By Ray Pride Pride@moviecitynews.com

Mark Harris

“If any dissent from the very warm reception [of Call Me By Your Name] has frustrated me, it’s the low drumbeat from some gay writers that the movie somehow pulls its punches—that it’s too polite to look at sex between Elio and Oliver, that it should show more, that it needs to go there. No, it doesn’t. First of all, nudity as a signpost of artistic integrity is something we should all move past. Second, penises are about the most readily available commodity in the whole large world of gay indies. But what dismays me most is that this critique feels like it’s about what the critic wants rather than what the movie needs. I haven’t heard a persuasive case that something meaningful would be articulated about Elio or Oliver if you showed sucking or erections or penetration; it feels more like an ideological insistence that Call Me should have the balls to risk affronting more people, to be more in-your-face. As if the movie were a candidate that somehow failed to placate its base. (It’s also strange to see what’s described as Call Me’s reticence invoked as symptomatic of a double standard, as if mainstream heterosexual romantic dramas are brimming with vulvas and cumshots.) Yes, André Aciman’s novel is more explicit (in ways that feel persuasive and ways that don’t), but novels aren’t movies, and to put it plainly, I don’t think that a film adaptation owes its audience dick in that regard.”
~ Mark Harris

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch