Chaz Ebert's second video dispatch from the 2021 Cannes Film Festival covers the jury press conference and the opening night premiere of Leos Carax's "Annette."
An interview with Edgar Wright and musical duo Ron and Russell Mael about their new documentary celebrating 50 years of Sparks.
A preview of the next seven months of musicals hitting theaters and streaming services in 2021.
Patrick Z. McGavin writes about "Shoah," which was just issued on Blu-ray by Criterion in a thorough package that makes the film's unique storytelling more transparent to the layperson. "Lanzmann has said the form and construction is the key to understanding his film," McGavin writes, "and with this new version, that process has never been more intuitive."
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white men arguing about race, and "Blue is the Warmest Color" takes its time to follow the transition from uncertain teenager to knowing adult.
But what really matters is the Muriels. You know, that time-honored annual movie award that is not named after Bette Davis's Uncle Oscar, but after co-founder Paul Clark's guinea pig. Throughout the month of February (the 6th through the 23rd), the winners have been announced, as you know because you've been regularly clicking on the Muriels link right here on Scanners. Anyway, you know what "Argo" can do; the Muriel voters, on the other hand, chose to give the year's top prize to what, for me, was obviously the most rewarding movie experience of the year: Leos Carax's "Holy Motors."
Bolstered by Akira Ifukube's trudging "Gojira" theme and the shorthand it affords, on two separate filmic occasions director Leos Carax chose to pair it with a city-scrolling vista, and in doing so reference his past work for the first time. Homage and visual motifs have always earmarked the enigmatic auteur's films, namely in the unstable romances of "Boy Meets Girl" and "Les Amants de Pont Neuf," but within his two most recent efforts -- a section of the 2008 triptych "Tokyo!" and his 2012 vexing "Holy Motors" -- he centers this rare repetition on one character that is not so much a reprisal as it is an emotional transformation.