Aloha feels like several films at once, crammed together and sped up, with results that are emotionally hollow and narratively confusing.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Recent releases on Blu-ray.
Marie writes: Remember Brian Dettmer and his amazing book sculptures? Behold a similar approach courtesy of my pal Siri who told me about Alexander Korzer-Robinson and his sculptural collages made from Antiquarian Books. Artist's statement:"By using pre-existing media as a starting point, certain boundaries are set by the material, which I aim to transform through my process. Thus, an encyclopedia can become a window into an alternate world, much like lived reality becomes its alternate in remembered experience. These books, having been stripped of their utilitarian value by the passage of time, regain new purpose. They are no longer tools to learn about the world, but rather a means to gain insight about oneself."
The Toronto Film Festival is universally considered the opening of Academy Awards season, and the weary moviegoer, drained after a summer of exhausted superheroes and franchises, plunges in it with joy. I've been attending since 1977, and have watched it grow from a bootstrap operation, with the schedule improvised from day to day, into one of the big four (with Cannes, Venice and Berlin).
Shrouded behind the frostbitten windows of an idling vehicle, Marcello Clerici (Jean-Louis Trintignant) peers out at the snow-covered French countryside where a political assassination takes place. Driven by another member of Mussolini's Fascist government, the jittery man in the backseat has traveled through the night to reach this mission, but it is in the journey that Bernardo Bertolucci's striking 1970 drama, "The Conformist," takes shape. An adaptation of Alberto Moravia's 1951 novel, the film details the inner working of cowardice, using Marcello as a supposed idealist defined by his cage in 1930s Italy, and through his pitiful struggle against independence explores its futility at every turn.
Marie writes: Not everything is what is seems...(Click images to enlarge.)
Beasts of the Southern Wild
• Chaz Ebert in Cannes
The Cannes 2012 Palme D'Or was indeed won Sunday by Michael Haneke for "Amour," the best film in the festival. And what an emotional moment to see its two stars, Jean-Louis Trintignant and Emmanuel Riva walk up on stage with Haneke to accept the award. A juror, Jean-Paul Gaultier said they gave the most emotionally real performances of any film in the festival. He said he bawled his eyes out. This was the second time in three years that Hakeke won the Palme, after "The White Ribbon" in 2009.
And surprisingly, three out of four of my award speculations also won prizes. However, if you listened carefully to the reasoning of the Jury you can conclude that actually all four of the lineup would have won.
The 65th Cannes Film Festival's eleven days of prediction, wild speculation and gossip, some of it centering on the notoriously cranky personality of this year's jury president Nanni Moretti, came to an end Sunday evening in festival's business-like awards ceremony (or Soiree de Palmares, as the French call it) that traditionally lacks the extended let's-put-on-a-show aspect of the Oscars. The jury was seated onstage in a solemn group, and the awards given with a modest amount of fancy-dress formality, a bit of unrehearsed fumbling, and acceptance speeches that were short, dignified and to the point.
The foul weather that has marred the usually sunny festival continued to the end, and elite guests and movie stars alike walked a red carpet tented by a plastic roof as the rain fell on the multi-colored umbrellas of the surrounding crowds. Festival director Thierry Fremoux personally held an umbrella for Audrey Tautou, star of Claude Miller's closing night film, "Therese Desqueyroux," as she headed up the famous steps in a calf-length ivory lace gown with a bodice heavily embroidered in gold.
Actress Berenice Bejo, an international sensation since her starring role and subsequent Oscar nomination for "The Artist," performed mistress of ceremonies duties in a white, bridal-looking strapless sheath with long train, her only jewel an enormous heart-shaped emerald ring. Just about the only prediction this year that turned out to be accurate was the one that advised that all was unpredictable under the jurisdiction of the pensive and often-scowling Moretti.
Haneke, Riva, Trintignant
• Chaz Ebert at Cannes
Who will win the Palme D'Or? I expect top prizes for Michael Haneke for his film, "Amour," with Jean-Louis Trintignant and Emmanuelle Riva, but I am terrible at the awards-guessing game. I think "Amour" is one of the very best films in the festival with its harrowing portrait of the mental and physical deterioration of an esteemed piano teacher after a series of strokes, and the husband who must bear witness to this as he takes cares of her.
Haneke's film is so mature and well done that its emotional impact builds quietly, from the core. You marvel at how he layers the scenes of a marriage so naturally that you know the couple has been together for decades in a relationship that is comfortable and emotionally enriching. And so when they make their choices you are right there with them emotionally until the bitter end, and there is no judgment about the choices made.
Sunday dawned with a dark and threatening sky and a chill in the air, continuing the dreary weather trend of the past two days. It's a day of heavy-hitters here at Cannes, with two greatly anticipated films by major directors premiering in competition: "Amour" ("Love") by Austrian Michael Haneke in the morning; and "Like Someone in Love" by Iranian Abbas Kiarostami in the evening. Is the weather an omen or just weather? We'll see.
Neither of today's competition films was made in the director's home country. Haneke made "Amour" in France with French stars, but then he has more frequently worked in France in recent years. Kiarostami made his previous feature "Certified Copy" in Italy with an international cast, but "Like Someone in Love" was made in Japan with a French producer, a first for the globe-trotting director.
Michael Haneke has made his reputation on a uniquely transgressive form of cinema. Films, including "The White Ribbon," "The Piano Teacher," and "Funny Games," cross boundaries and break taboos, all the while drawing the audience into complicity with moral compromises and sometimes vile acts. "Amour" represents a new and more gentle and affecting take on that artistic strategy.
In "Amour," veteran French stars Jean-Louis Trintignant ("A Man and a Woman," "My Night with Maud") and Emmanuelle Riva ("Hiroshima Mon Amour") play Georges and Anne, a married couple in their 80s. They are retired music teachers who live in a lovely high-ceilinged apartment, and their comfortable lives are steeped in music and the arts. Their adult daughter Eva (Isabelle Huppert), also a musician, has a busy life of touring with her British husband.
Arthur Penn's "Night Moves" (1975) is one of the great movies of the '70s. As a detective picture about a private eye with flawed vision -- in this case, a small-time independent dick and former football player named Harry Moseby (Gene Hackman), who'd like to think he's Sam Spade -- it would make a great double bill with "Chinatown," released the previous year. Yesterday, when the news came of French director Eric Rohmer's death, a lot of people who apparently hadn't even seen "Night Moves" (or, perhaps, a Rohmer movie) were freely quoting Moseby's famous wisecrack in pieces about Rohmer without providing any context for it:
"I saw a Rohmer film once. It was kind of like watching paint dry."
It wasn't long before it even became a Twitter meme: #nightmoves. (See examples below, after jump.)
What some (not all) of the quoters didn't seem to realize or remember is that Harry's remark, as scripted by Alan Sharp, is a brittle homophobic jab at a gay friend of his wife's. (Watch the clip above.) Ellen (Susan Clark) invites Harry to join her and Charles (Ben Archibek -- that's him at the end of the clip) for a movie: Eric Rohmer's classic "My Night at Maud's" (1970), about an engaged man (Jean-Louis Trintignant) who spends a long, memorable night in conversation with a divorcee (Françoise Fabian). Moseby is asserting his macho credentials, and ends the scene by teasing Charles about going bowling again sometime. "You seem to get some weird kind of satisfaction from this sort of thing, don't you?" Charles replies. Later that night, Harry drives by the theater as the movie is letting out and sees something indicating that his wife may be having an affair.
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.
Life, the director Krzysztof Kieslowski once said, is like visiting a cafe: "We're sitting next to strangers. Everyone will get up, leave, and go their own way. And then, they'll never meet again. If they do, they won't realize that it's not for the first time."
CANNES, France -- It may help if you pause a moment, just at the outset of this article, to hum a few bars of the theme from "A Man and a Woman."