Returning from
@visionsdureel
,
@vrizov
reviews six features, including Nellie Kluz's "The Dells," Nicole Vögele's prize-winning "The Landscape and the Fury" and Louis Hanquet’s "The Shepherd."
The Brooklyn Paramount Theater, built in 1928 and converted by Long Island University into a gym in 1962. So rarely do you see a basketball court topped by an Art Deco theater.
I feel like the last decade I’ve been repeatedly told to stop watching old art movies and start watching TV or TikTok or whatever because the kids don’t care but a sea of undergraduates just sold out TOKYO STORY. “Fuck, I really wanted to see that!” the person behind me blurted.
I have to give completely unexpected thanks. I was walking on my way to get some chicken when I passed Bedford-Stuyvesant Community Garden on Malcolm X. Dudes were hanging outside and are like “we have food. It’s free and it’s good. Go get a plate.” So I went in. And...
From that Ridley Scott profile, a whole mentality in one sentence. These people are *everywhere*, this is what they think "artistry" is ("sheen" is very much the applicable word), except now their reference points are much, much worse.
A sadly typical example of what can make Film Twitter so unpleasant. Two movie fans should be able to have a civil debate about which boxing masterpiece is better, Franco Zeffirelli’s THE CHAMP or Martin Scorsese’s RAGING BULL, without getting ugly and personal.
We’ve all worked for someone like Governor Cuomo. Type of person who is actively hostile to other ppl getting things done and makes it impossible to do so without getting permission first, which will only be granted after weeks of needless delay to remind people Who’s In Charge.
I could be wrong (please direct me to any reading I've missed!) but written critical response to FIRST REFORMED has kind of punted on the fact that it's the only movie to date to point out how terrifying irreversible climate change in our lifetime is & how hard that is to process
There are far worse movies young people could watch than THE DARK KNIGHT. When I was in college, my fellow film students were super into THE BOONDOCK SAINTS and SNATCH as aspirational formative influences.
If SÁTÁNTANGÓ is hitting VOD this Friday (Vimeo+Lincoln Center Virtual Theater+additional platforms to follow), it must be time to repost the Béla Tarr interview
When I was 17, I went to see DEMONLOVER and, for once, a friend came with me. Afterwards he said, “Wow, I can see why spend so much time alone if you watch movies like that.”
Congratulations to the Cannes “Film Festival” for their clever ploy—pretending to be a real entity that exists, inventing an elaborate faux history, luring people here, creating a website that doesn’t work, all to increase tourism revenue.
Film Forum's imminent Billy Wilder retrospective wreaking havoc on the subway system. "False auteur!" Sarris-ites snipe and sneer while darting out of the cars. "Structural excellence!" his passionate defenders cry out.
Editing an interview with John Sayles, laughing at his description of a certain kind of can't-miss arthouse audience: "These people will go to anything about climate change, anything with French food in it, whatever it is."
In SHOWING UP, Michelle Williams keeps trying to do what she needs to do and everyone’s like “That’s nice, but you have to deal with this dumb bullshit instead” while she gives 50 kinds of long suffering looks. Great movie!
Trump railing against Mueller’s "48 million dollar" investigation, honestly we should be supporting more mid-budget productions, the kind of movies for adults we just don’t see anymore.
Friday must-read, unlocked from our most recent issue: a staggeringly detailed, erudite and enlightening piece by Bingham Bryant on color trends in digital film restoration. Why do so many things look anachronistically blue or yellow? He has answers!
INFINITY POOL cinematographer Karim Hussain discusses his beloved lens, Lucky Pierre, who has "a lot of fungus in his rear element [... but] a really interesting fungus" (via )
Four months in, I’m no longer getting emails from corporations letting me know that I’m part of their family and they care about my safety. I feel like Haley Joel Osment in A.I., abandoned in the forest by my parents. I thought these were forever relationships!
After about two months of Festival Films, very refreshing to watch Friedkin's THE CAINE MUTINY COURT-MARTIAL, featuring Lots of Acting, great coverage, lotta acting styles and heated voices and absolutely zero in the way of minor epiphanies.
Bruno Dumont’s FRANCE: probably a difficult movie if you believe movies should focus on things like “generating empathy for characters.” Probably the year’s most deliberately inscrutable movie on just about every level. I’m impressed! (These are all compliments.)
I laughed at Jennifer Kent’s explanation of how she made sure it would be very hard to change THE NIGHTINGALE’s aspect ratio as contractually mandated. (Via: )
All across America employees are saying the same thing ("please pay me a greater fraction of the considerable revenue I generate") and bosses are responding ("we hired a DEI consultant in the summer of 2020, what more do you people want").
Film Twitter, such as it is, spends an unbelievable amount of time bitching about bad pieces and saying we should promote good ones, but I've seen the analytics on how many people read my more ambitious stuff and the follow-through is weak.