It’s unlike few other movies you’ll see this year or possibly this decade.
* 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.
An interview with Rupert Wyatt, director of "The Gambler."
Is the director's explicit "The Canyons" the nadir of his career—or its climax?
• Bill Stamets and Roger Ebert
The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers' lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at CIFF's website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.
Post your own CIFF feedback
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.
My favorite documentary of 2007 (which I haven't had a chance to write about yet) is Gary Hustwit's "Helvetica," a look at a ubiquitous typeface. It's the kind of movie that helps you to see the world around you anew, freshly attuned to all the fonts in your world. Me, I'm a Helvetica guy. I hate fonts that call attention to themselves, and Helvetica is so clean and strong and elegant you can do almost anything with it just by varying sizes, colors, weights, spacing and placement. Our good friend Larry Adylette, the superlative movie and music and pop culture blogger formerly known as The Shamus (and, before that, That Little Round-Headed Boy), has a few words on Helvetica (and "Helvetica") over at his new blog, Welcome to L.A. -- which is also the title of Alan Rudolph's funny-peculiar 1976 debut feature, starring Keith Carradine, Sally Kellerman, Harvey Keitel, Sissy Spacek, Lauren Hutton, Geraldine Chaplin, Viveca Lindfors and Richard Baskin. (A parenthetical time-out to say: "Hello, Larry!," as they used to remark on NBC for a very short time in 1979-80 after McLean Stevenson left "M*A*S*H," thus providing Garry Shandling with a great network-meeting joke in an early episode of "The Larry Sanders Show.") Larry writes: Just like film bloggers who parse every frame of "No Country For Old Men," these font fanatics have obsessed about every curve and dimension of Helvetica. To them, Helvetica is either a perfect, easily readable form of mass communication or something akin to Anton Chigurh with a coin and an air-tank gun. They are an argumentative, often hilarious bunch...I have no idea what he's talking about.
But that's not really the reason for this post. It's about an entirely different (serif) font, Trajan, which as Kirby Ferguson of Goodie Bag details in the above movie, has become the movie font. "Trajan is the movie font," he says -- and then goes on to show you so many examples your head will spin. In the end, though, like me, he's a Helvetica guy. Look at those end credits. Not Trajan. Helvetica. I'll write more about "Helvetica" later, because I'm fascinated with it (the font and the movie) and I already want to see it a third time.
(tip: Ali Arikan)
P.S. Karsten (in comments below) offers an explanation for the film-font phenomenon with a link to this animated murder mystery, "Etched in Stone." (link opens new browser tab/window)
CANNES, France -- Yes, it was very pleasant. We sat on the stern of Robert Altman's rented yacht in the Cannes harbor, and looked across at the city and the flags and the hills. There was a scotch and soda with lots of ice, and an efficient young man dressed all in white who came on quiet shoes to fill the glasses when it was necessary.
HOLLYWOOD - It's the kind of place where the food is so organic that you order a salad and the house dressing is peanut butter laced with safflower oil and herbs. The tables surround a shady patio, and the waitress wears a T-shirt and shorts, an attractive combination not lost upon Burt Reynolds. He listens to the description of today's entree (something involving eggs and tomato sauce) as if it were a specialty of selected Moroccan bordellos.
In the beginning it didn't much matter where you made a movie. The motion picture was a gimmick nobody took very seriously, and the vaudeville houses used them to chase out customers between shows. When the customers started to linger, an industry was born.