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Sundance 2014 Last Call

Happiness

As a documentarian, Balmès shows more than tells; his work tends to curate moments that strike him as meaningful into a largely abstract tapestry and let you make of them what you will. Consequently, Happiness is not a neatly delineated picture of narrative storytelling, nor is it quite traditionally structured documentary. True to form, the director’s work here tends toward the languid and fluid; we float gently along the placid life rhythm of this small village on a faraway mountaintop as the camera captures the subtle – and sometimes not so subtle – shifts in the cultural and social landscape wrought by the march of technological progress.

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Sundance 2014 Review: The Better Angels

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A film created to be seen on a big screen, where the gorgeous cinematography can fill your soul. Dialogue is sparse, used only to augment the narration and visuals, with the result that in many ways feels almost like watching a silent film with narration over it. Or perhaps, to be more accurate, it’s like immersing yourself into a black-and-white landscape of stunning beauty, where there happens to be this story happening around you. Edwards’ time spent as a cameraman on Malick’s films is evident here in the framing of shots, the extensive use of nature in storytelling, and his willingness to let his tale breathe in quiet spaces.

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Sundance 2014 Review: Listen Up Philip

Image courtesy of The Sundance Institute.

Here’s a truism about men like Philip: smart women who tell themselves they would never put up with his particular brand of bullshit no matter what nonetheless can and do fall prey to the allure of the reclusive, temperamental, misunderstood genius, and will keep coming back for more. Men like Philip present a challenge to overcome, a puzzle to solve – until the women in their lives finally have enough and say “no more.” And then those men end up alone, feeling misused and mistreated, looking everywhere save within themselves for the answer to the riddle of their loneliness and isolation.

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Sundance 2014 Review: What We Do In The Shadows

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This is one of the festival’s most pleasant surprises because it’s gotten to the point where certain horror tropes are dead or dying: recent zombie movies have been more shambling than exciting; vampires in general have become anemic and fangless (shout-out to the Twilight series, driving nails into the rhetorical coffin).

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Sundance 2014 Review: War Story

War Story

The death of Lee’s friend has perhaps made her see the wages of war as a price higher than she ever thought she’d pay to be in the thick of it. She’s captured so many losses, so many tragedies, through the lens of her camera, but she has no idea how to capture and cope with her own. The film’s final moments elegantly underscore the truth about the death of those we love and how we grieve the impact of losing them: It hurts, it will always hurt, when you lose someone you love, and even more so when you feel yourself responsible. But life moves on, wars continue to happen, the world spins around its axis just like it did before you lost this person you cared about.

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Picturing Sundance 2014: 21 Images

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Sundance 2014 Review: Imperial Dreams

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Picturing Sundance 2014 x 13 (Plus 140-Character Grasps For Instantaneous Truth)

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Sundance 2014 Review: Obvious Child

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Sundance 2014 Review: Boyhood

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Sundance 2014 Review: I Origins

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Sundance 2014 Review: Hellion

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Sundance 2014 Reviews: Overnighters, Whiplash

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14 Must-See Films at Sundance ‘14

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Sundance Review: Ain’t Them Bodies Saints

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MCN Videos

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Force Majeure, Ruben Östlund, Johannes Kuhnke

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Vanessa Redgrave, Foxcatcher

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Birdman, Michael Keaton

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Birdman, Alejandro G. Iñárritu

MCN Festivals

“F— it. Give me a Stella and a vodka and I will double-fist for the rest of the night.”
Waldo Salt Screenwriting Award-Winner Lake Bell On Needing To Breathe Through Her Butt More

“Embarrassing because it’s almost too tender to watch, so tender that it feels private, so private that continuing to look should get you slapped with a restraining order.”
Wesley Morris‘ Sundance Survey

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“The city to me is the only possible vehicle we have to measure human achievement. We’re an urban species now. If you look at Karachi or Mexico City or Hong Kong or London or New York or Yonkers or Baltimore or any of these other places, the pastoral is now a part of human history. We’re either going to figure out how to live together in these increasingly crowded, increasingly multi-cultural population centers or we’re not. We’re either going to get great at this or we’re going to fail as a species.”
~ David Simon

“I wondered how different it would be to write a novel and it’s totally different. It’s very internal. The weird thing about it is that I found that novel-writing was much more like directing than it is like screenwriting. You’re casting it, you’re lighting it, you’re doing the costumes, you’re doing the locations, you’re doing it all yourself as a director would. In screenwriting, you don’t do that stuff. You don’t describe the face of the actor or the character when you’re writing a screenplay because Tom Cruise is going to do it and he doesn’t look like that, whereas in the novel to describe what he is is what he is. The actual act of writing, just like shooting on a set, is a slow slog. It’s going to work every day.”
~ David Cronenberg On Screenplay vs. Novel