Meredith Brody continues her reports from Telluride.
Something had to give. All movies and no play (!) makes me cranky, so the flesh is weak: after a full and satisfying day of Wim Wenders’ Pina; The House on Trubnaya Square (1928) by Boris Barnet, with a new score performed by Dennis James and the Filmharmonia Ensemble; Glenn Close and the crème de la crème of British, Irish, and Australian actors in Albert Nobbs, directed by Rodrigo Garcia; and a Tribute to Tilda Swinton with a half-hour of clips, an onstage interview conducted by The New Yorker’s Hilton Als, a screening of Lynne Ramsay’s We Need to Talk About Kevin, followed by a Q and A with Ramsay, Swinton, and co-scenarist Rory Kinnear, I, uh, went to a party instead of coming home and diarying it up. (Not the fancy-schmancy Vanity Fair party, at which I’m sure AT of TOH was present and taking notes. But a nice soiree nonetheless.)
Even though I left the party before I wanted to, here it is, it’s 2 a.m., I have a date to meet my old Village Voice colleague Hilton A. at a 9:15 screening of Diana Vreeland: The Eye Has to Travel, and I have barely enough strength to download Monday’s more than two dozen To Be Announced slots and try to figure out a strategy for Day Four.
Stop the presses: in addition to repeats of already-shown movies, Monday adds yet another Pierre Etaix film, never released in America, Le Grand Amour; and a screening of another sneak preview (i.e. not listed in the program book), Frederick Wiseman’s take on Paris’ bare-breasted Crazy Horse, his 41st documentary and, at only 134 minutes, a mere snip for him.
So many movies, so little time. About which more anon.
[Screen still from Pina]