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 RE staff on some of their favorite performances of 2018.
Tomris Laffly's picks for the best of 2018.
The best films of 2018, as chosen by Brian Tallerico.
An in-depth look at what's playing this month at the Chicago International Film Festival.
A sneak peek at this year's Chicago International Film Festival, which runs from October 10-21.
A look ahead at the films set to come out in the fall season, starring ten of our most anticipated titles.
A review of three of this year's biggest Cannes hit from international master filmmakers.
A special edition of Thumbnails featuring highlights from our coverage of the 2018 Cannes Film Festival.
Our sixth video dispatch from the 2018 Cannes Film Festival features this year's prize-winners, including "Shoplifters" and "BlacKkKlansman."
Hirokazu Kore-eda's "Shoplifters" took the Palme d'Or and Asia Argento reiterated her allegations against Harvey Weinstein at the awards ceremony.
A dispatch on two of the final Cannes competition films of 2018.
Reviews from the Cannes Film Festival of two competition titles, Matteo Garrone's Dogman and Nadine Labaki's Capernaum.
Our fourth video dispatch from the 2018 Cannes Film Festival features reviews of "BlacKkKlansman," "Fahrenheit 451" and more.
On two premieres from Cannes 2018, the latest from Spike Lee and Hirokazu Kore-eda.
A preview of the 2018 Cannes Film Festival.
A report from TIFF on two films from John Woo and Hirokazu Kore-eda.
An interview with the director of "Beach Rats" and "It Felt Like Love."
Just a glimpse at the massive program for this year's Chicago International Film Festival, running from October 13 - 27.
Roger's Favorites: Hirokazu Kore-eda, writer/director of "Still Walking."
A dispatch from Cannes on the new films by Emmanuelle Bercot, Hirokazu Kore-eda, and Matteo Garrone.
A curtain raiser for the 2015 iteration of the Cannes Film Festival.
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
The tong hackman is a little orange-blonde tattooed biker, most often dressed in a pair of black shorts, sandals that match his hair, and nothing else. He picks up a girl who has split with her motorcycle-riding boyfriend and becomes the Poutiest Girl in the World. They shack up on his father's land in a one-bed structure covered with a clear plastic tarp. She throws tantrums and torments him. There is a lot of drinking, smoking, fishing and cell phoning. He attacks his business with methodical professionalism, hacking and beating those who can't pay their debts to his boss. A gang of others arrive with machetes to take their revenge. Things get hot, and the boss tells him to get out of town to Guangzhou and hide out for a while. But what about the girl?
That's a basically accurate plot description of Yang Heng's "Sun Spots," a striking Chinese film that received its world premiere here at the Vancouver International Film Festival. But now let me come at it from another direction entirely....
The Chicago International Film Festival is celebrating its 45th anniversary in better form than ever, I think. The festival, which opened Thursday, will be presenting 145 films from 45 countries. That's fewer than Toronto or Cannes but more, I believe, than any other American festival -- and besides, can you see 10 films a day?
I've just finished combing through the list of films in this year's Toronto Film Festival, and I have it narrowed down to 49. I look at the list and sigh. How can I see six films a day, write a blog, see people and sleep? Nor do I believe the list includes all the films I should see, and it's certainly missing films I will see. How it happens is, you're standing in line and hear buzz about something. Or a trusted friend provides a title you must see. Or you go to a movie you haven't heard much about, just on a hunch, and it turns out to be "Juno."
Nicolas Cage in "Bad Lieutenant"
I can't wait to dive in. Knowing something of my enthusiasms, faithful reader, let me tell you that TIFF 2009's opening night is a film about the life of Charles Darwin. The festival includes the film of Cormac McCarthy's "The Road." And new films by the Coen brothers, Todd Solondz, Michael Moore, Atom Egoyan, Pedro Almodovar, Hirokazu Kore-Eda, Alain Resnais and Guy Maddin--and not one but two new films by Werner Herzog. Plus separate new films by the three key talents involved in Juno: The actress Ellen Page, the director Jason Reitman, and the writer Diablo Cody.
Okay, I've already seen two of those. They were screened here in Chicago (Page as a teenage Roller Derby in "Whip It," Cody's script for "Jennifer's Body," starring Megan Fox as a high school man-eater, and that's not a metaphor). I already saw more than ten of this year's entries at Cannes, including Lars on Trier's controversial "Antichrist," Jane Campion's "Bright Star," Gasper Noe's "Enter the Void," Almodovar's "Broken Embraces," Bong Joon-Ho's "Mother," Lee Daniels' "Precious," Mia Hansen-Løve's "The Father of My Children," and Resnais's "Wild Grass." A lot of good films there. Not all of them, but a lot.