A coming-of-age drama, a horror movie, and a "hero's journey" film, all rolled into one.
* 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.
A look ahead at the 112 films that will play the Sundance Film Festival in January 2019.
Scout Tafoya responds to our Movie Love Questionnaire.
A tribute to the late, great, unbelievable artist that is David Bowie.
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Bolstered by Akira Ifukube's trudging "Gojira" theme and the shorthand it affords, on two separate filmic occasions director Leos Carax chose to pair it with a city-scrolling vista, and in doing so reference his past work for the first time. Homage and visual motifs have always earmarked the enigmatic auteur's films, namely in the unstable romances of "Boy Meets Girl" and "Les Amants de Pont Neuf," but within his two most recent efforts -- a section of the 2008 triptych "Tokyo!" and his 2012 vexing "Holy Motors" -- he centers this rare repetition on one character that is not so much a reprisal as it is an emotional transformation.
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.
Today looks to be a day of renegades and gangsters from the start, with "Killing Them Softly" by Andrew Dominik, the second American film to premier in competition, first thing in the morning. The all-male cast is headlined by Brad Pitt, who also starred in the director's Oscar-nominated "The Assassination of Jesse James by the Coward Robert Ford. " This is a talky tough-guy movie that is heavy on long interchanges among thugs with odd accents and/or speech impediments. Talking like a tough guy means modifying every noun with the f-word (and I wonder what the grand total would be for this film).
"Killing Them Softly" is set in New Orleans, although pains are taken to avoid any distinctly identifying landmarks. The grey, wet, boarded-up desolation of the landscape could only be the post-Katrina lower 9th Ward, and I found the film's fleeting glimpses of that more electrifying than the introduction of Frankie (Scoot McNairy) and Russell (Ben Mendelsohn), a pair of lowlifes setting up a robbery with Squirrel (Vincent Curatola).
The two bumblers manage, just barely, to pull off the robbery of a high-stakes poker game, which makes it only a matter of time before they're marked men. It also makes Markie (Ray Liotta), the pudgy mid-level gangster who was running the game a suspect. Whatever higher authority these thugs answer to calls in its enforcer Jackie Cogan (Brad Pitt) to sort it out.
The first and only woman, who is also the first and only black person in the story, makes her appearance one hour into the film. She's a prostitute who's treated like garbage in her approximately two minutes on the screen. This is not only a man's world, it's a white man's world.
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.