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10 Movies Booed At Cannesrecent Posts
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The Lost Boys0 comments
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The Lost Boys0 comments
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REVERSEBLOG: the reverse shot blog0 comments
Primal Fear: The Coen Brothers' "A Serious Man"
No one likes a big, meaty ferbissenah punim more than Joel and Ethan Coen. That is to say, the brother filmmakers, whose penchant for accessible eccentricity has made them America’s go-to just-off-mainstream directors, love to fill their wide screens with sourly expressive faces—the more contorted, enraged, or grotesque the better. This is one of the many reasons (along with such not insignificant matters as omniscient narrative detachment, region-specific parody, comic death scenarios, etc.) that the Coens are tagged as misanthropes: often their onscreen figures take on the mien of gargoyles. If this is the case, should we say their characters are reduced to mere objects, or elevated to statue status?
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The Lost Boys0 comments
Michael Haneke at NYFF
After a screening of "The White Ribbon" at the New York Film Festival, Michael Haneke sat down with Richard Pena and a translator for a Q&A... wait for the best part later on when an audience members asks him if he has "sadness inside him" (excuse the bad quality and the shakiness, it was a two-coffees-too-many-sorta-day):
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Matt Dentler's Blog0 comments
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The Lost Boys0 comments
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REVERSEBLOG: the reverse shot blog0 comments
NYFF: Min Ye
"Each film is a miracle," said Souleymane Cissé, and in his 40-year career, the filmmaker has made about a half dozen of them. Min Ye… (Tell Me Who You Are) is the Malian director's first feature in over a decade, and it comes to us, as do many films from contemporary Africa, partly due to European funding and technical support. But the film also draws on the resources of Mali's best-funded and most popular visual media—television—to present its take on the culturally entrenched practice of polygamy. Unlike in other parts of West Africa, where the video market comprises the bulk of visual culture, television production and broadcasting receives healthy state funding in Mali, where Malian cinema struggles for financing from abroad and wide release at home. Originally planned as a ten-hour miniseries, Min Ye seems to take some of its form and idiom from Malian television serials, with their lurid, twisting plotlines, expressive soap-operatics from their performers, and functionality as a popular platform for social debate. Click here to read the rest of Leo Goldsmith's review of Min Ye.
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Thompson on Hollywood0 comments
Three Tools to Unlock Bright Star's Online Potential
In the second of a series of service pieces about independent film marketing, digital consultant Chris Dorr uses Bright Star as an example of a movie that has not taken full advantage of its online potential. He offers three ways the film could unleash the passion online that is in such evidence onscreen:
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The Lost Boys0 comments
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Matt Dentler's Blog0 comments
