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Movie City Indie

Jonathan Demme in the Modern World: On MANCHURIAN CANDIDATE (2004)

Unlike his actors, Demme saw John Frankenheimer’s film on its first release. “I saw the original when I was a teenager,” he tells me. “I was an avid moviegoer, I saw everything,” he says, hardly taking a breath. DEMME: Everything, everything. I was really hooked on movies at a very young age. The Manchurian Candidate,…

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Pride

FIFTY-PLUS FILMS FOR 2016

In 2016, I saw as many movies as most years (even if when I couldn’t review them all on first release), and I took an additional month to catch up and make room for some second and third look-sees. May the coming year reveal distribution and exhibition creativity to match the grand diversity of movies in 2016.

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Pride, Unprejudiced: Sunset Song, Weiner, The Invitation

A high point among so many, flawed only by a small, smoothing cut, is in the Weiner-Abedin kitchen one morning, when Abedin is asked how she’s doing. She pauses, there’s a cut, she says flatly, “It’s like living in a nightmare.” She smiles, all poise and resolve and red lipstick and white teeth and hightails it out of the frame. Second only to that is Weiner turning to his interrogators in the back of his car, “Isn’t the fly on the wall technique, doesn’t that have a little to do with the notion of not being seen or heard, you just kind of pick up what goes on around you?”

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Pride, Unprejudiced: LOUDER THAN BOMBS With Joachim Trier

“Gabriel Byrne gave him credit by saying that he had never worked with a cinematographer that was so involved, which means he’s there, he knows the blocking, he’s emoting, Jacob Ihre, I’ve seen in our collaboration both start laughing and start crying during scenes we shot, because he’s very engaged with what’s going on. Which I think he doesn’t laugh too loud or weep too loud But that matters. There is a tradition, you know, this tradition, this kind of close-up esthetic in Scandinavian cinema, from Dreyer through Bergman. On some level, I love being serious about that.”

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Quote Unquotesee all »

“The purpose of film isn’t to present the kindness of the world.”
~ Isabelle Huppert

The Promised Land steers into the fact that the United States can mean whatever people want it to mean. You may not be able to be Elvis, but you can sure as shit impersonate him for a living. America, like its current President (at least as of this article’s publication), is so dangerous precisely because it’s a blank canvas on which anyone can project their dreams. Whatever it is that you see for yourself, there’s someone you can pay for the pleasure of believing that it’s possible. In his view, the pursuit of happiness is the ultimate con, a delusion that prevents us from seeing our circumstances for what they are.

“Forget the Matrix, it’s the invention of happiness that blinded us to the truth. The rich got richer and the poor help them do it. Jarecki doesn’t argue that the American Dream is dead; he argues that it was never alive in the first place — that we were all lobsters in a pot full of water that was boiling too slowly for any of us to notice. And now it’s time for dinner. Donald J. Trump is the President of the United States. Elvis has left the building.”
~ David Ehrlich