MCN Curated Headlines Archive for November, 2011

110 Features From 31 Countries
88 World Premieres
46 First-Timers
4,042 Feature Submissions
Sundance 2012 Announces Films In Competition

BBC

“We have to react against the theme park film, as well made as they are, and as enjoyable as some of them are.”
Marty Says: Don’t Take The Ride

Early Voters Give Out Only One Award For A Film Not Seen Or Released By October 1
NYFCC Announces The Early Winners

The Artist vs The Descendants is the story in another year of all big indies duking it out
Indies Spirit Noms Announced

“The film must be refused classification because it contains gratuitous, exploitative or offensive depictions of violence with a very high degree of impact and cruelty which has a high impact. Films classified RC cannot be sold, hired, or advertised in Australia.”
Oz Censors Refuse Human Centipede 2‘s Refuse

“Much of the drama emerges through the interstices of the tensely unfolding scenes of emotional writhing and indecision; the sixty-nine-minute sketchbook implies a novelistic amplitude of experience.”
Sounds Like Richard Brody Likes What’s Likely 2011’s Last Joe Swanberg Joint

MCN Curated Headlines

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“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch