Aloha feels like several films at once, crammed together and sped up, with results that are emotionally hollow and narratively confusing.
I've now gathered about 3,000 photos taken at film festivals, of everyone from Cate Blanchett to Johnny Rotten, and the 43rd Chicago International Film Festival gave me more opportunities. Most of those photos are squirreled away here and there on this site, often linked to the festival at which they were taken. Maybe someday we'll compile an index. And maybe someday I'll scan in some of my pre-digital prints. It's not like I have anything else to do. I was a newspaper photographer from the age of 15, using an old Rolicord, and I remembered one rule I learned at that time: Compose the photo to your satisfaction, and then take a big step forward.
Members of the Chicago Film Festival jury, visiting filmmakers and Chicago movie folk gathered at our house for a party toward the end of the festival's first week, at which the highlight was undoubtedly the legendary German actor Udo Kier doing his impression of Marlene Dietrich singing "Lili Marleen."
Having once made the statement above, I have declined all opportunities to ...
An essay on how technology has rendered us a one-handed species.
An FFC writes about the use of Giuseppe Verdi's "Dies Irae" in "Mad Max: Fury Road".
A final film report from Cannes on two of the last films for 2015: an update of Macbeth and an environmental document...