By Ray Pride Pride@moviecitynews.com

Joachim Trier

“We are seeing a late phase of a master and I think that we should be generous and look at all these films he is releasing back to back as cinematic explorations. I think we are too concerned at the moment just about “Thumbs up” or “Thumbs down,” you know? Is it good? Is it bad? I think it’s much more interesting to look at the ambition and the moments of success that all his films have where you really feel that he’s trying to explore the possibilities for cinema to be both existentially potent but also visually explorative in terms of form. He’s trying to use the camera to be a philosopher. I’m tired of people putting down Terrence Malick because they want him to do what he did in his first few films. I watch his films with great admiration. I’m not a film critic, thank God, so I don’t have to decipher things up against each other, I can just be a human being watching another human being express themselves. Everyone is complaining that nobody is doing original cinema and then Terrence Malick is blowing the roof off in terms of trying to explore just how far you can push associative, voiceover-driven cinema without dramatic dialogue scenes in a way that nobody else has done. Whether you like it or not you have got to give him respect for the exploration of the possibilities of making movies, of what the language can be and I admire that tremendously. Who is else is doing that? Let’s root for the people that take risks, let’s root for the people that keep exploring and don’t abide by the rules of the dramaturgically constructed movies of the present moment.”
~ Joachim Trier

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“Would I like to see Wormwood in a theater on a big screen? You betcha. I’d be disingenuous to argue otherwise. But we’re all part of, like it or not, an industry, and what Netflix offers is an opportunity to do different kinds of films in different ways. Maybe part of what is being sacrificed is that they no longer go into theaters. If the choice is between not doing it at all and having it not go to theaters, it’s an easy choice to make.”
~ Errol Morris

“As these stories continue to break, in the weeks since women have said they were harassed and abused by Harvey Weinstein, which was not the birth of a movement but an easy and highly visible shorthand for decades of organizing against sexual harassment that preceded this moment, I hope to gain back my time, my work. Lately, though, I have noticed a drift in the discourse from violated rights to violated feelings: the swelled number of reporters on the beat, the burden on each woman’s story to concern a man “important” enough to report on, the detailed accounting of hotel robes and incriminating texts along with a careful description of what was grabbed, who exposed what, and how many times. What I remember most, from “my story” is how small the sex talk felt, almost dull. I did not feel hurt. I had no pain to confess in public. As more stories come out, I like to think that we would also believe a woman who said, for example, that the sight of the penis of the man who promised her work did not wound her, and that the loss she felt was not some loss of herself but of her time, energy, power.”
~ “The Unsexy Truth About Harassment,” by Melissa Gira Grant