With occasional reflection on the perpetual absurdity/intrigue of life and society in general.
Showing posts with label VA Film Festival. Show all posts
Showing posts with label VA Film Festival. Show all posts

Tuesday, December 28, 2021

Red Rocket - Featured Film of Interest - Highly Recommended


Red Rocket, another intriguing film by Sean Baker, and another deep dive into a perpetual cycle of human suffering under the weight of stagnant, never-ending "same."  Yet somehow, the film itself is anything but stagnant, pulling the audience into the interior madness and motion of the insular reality. This time there is a bit more humor and potential relief up front, but consistent with the style, evolution and filmography of the budding auteur.  This is absurdist cinema at it's finest ("Cinema of the Absurd"- copyright me, 2021 - insert crooked grin here).
Personally, I think it is a fantastic film, and I was fully enthralled throughout the screening at this years Virginia Film Festival, but I feel that way about most of his work.  I have no doubt that many contentious discussions will be held around this film, and likely have already begun.  There is plenty of room to explore here.  The nature of vérité, subject matter, ethics and exploitation are all ripe and appropriate for discussion, which just makes it all the more fascinating.  Nothing like a film that spawns passionate and differing perspectives.  

Thursday, December 9, 2021

C'mon C'mon - Featured Film of Interest - Highly Recommended


This film is absolutely endearing.  Directed by Mike Mills and integrating unique modes of production, aesthetics, and documentary-style inserts, it manages to maintain an intimacy tilting between unavoidable sadness and joyous hope, while never forgetting itself and never losing it's heart.  Yes indeed, this one hit just right.  

Ever since a little film called Thumbsucker popped up in the mid-2000's, I've been waiting to see just how good Mike Mills can be.  Thumbsucker was an excellent little indie film, original and quirky, that to some degree got overlooked, though well received by many critics and festivals.  Though it wasn't a film without missteps, it showed enormous hope for his future projects.  Then I just lost track of him, and he didn't quite garner the attention that I expected... until now.  The way I stated it to a close film ally and friend immediately after leaving the theater was, "Any critic that slams or disregards this film has no soul."

In large, C'mon C'mon is a film of raw honesty that serves as an ode to the intellect and awareness of young people, and the adults that so earnestly stumble, and at times transcend, to guide and raise them in this absurd world.  It is shot in pristine black and white that rivals the visual likes of La Haine, and the cinematographer and production designer take full advantage. It's a beautiful film inside and out.  

I would be remiss to end comments without noting the performances.  To no surprise, Joaquin Phoenix and Gaby Hoffmann gave invested, intimate performances while seeming effortless.  Woody Norman could not have been better in a youthful performance for the times, because it just didn't seem like a performance at all.

I had the privilege, and I do mean privilege, of screening C'mom C'mon at the 34th Annual Virginia Film Festival in my sacred, intimate film fest context.  Though there was some intensely quality competition in feature length narrative fiction, and admittedly a tough call for me, this film is indeed my favorite of the 2021 VAFF.

Link:  C'mon C'mon Film Review (2021), Roger Ebert.com


Saturday, November 27, 2021

A Very Brief Analysis: The French Dispatch by Wes Anderson

VAFF Opening Night Film:  The French Dispatch

My One Line Review of The French Dispatch (because I just don't care enough to give it more):  
That was the most skillfully made TERRIBLE film that I have possibly ever seen.  
Just absolutely a terrible mumbled pretentious indulgent mess (woops, that was two lines.)

I saw some fantastic films at this year's VA Film Festival, possibly a couple that were truly great, and I'll be posting about many of them shortly. However, to my surprise, the Opening Night Film, Wes Anderson's "The French Dispatch," was definitely NOT one of them.

*I take no pleasure in critiquing a Wes Anderson film so harshly, as he has made a few that I adore, but I speak my truth and stand behind it.

Wednesday, October 10, 2018

2018 Virginia Film Festival - Program Announced and Tickets Available Now

150 Films in four days

VAFF two years back - I was privileged enough to be in attendance.

A taste of this year's program:

The Favourite
Green Book
Rafiki

That should be about enough to get some energy brewing for the film lovers out there.  I'm getting down right giddy after finally figuring out my four day schedule.  Well, mostly - still some tough debates on unfortunate overlaps for me.  Not a terrible problem to have.

I will be writing more about the 31st Annual Virginia Film Festival, 2018 as a featured festival in upcoming posts.  It is held in my city of residence, Charlottesville, VA, much of it walking distance from my home.  No surprise, it's my favorite time of the year to be a local.

The films have been announced and tickets went on sale yesterday - Monday, 10/08 at noon.  Some films have sold out, but most screenings still have tickets available.  The program looks dense with quality and intrigue, and there is more than enough for any film lover, cinephile or film student alike to fill a full festival experience.  There are also plenty of good choices for those that want to dip in for just a film or two.

Yaaaaay!  It's film festival time in my home town.

Links:  VAFF Homepage and 2018 Program Announcement

Monday, September 24, 2018

Arts & Crass: The Highbrow Lowbrow Film Podcast: Ep.19A - Virginia Film Festival 2017 Special Pt.1


Arts & Crass: The Highbrow Lowbrow Film Podcast: Ep.19A - VAFF 2017 Special Pt. 1

Tod and Cullen make their triumphant return to podcasting with the first half of their 2017 Virginia Film Festival coverage!

Part 1 includes general comments on the festival, plus discussion of the following screenings:
Bonnie and Clyde (Penn, 1967)
Magnum Opus (Elliott, 2017)
Lighthouse Studio Shorts
Shadowman (Jacoby, 2017)
Downsizing (Payne, 2017)
Shelter (Riklis, 2017)
Tonsler Park (Everson, 2017)
Birth of a Movement (Gray & Cram, 2017)
Word is Bond (Jenkins, 2017)
Krystal (Macy, 2017)
Ismael's Ghosts (Desplechin, 2017)
The Lodger (Hitchcock, 1927)

Stay tuned for episode 19B, featuring discussion of the second half of the festival.
Subscribe on Apple Podcasts or iTunes and leave us a review!

Link to listen to Ep.19A: 
https://archive.org/download/ArtsCrassEp.19AVFF2017SpecialPt.1/Arts%26Crass%20Ep.%2019A%20-%20VFF%202017%20Special%20Pt.%201.mp3


Link to:  Arts & Crass: The Highbrow Lowbrow Film Podcast

That's right, we're back!  Visit the Links above to listen to the new episode as well as episodes 12-15 (not posted on this blog).  Episodes 16-18 are recorded and simply sitting in editing backlog, and Episode 19B - VAFF 2017 Pt. 2 will be released very soon, so keep an eye out.

We are also making plans to record more new episodes as we speak, including extensive coverage of the 2018 VAFF.  Hooray!

Wednesday, June 1, 2016

Arts & Crass: The Highbrow Lowbrow Film Podcast - with Cullen and Tod

The Highbrow Lowbrow Film Podcast with Cullen Wade and Tod Gorman
Tod (arthouse film-school rebel) and Cullen (cultured gorehound) subject each other to films they wouldn't watch otherwise.
WARNING: All films are spoiled!

It's about this simple:  Tod loves arthouse films. 
                                   Cullen loves horror films. 
                                   Tod hasn't seen many horror films. 
                                   Cullen hasn't seen many arthouse films. 
                                   Cultural exchange ensues.

That's right, yours truly and Cullen Wade, good friend/fellow cinephile (aka film nerd) and biab contributor, have been recording and broadcasting a BRILLIANTLY UNIQUE (ummm?) film podcast for nearly a year now.  Yes, I am just now getting it posted to the blog.

It has been engaging, educational, cinematically challenging and an all around positive experience. Actually, to ruin any cool I may have about personal projects, I'm  having a blast with this one.  What better forum could a hopeless film nerd ask for? - especially counter to one of my elite favorite film-banter partners.  And now I can at least fake some level of savvy dirty knowledge of cult horror/gore with the best of them - well, at least not sound like a complete dumdum for about five minutes of passionate horror-film chat.
You actually could have heard us discuss all of this and much more in the episode 10 anniversary round-up, had we not so very sadly lost episodes 7-11 in the ever fatal mac hard-drive crash (unedited and not backed up - that's right, kids).  So, there are technically 13 episodes, one of which is a two-part special edition, and two more soon to be posted (however, 6 episodes shall remain a mystery, at least for the time being - there is an unpublished pilot/Ep.1).  So, that's 16 episodes minus 6 for a soon to be grand total of 10 released episodes.  Wow, that was probably unnecessary.

I will continue to embed each episode as a running series on boy in a box, but you can find all episodes streaming or as downloads at Arts & Crass: The Highbrow Lowbrow Film Podcast blog, on iTunes, Facebook and a handful of other places.  As with any venture, I'm sure we got off to a rocky start, being relatively new to voice radio, but we hit our stride relatively quickly and naturally (i think).  We have quite a few less "ums" and "uhs" than early on, and ever evolving dialogue and cinematic analysis - with heart.  Hope you enjoy - at least a little.

Monday, July 6, 2015

First Cousin Once Removed - Documentary Film of Interest - Highly Recommended

I saw this film at the Virginia Film Festival nearly two years ago, followed by a Q&A with director Alan Berliner.  It is a Poignant, Poetic, Echoing meditation on memory, life, time and the personal, philosophical considerations of existence in the moment and reflections of the past.  Berliner's Q&A was a bonus and privilege - he paralleled the film with thoughtful, generous, sometimes ambiguous and emotionally complex responses and unsolicited shares.

At the time, the film was relatively early-on in it's initial festival run.  I was new to Charlottesville and the VA Film Festival (by which I have become increasingly impressed), but I was aware of Berliner through some of his earlier films, thanks to one of my favorite film professors/friend, which gratefully drew me to the screening.  The film has since received relatively wide critical acclaim, though still remains somewhat obscure.  It is now promoted, distributed and exhibited through HBO Documentaries (well deserved and hopefully opens a wide audience).

Extraordinary filmmaking and still resonating in my head. An honest, personal profile, not only of the life of a brilliant man, Honig (and the duality of that brilliance), in the depths of Alzheimer's, but of life in general.  Alzheimer's is rarely mentioned, but echoes through the film in abstract subtle trembles that are both haunting and oddly elating in life-affirmation. Truly unique, beautiful piece of work and experience, for the filmmaker and for us.  The most effective, expansive and broadly reflective documentary that I have seen in years. Highly recommended, to say the least.

Continue reading for complete Synopsis, Review and Trailer.


-Synopsis:
"Sometime in the new millennium, Edwin Honig—the distinguished poet, translator, critic and university professor—began showing signs of Alzheimer’s disease, which gradually but inexorably brought on the loss of his memory, command of language and relation to the past. Filmmaker Alan Berliner—for whom Honig was a cousin, a friend and a mentor—documented their meetings over five years; his new film chronicles the steady decline of Honig’s mind and body, but also the strength and stamina of his spirit, as well as his innate charm and wonderfully playful way with words and sounds. Occasional moments of lucidity offer an insight as to the ways in which Honig attempts to make sense out of what is happening to him. First Cousin Once Removed is an unflinching essay on the fragility of being human, and a stark reminder of the profound role that memory plays in all of our lives."


-Review:  
By Eric Kohn

Documentarian Alan Berliner is frequently the focus of his movies, but his intentions extend beyond his neuroses. Rather than the star of the show, he's a vessel for bigger ideas and evades the perils of self-indulgence that could result from putting himself in front of the camera.
That tricky balance is on display better than ever in the stirring "First Cousin Once Removed," which deepens an oeuvre that has already dealt with the tender issues of father-son relationships ("Nobody's Business") and insomnia ("Wide Awake") by exploring his fears of senility to devastating effect. Using a powerful focal point to manifest the movie's central concerns, Berliner makes his interest in the topic relevant to everyone.
His case study is Edwin Honig, the first cousin of Berliner's mother, a bond that gives the movie its title. But there's more about Honig -- once a world-class poet and founder of Brown University's creative writing program -- that has been removed beyond his relationship to the filmmaker. Suffering from Alzheimer's disease before the movie begins, Honig has lost grasp of his identity or any firm understanding of his relationships to those around him. Still haunted from his own father's death from the disease, Berliner sets out to understand the nature of Honig's increasing frailty by working to unlock the older man's dwindling memories.
Equal parts psychological mystery and lyrical treatise on the passage of time, "First Cousin Once Removed" predominantly centers on Berliner's interrogation of Honig in his Rhode Island home during various stages of his condition (the specific chronology remains unclear). From the outset, Berliner utilizes an aggressively fractured narrative that replicates his subject's state of confusion by showing the filmmaker arriving at Honig's home several times in succession with various results: Sometimes Honig recognizes his relative, and other times Berliner only gets a blank stare. But in even when he lacks complete lucidity, Honig still has the capacity to grapple with his deteriorating state. "I know there's a past and I know that I lived it," he said, leaving much else up for discussion.  
Continue reading:  Indiewire Review
-Trailer: