The Chambermaid is a painfully astute observational drama about a young woman working in one of Mexico City’s posh hotels.
* 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 latest on Blu-ray and DVD, including Boy Erased, Suspiria, The Sisters Brothers, Widows, and a Criterion edition of In the Heat of the Night.
A look back at the major films that screened at the Los Cabos Film Festival earlier this month.
An interview with the Oscar-nominated actor about producing and co-starring in Jacques Audiard's unusual Western, The Sisters Brothers.
On two new films from Venice, including a career best piece of work by John C. Reilly.
Matt writes: In her latest edition of Thumbnails, Chaz Ebert has chosen to place a spotlight on in-depth conversations with various critics including Matt Zoller Seitz, Claudia Puig, A.O. Scott, Susan Wloszczyna, Dan Callahan and more. In addition to reading the full slate of articles, make sure to watch the video embedded below of the epic critics panel from this year's Ebertfest, featuring such esteemed writers as Leonard Maltin, Michael Phillips and Richard Roeper.
Martin Scorsese received the honorary Carrosse d'Or award at the 50th Directors' Fortnight, which also screened a restoration of "Mean Streets."
A gritty but electrifying mix of character study and crime drama.
The latest on Blu-ray and streaming, including "Get Out," "Resident Evil: The Final Chapter," "The Great Wall," "Dheepan," and "XXX: The Return of Xander Cage."
A report from the 2017 SCMS conference in Chicago.
Lindsay MacKay on "Wet Bum"; Notes from the unashamed; "The Family" and the age of Hillary; Director and star of "Dheepan" on the refugee crisis; Anniversary of "The Shining."
A dispatch from the New York Film Festival on Arabian Nights and Les Cowboys.
A review of the three biggest Cannes winners now playing at TIFF: Son of Saul, Dheepan and The Lobster.
A table of contents of Cannes 2015 coverage by Barbara Scharres.
Jacques Audiard's "Dheepan" took the Palme d'Or at the 68th Cannes Film Festival.
A report on new films by Jacques Audiard, Gaspar Noe, and Guillaume Nicloux.
A curtain raiser for the 2015 iteration of the Cannes Film Festival.
After duds "Jimmy P." and "Grand Central," the Coen brothers' "Inside Llewyn Davis" saves the day for Barbara Scharres.
They are two people accustomed to ruling their physical domains with muscle, sex and beauty. They don't ask themselves a lot of questions about what could stand some improvement in their inner lives. They will rely the powers given them. Ali is powerfully-built and roughly handsome. He dreams of becoming a champion of mixed martial arts fighting. At present he is a nightclub bouncer, firmly exercising control over the hopefuls swimming out of the night. Stéphanie is a trainer at a seaquarium, using body language and dead fish to command a tank filled with whales to rise up from the water. They live near Cannes, celebrated for launching more successful people up a red carpet.
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
Marie writes: According to the calendar, summer is now officially over (GASP!) and with its demise comes the first day of school. Not all embrace the occasion, however. Some wrap themselves proudly in capes of defiance and make a break for it - rightly believing that summer isn't over until the last Himalayan Blackberry has been picked and turned into freezer jam!
• Chaz Ebert at Cannes
Dear Roger: "We were once indivisible from every atom in the cosmos," and that is how I feel when I am sitting in the Palais watching movies at Cannes with a screen spread out as wide as the galaxy, the audience circling around like protons and neutrons breathing as one in empathy.
By accident or by design, today's films premiering at Cannes, whether in competition, in the "A Certain Regard" section, or in special screenings out of competition, revolved around relationships, good, bad, or worse. Whether the bond is with a woman who has lost the will to live, an Orca whale (both seen in "Rust and Bone"), a cheating wife-beater ("Mystery"), a ghost ("Mekong Hotel"), or a male prostitute ("Paradise: Love"), things don't always turn out for the best.
French director Jacques Audiard has enjoyed a high profile since his "A Prophet" made a splash at Cannes in 2009, winning the Grand Jury Prize. It seemed like just another prison movie to me, but others loved it. The film went on to win an Oscar nomination for Best Foreign Film and a host of festival prizes. Audiard is back with "Rust and Bone," a star vehicle for Oscar-winning Marion Cotillard ("La Vie en Rose") and Belgian actor Matthias Schoenaerts, who came to new visibility by starring in this year's Oscar-nominated "Bullhead."
I was especially looking forward to "Rust and Bone" because Schoenarts had given such a powerful performance in "Bullhead," for which he had bulked up ala De Niro for his portrayal of a violent man whose life is defined by his steroid use. In "Rust and Bone" he's Ali, an unemployed guy who moves to the seaside town of Antibes (just down the road from Cannes, actually) to camp out in his married sister's garage after he's suddenly saddled with the custody of his five-year-old son. A former amateur boxer, he gets a job as a nightclub bouncer.
Marie writes: Recently, we enjoyed some nice weather and inspired by the sunshine, I headed out with a borrowed video camera to shoot some of the nature trails up on Burnaby Mountain, not far from where I live. I invariably tell people "I live near Vancouver" as most know where that is - whereas Burnaby needs explaining. As luck would have it though, I found a great shot taken from the top of Burnaby Mountain, where you can not only see where I live now but even Washington State across the Canadian/US border...
(click image to enlarge)
This is the last of my lists of the best films of 2010, and the hardest to name. Call it the Best Art Films. I can't precisely define an Art Film, but I knew I was seeing one when I saw these. I could also call them Adult Films, if that term hadn't been devalued by the porn industry. These are films based on the close observation of behavior. They are not mechanical constructions of infinitesimal thrills. They depend on intelligence and empathy to be appreciated.
They also require acting of a precision not necessary in many mass entertainments. They require directors with a clear idea of complex purposes. They require subtleties of lighting and sound that create a self-contained world. Most of all, they require sympathy. The directors care for their characters, and ask us to see them as individuals, not genre emblems. That requires us to see ourselves as individual viewers, not "audience members." That can be an intimate experience. I found it in these titles, which for one reason or another weren't on my earlier lists. Maybe next year I'll just come up with one alphabetical list of all the year's best films, and call it "The Best Films of 2011, A to Z."