petersen On The Limits Of H’wd Damage Control

MCN Curated Headlines

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“Hitchcock films the story with a wide-eyed, astonished, fascinated, and disturbed camera stare that seems to shudder and tremble every time Hedren is onscreen. Even the director’s cameo—in which he watches Hedren walking down a hotel corridor and then turns back to look at the camera, shamefacedly caught in his own leer—suggests his self-aware sense of visual carnality. The images offer an extraordinary swing between blasts of heat and an eerie chill, sometimes bringing the two together. Even the film’s exterior locations have a fluorescent buzz that captures an ambient sense of derangement.”
~ Richard Brody on Marnie


“HBO’s investment in these outlets for criticism belies an approach that blends the show itself with discussion about the show to create an overarching viewer experience. It’s not just the plot that entertains, but also theorizing, exploring the world’s mythology, and more that has engaged book readers for decades — and those aspects are now part of what HBO is producing, not just something happening at whatever passes for a water cooler or comic book shop these days. Benioff, Weiss, and HBO are blending entertainment and criticism into one giant, all-encompassing amalgamation of content. Something as grandiose and, indeed, as stunning, as ‘Game of Thrones’ requires it.”
#Content: Expanding Entertainment, Collapsing CriticismBy Matt Hartman

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