On three films that played at NYFF from legendary directors: Jafar Panahi, Cristian Mungiu, and Laura Poitras.
RogerEbert.com contributor Godfrey Cheshire talks about his new book Conversations with Kiarostami, a collection of his interviews with the legendary Iranian director.
For the last month, I've been watching almost nothing but Abbas Kiarostami and Apichatpong Weerasethakul movies -- and it's been the best run of good-to-great movie-watching I've had in years. How did this happen? Well, I was beguiled by their most recent pictures: Kiarostami's "Certified Copy" and Weerasethakul's "Uncle Boonmee Who Can Recall His Past Lives" -- both prize-winners at last year's Cannes Film Festival (best actress for Juliet Binoche, and the Palm d'Or, respectively). For reasons I'll get into in a bit, the only Kiarostamis I'd seen before were two of his biggies, "A Taste of Cherry" (1997) and "The Wind Will Carry Us" (1999); and the only Apichatpong (just call him "Joe") movie I'd seen was "Blissfully Yours" (2002).
The films of both these directors have been widely (mis-)characterized as "difficult" (please see Girish Shambu's excellent rumination on that term here, if you haven't already), but that's not why it's taken me so long to familiarize myself with more of their work. I don't have any good reasons, but I'll be honest: I was put off by the critical hype for Kiarostami, which in the art-cinema world was exceeded (in my perception) only by that for Quentin Tarantino in the pop-art-cinema world. Also, I remember the press screening for "The Wind Will Carry Us" at the Toronto Film Festival and, during the final shot (which was nice but a little too on-the-nose for me), a critic behind me let out a rapturous sigh intended to be overheard by everyone in the vicinity: "Masterpiece!" I admit (I'm only human) that made me a little nauseous, and some of my critic friends who were much more involved in the festival scene than I was at the time were outspoken Kiarostami naysayers, so I didn't feel particularly motivated to seek out more of his work.
Q. It's said no one ever went broke underestimating the intelligence of the American public. "Harry Potter and the Philosopher's Stone" is an excellent film up here in Canada, as was "The Madness of George III." I wonder if the same can be said for the U.S. releases "Harry Potter And The Sorcerer's Stone" and "The Madness Of King George." The point of course, is that these minor title details were changed for American audiences on the assumption they are too stupid to handle the concept of the philosopher's stone of alchemical fame, or to realize seeing George III doesn't mean you've missed parts I and II. Are these decisions made because the suits think I'm really dumb, or is it because they are? (Brady Sylvester, Red Deer, Alberta)
The jury stunned but did not displease a black-tie audience here Sunday night, with the awards for the 54th Cannes Film Festival. It's not that the winners were unpopular, but that they were unexpected. Everyone predicted Nanni Moretti's "The Son's Room," the story of an Italian family devastated by the death of a son, would win something but not the Palme d'Or, or top prize. Everyone expected French legend Isabelle Huppert to win as best actress for her searing performance in "The Piano Teacher," and she did -- but not that the film also would win for best actor and take home the special jury prize.
CANNES, France--The best film at Cannes so far this year was made in 1979. That's the melancholy conclusion of Variety and the Hollywood Reporter, the daily trade journals printed at the festival and I didn't have to read the papers to figure that out.
CANNES, France -- The woman hopes to slip illegally into Afghanistan from Iran to save her sister's life. She is helped along the way by a sympathetic doctor. The film is by one of the great Iranian directors. You are already imagining the subtitles at the bottom of the screen, but no: The woman has been living in Canada, speaks English, and narrates the journey into a tape recorder. And the doctor is a black American; they speak English together.
CANNES, France-- Forty-one years after his "Breathless" swept in the French New Wave and helped herald the modern era of filmmaking, Jean-Luc Godard is back at the Cannes Film Festival with a new movie. The onetime enfant terrible is now 71, and the 1960s "film generation" that marched under his banner is old and gray, but his very presence inspires a certain trembling in the air as the 54th Cannes festival opens. The giants are back in town.