Looking back at when I watched "Life, Above All" (2010) last December, I discern that I'm a more jaded person than I think. At one point in the story, I wondered if its heroine really had to do what she was determined to do. I understood her motive, but I thought it might be better for her and her family to leave the problem alone because there was really nothing she could do for changing the circumstance. However, it was what should have been done, her heart knew that, and I was eventually moved by her determination while recognizing that she was right after all.
Making lists is not my favorite occupation. They inevitably inspire only reader complaints. Not once have I ever heard from a reader that my list was just fine, and they liked it. Yet an annual Best Ten list is apparently a statutory obligation for movie critics.
My best guess is that between six and ten of these movies won't be familiar. Those are the most useful titles for you, instead of an ordering of movies you already know all about.
One recent year I committed the outrage of listing 20 movies in alphabetical order. What an uproar! Here are my top 20 films, in order of approximate preference.
The 2011 edition of a movie critic's dream unreels again this week. In my own home town, I'll be able to show the films of my choice in a classic movie palace, flawlessly projected on a giant screen before a movie-loving audience. To paraphrase Orson Welles when he was given the run of RKO Radio Pictures to make his own movie, it's the biggest train set a boy could ever want.
Ebertfest 2011 runs April 27-May 1. The passes have been sold but we've always been able to find room for everyone in line inside the 1,600-seat Virginia Theater. Its long-term renovation continued this year with work on the lobby, the concession stand and the upstairs lobby. The marquee is a work in progress.
From the Grand Poobah: After much planning with festival director Nate Kohn, here is the schedule for Ebertfest 2011, which Ebert Club members are of course the first to learn about. This schedule is tentative; several guests may be added.Wednesday April 275:00 pm Reception at University President's House (VIP passholders only)7:00 pm METROPOLIS Restored, with the Alloy Orchestra.-----------------Thursday April 289:00 am For Ebert Club members: Meet & Greet coffee and pastries, hosted by Chaz and Roger Ebert at the Illini Union.10:30 am Panel Discussion 1 (Nate Kohn moderates festival guests), Illini Union1:00 pm UMBERTO D, by Vittorio De Sica.3:30 pm MY DOG TULIP, with directors Paul and Sandra Fierlinger in person.8:00 pm TINY FURNITURE (98 min). In person: Kyle Martin, producer; David Call, actor; Alex Karposky, actor.------------------Friday April 299:00 am Panel Discussion 2, (Eric Pierson, moderator), Illini Union10:30 am Panel Discussion 3 (Far Flung Correspondents, Omer Mozaffer, moderator), Illini Union1:00 pm "45365," with directors Turner Ross and Bill Ross in person4:00 pm ME AND ORSON WELLES, with director Richard Linklater in person8:30 pm ONLY YOU, with director Norman Jewison in person-----------------Saturday April 3011:00 am A SMALL ACT. In person: Patti Lee, producer; Jennifer Arnold, director; Hilde Back.2:00 pm World Premiere: LIFE, ABOVE ALL. In person: Oliver Stoltz, producer; Khomotso Manyaka, actor; Michael Barker, distributor.6:30pm LEAVES OF GRASS. In person: Tim Blake Nelson.9:30pm I AM LOVE. In person: Tilda Swinton.---------------Sunday May 1Noon: LOUDER THAN A BOMB. In person: Jon Siskel and Greg Jacobs, directors; Kevin Coval, artistic director and founder; five poets will perform.For additional information and to purchase tickets, visit EBERFEST 2011Metropolis Restored (1927) Directed by Fritz Lang
"35 Shots of Rum". Two couples live across the hall in the same Paris apartment building. Neither couple is "together." Gabrielle and Noe have the vibes of roommates, but the way Lionel and Josephine love one another, it's a small shock when she calls him "papa." Lionel (Alex Descas) is a train engineer. Jo (Mati Diop) works in a music store. Gabrielle (Nicole Dogue) drives her own taxi. Noe (Gregoire Colin) claims only his much-loved cat is preventing him from moving to Brazil.
Of the 12 films I've seen at Cannes, the most warmly cheered has been the South African "Life, Above All." That's possibly more significant than in other years.
The audiences at Cannes this year have been oddly restrained, and there's less clapping at the names of directors; even Jean-Luc Godard received only perfunctory applause. Is this becoming less a directors' festival and more a trade fair?