A Letter to Momo
Even scenes that work, such as a climax on a rain-soaked bridge, feel like they could have been trimmed by a few hand-drawn frames. Maybe…
* 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.
Behold a most wondrous find...."The Shop that time Forgot" Elizabeth and Hugh. Every inch of space is crammed with shelving. Some of the items still in their original wrappers from the 1920s. Many goods are still marked with pre-decimal prices."There's a shop in a small village in rural Scotland which still sells boxes of goods marked with pre-decimal prices which may well have been placed there 80 years ago. This treasure trove of a hardware store sells new products too. But its shelves, exterior haven't changed for years; its contents forgotten, dust-covered and unusual, branded with the names of companies long since out of business. Photographer Chris Frears has immortalized this shop further on film..." - Matilda Battersby. To read the full story, visit the Guardian. And visit here to see more photos of the shop and a stunning shot of Morton Castle on the homepage for Photographer Chris Fears.
Revenge is served raw and simple in "Bedevilled"(2010). The movie delivers exactly what it promises to us, but that is not for free. There are barbarous scenes that make you wince, and then there are bloody scenes that make you cringe, but this South Korean revenge thriller has gallons of emotions to spurt on the screen in its sad, wretched character. It carefully prepares its ground while seemingly following the typical formula of revenge movies featuring abused heroines. It continuously accumulates explosives beneath its surface as the plot progresses. And then, when the time comes, it explodes its anger magnificently like a harrowing bloody aria.
Entry to the Grande Theatre Lumiere for the press premiere of Rachid Bouchareb's "Outside of the Law" was considerably delayed on Friday morning by heightened security. Heavily-armed members of the French National Guard were stationed in the street and on the red carpet. Water bottles were confiscated by guards; men got full-body pat-downs from head to toe; and women had bags exhaustively inspected at two different points. This was in addition to the usual electronic wanding that we are all subject to upon entering any part of the Palais.
There's something in the UK called the Campaign for Real Ale. It was started in The Guardian in the 1970s by Richard Boston, a journalist (naturally) who was alarmed by traditional British pubs being taken over by mass-produced, heavily marketed, rapidly brewed beer.
The real thing, he said, was not carbonated, was brewed in its own time, and had a distinctive flavor. It was drawn up by gravity from a cooled cellar, not forced through hoses under pressure. It wasn't tweaked to make it taste like all other beers, matching some international formula like Budweiser or Heineken's. I've tasted it. It went down smoothly, and you didn't belch.
Fifty years ago, the Palme d'Or winner at Cannes was Fellini's "La Dolce Vita." More every year I realize that it was the film of my lifetime. But indulge me while I list some more titles.
The other entries in the official competition included "Ballad of a Soldier," by Grigori Chukhrai; "Lady with a Dog," by Iosif Kheifits; "Home from the Hill," by Vincente Minnelli; "The Virgin Spring," by Ingmar Bergman;" "Kagi," by Kon Ichikawa; "L'Avventura," by Michelangelo Antonioni; "Le Trou," by Jacques Becker; "Never on Sunday," by Jules Dassin; "Sons and Lovers," by Jack Cardiff; "The Savage Innocents," by Nicholas Ray, and "The Young One," by Luis Bunuel.
And many more. But I am not here at the 2010 Cannes Film Festival to mourn the present and praise the past.
With departure for Cannes only days away, the specter of drifting volcano ash inspires its own shivery anticipation of the festival, and not in a good way. Cannes is a convention city year around, and a new festival or international congress moves in pretty much as soon as the previous one moves out. It's not like you could extend your hotel stay on the spur of the moment, and at Riviera prices, who would want to?
I'm hoping the only eruptions are of the cinematic kind. For two weeks every May, the Cannes Film Festival is like a volcano blowing its top, spewing new movies day and night. In view of this massive flow, it's a rather silly insiders' game to speculate on good years vs. bad years. With hundreds of films to choose from, taking into account the official selections and the film market, this huge festival is what you make it. Every year is a good year. Looking for great art? There's always some to be found. Looking for low-down-sleaze? There's more of that than you even want to know about. Looking for new films from Latvia, for instance? Take your pick, and get the scoop on the state of the Latvian film industry from an eager sales agent while you're at it.
Every year as Cannes looms, I'm reminded of the puckish advice of British director Mike Leigh ("Happy-Go-Lucky," "Vera Drake"), pronounced many years ago when he was on the festival jury. At the jury press conference, Leigh was asked about his expectations. "The festival is like a lemon," he said, "you just have to suck it and see how it tastes." As luck would have it, Leigh will be premiering his new film "Another Year" in the competition. I'm looking forward to seeing what flavor this one adds to the festival.
The programming director of the Gene Siskel Film Center in Chicago is blogging from Cannes for us.
Thursday, May 14--You can't beat the weather here in Cannes. After the cold rain and dark skies in Frankfurt, where I changed planes yesterday, the perfect, summery temperatures and extravagant displays of flowers makes this town seem even more like a Mediterranean paradise than usual.
The festival kicked off to the world Wednesday night with the first red-carpet walk by the jury, and the Pixar folks with their 3-D animated feature "Up", but for most of us in film-industry jobs, the festival is already well underway with press screenings, market screenings, and press conferences.
View image Roger & Chaz Ebert, with Roger's second sidewalk star. (All photos by Jim Emerson. Thanks to Kim Robeson for the use of the camera on this one!)
View image Man Push Dog. Anyone will tell you that one of the joys of TIFF is the street food. I was inspired to take this after seeing "Chop Shop," Ramin Bahrani's second film after "Man Push Cart." Want green olives on that dog? I do.
On average, I saw two to four movies a day at the 2007 Toronto Film Festival -- and, incredibly, I didn't see a bad movie. That's nine days and 20-something pictures (less than one tenth of the total screened), but I don't think I've ever had a run of good movies like that in my life. No, I didn't write about everything I saw -- but I also liked Ira Sachs' "Married Life," Chaude Chabrol's "A Girl Cut in Two" (figuratively and literally), Gus van Sant's "Paranoid Park," and those other movies I saw, except for the one I walked out on (the third in a four-movie day) that was not so much bad as doleful and predictable. And there was the Woody Allen movie I accidentally half-saw, without knowing I was half-seeing it.
View image Toronto Film Festival Co-Founder Dusty Cohl with Roger Ebert. Ya got a coupla stars here.
View image Ingmar Bergman's Death (center, rear) welcomes ticketbuyers, lined up at the TIFF box office in the Manulife Centre, which is being remodeled (nice duct-work, eh?) and currently looks like something out of Terry Gilliam's "Brazil." The woman in orange (center, foreground) is one of the fest's fantastically friendly and organized volunteers.
On the other hand, I also didn't take all that many risks. Most of what I saw was by familiar directors I like, or came recommended by fellow critics or other film festivals. There were some movies I wanted to see just because they sounded interesting (not because I'd ever heard of the filmmakers), but I couldn't squeeze them in, and in that sense I did not have the full experience a festival has to offer.
View image They do love their celebs up in Toronto. Last year, air-polluting, environment-destroying Sean Penn smoked at a press conference and it was a huge scandal. The paparazzi couldn't wait to catch him with a cigarette this time. And when they did -- front page news!
View image The "Juno" guys.More photos after the jump...
Anyway, although I fear some of the films I saw even ten days ago are no longer as vivid in my memory because of the ones I've seen since, here were my ten favorite Toronto movies, in very rough order of preference:
"No Country for Old Men" (Joel & Ethan Coen)"I'm Not There" (Todd Haynes)"Chop Shop" (Ramin Bahrani)"Secret Sunshine" (Lee Chang-dong)"Eastern Promises" (David Cronenberg)"Atonement" (Joe Wright)"The Orphanage" (Juan Antonio Bayona)"Persepolis" (Marjane Satrapi & Vencent Paronnaud)"Les Amours d'Astrée et de Céladon" (Eric Rohmer)"4 months, 3 weeks, 2 days" (Cristian Mungiu)
More photos after the jump...