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Owen Gleiberman Offers The Goods On Godard

“Early on, there’s a chapter title that says “1. Remakes,” as if Godard were about to launch a riff on the corruption of Hollywood (if only!). The shot that follows is a retouched image of a nuclear bomb exploding. That’s a very Godardian black joke: the prospect of an atomic blast as a reboot of history. (It’s also a warning.) Speaking to us on the soundtrack, in a voice that’s now so low and sonorous and croaky with import that he sounds like Charles Aznavour crossed with Gollum, the 87-year-old Godard says, “War is here.” He means that it’s here, and also that it’s coming… The actions of citizens can’t be separated from the actions of their government; they’re all one. That’s a truth that too many — especially on the left [sic] — now try to hide from, but Godard doesn’t like to point fingers unless he’s pointing the finger at everyone…  He retains his squirmy fixation on the Middle East, in which the media’s dehumanization of the Arab world — a legitimate complaint — is balanced by Godard’s sanctification of the Arab world. (It’s a little like what he did in his late-’60s Marxist days, when Mao became hipper to him than the Euro-American bourgeoisie.)”
~ Owen Gleiberman Offers The Goods On Godard

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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