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It's
King
Kelly's
world. We just live in it. In Andrew
Neel's hectic feature, a teenage
sexpot—played by Louisa Krause, in a radical (and rad!)
gear-shift from her role as Lizzie Olsen's docile indoctrinator in Martha
Marcy May Marlene—riots
through the world as the director and star of her own 24-hour reality
event: Her life is a performance is an unending digital stream, piped
from her cell phone to an audience of pervs with screen names like Poo
Bare and a laughing chorus of YouTube commenters. The film, which
premiered at the 2012 edition of the South
by Southwest Film Festival,
might have been tailored specifically for the event's mushrooming
interactive component (now reported to be a bigger draw than the film
and music portions combined). In this first dispatch from the festival,
Steve Dollar also covers Bobcat Goldhwait's God Bless America
and [REC]
3: Genesis.
Read
more >>
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In
This Dispatch:
- What's
New: Melancholia, The Swell Season, and more.
- What
We're Watching: J. Edgar, A Dangerous Method.
- Explore:
Rendez-Vous with French Cinema, 2012.
- Contest:
SFIAAFF30
Ticket Giveaway!
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Lars
von Trier returns to grandiose form in this rumination on depression
and the end of the world for Melancholia,
in which "in a mere eight minutes he creates something of a
spellbinding beauty—a flash-forward of sorts, which
concludes, of course, with an apocalyptic collision of
planets—that can nail a viewer to their seat for the next two
hours," writes Steve
Dollar.
"Firmly rooted in the filmmaker's esoteric, frustrating, provoking,
demanding narrative style, the movie is also amazingly romantic - lush,
ripe, rich, delicious," adds Betsy
Sharkey of the LA Times. Also on
GreenCine: an interview with the film's co-star Charlotte
Gainsbourg. |
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Fans
who fell in love with Markéta Irglová and Glen
Hansard over their sweet indie doc Once
(or after Marketa's endearing Oscars acceptance
speech) will be thrilled and
heartbroken over this documentary following their 2-year tour and
romantic relationship. Movieline's Alison
Wilmore says, "The beautiful
near love story of the ( Once)
and the real-life romance between Hansard and Irglová allows
for a bit of bleed between who they actually are and who they played
on-screen, and a clear part of the appeal of seeing them perform, for
some audience members, is the way it seems to allow the story of the
film to continue... It's an eloquent summation of the complexities and
strength of their bond, and a poetic cap to the pair's fictional and
real ups and downs over two films."
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Clint
Eastwood more or less
established the modern-day biopic formula back with Bird
(1988), though it was not a formula back then; the proof is that the
movie only received one Oscar nomination, for its sound design. Two
years ago, Eastwood revisited the biopic genre with the interesting, if
not entirely successful Invictus;
if anything, that movie simply bit off more than it could chew. Now
Eastwood is back with a third biopic, J.
Edgar (also on Blu-Ray),
and given the first two, there was no reason for high hopes. Read more >>
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At
times, and very briefly, as I watched David
Cronenberg's new movie A
Dangerous Method
-- about Freud and Jung, their relationship, a female patient whom they
"shared" for a time and another, male, whom one analyst passed to his
peer -- the 1962 John
Huston film Freud
would flicker through my mind. This was brief, yes, because I wanted
nothing to distract me from the excellent work at hand. But I could not
help but marvel at how much movies have grown up -- in terms of subject
matter and how it is handled -- in the nearly half-century between the
two films. That is to say, when cinema actually takes the trouble to
make real and intelligent use of what is permitted, now that so many
barriers have fallen in regard to what may be shown and discussed on
screen, what marvels we can sometimes be served. Read more >> |
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RENDEZ-VOUS
WITH FRENCH CINEMA 2012: Critic's Notebook ( Low Life, Smugglers' Songs)
Nicolas Klotz and Elizabeth Percival's Low Life is a hybrid
horror film about illegal immigration laced with academic dialogue,
scored by a thumpingly contemporary dubstep/witch-house soundtrack. The
subjects are students and squatters, who gather nightly to applaud
tango dancing in small bars, party in converted lofts, and face off
against the police on ideological grounds. Read more >>
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There's
still time to win vouchers for The
San Francisco International Asian American Film Festival ( SFIAAFF),
presented by the Center for Asian American
Media!
San Jose screenings start shortly, so those in the East Bay area can
enjoy a chance to win vouchers to see any film in this portion of the
SFIAAFF. Read more >>
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Found
Footage
Podcasts!
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