Elena
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The Playlist23 commentslike149tweet27
Christopher Bell's Best Films Of 2012
Another year, another fifty lists. There were a lot of truly terrific movies to come out in 2012 and it was difficult to sit down and whittle away at a list that contained 30+ films that warranted special acknowledgement. Eventually you have to go with your gut, and I admit that this list may look d...
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The Playlist30 commentslike152tweet35
11 Notable Films You May Not Have Seen In 2012
Every week (bar the very thinnest parts of the calendar), somewhere between seven and twelve movies end up opening in theaters. On some weekends, it's even more -- the first week of December saw eighteen films begin their theatrical runs. As such, it's hard enough for film writers to stay on top of ...
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The Playlist2 commentslike5tweet6
Interview: 'Elena' Director Andrei Zvyagintsev Talks Changed Ending, Favorite Filmmakers
Cinephiles, unite! The name Andrei Zvyagintsev is relatively unknown on these shores, as his remarkable debut "The Return" quietly came and went (though it is now on Netflix Instant -- GO!) and his tremendous sophomore effort "The Banishment" never saw a proper release in th...
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Indiewire1 commentlike13tweet14
Andrei Zvyagintsev Talks 'Elena,' His Rebirth and Philip Glass
Just off of a plane from Russia, Andrei Zvyagintsev seemed nervous about showing his latest work, "Elena" to American audiences. "How did you react to the first seven minutes?" he asked, curiously. "I'm sure Americans are used to something a little more... dynamic."...
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Indiewire3 commentslike4tweet13
Film Forum Announces Summer Premieres Preview
Film Forum, one of NYC's finest art houses, has announced its Summer premieres slate. Highlights include Andrei Zvyagintsev's "Elena," Matthew Akers' "Marina Abramovic: The Artist Is Present," and Mads Matthiesen's "Teddy Bear." Full preview re...
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The Playlist0 commentslike0tweet0
VIFF '11: 'Elena' Is A Dramatic Masterwork From Russian Director Andrey Zvyagintsev
For this writer, there are fewer things in cinema more satisfying than a filmmaker in total control of their story. Sure, we love the visceral thrill of a well-choreographed, impeccably staged action sequence as much as the next red-blooded human being. And there’s the perfect combination of song/score over moving images, blissful moments heightened through all the tools available in the medium. But then there are those rare moments when a film has just begun, and the feeling sets in immediately that you’re in good hands; that no matter what happens in this film, you can trust the filmmaker has thought everything through and knows what he or ...
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