The Lobster - Featured Film of Interest - Trailer/Teaser

The Lobster (2015)

A new film from the mind of Yorgos Lanthimos, director of Dogtooth (2009) - nothing else need be said.  I'm quite excited about this film and Lanthimos' first stretch into English language cinema. Refer to my posts on Dogtooth (Kynodontas) for further exploration.

Links:  The Lobster Festival De Cannes

            The Lobster IMDB
            Cannes Review

Cahiers du Cinema's Top 10 Films of 2014

Bruno Dumont's "L'il Quinquin" topped the veteran French journal's editors' poll.

The venerable French journal Cahiers du Cinéma has posted its Top 10 movies of 2014,  and though it's only available in print, a few kind souls have posted the list online. International release dates being what they are, it includes titles that, as far as American voting bodies are concerned, hail from both 2013 ("The Wind Rises") and 2015 ("Maps to the Stars"), and a few that don't have U.S. distribution — Alain Cavalier's "Paradise" hasn't even made a splash on the festival circuit. But put it up against the results of the Sight & Sound poll, and you can see international opinion beginning to coalesce around movies like "Goodbye to Language" and "Under the Skin," which might bolster their chances for future recognition.

Cahiers du Cinéma's Top 10 Films of 2014
1. "L'il Quinquin"
2. "Goodbye to Language"
3. "Under the Skin"
4. "Maps to the Stars"
5. "The Wind Rises"
6. "Nymphomaniac"
7. "Mommy"
8. "Love Is Strange"
9. "Paradise"
10. "Our Sunhi"

Links:  Indiewire - Criticwire blog - for the continued article.
           Sight & Sound's Top 10 Films of 2014 Poll

White God ("Fehér isten") - Featured Film of Interest -Trailer

Trailer for White God (2014), a Hungarian film directed by Kornel Mundruczo, and recipient of the prize Un Certain Regard 2014 at Cannes.  I am thoroughly intrigued by the concept and visuals, and in bewilderment that they were successful in wrangling so many dogs for the film.  Nearly none of the animal shots were CG, and it seems as if great care was taken to assure ethical conditions for the furrier performers - very aspiring accomplishment.  I look forward to screening it soon, hoping for a big screen opportunity.

Out Of Context: The Critical Importance Of Films You Know Nothing About - NPR Blog

by LINDA HOLMES

Fernando Morena and Eliu Armas star in Hermano.

When was the last time you saw a movie you knew nothing about?

It's a trickier thing to accomplish than it might seem to be. After all, if a film comes from a director whose work you've ever seen, you know something about it. If it stars an actor you've ever seen or ever read about – someone with any kind of a reputation, good or bad – you know something about it. If you've seen a trailer or an ad on TV, of course, then you know a lot about it. If it's "from the people who brought you," or "the director of," you're specifically being told what to expect, even if falsely. More often than not, the biggest concern about a film before it's made available is that if you don't know anything about it, you won't go...

I saw a Venezuelan film called Hermano this weekend. Here's what I knew about it before I saw it: It was a drama, it had something to do with soccer and, in keeping with the title, it had something to do with brothers. That's it. That's it. Never heard of the director, Marcel Rasquin (it's his first film), never heard of or seen any of the actors ever before (they're quite new, too), didn't know whether it was tragic or uplifting or gritty or sunny or what. I knew it won awards at film festivals in Moscow and Havana, and ... that's all...

Everything you know something about when you go is, intentionally or unintentionally, coded. The director, the actor, the type of film, everything sends a message, even if it's not the most obvious one. One example: I watched Buried the other night, the claustrophobic thriller starring Ryan Reynolds, and one of the things I found myself musing on was Reynolds' decision to take a role where his looks would be as useless as possible. In a way, it detaches him from his reputation as a pretty boy. But the fact remains: He's Ryan Reynolds. I've seen him before, quite a lot, so knowing it's him means that coding is there for me, even when he's in the dark...

It's good now and then, though, to see something where, for you, there's absolutely no coding in it at all. Obviously, the marketing of a movie often sends unmistakable signals about where it's going and who the good and bad guys are before you ever get there. A story of a good and a bad brother, for instance, will tell you who's who in the commercials. Even if you don't get it from the commercials, there's a decent chance you'll get it from the casting. You'll get it from the way the two are shot from the opening sequence forward. You'll get it from the score.

When you don't know anything – what tradition the film is in, what its genre is, how it would be marketed, or who the target audience is – not only do you see that film differently, but you see other films differently, too. The lack of signals is palpable and initially unsettling because the experience is so rare, but like any negative space, it draws a kind of attention to itself. It made me think about the avalanche of coding attached to a movie like Moneyball: Brad Pitt, Jonah Hill, Aaron Sorkin, baseball, Michael Lewis, Michael Lewis' book ... there are a hundred ways to be either with or against that film before you watch a frame of it...

There was a discussion after Hermano in which something remarkable happened: Multiple people in the room took the position that the film's ending either was "ambiguous" in a way I believe it wasn't, or, in some cases, took the fairly firm position that it ended in a way I believe it clearly didn't. One of them said, in fact, that he believed the film was of a particular genre, he felt films in that genre should end in a specific way, and therefore, he chose to believe that was the way Hermano ended, even though – again, in my opinion – he was unquestionablychanging the ending that was on the screen...

It was an enormously valuable experience, precisely because I can't say for sure who was right. (It was me, though.) (I'm just sure of it.) The movie was just out there, on its own, on the screen, no hints. No codes, no semaphore, no homages to anyone. Here's a movie; see what you think. It's an experience to try to have regularly, because it's really the only way to make sure you're still noticing everything you carry with you into the average multiplex picture.

For the Entire Article follow the Link:  NPR Blogs - Out of Context...

Biutiful, by Iñárritu - Featured Film of Interest - Trailer

Biutiful (2010), the most recent film by Alejandro González Iñárritu (Amores Perros, 21 Grams) finally received a limited US release on December 29, 2010. Though it seems to be riding somewhat under the radar and receiving accusations from media sources as being "too dismal" (haha, big surprise when the cinematic standard is senseless 3D action) - the ambition of the film, as well as the grueling preparation and performance by Javier Bardem certainly makes this a film of intrigue and one worth viewing seriously. Bardem received Best Actor acknowledgments at Cannes 2010 for his role as Uxbal. Above is the Official Trailer and a short synopsis follows.

Synopsis:

Biutiful is a love story between a father and his children. This is the journey of Uxbal, a conflicted man who struggles to reconcile fatherhood, love, spirituality, crime, guilt and mortality amidst the dangerous underworld of modern Barcelona. His livelihood is earned out of bounds, his sacrifices for his children know no bounds. Like life itself, this is a circular tale that ends where it begins. As fate encircles him and thresholds are crossed, a dim, redemptive road brightens, illuminating the inheritances bestowed from father to child, and the paternal guiding hand that navigates life's corridors, whether bright, bad - or biutiful.

Link to Official Site: www.biutiful-themovie.com

Enter the Void, by Gaspar Noe - Featured Film of Interest - Trailer

This is a trailer for Enter the Void, the long awaited follow up to Irreversible (2002), by Gaspar Noe - a young french director that has received much critical and theoretical attention, and just as much contention in the reception of his films (and one of the truly intriguing young auteurs of our time). He challenges the visceral limitations of cinema and perception and does not shy away from the notion of "shock" and potential discomfort. While some have declared his recent film a contemporary masterpiece, others have quickly shunned it as a disturbing assault on the senses. I dare say that Noe would relish in the divergent receptions. It first screened at Cannes in 2009 and has been gradually building international buzz through out it's festival run. It has recently been screening at various art houses and theaters throughout major US cities. I can attest to it currently having an extended run in NYC and Austin, and I highly recommend seeking it out in your area. I have no doubt that it will prove to be a truly exhilarating , challenging, and unique cinematic experience. I will be screening it at the Alamo Drafthouse Ritz in downtown Austin tomorrow night - thoroughly excited - and will post a follow up soon after. I encourage you all to enter the void...

Follow the title link for more info from IFC Films.

Enter The Void - watch in full screen by clicking the tab in the lower right corner.

Film Festival Update - Toronto and Venice in September...

Two of the world's premier film festivals, Toronto Film Festival and Venice Film Festival, will be opening and running through September. Both have intriguing lineups, many eyebrow-raisers, and quite a few high profile premiers. Below are the dates and links to each festival's website. I will continue to post updates as the festivals kick off, but I highly encourage all to check out this year's lineups - you won't be disappointed.

35th Toronto International Film Festival: Sept. 9-19, 2010

- Opening Film: Score: A Hockey Musical, by Michael McGowan

67th Venice International Film Festival: Sept. 1-11, 2010

- Opening Film: Black Swan, by Darren Aronofsky

Cannes Update: Thai Filmmaker, Weerasethaku, Wins Palme d’Or

I've been a bit slack with updates from Cannes (silly me, I've been busy with never-ending post on my own torturous film project) - while much of cinematic interest has unfolded at this years festival. I will certainly be visiting a few films and topics from Cannes Film Festival 2010 in upcoming postings (Jean Luc Godard's Film Socialisme is of particular interest). It seems that the jury morphed into a reflection of its president, Tim Burton, in selecting an unexpected Thai film for the Palme d'Or - a fantastical piece that delves into cultural myth and afterlife otherworldliness (perhaps with less macabre than Burton's films - maybe due to relative cultural differences in popular perceptions of death) - and the first Thai film to receive the top honor. For a complete report of the awards, follow the embedded link to the official Cannes website, or you can read more from the NY Times article below:

Apichatpong Weerasethakul, center, winner of the Palme d’Or, with Tim Burton, far right. Juliette Binoche, far left, and Javier Bardem, second from right, won acting prizes at Cannes.

CANNES, France — On Sunday evening the 63rd Cannes Film Festival came to a shocking, exhilarating close with the Palme d’Or going to “Uncle Boonmee Who Can Recall His Past Lives” from the Thai filmmaker Apichatpong Weerasethakul. Surely the only Palme winner to feature sex between a princess and a thrashing catfish, “Boonmee” is a fantastical tale about a dying man whose past lives — and ghostly relatives — enraptured some critics while turning others off. The speculation that it might appeal to the jury president, Tim Burton, along with some of his more discerning fellow jury members, proved true.

On accepting the award Mr. Weerasethakul (who goes by Joe) said in English that “this is like another world for me,” and noted that “Uncle Boonmee” is the first Thai film to win the Palme. “I would really like to kiss all of you,” he said to the jury, telling Mr. Burton that he liked his hairstyle. Mr. Weerasethakul thanked “all the spirits and ghosts in Thailand,” who made it “possible for me to be here.”

The Centipede - Coming Soon

Now, use your imagination - and think on the horrifying side of things. This is a key element in the premise of a controversial new film. More to come soon...

Cannes Update - Rubber - A Film About a Psychic Tire of Terror

That's right. It's a film about a killer Tire with psychic powers that terrorizes people before exploding their heads (Scanners style), or something of that sort. And Yes, it is an official selection to Cannes Film Festival 2010. Upon first hearing the summary of the film, my initial reaction was a slight chuckle and grimace. It sounds like another low-budget, niche horror film in a genre so depleted of original concept and innovation that it has resorted to yet another killer, inanimate object - and all that is left in the ideas box is a mundane rubber tire (just the rubber part, not even a rim). Certainly it will try to salvage credibility with a self-referential, semi-parodic tone (like so many today, attempting to follow Rami's Evil Dead paradigm to no avail) - as if awareness of the genre failings is enough to justify them. Maybe they're thinking that the youth market and DVD sales will make money regardless of how ridiculous it is - pretty common approach. Then I remembered - It's an official selection to Cannes - plenty to lend it credibility of some sort, and just weird enough of a coupling to peak my interest - so I gave it a more thorough glance. Of course, it actually looks very interesting with quality production value and a potentially unique story - it might be badass. Written, shot, and directed by Quentin Dupieu (but he sometimes goes by Mr Oizo - check out his music under this pseudonym), it premiers Saturday May 15 . Follow the links for more info and stills and check out the trailer below.

/Film

www.rubberfilm.com

imdb - Rubber

'Persian Cats' Exposes Repression Of Musicians In Iran - NPR - Featured Film of Interest

The new film No One Knows About Persian Cats tells the story of subversive musicians in Iran, where certain styles of music -- including heavy metal, rock and hip-hop -- are illegal to record, produce and consume. The film won two prizes at last year's Cannes International Film Festival and opens in the U.S. this week.

The director is renowned Kurdish-Iranian filmmaker Bahman Ghobadi (A Time for Drunken Horses, Marooned in Iraq, Turtles Can Fly) and journalist and author Roxana Saberi is the co-writer, though much of the script was improvised. It was shot in secret, since popular music is banned in Iran.

The movie takes place at real locations, as the musicians try to put together a band, a concert and a trip to England. But Ghobadi, speaking through an interpreter, emphasizes that it is not a documentary.

"These kids have within themselves and their real lives a real drama," Ghobadi says. "It's not like in the West, going on freely and without any repression. They're being repressed -- they don't have any concerts, and this in itself makes them live a fiction life."

Follow the post-title link to NPR to read the rest of the article.

Fish Tank - Featured Film of Interest - Highly Recommended

This is a re-posting. I recently had the privilege of screening this film and made comments below.

Release date: In Cinemas Friday!

Certificate: 15

Running time: 124 mins

Official UK website: www.fishtankmovie.com

Premier PR online and Artificial Eye are pleased to make available the trailer, new one sheet poster, images, production notes, official UK website and social network links for FISH TANK, in UK cinemas Friday.

FISH TANK is Academy Award-winning writer and director Andrea Arnold's second feature following her 2006 Cannes Jury Prize winner, Red Road. The film was selected for the Official Competition at the Cannes Film Festival and won the Jury Prize.

In FISH TANK, 15 year old Mia's life is turned on its head when her mum brings home a new boyfriend. Arnold casts the same unflinching, unprejudiced gaze and touches on the themes of her Oscar-winning short Wasp to create an original and unsettling tale for our age.

Following his acclaimed central performance in Hunger, Michael Fassbender (300, Inglourious Basterds) stars opposite talented newcomer Katie Jarvis. Rounding out the principal cast are BAFTA-nominated Kierston Wareing(Ken Loach’s It's a Free World), Harry Treadaway (Control, Brothers of the Head) and 12 year old Rebecca Griffiths making her film debut.
Produced by Kees Kasander (Prospero's Books, The Cook, The Thief, His Wife And Her Lover) and Nick Laws, and executive produced by Paul Trijbits (Ruby Films) and Christine Langan and David M Thompson for BBC Films, FISH TANK was shot entirely on location in the UK.

I screened this film recently (actually, relatively close to the UK release date - amazing for this town) and it is an exceptional piece of work, beautifully crafted, fulfilling its intent thoroughly, eerily Bressonian realism (a rare comparison for active filmmakers, other than the Dardenne Bros. or Bruno Dumont maybe), and most importantly - I cared so much by the end! - and was left with a slow burn of effectual contemplation. Admittedly, it starts a bit slow and borders on territories of repetitive meandering (as hard realism is often in threat of), but by the middle I was fully invested, and subtle stylistic touches began to create an intriguing social landscape. I presume that upon a second viewing the early narrative style and structure is justified, particularly for tonal purposes - and it never left me uninterested by any means. I have been quite slow to screen many of my intrigue films of 2009 (ref. Recent Films of Interest), particularly the foreign films for obvious reasons, but of the films that I've had the privilege or burden of viewing, this is in the upper bracket of my "best of"(forgive me) films for 2009.

Dogtooth - A More Thorough Review - Highly Recommended

http://www.cinematical.com/2009/09/14/dogtooth-movie-review/

...But what does all this strangeness mean? What points are the filmmakers trying to make? I extracted a few compelling ones, and I suspect that a different set of eyes would pull out of a few more. On one level, Dogtooth feels like a strange but pungent slap in the face to suburbia, to middle-class complacency, and to the often aggressive ways in which parents foist their own beliefs onto their children. Taken another way, the film feels like an inverted version of a typical Hollywood comedy: In most farces, we're offered a normal setting that is invaded by something strange or absurd, whereas Dogtooth goes the other way: Here we're introduced to a patently surreal situation, and it's darkly amusing to see what happens when flat normalcy infects outrageous absurdity.

By this point you've correctly surmised that Dogtooth is not for all tastes, and I can confirm that suspicion by saying that the film is occasionally unpleasant, intermittently gory, and laden with sexual situations that are frank, odd, and uncomfortable. But it's this sort of unpredictable oddness that makes the film such a provocative experience. Suffice to say that we won't be seeing an American remake of this one any time soon.

SXSW 2010 Review: Dogtooth (Kynodontas)

by Kate Erbland, March 16

Writers: Giorgos Lanthimos, Efthymis Filippou

Director: Giorgos Lanthimos

Cast: Christos Stergioglou, Michelle Valley, Aggeliki Papoulia, Mary Tsoni, Hristos Passalis

Anyone who follows the film blogging world should be well-acquainted with a few names of online critics that could eloquently be referred to as “luminaries” and affectionately known as “big papas.” Two of these guiding daddies of our world played a big part in my viewing of Greece’s DOGTOOTH. James Rocchi recommended DOGTOOTH to Scott Weinberg. Rocchi recommended it to me. Both loved it. These are recommendations you cannot ignore. The film won the Un Certain Regard Award at last year’s Cannes Film Festival (which recognizes emerging and special talent at the festival). That’s another recommendation you can’t ignore. Which is all very appropriate – because DOGTOOTH is a film you cannot ignore.

(For the full review, click the post-title link)

This film screened at Cucalorus Film Festival 2009. I was at the festival but missed the screening due to schedule conflicts (you can never see as many as you would like). Everyone I spoke with, including trusted colleagues and friends, that attended the screening couldn't quite describe what they had experienced, but insisted that it was brilliant. It was the talk of the festival. This is a good sign.