We Are Your Friends
Friends shouldn’t let friends pay money to see We Are Your Friends.
* 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.
Marie writes: I may have been born in Canada, but I grew-up watching Sesame Street and Big Bird, too. Together, they encouraged me to learn new things; and why now I can partly explain string theory.That being the case, I was extremely displeased to hear that were it up Romney, as President he wouldn't continue to support PBS. And because I'm not American and can't vote in their elections, I did the only thing I could: I immediately reached for Photoshop....
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Let me indulge my passion for operatic drama for a moment and say that I've seen Kenneth Lonergan's "Margaret" four times now (the theatrical version and the new "extended cut" on DVD, twice each) and, while I'm watching it, I feel like I've never before seen a movie that fully recognized what human behavior is like. Sure, the focus is entirely on a certain demographic slice of human beings -- mostly middle- to upper-class, educated, New York-dwelling, Judeo-Christian-atheist white people -- but these people are alive and ragged and messy in ways few movie characters are allowed to be. (The characters, and the lives the movie depicts, are messy; the movie itself is exquisitely shaped according to its maker's vision, and that was apparent from the theatrical cut.)
Of course, all movies are stylized and all characters, whether documentary subjects or fictional, are creations (of writers, directors, actors, editors, cinematographers and others) presented to us in a frame. Yet there are dimensions to the interactions in "Margaret" -- the longing to be understood, the perverse impulse to (deliberately?) misinterpret someone else, the desire to inflict emotional sabotage on yourself or another person just because you can -- that movies so often overlook in an effort to provide clear and clean drama in which everybody announces, bluntly and correctly, exactly what they mean to say.
In other words, as Lisa Cohen might say, "Margaret" calls bullshit on most other movies.
Kenneth Lonergan's "Margaret" was written in 2003, filmed in 2005 and stuck in post-production for six more years. The 150-minute version briefly released theatrically last year was an inchoate masterpiece, perhaps, but a masterpiece nevertheless. The DVD/Blu-ray release, July 10, will feature two versions of the film -- the theatrical release and a new "extended cut" by Lonergan that, he says, better reflects his current vision for "Margaret." As he told Indiewire, "The cut that was released was the cut I delivered. They're both the director's cut; they're just different cuts."
Paul (teenage Patti Benton's boyfriend in Paul Mazursky's 1978 "An Unmarried Woman" -- a specimen of living, breathing upper-class urban cinema that belongs in the same genus as "Margaret") would no doubt observe that Lonergan's movie is "flawed." (Or, as Patti says: "I liked it. Paul thought it was flawed.") And it is. "Margaret" rapidly unravels in the last third or so, along with the turbulent world of its teenage protagonist Lisa Cohen (Anna Paquin). I don't want to get into the plot or characters at all here (I want to wait until I see Lonergan's "extended cut"), but let me say that this movie features four of the most mesmerizing and complex characterizations I've ever seen in any movie: Paquin's Lisa, Jeannie Berlin's Emily, J. Smith-Cameron's Joan and Allison Janney's Monica (the latter a one-scene cameo).
Marie writes: I've always found the ocean more interesting than space and for invariably containing more delights and surprises. Case in point, discovering the existence of an extraordinary underwater museum...
CANNES, France -- There are no taxis to be had in the whole of Cannes. The hotel clerk, she throws up her hands in despair. One cannot walk all the way to the Moulin de Mougins, which is in the hills above town. Viola! Here is ze taxi! But it is ordered for Catherine Verret of the French Film Office. She, however, is also going to the Moulin, although first she must stop at the Martinez Hotel to see if Jeanne Moreau, the great film star, has found a ride.