Dragged Across Concrete
It’s difficult to ignore the craftsmanship and performances in Dragged Across Concrete simply because you don’t like some of its darker themes or feel like…
* 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.
The screenings of "De-Lovely," "Pleasantville," "Varieté" and "July and Half of August" at Ebertfest 2017.
A look at how Ebertfest 2017 films like "Elle" and "The Handmaiden" engaged female sexuality.
A look at day three of Ebertfest.
A look at the films expected to dominate this year's Oscar race and the narrative scope they share.
Meredith Brody recaps the films she saw, of past and present, at the 2016 Telluride Film Festival.
Marie writes: As some of you may have heard, a fireball lit up the skies over Russia on February 15, 2013 when a meteoroid entered Earth's atmosphere. Around the same time, I was outside with my spiffy new digital camera - the Canon PowerShot SX260 HS. And albeit small, it's got a built-in 20x zoom lens. I was actually able to photograph the surface of the moon!
(click to enlarge)
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
The first time I made a year-end list for Scanners, I did it by suggesting double-bills of 2006 films with older films (much like what contributors to The Auteurs did this year). In 2007, I made my first year-end movie, inspired by "L'Eclisse," as a tribute to the late Michelangelo Antonioni and a commentary on the WGA strike that was happening at the time. Last year, the concept was based on a shot of Hannah Schygulla, Goddess of Cinema, waking up, looking into the camera (in Fatih Akin's "The Edge of Heaven") and dreaming fragments of the films on my list.
This year, I'm not quite sure how it came together (see opening title), but I took my cue from my favorite movie of the year, the Coens' "A Serious Man." I knew I didn't want to adhere to any rigid countdown hierarchy this time, but to let the movies converse with themselves through images. I chose the word "conversation" knowing there would be no dialog except at the very beginning and the very end, with the Jefferson Airplane song "Somebody to Love" (recurring element in "A Serious Man") in between. That gave me approximately 2 minutes and 58 seconds for the montage....
Quentin Tarantino's "Inglourious Basterds" is about World War II in roughly the same way that, I suppose, Stanley Kubrick's "The Shining" is about a haunted hotel. The war is indeed the setting, but that's not so much what the movie is about. I also don't see it as an act of Holocaust denial or an anti-vengeance fable in which we are supposed to first applaud the Face of Jewish Revenge, and then feel uncomfortable sympathy for the Nazis. The movie comes down firmly on the side of the Jews, and of revenge, of an early end to the war and the saving of thousands of lives, with barely a quibble.
But while "Inglourious Basterds" is indisputably a WW II revenge fantasy (and, of course, a typically Tarantinian "love letter to cinema"), a theme that is central to nearly every moment, every image, every line of dialog, is that of performance -- of existence as a form of acting, and human identity as both projection and perception. As you would expect from a film that is also an espionage picture and a detective movie, it's shot through with identity games, interrogations, role-playing and people or situations that are not what they appear to be...
I have feelings more than ideas. I am tired, but very happy. My 11th annual film festival has just wrapped at the Virginia Theater in my home town, and what I can say is, it worked. There is no such thing as the best year or the worst year. But there is such a thing as a festival where every single film seemed to connect strongly with the audience. Sitting in the back row, seeing these films another time, sensing the audience response, I thought: Yes, these films are more than good, and this audience is a gathering of people who feel that.
Let me tell you about the last afternoon, the screening of a newly restored 70mm print of "Baraka." The 1,600 seats of the main floor and balcony were very nearly filled. The movie exists of about 96 minutes of images, music and sound. Nothing else. No narration. No subtitles. No plot, no characters. Just the awesome beauty of this planet and the people who live on it. The opening scene of a monkey, standing chest-deep in a warm pool in the snow, looking. Looking in a very long and patient shot, which invites us to see through his eyes. Then the stars in the sky above. "Baraka" is a meditation on what it means to be awake to the world.
It's a good thing Ebertfest is no longer called the Overlooked Film Festival. One of my choices this year, "Frozen River," was in danger of being overlooked when I first invited it, but then it realized the dream of every indie film, found an audience and won two Oscar nominations. Yet even after the Oscar nods, it has grossed only about $2.5 million and has been unseen in theaters by most of the nation.
Those numbers underline the crisis in independent, foreign or documentary films--art films. More than ever, the monolithic U.S. distribution system freezes out films lacking big stars, big ad budgets, ready-made teenage audiences, or exploitable hooks. When an unconventional film like "Slumdog Millionaire" breaks out, it's the exception that proves the rule. While it was splendid, it was not as original or really as moving as the American indie "Chop Shop," made a year earlier. The difference is, the hero of "Chop Shop" wasn't trying to win a million rupees--just to survive.