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Cannes Review: The Tale of Tales

Thursday, May 14th, 2015

If watching Salma Hayek gorge on the giant heart of a sea monster—wrenching shreds of flesh from its ventricles and stuffing them down her gullet—sounds like your kind of thing, Matteo Garrone’s The Tale of Tales serves moments like this up on a Renaissance-style platter.



Based “loosely” on 17th-century short stories by Giambattista Basile, Garrone appropriately follows up his 2013 Cannes Grand Prix winner Reality with, well, a fantasy: unlike all other Competition films this year, The Tale of Tales comes from the fairy realm, and it’s a collection of narratives that are bizarre, moralistic, and often visceral. The scene above, for example, is a queen’s attempt to become magically pregnant, an immaculate conception that becomes the catalyst for one of the film’s competing sub-stories.

Like every fairy tale, there’s a message to take home once you close the tome’s dusty covers. Floating in this film’s several neighboring kingdoms are stories of ugly people, where the ugly ranges from truly hideous to perhaps rotten (in terms of individuals at their core). An ogre wins a princess’s hand in marriage; a king (Vincent Cassel) falls in love, sight unseen, with one of two repulsive hags; a royal prince has an identical half-brother who lives in rags. You’ve no doubt seen adaptations of these staple fables before; perhaps delivered with a script that doesn’t sometimes dip into hackneyed.

Forget the writing issues—these are fairy tales, not exactly demanding high literature—because the film is more interesting when consumed outside of that. Visually, Garrone continues his streak of crafting films that have a certain ethereal look to them, or at least steeped in the surreal. His color palettes command your eye with impressive contrasts, rich reds, and deep blues, whether it is a period piece (Tale of Tales) or inside a fish market (Reality). But here, with the brilliant assist of David Cronenberg’s go-to cinematographer Peter Suschitzky, Garrone somehow manages to stage a few tableaus that look straight from the work of Caravaggio. This isn’t hyperbole. One moment in particular reminded me most of this: we glide across the aftermath of a night of bacchanalia, a fountain besot with sumptuous vice and wine-drunk nubiles, and the scene is from the halls of the Baroque masters. Accompanied by a catchy, lilting score by Alexandre Desplat, yeah: some of this works really well.

The film is worth a sit for that.

It’s this kind of humanist aesthetic—intoxicating costume design and dramatic lighting that highlights pale skin, while staying visually expressive—that really kept me through this exercise in lavishness, because the narratives range from a little goofy (there are some gross-out sight gags) to by-the-numbers fairy tale beat points. There’s also certainly no reason to think twice on the film’s primary moral, because it isn’t anything more meaningful than essentials like The Ugly Duckling or The Prince and the Pauper. Sadly, some lackluster green screen work also took me out of it, which is a shame: many of the film’s weirder scenes involve practical effects and props, and I was disappointed to see a few seams in the digital necessities.

By the end of the two-hour running time, you’re left with a movie that takes it time to really show you some heady stuff, yet ironically I still find Garrone’s earlier work subtly more absurdist, or at least more engaging as a cinematic intersection between the real and unreal. The Tale of Tales will be a memorable Competition film this year because of images like the above—and hey, there’s one scene that totally reminds of The Princess Bride and the Cliffs of Insanity—but beyond that, it’s take-it-or-leave-it when it comes to the film’s individual stories. Woven together, with a basic through-line, it’s simply not living up to its title.

Predicting Cannes

Monday, May 11th, 2015

For the last three years I’ve tried to take an educated guess at which of the usual suspects Cannes would be court for their annual Competition. In 2013 and 2014, my festival math worked out. Over the past decade, more or less 75% of the films annually vying for the Palme d’Or were by returning auteurs. To get a read on what the Festival would look like was simply a matter of rounding up a list of active Cannes veterans and seeing if their latest opus was ready for a May premiere.

But this year I was wrong. I wrote we’d have three or four newcomers. But by programming a Competition with nine (!) newcomers, the Festival dramatically switched it up, and I couldn’t be happier. It’s happened before, but take note when a Palme d’Or winner (ahem, Apitchatpong Weerasethakul) is programmed (relegated?) to sidebars like Un Certain Regard, a move which Festival director Thierry Frémaux commented on in an interview: “Je veux bien parler du film d’Apichatpong Weerasethakul avec vous, mais seulement quand vous l’aurez vu.” (Roughly translated: “I’m willing to talk about the movie with you, but only when you’ve seen it.”)

There are several ways to interpret that, but I’d like to think that this year they’re giving Palme potential to filmmakers that aren’t resting on their laurels.

Veterans are fun, but new blood is good. So let’s get acquainted!

Justin Kurzel

Australian-born Kurzel is bringing Macbeth to the Croisette, a Michael Fassbender-Marion Cotillard-led drama based on Shakespeare’s infamous “Scottish Play.” Were I cynical, I’d say Kurzel’s inclusion in the Competition is more or less based on the cast’s red carpet attendance, but it’s possible that this 113-minute adaptation could even be good (The Weinstein Company has North American distribution rights). On his own, Kurzel is mostly known to Australian audiences for his 2011 thriller debut Snowtown, a film that saw some critical success in his home country, with a micro-release by IFC in the U.S. But Cannes has had this filmmaker on their radar since his short Bluetongue premiered in 2005.


Joachim Trier

A critical favorite for his 2011 Un Certain Regard entry Oslo, 31 August, Trier is moving up to the Competition with Louder Than Bombs, a Jesse Eisenberg/Isaballe Huppert drama that’s co-written by Trier’s regular scribe, Eskil Vogt (who recently won a major screenwriting prize in Sundance last year for the excellent Blind). The film is Trier’s English-language debut, but he’ll likely transcend the language barrier through his excellent eye. Little is known about the plot.


Valérie Donzelli

An actress as well as a director, Donzelli has a number of films on her resume, but her film Declaration of War (2011) is the most notable; the film starred herself and actor Jérémie Elkaïm, and was based on events between their personal life together. Elkaïm is back with Anaïs Demoustier (2014’s Bird People) for Donzelli’s Marguerite & Julien, a film originally penned by Oscar-nominated screenwriter Jean Gruault, which was reportedly in the hands of François Truffaut in the 1970s.


Michel Franco

Thank God it’s not James: Mexico’s Michel Franco is back at Cannes with Chronic, a film sure to be one of the Festival’s most-buzzed Competition entries. Known for high-quality work, Franco graduated from the Director’s Fortnight (2009, Daniel & Ana) and moved on to Un Certain Regard with the devastating After Lucia in 2012, winning the sidebar’s most prestigious award. Chronic stars Tim Roth (who really should be in everything), and has an IMDb summary that reads: “A home care nurse works with terminally ill patients.”


Stéphane Brizé

Most readers won’t be familiar with Brizé—I’m not—but his work screened in the Director’s Fortnight in 1999 (Le Bleu de Villes). In terms of the mandatory French representation in the Competition, Brizé holds a coveted spot, which may speak to the strength of A Simple Man (or The Measure of a Man), which stars French actor Vincent Lindon. This seems to be a breezier entry, or perhaps something that may be lost in translation (echoes of Alain Cavalier’s Pater in 2011).


Laszlo Nemes

Ah, a true wild card! Nemes is known for short films recorded on actual celluloid, but Son of Saul is his debut feature, a project starring unknown Hungarian actors. The film’s IMDb summary has me supremely intrigued: “In the horror of 1944 Auschwitz, a prisoner forced to burn the corpses of his own people finds moral survival upon trying to salvage from the flames the body of a boy he takes for his son.” Filmmakers rarely enter the Competition with a first feature, so I’m paying full attention here.


Guillaume Nicloux

The man is a multi-hyphenate, acting and writing novels in addition to directing. His most recent film, The Kidnapping of Michel Houellebecq, may be the entry point for anyone at Tribeca last year, where Nicloux picked up the Best Screenplay award. Valley of Love, his Cannes entry, features Gérard Depardieu and Isabelle Huppert on a sort of spirit-quest in Death Valley. It opens in France in June this year, so it may not be a Palme d’Or, but it sounds intriguing just the same.

valley of love

Denis Villeneuve

As MCN’s resident Canadian, allow me to represent for a second: Denis Villeneuve, at some point, will be the True North’s first Palme d’Or winner. It may not be this year—technically, 2015’s Sicario is an American production—but of late, Villeneuve has easily topped Canada’s list of name-brand directors, one or two of which seem to be losing steam rather than gaining it. Villeneuve is working at a rate that surely can’t be feasible (when does anyone release such disparate quality titles like Enemy and Prisoners both in the same year?) but hats off to this remarkable Québécois auteur. Sicario is hot, hot, hot: Roger Deakins behind the camera, Emily Blunt in the lead, and Benicio del Toro, Josh Brolin, and Jon Bernthal supporting her in this drug lord thriller. There is a reason he was granted the shot to direct the undirectable: a sequel to Blade Runner.


Yorgos Lanthimos

I’m surprised by how many people have seen Dogtooth. Maybe it was the Oscar run in 2010; maybe it’s because of just how uniquely weird it is. Word gets out, I guess. I don’t know. But like Michel Franco, Lanthimos is an Un Certain Regard winner, and The Lobster—his English-language debut—is definitely a heavy-hitter this year. It’s a sci-fi-rom-dram (?) where being romantically alone is “a matter of life and death,” which sounds appropriately crazy. With Colin Farrell, Rachel Weisz, and a handful of other names, there could be a potential third Palme d’Or for Greece in the wings. Otherwise, I’m just excited for something new and quirky.

The Lobster_0

Follow Jake Howell on Twitter: @Jake_Howell

Divining Cannes 2015

Wednesday, March 11th, 2015

In less than two months, festival circuiteers return to the sunny Festival de Cannes, an event that should see some serious heavy-hitters returning to the Croisette. And that’s just what the Palme d’Or Competition will likely be programmed primarily with this year: alumni.


You can expect the Palme slate to be about three-fourths Cannes veterans. That’s been the track record in recent years: in 2014, in a Competition with 18 films, Cannes added only five new names to its clubhouse: Xavier Dolan, Damián Szifrón, Bennett Miller, Alice Rohrwacher and Abderrahmane Sissako.

The math: Cannes 2014 was 73% veterans, the same percentage as 2012. 2013’s Palme slate was 75% Competition alumni.

This year won’t be any different.

So take your pick. I’ve reviewed the alumni of the past 12 (or so) Palme d’Or Competitions and sought out projects that will be ready in time for Cannes this year. I’ve also written some notes for some likely inclusions after The Likely Suspects, which should give a solid idea of what to expect in ten short weeks (or next month, when the Festival announces its 2015 line-up).

Cannes 2015 – The Likely Suspects

Audiard, Jacques – Dheepan (2015, post-prod)

Bellocchio, Marco – L’Ultimo Vampiro (2015, with Alba Rohrwacher)

Babenco, Hector – My Hindu Friend (2015, post-prod, with Willem Dafoe)

Del Toro, Guillermo – Crimson Peak (2015)

Desplechin, Arnaud – Trois souvenirs de ma jeunesse (2015, with Mathieu Amalric)

Egoyan, Atom – Remember (2015, post-prod, with Christopher Plummer)

Garcia, Nicole – starring in Belle Familles (Jean-Paul Rappeneau, 2015)

Garrel, Philippe – L’Ombre des Femmes (2015)

Garrone, Matteo – The Tale of Tales (2015, post-prod, with Salma Hayek, John C. Reilly, Vincent Cassel, Alba Rohrwacher)

Giannoli, Xavier – Marguerite (2015, post-prod)

Hillcoat, John – Triple Nine (2015, completed, September 11th release)

Hsiao-Hsien, Hou – Nie Yin Niang (The Assassin) (2015, post-prod)

Kawase, Naomi – Sweet Red Bean Paste (2015, post-prod)

Kaufman, Charlie – Anomalisa (2015, post-prod)

Khoo, Eric – In the Room (post-prod)

Kitano, Takeshi – Ryûzô to 7 nin no kobun tachi (2015)

Koreeda, Hirokazu – Kamakura Diary (2015, post-prod)

Kurosawa, Kiyoshi – Journey to the Shore (2015, post-prod)

Larrieu, Arnaud and Jean-Marie – Vingt et une nuits avec Pattie (2015, with Denis Lavant)

Luchetti, Daniele – Chiamatemi Francesco (2015, post-prod)

Maiwenn – Mon roi (2015, post-prod, with Vincent Cassel and Louis Garrel)

Malick, Terrence – Voyage of Time (2015, post-prod)

Miike, Takashi – Kaze ni tatsu raion (2015, post-prod)

Moretti, Nanni – Mia madre (2015, post-prod)

Nichols, Jeff – Midnight Special (2015, post-prod, Kirsten Dunst and Michael Shannon)

Noe, Gaspar – Love (2015, post-prod)

Salles, Walter – Jia Zhang-ke by Walter Salles (2015, documentary, post-prod)

Sang-soo, Im – My Friendly Villains (2015)

Sokourov, Alexander – Le Louvre Under German Occupation (2015, post-prod, Bruno Delbonnel cinematography)

Sorrentino, Paolo – The Early Years (2015, with Rachel Weisz, Michael Caine, Jane Fonda, Paul Dano, Harvey Keitel)

Tarantino, Quentin – The Hateful Eight (2015, filming, with Channing Tatum, Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen, and many more)

To, Johnnie – Design for Living (2015, post-prod)

Trapero, Pablo – The Clan (2015, produced by Pedro Almodovar)

Van Sant, Gus – The Sea of Trees (2015, post-prod)

Van Warmerdam, Alex – Schneider vs. Bax (2015, post-prod)

Vinterberg, Thomas – Far from the Madding Crowd (2015, post-prod, Juno Temple, Carey Mulligan, slated for May 1st release)

Weingartner, Hans – Soaring Underground (2015)

Weerasethakul, Apichatpong – Love in Khon Kaen (2015)

Some notes:

–Because my research only concerns alumni, there’s some fun to be had in guessing the four or five slots Cannes leaves open to induct newcomers into its Competition. It’s a crapshoot, but: perhaps one goes to Charlie Kaufman’s Anomalisa co-director Duke Johnson; other possible names include Denis Villeneuve (Sicario), Yorgos Lanthimos (The Lobster), George Miller (Mad Max: Fury Road), Martha Pinson (Tomorrow) or Louis Garrel (Les Deux Ami).

–Jean-Paul Rappeneau (2015’s Belles Familles) hasn’t played in Competition since 1990 (Cyrano de Bergerac), so he didn’t make my 2003-2014 alumni list—but he’s a sure bet for a Palme d’Or bow. Sean Penn’s latest directorial effort, The Last Face, also has a solid shot (he last played the Competition in 2001).

–Similarly, Todd Haynes’ Carol is an expected Competition film.

–Brad Bird’s Tomorrowland has “Special Screening” written all over it.

–With The Captive’s poor reception at Cannes 2014, I would be surprised if Egoyan decides to enter Remember this year.

–If George Miller’s Mad Max: Fury Road doesn’t play in Competition (Miller has been on the Jury twice), a slot like the Festival opener or an Out-of-Competition debut seems inevitable.

–In terms of Asian cinema, 2015 is a solid year for Cannes to choose its alumni from this year; that said, they will likely only select three or four. Most likely? From Japan: Kiyoshi Kurosawa’s Journey to the Shore and Naomi Kawase’s Sweet Red Bean Paste; from Taiwan, Hao Hsiao-hsien’s The Assassin; from Thailand, Palme d’Or winner Apichatpong Weerasethakul’s Love in Khon Kaen.

–Could Toby Tobias (Blood Orange) be Cannes-bound? Likely, but will his film make the Competition? With Iggy Pop in the cast, I’d expect an Un Certain Regard debut.

–Will Quentin Tarantino’s The Hateful Eight make it to the south of France this year? This superfan is naively optimistic. But there’s hope: given his love of Cannes and his unconventional press conference at last year’s Festival, Tarantino isn’t one to miss this event. And hey: if it’s not done, expect Harvey Weinstein to at least screen clips of QT’s latest dust-up in Cannes, albeit around the corner from the main event.

–Recent word from some French press is that the 2015 line-up will see a strong showing from Italy; certainly, the alumni are there for Cannes to pluck once again. Two-time Grand Prix-winner Matteo Garrone (The Tale of Tales), Oscar-winner Paolo Sorrentino (The Early Years) and former Jury President Nanni Moretti (Mia Madre) are can’t-lose bets.

–Certain documentaries listed above (like the Sokourov) are probable Out-of-Competition screenings to fill out the rest of the Festival.

–On a personal note: I’d love to see Alex Van Warmerdam return after his 2013 dark-horse hit Borgman. Fingers crossed!

Competition Veterans (2003-2014) with Listed or Upcoming Projects

Adamson, Andrew – producing Truckers (2015)

Almodovar, Pedro – producing Pablo Trapero’s The Clan (2015)

Assayas, Olivier – Summer Hours (script in development)

Audiard, Jacques – Dheepan (2015, post-prod)

Bellocchio, Marco – L’Ultimo Vampiro (2015, with Alba Rohrwacher)

Babenco, Hector – My Hindu Friend (2015, post-prod, with Willem Dafoe)

Campion, Jane – The Flamethrowers (in development)

Coen, Joel and Ethan – Jury Presidents – Hail, Caesar! (2015)

Coppola, Sofia – Fairyland (2015?)

Del Toro, Guillermo – Crimson Peak (2015)

Desplechin, Arnaud – Trois souvenirs de ma jeunesse (2015, with Mathieu Amalric)

Dolan, Xavier (NEW) – The Death and Life of John F. Donovan (2016)

Egoyan, Atom – Remember (2015, post-prod, with Christopher Plummer)

Garcia, Nicole – starring in Belle Familles (Jean-Paul Rappeneau, 2015)

Garrel, Philippe – L’Ombre des Femmes (2015)

Garrone, Matteo – The Tale of Tales (2015, post-prod, with Salma Hayek, John C. Reilly, Vincent Cassel, Alba Rohrwacher)

Giannoli, Xavier – Marguerite (2015, post-prod)

Gray, James – The Lost City of Z (2016, pre-prod)

Haneke, Michael – Flashmob (2015, details scant)

Hillcoat, John – Triple Nine (2015, completed, September 11th release)

Hopkins, Stephen – Race, 2016

Hsiao-Hsien, Hou – Nie Yin Niang (2015, post-prod)

Inarritu, Alejandro Gonzalez – The Revenant (2015, filming, Leonardo diCaprio)

Jarmusch, Jim – Untitled Stooges Documentary (2015, post-prod, with Iggy Pop)

Kawase, Naomi – Sweet Red Bean Paste (2015, post-prod)

Kaufman, Charlie – Anomalisa (2015, post-prod)

Kar-wai, Wong – producer and co-writer of The Ferryman (2015)

Khoo, Eric – In the Room (post-prod)

Kiarostami, Abbas – Horizontal Process (no date, script)

Kitano, Takeshi – Ryûzô to 7 nin no kobun tachi (2015)

Kechiche, Abdellatif – La blessure (2015)

Koreeda, Hirokazu – Kamakura Diary (2015, post-prod)

Kurosawa, Kiyoshi – Journey to the Shore (2015, post-prod)

Larrieu, Arnaud and Jean-Marie – Vingt et une nuits avec Pattie (2015, with Denis Lavant)

Liman, Doug – Reckoning with Torture (2015, post-prod)

Linklater, Richard – That’s What I’m Talking About (2015, post-prod)

Luchetti, Daniele – Chiamatemi Francesco (2015, post-prod)

Maiwenn – Mon roi (2015, post-prod, with Vincent Cassel and Louis Garrel)

Malick, Terrence – Voyage of Time (2015, post-prod)

Martel, Lucrecia – Zama (2015, script)

Miike, Takashi – Kaze ni tatsu raion (2015, post-prod)

Moretti, Nanni – Mia madre (2015, post-prod)

Nichols, Jeff – Midnight Special (2015, post-prod, Kirsten Dunst and Michael Shannon)

Noe, Gaspar – Love (2015, post-prod)

Salles, Walter – Jia Zhang-ke by Walter Salles (2015, documentary, post-prod)

Sang-soo, Im – My Friendly Villains (2015)

Satrapi, Marjane – Tales from the Hanging Head (no year)

Soderbergh, Steven – involved with Magic Mike XXL (2015)

Sokourov, Alexander – Le Louvre Under German Occupation (2015, post-prod, Bruno Delbonnel cinematography)

Sorrentino, Paolo – The Early Years (2015, with Rachel Weisz, Michael Caine, Jane Fonda, Paul Dano, Harvey Keitel)

Tarantino, Quentin – The Hateful Eight (2015, filming, with Channing Tatum, Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen, and many more)

Techine, Andre – Quand on a 17 ans (2016, pre-prod)

To, Johnnie – Design for Living (2015, post-prod)

Trapero, Pablo – The Clan (2015, produced by Pedro Almodovar)

Van Sant, Gus – The Sea of Trees (2015, post-prod)

Van Warmerdam, Alex – Schneider vs. Bax (2015, post-prod)

Vinterberg, Thomas – Far from the Madding Crowd (2015, post-prod, Juno Temple, Carey Mulligan, slated for May 1st release)

Weingartner, Hans – Soaring Underground (2015)

Weerasethakul, Apichatpong – Love in Khon Kaen (2015)


Alumni of the Palme d’Or Competition: 2003-2014

Adamson, Andrew – producing Truckers (2015)

Akin, Fatih – n/a

Almodovar, Pedro – producing Pablo Trapero’s The Clan (2015)

Amalric, Mathieu – n/a

Anderson, Wes – n/a

Arcand, Denys – n/a

Arnold, Andrea – n/a

Asbury, Kelly – n/a

Assayas, Olivier – Summer Hours (script in development)

Audiard, Jacques – Dheepan (2015, post-prod)

Avati, Pupi – n/a

Beauvois, Xavier – n/a

Bellocchio, Marco – L’Ultimo Vampiro (2015, with Alba Rohrwacher)

Belvaux, Lucas – n/a

Blier, Bertrand – n/a

Babenco, Hector – My Hindu Friend (2015, post-prod, with Willem Dafoe)

Bonello, Bertrand – n/a

Bouchareb, Rachid – n/a

Breillat, Catherine – n/a

Caetano, Israel Adrian 2 – n/a

Campion, Jane – The Flamethrowers (in development)

Cantet, Laurent – n/a

Carax, Leos – n/a

Cavalier, Alain – n/a

Chang-dong, Lee – n/a

Chan-wook, Park – multiple projects in script development

Cedar, Joseph – n/a

Ceylan, Nuri Bilge – n/a

Coen, Joel and Ethan – Jury Presidents – Hail, Caesar! (2015)

Coixet, Isabel – n/a

Coppola, Sofia – Fairyland (2015?)

Costa, Pedro – n/a

Cronenberg, David – n/a

Dardenne, Jean-Pierre and Luc – n/a

Daniels, Lee – n/a

Del Toro, Guillermo – Crimson Peak (2015)

Desplechin, Arnaud – Trois souvenirs de ma jeunesse (2015, with Mathieu Amalric)

Dominik, Andrew – n/a

Dolan, Xavier (NEW) – The Death and Life of John F. Donovan (2016)

Dumont, Bruno – n/a

Eastwood, Clint – n/a

Escalante, Amat – n/a

Egoyan, Atom – Remember (2015, post-prod, with Christopher Plummer)

Fincher, David – n/a

Folman, Ari – n/a

Gallo, Vincent – n/a

Garcia, Nicole – starring in Belle Familles (Jean-Paul Rappeneau, 2015)

Garrel, Philippe – L’Ombre des Femmes (2015)

Garrone, Matteo – The Tale of Tales (2015, post-prod, with Salma Hayek, John C. Reilly, Vincent Cassel, Alba Rohrwacher)

Gatlif, Tony – n/a

Giannoli, Xavier – Marguerite (2015, post-prod)

Gitai, Amos – n/a

Giordana, Marco Tullio – n/a

Godard, Jean-Luc (NEW) – n/a

Gray, James – The Lost City of Z (2016, pre-prod)

Greenaway, Peter – n/a

Haneke, Michael – Flashmob (2015, details scant)

Haroun, Mahamat-Saleh – n/a

Hazanavicius, Michel – n/a

Hillcoat, John – Triple Nine (2015, completed, September 11th release)

Honore, Christophe – n/a

Hopkins, Stephen – Race, 2016

Hsiao-Hsien, Hou – Nie Yin Niang (2015, post-prod)

Inarritu, Alejandro Gonzalez – The Revenant (2015, filming, Leonardo diCaprio)

Jarmusch, Jim – Untitled Stooges Documentary (2015, post-prod, with Iggy Pop)

Jaoui, Agnes – n/a

Jones, Tommy Lee – n/a

Kawase, Naomi – Sweet Red Bean Paste (2015, post-prod)

Kaufman, Charlie – Anomalisa (2015, post-prod)

Kaurismaki, Aki – n/a

Kar-wai, Wong – producer and co-writer of The Ferryman (2015)

Khoo, Eric – In the Room (post-prod)

Kiarostami, Abbas – Horizontal Process (no date, script)

Ki-Duk, Kim – n/a

Kitano, Takeshi – Ryûzô to 7 nin no kobun tachi (2015)

Kechiche, Abdellatif – La blessure (2015)

Kelly, Richard – n/a

Koreeda, Hirokazu – Kamakura Diary (2015, post-prod)

Kurosawa, Kiyoshi – Journey to the Shore (2015, post-prod)

Kusturica, Emir – n/a

Larrieu, Arnaud and Jean-Marie – Vingt et une nuits avec Pattie (2015, with Denis Lavant)

Lee, Ang – n/a

Leigh, Julia – n/a

Leigh, Mike – n/a

Liman, Doug – Reckoning with Torture (2015, post-prod)

Linklater, Richard – That’s What I’m Talking About (2015, post-prod)

Loach, Ken – n/a

Loznitsa, Sergei – n/a

Luchetti, Daniele – Chiamatemi Francesco (2015, post-prod)

Maiwenn – Mon roi (2015, post-prod, with Vincent Cassel and Louis Garrel)

Makhmalbaf, Samira – n/a

Malick, Terrence – Voyage of Time (2015, post-prod)

Masahiro, Kobayashi – n/a

Mamoru, Oshii – n/a

Martel, Lucrecia – Zama (2015, script)

Meirelles, Fernando – n/a

Mendoza, Brillante – n/a

Mihaileanu, Radu – n/a

Miike, Takashi – Kaze ni tatsu raion (2015, post-prod)

Mikhalkov, Nikita – n/a

Ming-Liang, Tsai – n/a

Miller, Bennett (NEW)

Miller, Claude – RIP, 1942-2012

Miller, Frank – n/a

Moll, Dominik – n/a

Moore, Michael – n/a

Moretti, Nanni – Mia madre (2015, post-prod)

Mundruczo, Kornel – n/a

Mungiu, Cristian – n/a

Nadjari, Raphael – n/a

Nasrallah, Yousry – n/a

Nichols, Jeff – Midnight Special (2015, post-prod, Kirsten Dunst and Michael Shannon)

Noe, Gaspar – Love (2015, post-prod)

Nossiter, Jonathan – n/a

Ozon, Francois – n/a

Paronnaud, Vincent – n/a

Polanski, Roman – n/a

Ramsay, Lynne – n/a

Resnais, Alain – RIP, 1922-2014

Reygadas, Carlos – n/a

Rodriguez, Robert – n/a

Rohrwacher, Alice (NEW) – n/a

Ruiz, Raul – RIP, 1941-2011

Saleem, Hiner – n/a

Salles, Walter – Jia Zhang-ke by Walter Salles (2015, documentary, post-prod)

Sang-soo, Hong – n/a

Sang-soo, Im – My Friendly Villains (2015)

Satrapi, Marjane – Tales from the Hanging Head (no year)

Seidl, Ulrich – n/a

Schleinzer, Markus – n/a

Schnabel, Julian – n/a

Sissako, Abderrahmane (NEW) – n/a

Soderbergh, Steven – involved with Magic Mike XXL (2015)

Sokourov, Alexander – Le Louvre Under German Occupation (2015, post-prod, Bruno Delbonnel cinematography)

Sorrentino, Paolo – The Early Years (2015, with Rachel Weisz, Michael Caine, Jane Fonda, Paul Dano, Harvey Keitel)

Suleiman, Elia – n/a

Szifron, Damian (NEW) – n/a

Tarantino, Quentin – The Hateful Eight (2015, filming, with Channing Tatum, Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen, and many more)

Tarr, Bela – n/a

Tavernier, Bertrand – n/a

Techine, Andre – Quand on a 17 ans (2016, pre-prod)

Tedeschi, Valeria Bruni – n/a

Thomas, Daniela – n/a

To, Johnnie – Design for Living (2015, post-prod)

Trapero, Pablo – The Clan (2015, produced by Pedro Almodovar)

Van Sant, Gus – The Sea of Trees (2015, post-prod)

Van Warmerdam, Alex – Schneider vs. Bax (2015, post-prod)

Vernon, Conrad – n/a

Vinterberg, Thomas – Far from the Madding Crowd (2015, post-prod, Juno Temple, Carey Mulligan, slated for May 1st release)

von Trier, Lars – n/a

Weingartner, Hans – Soaring Underground (2015)

Weerasethakul, Apichatpong – Love in Khon Kaen (2015)

Wenders, Wim – n/a

Winding Refn, Nicolas – n/a

Xiaoshuai, Wang – n/a

Ye, Lou – n/a

Zhangke, Jia – n/a

Zviaguintsev, Andrei – n/a

Eight Sundance Standouts

Sunday, February 1st, 2015

At a festival that prides in programming new faces – and with so many movies demanding to be discovered – it’s hard to know what will rise to the Sundance surface. Well, sort of: with the festival awards behind us, we do know the big US Dramatic winner Me and Earl and the Dying Girl, a ticket too hot for me to find a seat for, will find lots of success in the coming months. Outside of that, though, here are eight films you should see (in addition to my rave reviews of The Witch, Slow West, and The Wolfpack) as they embark on their post-Park City trajectory:

3 1/2 Minutes


It’s not the first documentary to critically examine Florida’s problematic “Stand Your Ground” law (and sadly, it won’t be the last), but Marc Silver’s very fine 3 1/2 Minutes is a calm and collected case study of The State vs. Michael Dunn, the man who shot and killed teenager Jordan Davis out of “self-defence.” From Trayvon Martin to Michael Brown to Jordan Davis, the film speaks not just to the lamentable trials that devolve into the defendant’s word against a dead man’s, but also to the larger cancer of racism and racial profiling. Silver shows us Dunn claiming before a jury he isn’t a racist, and for contrast we hear audio tapes of Dunn talking about how Davis and his articulate friends were “thugs.” Sad, sober, and patient, the film walks us through just how easily owning a gun, harbouring racist thoughts, and debatable self-defence laws can equate into the death of an unarmed teen.

The Diary of a Teenage Girl

diary of a teenage girl

Newcomer Marielle Heller’s film is a delicate and invigorating adaptation of the Phoebe Gloeckner graphic novel of the same name, a story about a young girl’s sexual awakening in the hazy, drug-fuelled days of 1970s San Francisco. It is also the heralding of Bel Powley, the fantastic lead actress who champions the titular role across from Alexander Skarsgård and Kristen Wiig. Photographed with a luminous bloom evocative of the time and peppered with creatively humorous animations (both on top of live-action and entire sequences), The Diary of a Teenage Girl excels with its terrific performances, mature portrayal of its central themes, and a noticeably strong directorial voice from Heller.



Tangerine is the kind of movie you simply have to see at an event like Sundance, but what’s nice is that even outside of this festival, it’s still a news story. Shot entirely on iPhones tricked out with custom anamorphic lenses, Sean Baker’s florid, vibrant Los Angeles is the perfect setting for this picaresque trans* narrative that is as old as Shakespeare yet newer than Urban Dictionary. With the color contrast pushed out to the limit and an overall orange hue most commonly associated with the Kelvin filter on Instagram, this is a movie about flux: gender norms are shifting, sex work is changing, and a city associated with industry-standard moviemaking is here photographed through a transitioning medium that is contextually perfect.

Station to Station

Doug Aitken’s love train is something to behold – and to be supremely jealous of, when it comes to adventure odysseys you wish you were involved with. Rolling cameras on a locomotive charging east-to-west for 24 days, Station to Station is comprised of 61 one-minute short films that exude the very best of the independent spirit. Art and music and humanity come together here for a film that is utterly rock-and-roll, with talent known and unknown sharing the same artistic plane (train). Aitken wisely spreads the real estate and evenly distributes the screen time, guaranteeing us something new and stimulating every minute. The result? A new media concert-film you’ve never seen before.

Stockholm, Pennsylvania


I have a lot of respect for this movie and to its writer/director Nikole Beckwith, a filmmaker that promises to continue taking risks further into her career. A story about a young woman (Saoirse Ronan) readjusting to life after finally being liberated from her lifelong kidnapper, Stockholm, Pennsylvania feels like two films; when the premise of the second half comes into view, many people will reject it outright. But it’s this kind of attempt to try something new that I find really exciting about both Sundance and Beckwith’s daring script, and the film’s closing shot – a dramatically dark twist that is a nightmare to consider – has stuck with me since leaving the festival, which is always indicative of something striking a chord. Whether it works for you as a narrative – there’s an undertone that feels akin to the domestic grossness of Gone Girl – is secondary at a certain point; what’s more, Ronan’s exquisite performance is worthy of your attention, regardless of the critical reviews misguidedly dumping on this film.

Most Likely To Succeed

most likely

There are a lot of stressful documentaries coming out from Sundance underlining the grave errors the Western World has committed to, and while Greg Whiteley’s Most Likely To Succeed depicts the outdated practices of the public school system in a 3.0 world, it’s ultimately a positive message. The film opens with how even Jeopardy! legend Ken Jennings’ job of game-show whiz can been replaced by a computer, which is a tongue-in-cheek way of broaching the truth: that schools are still teaching kids rote memorization and regurgitation, two skills that will prepare them for jobs Wikipedia and robots are far better at. Who will we hire if this continues? Highlighting in particular High Tech High, a San Diego high school that has been experimenting with Socratic forum and a focus towards hands-on technological praxis, Whiteley captures an inspiring solution: when teachers give youth more agency in their education, it leads to the kind of innovation and character-building confidence skills that are essential for success in a post-internet job market. A thoughtful consideration, and with lots of heart.

Racing Extinction


In this follow-up to his enraging Sundance-winning documentary The Cove, Louie Psihoyos’ equally damning Racing Extinction hits with a terrifying introduction: there have been five mass extinction events throughout the history of our planet, and between outrageous industrial carbon footprints, over-hunted endangered species, and our simply unsustainable diets, we are on a fatal course towards a sixth. Like The Cove, this film is a rabble-rouser, and Psihoyos uses his lens and the fluid power of cinema to try and change attitudes and policies alike. Sneaking hidden cameras into illegal food markets and projecting eye-opening images onto buildings are just two ways Psihoyos plays with documentary to convey his messages; the film in its entirety is an A+ (and transparent) look at the crises facing life on Earth, and what we can do to prevent them.

Take Me To The River

Matt Sobel’s nuanced and sublimely photographed debut, Take Me To The River is a finely crafted and ambiguous film that rejects conventional definition. Ryder (Logan Miller)’s experience at this backcountry Nebraska-set family reunion is a bizarre and unsettling one; when he is blindly accused of sexually abusing his cousin Molly (Ursula Parker), her father’s unexpected reaction opens our imagination to a world of unsettling possibilities and dark truths. To note: break-out performer Logan Miller’s complex facial expressions speak to his acting as he navigates supremely tense family dynamics; Ursula Parker, already perfection on “Louie,” is going to be something special in ten years. Writer-director Sobel is a talent to watch, and we would be so lucky if every film was as visually engaging and thematically challenging as this one.

Sundance Reviews: The Wolfpack, Slow West

Tuesday, January 27th, 2015

Unique ironies surround Crystal Moselle’s bewildering documentary The Wolfpack, not the least of which is that the film opens with a group of brothers at home reenacting Reservoir Dogs, a film that premiered at Sundance 23 years ago. Last night, the very same brothers stood in front of the screen and interacted with the audience for a Q&A, dressed just like Misters Blonde, Blue, Brown, Orange, Pink, and White. I was stunned.

The Wolfpack

Tarantino’s 1992 masterpiece is just one of the many films that have captivated and inspired the Angulo brothers – six of them, to be exact, with one very shy sister – who have, for the majority of their life, been essentially locked away in their Lower East Side Manhattan apartment. Their interactions with the world have been extremely limited (“I just learned Google was a word,” one brother says) and what they know about society has primarily been from their apartment window and their television screen, the portal that expands their world and lets them watch any of their 5,000+ movie catalogue (I hope they publish their list of top films ever made, a document we only hear the highlights of – JFK is their top film ever).

Because moving images have been one of their only forms of entertainment, these boys are the ultimate cinephiles. They love movies to the point I feel put to shame by, and for fun they take their love of cinema to another level, writing scripts down by hand (and typewriter), quoting lines and key scenes, and re-enacting films like The Dark Knight, Pulp Fiction, and The Godfather, complete with impressively homemade props and costumes (one Batman outfit is made from yoga mats and cereal boxes). This aspect of The Wolfpack is highly entertaining, and keeps the surreality of the situation from becoming overbearing.

So how bizarre is it that these boys are now the subject of a compelling documentary? It’s a trip, to be sure. They have always loved both sides of the camera, taping and documenting their lives inside their apartment, clips of which Moselle splices into her film. It’s these real documents of a growing yet repressed family that underlines the staggering reality that this family has never really left home, and things are not okay as a result. Fortunately, the very charming Angulo brothers open up to Moselle, talking about their father (a troubled man; we learn little about him) and mother (who has clearly been through a lot as a result of her husband); there is immense catharsis here.

When one brother reveals the story behind his first escape, Moselle captures a wistful connection as her subject looks into the camera. It’s here the film transitions into how the Angulo brothers plan to leave the nest and get jobs (their father has been anti-work for many years). While it’s great to see the liberation of men tasting freedom for the first time, most bizarre is the sadness as these brothers begin to move apart: they’ve spent their entire lives in close proximity, and while we all have stories about families naturally separating into their own units, there’s really nothing we can do to relate or compare with how these brothers must feel growing into adulthood.

This movie is one-of-a-kind. If Boyhood was a young boy growing over the length of one movie, The Wolfpack shows young boys growing through movies; the result is a mix that is a sort of real-life Be Kind Rewind and Dogtooth combined (though that film is far more narratively negative than this; this movie is ultimately positive). From how they think of strangers to what they know about the world, this movie is an ethnographic look at a mixed-race family that is clearly very talented and has a lot to offer the world. It’s odd to write about this family, and it’s even odder to watch watch as they learn to adjust to the real world, complete with awkward interactions as they take their first steps around New York City as free men (watch the delight on their faces as they see a film in a real cinema, dressed to the nines as they do so). That said I can do little else but recommend this film post-haste; it is an absolutely fascinating documentary and one of the strongest reminders of the indomitable power of film I have seen.


Maybe it never really went away, but it seems as if the Western genre has had a bit of a renaissance in recent cinema. From straight dust-ups by Tarantino to more neo-Western revenge flicks like, say, Blue Ruin and then the genre entries from countries that aren’t American (when will kickass Danish Oater The Salvation be released stateside?), it’s a good time these days to love a dusty trail and riding off into the sunset.

Slow West falls in that latter category, a UK-New Zealand co-production that, like Lord of the Rings, uses the beautiful – yet craggy and harsh – panoramic exteriors of New Zealand as a substitute for the American Old West, including plains, mountain passes, and lush forests. The film follows teenaged Jay (Kodi Smit-McPhee), a Romeo travelling from Scotland to reunite with his Juliet (Rose, played by Caren Pistorius) hiding somewhere in the American West. But strong-and-silent Silas – a roaming bounty hunter played by Michael Fassbender – realizes there is a large price on Rose’s head, and he offers to escort the naive greenhorn Jay across the dangerous terrain with a hidden agenda.

This is a gorgeously-shot movie which is really great, because as the title implies, prepare to saddle up for a slow burn start to shoot-out pay-off finish. Backed by the talents of ace cinematographer Robbie Ryan, writer-director John Maclean takes his time with the narrative, patiently building a body-count while exhibiting his cinematic reverence to the natural world. In terms of photography, the West here is almost a character; it has many treacherous geographies and exerts indiscriminate acts of God upon its inhabitants, who are not without sin. As one minor character suggests, if he only broke bread with those who had never committed murder, he would be “a very lonely man indeed.”

From the corpse of a lumberjack killed by his own felled tree to a raging flood that nearly carries Jay and Silas away, death – both by the natural world and by unnatural lead – is a major theme here, reinforcing the Old West as an unforgiving time and place to live (albeit a great setting for a movie). Second to death is the dramatic irony that Maclean wisely mines for humour; one poignant scene provides new context to the expression “salt in the wound,” and it’s brilliant writing winks like these which work on many levels to highlight the futility of 19th-century roguery and unrequited romance.

This is another standout film at Sundance 2015. In addition to its very capable performances and engaging script, Slow West is the resounding rifle-crack welcome to an exciting and meticulous newcomer John Maclean. His staging of the bloody finale alone will turn studio heads, and it would please this Western fan very much to see his excellent blocking seen in this film’s climactic siege blown up and supported on future, bigger – and perhaps faster – projects.

Sundance Review: The Witch

Saturday, January 24th, 2015

There is a scene in The Witch so terrifyingly twisted that when it was over, I realized my mouth had been frozen agape for a solid three minutes or so. A film that is the feature writing and directing debut of Robert Eggers, this is the first real standout movie of Sundance 2015 – and 2015 in general – that is deserving of your serious attention. If you’ve been following the festival through tweets and other write-ups: believe the hype, this movie is artful enough to reject ghettoization, and should be seen by genre fans and drama lovers alike.


Originally titled The Witch of New Canaan Woode, Eggers sets the stage in a very dreary 1630s New England (with the forests of Ontario, Canada standing in), introducing us to a family that has been exiled into a solitary farm life away from the nearest plantation. If there is a main character, it is Anya Taylor Joy’s adolescent maiden, working with her mother, father, brother, and twin siblings to survive a harsh upcoming winter. Food has become scarce, and when a baby boy goes missing in the opening act, the family patriarch goes looking for a wolf to kill. Of course, as the title implies, there is no wolf. But who – or what – is the witch?

After looking up Eggers’ IMDb profile I am not surprised to read that he has primarily been a production designer, because this film utterly nails the setting and vibe of this story. From the chiaroscuro lighting to the immaculate set design to the stunning location photography, everything about this picture captures what I can only imagine life then was like, and Eggers used archives of historical documents to write an accurate script that is penned mostly from actual dialogues of the time. It’s got all the fire and brimstone of old-timey pilgrim/Puritan prose, with even the child actors of this film nailing that tricky New England accent.

This film is so good at what it does and sells the immersion scarily well. While The Witch never deviates from its central farm scenario (other than the woods beyond them), there’s plenty of drama to be mined from underneath these thatched-roof cottages to help you understand why witchcraft and Satanic magicks were so quickly pointed to as the cause of all evil. My only complaint? I didn’t want to leave this movie; I didn’t want to leave a world that could have been explored more and more with so many interesting philosophical questions and frightening implications.

But there is drama here, too; the kind of psychological stuff that is really fascinating when you appreciate this is taken from the annals of New England legend. Like the trials of Salem in the late 1600s, the finger-pointing in this movie becomes Biblical to the point of self-survival, and the intense screaming, crying, and family discordance that results from accusing someone of witchcraft adds to the already concrete-thick tension. This movie is scary, but it is also just so eminently watchable and pretty to look at; the scares are almost a relief, because it means the end of the intense crescendoing of violins and other string instruments that largely comprises the score.

For my money the most effective horror films have a sense of dread that never really goes away, constantly pushing the needle and raising the stakes. There needn’t be cheap jump scares every minute or two to create something tense if everything else in the production is unsettling, and this film has an atmosphere and tone that is so very, very dark. The script, with its many “thys” and “thous” and references to Jesus Christ as our lord saviour, keep us reminded that the 17th-century was a God-fearing time where prayer was the only answer to a sickness, and it is really pitch-perfect horror. Double, double toil and trouble: if this film does not make my top ten of 2015, it will be a very good year for movies.

Sundance Review: THE BRONZE

Friday, January 23rd, 2015

It was unreasonable to expect the opening night U. S. Dramatic film would play as well as 2014’s electric Whiplash for a curtain-raiser to Sundance. Still, the festival has begun, and there are already titles buzzing with “must-see” status (having been turned away from The Witch this morning, which is receiving rave twitter reviews, I am already playing catch-up).

Still, there are some thematic similarities between that film and this year’s regrettable opener, The Bronze, a film that is centered around wanting to be the very best at something – or at least remembered appropriately for it.

Written by Melissa and Winston Rauch and directed by Bryan Buckley, The Bronze is a clichéd and predictable sports-competition film that you’ve seen a million times: from Bring It On to Air Bud, this film follows beat-for-beat the narrative of training for an important competition, and it’s up to the denouement to see if our protagonists come out on top.

But what’s different here from most sports films is the script and writing tone, which is an obnoxious filth-fest and a poor Diablo Cody imitation (think Young Adult, but while snorting an accelerant). Co-writer Melissa Rauch plays Hope Ann Greggory, a has-been bronze-medal gymnast clinging to her former glory in a small town still willing to celebrate her ten years later. Hope steals, she swears, she offends, she goes on detailed and painfully specific rants about … taints. She punches her protective and concerned father (Gary Cole) in the face. She needs a job, and she’s predictably offered one in the form of the redemption trope: train an up-and-coming younger, cuter gymnast to compete in a world-class event, and will Hope be able to restrain her explosive, caustic personality in the process? Will she find true love in her awkward co-trainer (“Silicon Valley”‘s Thomas Middleditch)?

I’ve never been a huge fan of Diablo Cody, so those who are may enjoy this knock-off piece of priss. But Cody’s work is at least nuanced, and narratively The Bronze is just all very obvious. And while playing to a successful formula will net a film decent points with a broad audience, if the jokes aren’t funny – or they simply come across as irritating, like so many of these cloying, in-your-face one-liners – then this movie sorely botches the dismount as a festival opener.

Six Films To Watch At Sundance

Tuesday, January 20th, 2015

Sundance 2014 was one of the most exciting film events in recent memory, and of the festival circuit I attend—which annually includes Cannes and TIFF—many of the films Sundancers saw a year ago are still largely in the conversation today. And that’s not just because of Boyhood: last January I saw a number of films that ultimately made my top ten or twenty of 2014, including Kumiko The Treasure Hunter, The Overnighters, Love is Strange, The Voices, Whiplash, What We Do In The Shadows, Appropriate Behavior

I could go on. Attending Sundance this year means personally jumping through a lot of difficult hoops to make it happen, but this festival is becoming legendary—2014’s iteration eclipsed both Cannes and TIFF combined—and I simply couldn’t skip this year.

Here are just six enticing movies that I am both eager to see, and to see how they play out:

The Witch US Dramatic

“New England in the 1630s: William and Katherine lead a devout Christian life with five children, homesteading on the edge of an impassable wilderness. When their newborn son vanishes and crops fail, the family turns on one another. Beyond their worst fears, a supernatural evil lurks in the nearby wood.”

What a simple yet incredibly effective title, shortened from its original: The Witch of New Canaan Woode. Buzz from Sundance brass (namely John Cooper) on this title is shit-hot, especially as it sounds both excellently eerie and dramatically nuanced. It’s not in Sundance’s Midnight category, which means it’s probably more the latter than the former, but it still sounds pretty wild—especially since, well, when did you last see an indie film based in the 1630s? Written and directed by Robert Eggers.

Station to Station New Frontier Films

“A high-speed road trip through modern ideas, the formally innovative film Station to Station is composed of 61 individual one-minute films that feature profiles shot before, during, and after the trip, and capture indelible moments of the journey such as Beck performing with a gospel choir in the Mojave desert.”

People all over the world, join hands: Doug Aitken started a love train. Station to Station sounds like the perfect film for an artistically-inspired festival like Sundance, an event which celebrates that Bohemian commitment to always chasing fresh ideas. Rocking and rolling across the United States with creativity in every caboose, Aitken invites artists, musicians, filmmakers, poets, writers, and storytellers aboard an LED-adorned locomotive to create 61 one-minute short films, linked together with the momentum of a train travelling from the Atlantic to the Pacific. At just over an hour, it sounds perfect.

The Wolfpack US Documentary

“Locked away from society in an apartment on the Lower East Side of Manhattan, the Angulo brothers learn about the outside world through the films that they watch. Nicknamed the Wolfpack, the brothers spend their childhood re-enacting their favorite films using elaborate homemade props and costumes.”

I’m just going with the hype on this one, because from the program notes alone this film sounds nuts. Aside from the really interesting irony that director Crystal Moselle has created a film about a family who re-enacts films, the idea that there’s some sort of real-life Dogtooth scenario happening in… Manhattan? Yeah, that seems way too bizarre to not investigate further.

Take Me To The River NEXT

“Ryder, an artsy teenager, travels from California with his parents, Don and Cindy, for a family reunion in Nebraska. Upon their arrival, Ryder’s impish nine-year-old cousin, Molly, leads him to a barn to show him a bird’s nest. What happens behind barn doors makes Ryder the sudden target of suspicion and unearths a long-buried family secret.”

Over the past few years, Sundance’s NEXT program has been really successful in broaching evocative perspectives and presenting new voices, and Matt Sobel’s debut feature—a part of this special section—looks to have that sort of vibe from another Sundance hit, Martha Marcy May Marlene. While they’re assuredly different, Take Me To The River should surprise with its look at disturbing family dynamics, beautiful on-location photography, and a brooding tension that is invoked by breakout performances—both by Logan Miller (Ryder) and Ursula Parker (Molly), who as we know from Louis CK’s “Louie” is a seriously talented child actress. It’s the kind of film that sounds like it could really swing for the fences in its thematic ambiguity, and I’m hoping its inclusion in the NEXT program means that is does.

The Nightmare Park City at Midnight

“Following his exploration on the deep effects of cinema in his feature Room 237, director Rodney Ascher now investigates the phenomenon of sleep paralysis. In this documentary-horror film, we experience the terror that a surprisingly large number of people suffer when they find themselves trapped between the sleeping and waking worlds every night.”

Room 237 was something else, and I really dig that Sundance didn’t describe Rodney Ascher’s previous documentary as the film about The Shining. It is, but it’s kind of not. It’s a study of cinematic obsession, which in itself can be frightening—especially given how far some fanatics can go. Ramping up the fear factor, The Nightmare is currently my number-one to see at Sundance. Have you ever experienced sleep paralysis? It happened to me maybe six months ago. I could hear someone moving my stuff in my room and pushing around my really squeaky chair beside my bed, but I was unable to open my eyes and see who—or what—was fucking with me. That feeling of helplessness vulnerability was shit-your-pants terrifying. (These types of hallucinations are associated with sleep paralysis, I promise.) Either way, I’m there.

The Diary of a Teenage Girl US Dramatic

“Minnie Goetze is a 15-year-old aspiring comic-book artist, coming of age in the haze of the 1970s in San Francisco. Insatiably curious about the world around her, Minnie is a pretty typical teenage girl. Oh, except that she’s sleeping with her mother’s boyfriend.”

2014 was a year for movies about boys, men, boys-to-men, and man-boys. While I’m not necessarily complaining, I’m pretty eager to see something that takes us far away from that, and the possible arrival of a striking new lead in Bel Powley (Minnie)—in a film set in the wavy days of 1970’s San Fran—sounds like just the antidote. I can’t put my finger on why this film sounds as good as it does, but its inclusion of Kristen Wiig and Alexander Skarsgård definitely helps. Written and directed by debut filmmaker and actress Marielle Heller, based on the graphic novel by Phoebe Gloeckner.

The Torontonian reviews This Is Where I Leave You

Wednesday, September 17th, 2014

Like a middling episode of House-Arrested Development, Shawn Levy’s This Is Where I Leave You—adapted from the Jonathan Tropper novel of the same name—is a dysfunctional family dramedy lacking in laughs and an emotional punch to really bring it home. The film gets by on its likable cast, but the fact that this film merely passes despite such a talented crop of comedic talent should speak to a general failure, or at least a sense of disappointment.

Starring as Judd Altman (the surname not a nod to the iconoclast director), Jason Bateman here more or less reprises earlier iterations of Michael Bluth, the straight-man glue that holds his clan together. He’s been good at this character for years, and while I’m beginning to think he’s now typecast as such, Bateman’s focal point leads are usually strong. This film is no exception.

But this is an ensemble comedy, so acting beside Bateman are Tina Fey (sister), Adam Driver, Corey Stoll (brothers), Jane Fonda (mother), Rose Byrne, and Timothy Olyphant (external love interests). Following the death of their father, the Altman family is finally reunited under the same roof to sit Shiva, a seven-day ordeal that raises tensions and blood pressures for everyone involved. It’s an inoffensive premise that you’ve seen before and will continue to see again.

There are a few other actors here (Kathryn Hahn plays Stoll’s flighty wife), but in terms of talent squandered, there’s no flaw more glaring than underwriting a Tina Fey character. Fey’s turn in This Is Where I Leave You as a grinning alcoholic is, sorry to say, lamentably dull. Ben Schwartz steals what little show there is as “Boner,” the hip-with-it rabbi who despises his nickname the Altmans gave him in the past. It’s fun to see Jane Fonda’s matriarch get some laughs with her new “bionic” breast implants, but it’s a bit juvenile and attributes to the film’s overall tonal unevenness. Case in point: to relieve its half-hearted attempt at tackling serious family drama, this is a film where a running joke includes a toddler who loves to carry his potty around in the darnedest places and most inopportune times.

The kernels of sadder, more depressing family problems are all here—pecking-order in-fighting, the inability to have children, alcoholism, superiority complexes—but they’re all tinged with a wink and tongue-in-cheek asides, so it’s hard to really feel compelled to care. It’s odd, because this film isn’t funny but it’s not dreadfully unfunny, so we’re left in this shrug-worthy state of: yup, it’s harmless and watchable, which is true of many Shawn Levy films.

The Torontonian reviews It Follows

Friday, September 12th, 2014

f9e3029b8cade0793e6c3d738ddfa8f2One of the most enjoyable aspects of David Robert Mitchell’s It Follows—alongside its brilliant cinematography and chilling scares—is the inventive premise, which is as much to fun to describe as it is to watch (tell your friends about the “sexually-transmitted ghost” movie and watch their faces turn from disgusted to wildly amused).

Also appearing in The Guest, another Midnight Madness film at TIFF, Maika Monroe plays Jay, a girl living in Detroit suburbia with her friends and family. Jay’s a typical American girl that likes to go on dates to the movies, and the boy she’s currently seeing is the strong and silent type. They haven’t, well—y’know—yet, but after a bizarre detour and a casual dinner, they finally go somewhere private and get down to business.

Moments after having sex with this dude, Jay is introduced to the “rules” of It Follows: she’s now the target for a haunting spectre that can take many forms—an old woman, a naked girl, a lumbering giant—and will now relentlessly walk towards her until it sees her dead. If it kills her, it will then go up the chain and begin to haunt the person Jay most recently had sex with—in this case, the beau from earlier—making this movie a terrifying game of sexual hot potato. It’s an idea that’s high-concept and low-budget.

Other horror films have ghouls that are more agile than what stalks Jay in It Follows—or faster, for that matter—but Mitchell uses the slow-and-steady ghost premise to chilling effect. In one of the film’s most unsettling scenes, Mitchell sets his camera on a panoramic 360-degree tripod and spins around the hallways of a school as Jay rifles through some yearbook archives to find out who it actually is she just had sex with (her mysterious suitor was not who he said he was, it seems). As the camera repeatedly cycles around, we through a window both a field teeming with people and a hallway with students, but is the ghost outside or in the school? Because Mitchell opts for master shots in establishing his environments, there’s a lot of fun in trying to spot the apparition in his backgrounds, and this scene is one of the creepiest examples of this approach.

In terms of character motivations and oh-my-god-you-know-that’s-a-bad-idea, sure—there are a number of genre clichés and plot holes here, but the film is far too pretty to look at for those things to really matter (and yes, Mitchell answers the glaring question of “why don’t they just hire a prostitute?”). With excellently eerie lighting and an adherence to wide angles, we get a great sense of how even open areas like a park or a beach can remain claustrophobic—especially when you always have to look over your shoulder. There’s also a synth-heavy score by Disasterpeace that adds a thumping presence of dread behind every sequence, and the result is something original and really frightening.



The Torontonian reviews Good Kill

Wednesday, September 10th, 2014

Based on actual events and unapologetically anti-war, Andrew Nicoll’s Good Kill is an effective if slightly overlong look at the use of unmanned aerial vehicles (UAVs) as military lightning strikes and the psychological toll the violence takes on the men and women who “pilot” them, especially as the drone program evolves into something they never signed up for.

Continuing with what will likely be the biggest year of his career, Ethan Hawke plays Major Tommy Egan, a booze-chugging veteran who has seen multiple tours of combat but finds himself in the middle of his third drone tour. That means he spends a lot of time in an air-conditioned trailer on a military base in Nevada, Starbucks in hand, piloting a drone that is 7000 miles away, which is about as detached from the dangers of war as you can concievably get. But the real world impacts of his missiles are rending flesh and blood, and the film opens with Egan’s eye flitting back and forth as he looks for his latest target. His partner lasers the impact zone, Egan fires the trigger, and moments later—halfway across the world in a remote location in Afghanistan—hellfire rains down upon a supposed terrorist.

Egan, like godly Zeus, throws bolts from the blue. “Good kill,” he confirms, scanning the desolation.

Desensitized from the violence yet nonetheless damaged by his job, Egan’s life at home is turbulent, and his loyal wife (January Jones) feels like her husband is more vacant than he was when he was actually overseas. “Does he ever get mad?” a friend asks, watching Egan barbecue mutely after coming home from wiping six Taliban from the face of the earth. “When he gets mad, he only gets more quiet,” his wife says. The film unravels this now-broken marriage to middling effect.

Written by Nicoll and riddled with all the appropriate military jargon like “rules of engagement” and “painting the target,” his script compliments the disconnected horrors of these drone strikes by underlining the ironies of this cyclical, cynical conflict. Lines like “I’ve been a pilot before Pontius” keep us engaged throughout the film’s terrible everyday scenarios, like when Egan and company witness a local Afghan—not related to the Taliban or listed in any of their intel—repeatedly rape and beat a woman. Though they’re able to eliminate the rapist in a split second with a missile right between his eyes, Egan’s commander (played by Bruce Greenwood) says: “he’s a bad guy, but he’s not our bad guy.”

The film takes an uncomfortable turn when the CIA takes control of the drone program, requesting target strikes that continue to feel more and more unjust. “Sir, was that a war crime?” Egan’s morally-sober assistant Suarez (Zoe Kravitz) whimpers at one point. A monotonous voice in the form of a speakerphone—referred to only as Langley—requests orders that leave the drone pilots questioning everything about their job. Later, Egan refrains from uttering “good kill” after his strikes entirely.

This is the kind of movie you’d only watch once, given its heavyhandedness. That said, when Bruce Greenwood states that drone piloting “isn’t goddamn Playstation” to a horde of new recruits, you know the film is touching on some murky, real-world gray areas about the future of warfare. Except the future of warfare is actually the here-and-now of warfare, and Nicoll’s film assists in a layman understanding of the program (along with Wikileaks footage you may have seen). Egan’s failing marriage may be a lackluster B-story, but Ethan Hawke’s characteristically strong performance as a emotionally distanced drone pilot is worth your attention.

The Torontonian Reviews Sunshine Superman

Tuesday, September 9th, 2014

sunshine supermanThere’s a range of buzzed-about nonfiction films at TIFF this year, but after asking the documentary programmers about their personal favorites in the selection, I was directed towards Sunshine Superman, Marah Strauch’s documentary debut that follows the life and times of gregarious BASE jumper Carl Boenish (“rhymes with Danish”). Before his untimely death in 1984, Boenish was a founding father of jumping from things he probably shouldn’t be—including Troll Wall in Norway, the craggy mountain that would eventually kill him—yet this tragedy only bolsters the film as an engaging love-letter to living life to the extreme.

BASE jumping—or building, antenna, span and Earth jumping—wasn’t a thing before Carl Boenish appeared, but because of him it’s now the liberating (read: insane) act of parachute-controlled freefall that was never really regulated or understood by the authorities as anything other than a liability. That includes park rangers who keep watch on El Capitan, the massive cliff in Yosemite Valley that Boenish and his fellow freefallers in the 1970s routinely scaled and flung themselves from, despite the fact that it was illegal. Detaining them wasn’t exactly going to stop them (let’s face it: if they’re jumping off cliffs, they’re not exactly too worried about a slap on the wrist), so Boenish organized a charge to make compromises with government officials with a cheerful attitude and his goofy, never-ending smile. In short, he caught more flies with honey, and it made him a natural figurehead for the activity.

Because Boenish was an avid cinematographer himself, Strauch has a wealth of spools from Boenish’s personal archive, which often includes the freefalling perspective of Boenish’s helmet-mounted camera. Much of it is exhilarating: taking to the skies and filming from great heights alleviates any potential talking head syndromes other documentaries suffer from, and the title of the film feels wholly appropriate. There are also flashes of Gimme Shelter here; Strauch includes footage of Boenish reviewing his own film, commenting on and laughing about what he’s documented, and it adds to the film’s vibrancy and joie de vivre.

There are contemporary interviews from the people involved with Boenish, including his sunny wife Jean, who alongside Carl quickly became a spokesperson for BASE jumping as a way to express the capabilities of mankind’s curiosity and freedom. That theme—the idea that life is something to make the most of and death isn’t something to be afraid of—is touched upon to compelling effect here, as the film ultimately culminates in the 1984 accident that claimed Carl Boenish’s life. Strauch catches up with Jean decades later to reflect on her late husband, and her sentiments aren’t that she regrets Carl jumped from something he knew was a poor idea. Rather, Jean extolls the virtues of Carl’s ambitions, and closes the film with a speech that reiterates the saying that no one leaves this mortal coil alive.


The Torontonian Reviews NIGHTCRAWLER

Sunday, September 7th, 2014

d5af7aba5d2a53a20c3e5aeca8e25192Currently my favourite film at TIFF, Nightcrawler is so refreshingly original that it’s surprising to see it’s also screenwriter Dan Gilroy’s directorial debut. But it is, and that’s fantastic, because the film goes places and takes risks I wish were more common in North American cinema. The result is a memorable, even great first feature.

Finding himself in what feels like an especially twisted episode of “It’s Always Sunny in Philadelphia,” Jake Gyllenhaal plays Lou Bloom, a sallow, greasy-haired sociopath who can’t find a job—or an unpaid internship, a frustration mined here for laughs—no matter how many employers he harangues with self-help psychobabble. Giving up on the idea of working for someone else and witnessing a brutal accident on the freeway, Lou is inspired to “nightcrawl,” which means combing the streets of Los Angeles for footage of crime scenes to sell to local news channels. It’s the type of work that another cameraman describes as a “flaming asshole of a job,” because who wants to shove a camera in the face of someone bleeding out in a crashed car?

Lou Bloom does! Or at least he doesn’t give a shit. That’s good news for us, because it’s morbidly riveting to see him snake inside active crime scenes to get footage of mangled bodies that the morning news is dying to showcase, paying top dollar for images of white-collar corpses. A character to remember, Lou is as enterprising as Howard Roark, as intense as Timothy Ferriss, and as batty as Cosmo Kramer. As he improves his craft and grows his business—Lou self-identifies as a “quick learner”—he takes on Rick (Riz Ahmed), an illiterate and homeless twentysomething who wants to get paid any way he can. Rick assists in the navigation and parks their car when they get to a crime scene, and seeing Lou in an employer capacity is wonderfully fucked-up.

Gilroy’s wife Rene Russo plays Linda, Lou’s cougar contact at the television station, and when she outlines what kind of footage she’s looking to purchase she reminds Lou that the newscast needs to resemble “a woman running down the street screaming her head off.” That means in terms of cable news, instilling fear in the viewers at home is paramount, and the critique of institutional racism and the maxim “if it bleeds, it leads” here is a bigger indictment on Los Angeles than David Cronenberg’s Maps to the Stars, and Dan Gilroy has written something even more depraved than Bruce Wagner’s script for that movie. Nightcrawler is tastelessly sick in the best way possible, and Gyllenhaal is hilarious as a slimy creep with sunken eyes. (“I like to say that if you ever see me, you’re having the worst day of your life.”) There’s something to be said about the effectiveness of this movie’s tone: we don’t see very much action (the violence is mostly shown via its aftermath) and we don’t see any sex at all. But those cinematic pleasures are still found in Nightcrawler’s are-they-actually-going-there narrative and intense sexual tension, compliments of Gilroy’s excellent witty, cynical script.

The Torontonian reviews Eden

Saturday, September 6th, 2014

Mia Hansen-Løve’s fourth feature Eden, like some of the dullest and least distinctive electro tracks, is repetitive, noisy, and plays far too long. If there is a selling point to this film, it’s because outlets like BuzzFeed describe it as “the movie for the DJs who never quite became Daft Punk,” where Daft Punk is this ever-growing, ever-present phantom of success in the Parisian EDM scene but still show up to nightclubs to support their contemporary DJs. Sure enough, the buzz at TIFF is that Eden is the “Daft Punk” movie. It’s admittedly reductive to call it the “Daft Punk” movie in queues as the shorthand reference to what the film is about; Hansen-Løve is a name I respect more than that. But after seeing the film, though, I realize it’s the only salient thing. Case in point: I’m listening to 2001’s “Discovery” as I write this, and it’s the silver lining of the experience.

Beginning in the 1990s and stretching across 131 minutes to the current day, the film follows the inception and years-later failure of “Cheers,” a garage-house DJ act that for whatever reason are unable to tap into the success and formula that Daft Punk are enjoying simultaneously. Félix de Givry plays Paul, the front man of Cheers, and he’s more or less a loser. He can’t reliably pay rent, he’s addicted to cocaine, and his taste in women is lamentable. Greta Gerwig is in this movie for all of ten minutes, playing Paul’s first girlfriend who moves from Paris back to New York to move on with her career. Years later when Paul sees her again, she’s pregnant, in a healthy relationship, and lives in an enviable apartment, underlining the fact that Paul simply can’t—and didn’t—win as a DJ. Sure, he gets gigs, makes music, and attempts to uphold the image (buying graphic t-shirts is more important than groceries), but at a certain point his career as a DJ is untenable.

Kind of like this movie. It’s not terrible, and the film is briefly interesting when we see people in the scene who know Daft Punk whisper about their success in that astounding way witnessing the growth of legends first-hand can bring. Yet Eden is split into two parts, likely because of the screenplay’s origin as two separate movies. But when the film’s decent opening half ends, we’ve had more than enough scenes of dancing in loud nightclubs, scenes of snorting cocaine, scenes of high-tempered affairs, scenes of Paul’s mother lecturing him about his career, etcetera. Nevertheless Hansen-Løve double-dips and subjects us to “Lost in Music,” essentially an extended remix of the opening section, but with an update on the people from the 1990s and what they’re doing in the 2000s and beyond. This unnecessary second part is far too long and did absolutely nothing for me, other than the fact that this timespan covers Daft Punk’s discography up to “Random Access Memories,” which gives Hansen-Løve the opportunity to use some of their best tracks in just the right moment. I haven’t seen a film where “Veridis Quo” feels so poignant and well-timed.

But that’s Daft Punk. Daft Punk is like maple syrup or peanut butter; their music pairs well with pretty much anything, and I can’t say much else about Eden’s fleeting moments of cinematic paradise if they’re all related to the songs I know and love. Paul’s story is a series of cyclical non-events, but I suppose his life is more compelling when “Within” plays overhead (“I am lost, I can’t even remember my name / I’ve been for some time looking for someone, I need to know now / Please tell me who I am”). Sure, it’s inherently neat to see a movie that has actors playing Guy-Manuel de Homem-Christo and Thomas Bangalter—watch them try to get into some night clubs!—but this isn’t enough to cover the film’s major issues: repetition, uninteresting protagonists, and a long-play B-side narrative that simply will not end.

Cannes 67 Wrap-Up

Saturday, May 24th, 2014

Cannes 67 – c’est fini.

After dozens of screenings, predictions, and an endless series of queue debates, we have a Palme d’Or.

Presented by a jury led by the inimitable Jane Campion (in terms of grace, eloquence, and the smile on her face, one of the best Presidents in recent memory), the film that receives the most prestigious prize in world cinema is Nuri Bilge Ceylan’s Winter Sleep.

In my May 6 snapshot of Turkish director Ceylan, I wrote: “Ceylan is essentially three for four in his Cannes career… do not be surprised if 2014 marks Turkey’s second Palme d’Or win, after Yılmaz Güney and Şerif Gören’s golden The Way (1982).”

Both before and after the film screened early in the Competition slate, it was the critical (and bookie) favorite to win the Palme.

Ceylan’s long-form style is unapologetically his own, despite it leaving some audiences cold (in the same snapshot a commenter snarked Ceylan is “a horrible, pretentious director”). I don’t begrudge folks for feeling outright alienated by the auteur’s lengthy films, but to claim they are without merit is certainly misguided.

Tuck yourself in for Winter Sleep, which clocks in at 196 minutes. It’s a reflective, deliberately-paced meditation that is choreographed much like a piece of theatre (which I mention because of the film’s relevant subtexts). The sets look and feel like stages. Shakespeare is referenced (in the dialogue—but then again, a major locale is the Hotel Othello). Boundaries are stretched. You may take an intermission (read: nap).

It’s a major winner, and one that was probably overdue (2011’s Once Upon A Time In Anatolia is pretty great). While it didn’t do as much for me as some of the other films in Competition, there’s still plenty for me to admire here. But that’s the beauty of subjectivity: one person’s masterpiece is another person’s walk-out (or conk-out). Moving on.

Meet your 2014 Grand Prix winner: one of the unsung gems this festival is the enigmatic and beguiling Le Meraviglie (The Wonders), directed by sophomore filmmaker Alice Rohrwacher, who debuted 2011’s Corpo Celeste in the Director’s Fortnight. People don’t typically jump from that program immediately to the Palme d’Or Competition with their follow-up film, so expectations were high for The Wonders.

Based on some autobiographical elements from Rohrwacher’s life (the film also stars her sister Alba), The Wonders looks at a rural family of beekeepers in the sun-kissed Umbrian countryside who join an artisanal produce contest that has echoes of ancient Etruscan agriculture—emphasis on the culture. “I cried at the end,” jury member Nicholas Winding Refn said at the awards ceremony. The film has a conclusion that will have you talking—possibly also mystified, but talking just the same.

On to the Jury Prize, or Prizes. There are two this year, as Xavier Dolan shares the stage with an absent Jean-Luc Godard for Mommy and Adieu au Langage 3D, respectively.

Québécois auteur Dolan, only 25, is just killing it. He’ll return to the Cannes stage soon enough—hell, maybe in 365 days from now (he’s that prolific)—and when he does, he’ll come gunning once again for that Palme, which his home country of Canada has never won. Mommy, his 2014 entry, was as passionate as it was mature and thoughtful. The film portrays a difficult relationship a son has with his mother, shot in an intriguing (yet justified) 1:1 aspect ratio. It’s quite good—in fact, press booed when it only won the Jury Prize. There are a lot of people where who thought it should have won the gold, and it’s very likely you will too.

Godard is much older than Dolan, yet seems more playful than him. To get a sense of what Goodbye to Language is like, please read my oh-so-scholarly article that pays homage to this wonderfully funny essay film. Earlier today Cannes was one of the only major film festivals that hadn’t yet given one of the original modern auteurs a prize, but his 2014 Jury Prize rectifies that. Not that Godard gives a damn, mind you. Goodbye to Language is Godard at his most eccentric, and it’s a lot of fun.

Best Director went to the always solid Bennett Miller for Foxcatcher, the handsome, brilliantly-acted nonfiction dramatization led by Channing Tatum, Steve Carell, and Mark Ruffalo. Many press here claim it’s an Oscar prizefighter in the making (does this mean the race has begun? Oh god), but MCN’s very own David Poland thinks otherwise. For my money, however: a strong movie, proficiently told.

Winner of the Best Script award is Andrey Zvyagintsev’s massive Leviathan, a picture that gets bigger and bigger the more I ruminate on it. Except that this year that title seems like a throwaway: the masterful direction and cinematography of Leviathan are far more salient than its dialogue, but I suppose I’m happy that it got recognized in one way or another. It’s a superb picture; ironic and complex, capturing some knockout performances.

Speaking of the players: the Best Actor prize went to Mr. Turner’s Timothy Spall for his portrayal of the master British painter JMW Turner, an award that seem clinched in the opening days of the entire festival. Working with director Mike Leigh over three decades and surviving leukemia in the process, Spall ends his “always a bridesmaid, never a bride” streak with a well-deserved honor.

Finally, my favorite surprise of the night: Julianne Moore, Best Actress. Her screen time in David Cronenberg’s Maps to the Stars is an energizing highlight of the film (she ultimately steals the show). She plays the rude and crude Havana Segrand, a fading Hollywood star haunted by her past as she attempts a return to the business. Smart money was on French favorite Marion Cotillard, tipped to win for her expectedly strong turn in Jean-Pierre and Luc Dardenne’s Two Days, One Night, but Moore’s role was far more memorable.

As always, thank you for reading. It’s a pleasure to come to this event and it’s a privilege to cover it.

À la prochaine!



Friday, May 23rd, 2014



That is a pun


Cannes Film Festival


Can film

Can film actually festival?


Godard was not present

To present his present film essay

Which I would call a present

Where am I going with this?

Here’s a .gif I made

adieu oh langage

The film is in 3D

There’s a dog also

3D dog’s life

Dog’s breakfast 3D

The dog is Godard’s dog

But it is our dog too. And there are people

The people are preoccupied with language

They talk a lot

The dog says nothing.


I like the dog the most

But yeah the people

One guy takes a dump with the door open

Also the dog takes a dump in the woods

I laughed at both of those moments.


The naked human body… in glorious 3D

Male gaze?

Female gaze?

There’s even a shower scene

Godard’s 3D Choose Your Own Adventure, where:

Closing an eye reveals more than both eyes open.


Things in 3D I’ve never seen before


Godard is more playful here

It is a very funny movie

As the French would say

C’est très drole


As the French would say



I internalized much of the experience

Though it is an essay film, I listened to myself instead

I wrote thoughts to myself quietly

I found more meaning in these moments than other films at this Festival

In that sense

Can film?

It Cannes

Godard didn’t Cannes

But he still Cannes.


Cannes Competition Review: Leviathan

Thursday, May 22nd, 2014

Leviathan a“Canst thou draw out Leviathan with a fishhook? Or his tongue with a cord which thou lettest down?”
—Job 41:1

Returning to the Palme d’Or race after a brief segue in Un Certain Regard (where 2011’s Elena won the Jury Prize), Andrey Zvyagintsev’s Leviathan is one of the finest, if not the finest film, in the 2014 Competition; other films may match it in terms of meaning, but the level of craftsmanship and the delicate form on display here is unrivaled. Described by its producer Alexander Rodnyansky as a “story of love and tragedy experienced by ordinary people,” Leviathan is one of the final titles here at Cannes 2014, and its utter immensity is proof that this Festival does indeed sometimes save the best for last.


The narrative—rapt in poignant beauty and steeped in true irony—is witnessed in the Euro-Arctic town of Kirovsk, a hilly, chilly locale exquisitely photographed by Mikhail Krichman, Zvyagintsev’s usual cinematographer. Penned by Zvyagintsev and regular writing partner Oleg Negin, the film was initially described as a contemporary retelling of the Book of Job (which certainly raised intrigue), but it’s simpler to dissect it as a story of one man’s Ahab-like struggle with broken family and municipal corruption. Set against the merciless Barents Sea, Kolya (Aleksey Serebryakov) faces the loss of his house and business due to the shady practices of Vadim Sergeyich, the vodka-swilling, red-faced Gargantuan mayor who resorts to threats and violence to remain in power (with flashes of a certain crack-using Toronto politician). Trying his best to stay afloat, Kolya employs the help of Moscow lawyer Dmitri (Vladimir Vdovichenkov) to navigate the legal situation, and it’s the trust he places in him that begins the collapse of everything, his family included, that Kolya knew (though outlooks are similarly bleak for most in this representation of Kirovsk).

As Leviathan is Zvyagintsev’s biggest production to date, the film weighs in with a populated cast that is uncharacteristic of the director’s previous work. While it is a trick at the top of the film to get a handle on all the names and family members amidst the exchanges, each character eventually receives the treatment that hints at a number of engrossing tales written into this diegesis; Zvyagintsev presents a universe that is established with sublime restraint, and the storytelling of the supporting players strikes a balance that adds to the emotional impact of Kolya’s situation, rather than distract from or muddle it.

Leviathan BSpeaking of Kolya: many reports out of this Festival have extolled Timothy Spall’s acting in Mr. Turner (myself included), but Aleksey Serebryakov owns, by far, the most compelling male role in this entire Competition. There’s never a scene where Kolya doesn’t have a myriad of issues weighing on his mind, and these are visible in Serebryakov’s pained, tired facial expressions and believable portrayal of alcoholism (to be sure, Leviathan is boozier than two or three Hong Sang-soo films combined). While the entire cast is assuredly great, we see a major range in Serebryakov’s exploration of Kolya, and it’s a deeply affecting performance.

Finally, Zvyagintsev’s construction (and eventual deconstruction) of visual space is really quite astonishing. Both indoors and out Krichman employs dolly tracks that often follow a curved trajectory, allowing the camera to turn corners in domestic scenes or capture a wider shot of the imposing landscapes. At all times the film looks gorgeous, often haunting; whether it is the poetic image of a half-buried whale skeleton or the frigid hillsides of northwest Russia, there are scenes in this film that are simply incredible. One unforgettable example: tracking back-to-front the length of a courtroom during one of Kolya’s hearings, in a single take the camera slowly approaches a woman speed-reading legalese as fast as she can, done so to make a point about the confusing, whirlwind bureaucracy that laymen like Kolya have no chance in besting. It’s this kind of artistry that makes Leviathan such a giant: modest, accessible, yet deeply complex and expertly accomplished.


Cannes Un Certain Regard Review: Lost River

Tuesday, May 20th, 2014

Lost RiverIf Lost River is the film Ryan Gosling wanted to debut as his first film—and you only get one first film—then I’ll be the first to admit that I had him pegged (artistically speaking, anyway) as someone entirely different.

There are always one or two movies at Cannes that are prematurely tossed aside by critics immediately after the initial press screening, and it appears Gosling’s film is an example. It’s not the deepest picture at this festival by any stretch of the imagination—and it is self-indulgent to a fault—but this film is certainly an experience, albeit an avant-garde one; while I didn’t gain anything meaningful from the narrative aspect of Gosling’s fable, there’s no denying Lost River is primarily a strong visual offering, replete with striking compositions, arresting images, and a nuanced color palette.

One part urban fantasy, one part body horror “macabaret,” and two parts the hipster fringes of Instagram, Gosling’s film is a fairytale of sorts set in the ghostly ruins of Detroit. Billy (Christina Hendricks), single mother of two sons—a toddler named Franky and a teenager named Bones (Iain De Caestecker)—live in a house they can’t afford for much longer, and to make ends meet Billy begins working in a decadent sex club that offers a “bloody good time.” The family lives next to Rat (Saoirse Ronan), essentially a quiet, rodent-carrying manic pixie dream girl for Bones to admire; outside of this narrative bubble is the rampant anarchy spread by Bully (Matt Smith), the self-proclaimed king of town. Bully scours the nightscapes with his disfigured crony looking to bury Bones, and it’s a race to see who will end the other first.

Lost RIverIf you go into an avant-garde film expecting a cohesive narrative, there is little to do but remind yourself that this is experimental work and continue from there. Elliptical editing, filtered lighting, unusual camera angles—hell, even different modes of camerawork (Gosling takes a GoPro for a spin)—this is what you can look forward to (or dread) in Lost River, and it’s juxtaposed against a soundtrack that sounds similar to the atmospheric, thumping, generally crepuscular music the Chromatics did for Drive (but of course). Yes, Drive. And even Only God Forgives. These films come to mind not simply because of Gosling’s lead performances in them, but because of director Nicolas Winding Refn’s distinctively electric aesthetic that Gosling is certainly inspired by here. But countless filmmakers pay shameless homage to the auteurs they admire, so this is par for the course, and it’s critically inconsistent to criticize Gosling for doing so himself.

Lost River boasts some memorable pictures (burning buildings, sunken highway lamps, a faceless woman), and though they may have come from Gosling’s pen, these images owe much to cinematographer Benoît Debie, the lens-genius behind Spring Breakers and Enter the Void. The same is also applicable to production designer Beth Mickle (who also worked on Drive), and to his credit, Gosling lists their names and many more with massively-sized font flair at the top of the film. Lost River has a remarkably strong artistic department, so while the plot may be a little too metaphorical to mean much of anything (and remember, Gosling isn’t actually in the movie), this is an admirable outing—and an intriguing first feature—nonetheless. Hell, it’s better than anything James Franco’s ever churned out.


Cannes Review: The Salvation

Monday, May 19th, 2014

MadsMikkelsen__2__S_929301mKnown as a member of  Dogme 95, Danish director Kristian Levring (2000’s The King is Alive) returns to the Croisette with out-of-Competition title The Salvation, a film Levring calls a “tribute to the classic American Western.” And it is: Levring’s directorial repeater shoots at all the marks and repeatedly hits the bulls-eye, nailing the tone and tropes of the genre. It’s one of the slickest, most entertaining entries in recent memory.

The tagline for The Salvation: “bad men will bleed.” That’s a fairly basic, epitaph-sounding plot summary for films in the Western canon; here, it summarizes a revenge narrative that pits Jon (Mads Mikkelsen) against a posse of villains who are terrorizing the fictional town of Black Creek. Acting more with his eyes and less with his lines (not a criticism), Mikkelsen as quiet immigrant Jon recalls Viggo Mortensen’s Tom Stall in A History of Violence, David Cronenberg’s 2005 portrayal of a man hoping to move on from his vicious past. As for The Salvation, the Great Dane’s Jon, an ex-soldier, is a gunslinger first and a family man second, and when tragedy befalls his wife and son, so begins the gritty elimination of the men responsible. Word gets to the odious outlaw Delarue (Jeffrey Dean Morgan) that Jon has killed his brother, and the scene is set for a showdown that is pitch-perfect from beginning to end.

It isn’t a Western without the West looking its very best, and Levring’s trusted cinematographer Jens Schlosser frames visually stunning images here. The film looks and feels remarkably like Monument Valley, where Black Creek is ostensibly set (with its looming sandstone buttes as the backdrop), yet the production was shot on location in South Africa—an accomplishment that reminds of The Salvation’s dead-on design. But of all the visual elements that make this a outstanding oater, most important is to mention that the color contrast here has been cranked way, way up: Sin City and other graphic novel reference points immediately come to mind, with deep grainy shadows and vivid reds boasting beautifully through the action. Surprisingly, these crimsons rarely come from blood and brains, and in terms of the gun violence there’s less gore than expected (oh, but there’s so many deaths). Rather, the costumes, environments, and lived-in sets are wet with glorious color, and this aesthetic richness works wonderfully for the homage pastiche Levring is going for.

Levring and his co-writer Anders Thomas Jensen (who won an Oscar in 1999 for his short film Valgaften) make no bones about their revenge narrative. There’s a very minor subplot of the West’s history with oil and how that affects man’s inner greed, but it’s woven around 100 minutes of Winchester headshots, stagecoaches, and thousand-yard stares. This is an unpretentious, straight-up blast of frontier fighting, and while I wasn’t able to discern a bonafide Wilhelm scream, The Salvation does, of course, come complete with the requisite Searchers shot. Yeah, this film rocks.

Cannes Competition Review: Maps To The Stars

Sunday, May 18th, 2014

Mapstothestars“I infect my work with madness, then let it settle,” Bruce Wagner told LA Weekly in 2005 when his satirical Hollywood novel “Dead Stars” was released. “The story is infected by something, like in David Cronenberg’s films.”

As a screenwriter and a relatively prolific novelist, Wagner has built his career on taking shots at the ironies and hypocrisies of Hollywood and popular culture, and he continues to ply his trade in Maps to the Stars. Wagner’s searing script is sick,  twisted and also very funny, driving a knife deep into the ugly side of the entertainment industry and the Western world at large.

Enter Cronenberg.

The Baron of Blood’s ever-evolving canon is in the middle of his latest phase: discursive, cerebral, nihilistic cinema that has moved away from the body horror for which his earliest work was notorious. This isn’t a bad thing; it’s interesting to see masters explore different facets of their inspirations. Scholars already connect A Dangerous Method, Cosmopolis and Maps to the Stars as a sort of series, and it would be an appropriate link; if you hated Cosmopolis or found it cold and distant, there’s little reason for you to unfurl Maps to the Stars expecting something wholly different. That said, this is easily more entertaining than Cronenberg’s previous two features, as Wagner’s script is a work of brilliant cartography; this is a film where we watch Julianne Moore’s character take a dump and wipe her ass, simultaneously cracking jokes about all the pills she’s taking. (“I’m all blocked up from the Vicodin.”)

cusack map to the starsMaps to the Stars charts the stereotypically-Hollywood Weiss family, where mother (Olivia Williams), father (John Cusack), and child actor Benjie (Evan Bird) have cut their teeth on the serrated edge that is show business. For reasons we learn later, estranged Weiss daughter Agatha (Mia Wasikowska) rejoins the family in Los Angeles after taking a personal assistant job under Havana Segrand (Julianne Moore), a wilting actress in denial, and supernatural chaos begins to ensue. Literal ghosts from the past are returning uninvited, and it’s almost Shakespearean (“Oh, my prophetic soul!”) to see them haunt these fame-obsessed, narcotic-addled characters, driving them to insanity.

Cronenberg is an outspoken proponent of the new digital era, and his perennial cinematographer Peter Suschitzky has done an excellent job in capturing the beauty of Los Angeles (and the exquisite interior design of LA mansions), despite the festering hideousness that lies beneath the city. His slow dollies capture the Cronenbergian creepshow perfectly.

Because Wagner’s script calls for actors to do and say depraved things with a straight face, the film couldn’t have been made—in this current form, anyway—without Cronenberg’s history of directing violence and dissecting the psycho-bizarre. Every player, especially Julianne Moore, surprises with their eagerness to go with the flow of debauchery. Mia Wasikowska is crazier here than she was in Stoker, and that’s saying something. Robert Pattinson, Cronenberg’s oddly appropriate muse, no longer needs to prove his authenticity as a proper actor. Finally, we need to see more of Evan Bird, witnessed here in his breakout role as a hilarious asshole narcissist. To be sure, Cronenberg’s navigation combined with Wagner’s pen (“it’s a fucking art film!”) make Maps to the Stars both a standout of Cannes 2014, and the best film the director has made since 2005.