tag:blogger.com,1999:blog-203263352024-03-26T17:39:29.432-04:00Cinemasparaguswritings by craig kellercraig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.comBlogger620125tag:blogger.com,1999:blog-20326335.post-49043082730451670502024-03-20T16:10:00.003-04:002024-03-20T16:28:14.942-04:00L'amore<p style="text-align: center;"><b>Diptych Film: <i>Una voca humana</i> and <i>Il miracolo</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3h3ayB2zkwbQbdgSOGNrBGJ5iXOTuTH6c9E7IJ1zQX2r_KuPMd8hh5xQYw74x7ImHyPzfbFV6Kwo05jkrkJbvMNfYBPDIrgTqjrX62GhoyMsuO0VKdSCTIOmj044Ewkw9zSRGV5GLzYXqPsh22G8RxwF2bKjNuf2mQ_g2I4lNhWTzXSAJvRE/s886/Rossellini_L'amore01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="886" data-original-width="886" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3h3ayB2zkwbQbdgSOGNrBGJ5iXOTuTH6c9E7IJ1zQX2r_KuPMd8hh5xQYw74x7ImHyPzfbFV6Kwo05jkrkJbvMNfYBPDIrgTqjrX62GhoyMsuO0VKdSCTIOmj044Ewkw9zSRGV5GLzYXqPsh22G8RxwF2bKjNuf2mQ_g2I4lNhWTzXSAJvRE/s320/Rossellini_L'amore01.jpg" width="320" /></a></div><p>In 1948, Roberto Rossellini turned out an unusual picture simply titled <i style="font-weight: bold;">L'amore </i>[<i style="font-weight: bold;">Love</i>]. Unusual? Rossellini binds two medium-length stories back-to-back (the one adapted from Jean Cocteau [<i><b>Una voca humana </b></i>/ <i><b>A Human Voice</b></i>], the other from Federico Fellini [<b><i>Il miracolo</i></b> / <b><i>The Miracle</i></b>], who as a player also features), and it's difficult to find a throughline among what <i>isn't</i> unusual — maybe this diptych was made for the piece of eight; love takes two. <i style="font-weight: bold;">L'amore</i> or <i style="font-weight: bold;">Love</i> are therefore terms so general and frequently used as to come off as meaningless, or rather as the most important concepts of all, the most sincere in success or failure. </p><p>The triptych of Ford's <b><i>The Rising of the Moon</i></b> or Ophüls' <b><i>La ronde</i></b> attest to the strengths of the cine-novella.</p><p><i style="font-weight: bold;">Una voca humana</i> takes place in a single location, with a single character: Anna Magnani in the midst of a fraught one-way telephone conversation with a lover. An extraordinary sequence. These scenes (this scene) predict early- and mid-career Bergman. Would the idiosyncratic Master-Swede give this movie the time of day? Like Nabokov, he hated many of his equals. Ingmar would be repulsed, I believe, by the drawing of a comparison between a work like <i style="font-weight: bold;">Una voca humana</i> and the secular spirituality of early Antonioni. If Magnani had activated Rossellini's first act of modernist rebellion in <i style="font-weight: bold;">Rome Open City</i>, <b><i>L'amore</i></b> represents the major second.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIFYNsF-Kt9k9OMInI28p-Zw90_c9EGwsfAEWAr5HLEdize7iohA1dMr_qfK9z-5YKKJWMHXRfLy6RkUNmgJX2P4A4vwSZ2U-x5MkHT7qQf56Sp-tKK11UAyfaqV9HnBPlu1oaXtQfm7SVF_FEE1-o0U_9AgcvVdwDbltSPVxbsFtdvcW2VA/s582/Rossellini_L'amore02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="582" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIFYNsF-Kt9k9OMInI28p-Zw90_c9EGwsfAEWAr5HLEdize7iohA1dMr_qfK9z-5YKKJWMHXRfLy6RkUNmgJX2P4A4vwSZ2U-x5MkHT7qQf56Sp-tKK11UAyfaqV9HnBPlu1oaXtQfm7SVF_FEE1-o0U_9AgcvVdwDbltSPVxbsFtdvcW2VA/s320/Rossellini_L'amore02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFie-BnAHCIjiu8nKHJ5ZbGO5DiMZ0pgPO9SBkhpD-aIIcqSElF-r6MHgPzOOLgnprlrh0XYBW6BNMUTEqBogfKPlz0AHmekHDEyZrMBKCP4z_vNSTWUVEjJF5ipnHA_XumYvL4rWh3FPbrGNe3OlOQx8wX8VzR3XCuYV86raZhuf5NAX0PIc/s599/Rossellini_L'amore03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="416" data-original-width="599" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFie-BnAHCIjiu8nKHJ5ZbGO5DiMZ0pgPO9SBkhpD-aIIcqSElF-r6MHgPzOOLgnprlrh0XYBW6BNMUTEqBogfKPlz0AHmekHDEyZrMBKCP4z_vNSTWUVEjJF5ipnHA_XumYvL4rWh3FPbrGNe3OlOQx8wX8VzR3XCuYV86raZhuf5NAX0PIc/s320/Rossellini_L'amore03.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ZdsRHc6LcEWQACqurvxi04yRNXZV6eYMi9ldIvWbY8rp-igFahIfGr1Bw2FdK4CpAEiWKCe84Gw9BjfdAa3dc28c-Sc7AA6zImyPr_W7izImx5NE5GgxCHCN0HOy_K3h-24m18C_LnuFTDPauBRoxD-6nmQ9nVGJI1ZCguP4zIIqNyQY7-o/s720/Rossellini_L'amore04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="484" data-original-width="720" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4ZdsRHc6LcEWQACqurvxi04yRNXZV6eYMi9ldIvWbY8rp-igFahIfGr1Bw2FdK4CpAEiWKCe84Gw9BjfdAa3dc28c-Sc7AA6zImyPr_W7izImx5NE5GgxCHCN0HOy_K3h-24m18C_LnuFTDPauBRoxD-6nmQ9nVGJI1ZCguP4zIIqNyQY7-o/s320/Rossellini_L'amore04.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDzvmMZs0xq6k0_aHUDr66mlym9mN76SyZXsEQzXmSYEShgyMADvnqWoQaC_AJddXbka6aaVK8RudEj6zaXl8VCS_BRDquqCwsW47mZpAN5UQIApH7Bj4znNHKJ0MMc2sKtTQVmD-JHyfHUwzYpFKdqi5msS7-EbdFHfI7Da8_UUgAWBYbON4/s641/Rossellini_L'amore05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="641" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDzvmMZs0xq6k0_aHUDr66mlym9mN76SyZXsEQzXmSYEShgyMADvnqWoQaC_AJddXbka6aaVK8RudEj6zaXl8VCS_BRDquqCwsW47mZpAN5UQIApH7Bj4znNHKJ0MMc2sKtTQVmD-JHyfHUwzYpFKdqi5msS7-EbdFHfI7Da8_UUgAWBYbON4/s320/Rossellini_L'amore05.jpg" width="320" /></a></div><p>With <i style="font-weight: bold;">Il miracolo</i>, Rossellini moves from inside to out, from torpor to vivification. Images of sublimity in the 'traditional' manner of the sublime build here, whereas in <i style="font-weight: bold;">Una voca humana</i> the sublime reveals itself less overtly.</p><p>The Magnani character, Nanni, somewhat daft, encounters on a hillside a man (Fellini) she perceives as St. Joseph. Two immediate clues of amissness: the resemblance of Joseph/Felliini with a faun; the presence of a wedding band on his ring finger. Nanni takes a couple draughts of wine, falls into a stupor; the man is gone when she awakens. She later takes her pregnancy to be an immaculate conception.</p><p>The dance between a universal love and an earthly love. <i>"He took some bread and broke it." </i>Pity the discourteous, test the naïve.</p><p>Modernism <=> naturalism. Nanni awakens surrounded by goats, the right side of her face illuminated by sunlight. The handheld backward traveling/dolly shot ascends the steps in the neighborhood. </p><p>She sucks the water from the rocks. <i>"Nanni, they're </i>honoring<i> you."</i> Rossellini films Magnani the only way imaginable: with love. The church is closed to her, but the child is born. <b>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEz0PY_7DbDTgZ7fROgabu1Ue8cFzlPlhBjx4V-H_Pk1Ct4hYPl9-1w5-e8bT9GaSuBu6-pFi0PqnOJ8vFRwzfxaq5JQuvIuU59yZuTO062booyt67UjJzWJiLdfZ5yUjiboFpuC-FdNvoBRAbPd77F5hgMlfxkZBohyXyL9Etncb4IgHEq1k/s2194/Rossellini_L'amore06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2194" data-original-width="2160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEz0PY_7DbDTgZ7fROgabu1Ue8cFzlPlhBjx4V-H_Pk1Ct4hYPl9-1w5-e8bT9GaSuBu6-pFi0PqnOJ8vFRwzfxaq5JQuvIuU59yZuTO062booyt67UjJzWJiLdfZ5yUjiboFpuC-FdNvoBRAbPd77F5hgMlfxkZBohyXyL9Etncb4IgHEq1k/s320/Rossellini_L'amore06.jpg" width="315" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_xwbtkKmjBNKCf2MOO13CbupKCnLymYyoIiAPlP5tpIrD4APDfLOppGTiFRs6ztgD5ZCIhUwYHZGWzZKVcLDCVFmEBvHuO36s0egmWh4AbR4CavQxDnMTn2e87mIu5Utf86H9JwXxGQ1TtAcCck20nMDejzzezCrQI0-9mRHuW8KgnQMRh0/s2591/Rossellini_L'amore07.jpg" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="1943" data-original-width="2719" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdkX7EJA4gLfWZnwk936KXVpKZ2nqTyFOZfcCheECZSa3EIYlHxeEl13OiUXGjZkKXEfR0ucB3IDiV0HeRHC2jJ4v-AdfADi7NcBNkSi73HUR3xYYSpv-tyfcLH3IaGLq1OmkigfucOCJeHdD-IrdOBQDm_ZCPajW4W6yJ0I-5tvPr_GshMsA/s320/Rossellini_L'amore16.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSEBeGYOiOwc5v84ZLTtgAkZSGlGEZ4_mxLElDxYfJS0aT1X6aKywDOIgre7634MGMPdbJfpkKk4bMZrALrpDkPl2IEmihoqF2AhSRd6LYAau5KfIOqA0K1Ff2PkVvp5Bl8numl1avHw_N-xmPL3OsBV5DgZCoYLuEM4KQ7Gvkt4Z193d57-s/s2705/Rossellini_L'amore17.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1865" data-original-width="2705" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSEBeGYOiOwc5v84ZLTtgAkZSGlGEZ4_mxLElDxYfJS0aT1X6aKywDOIgre7634MGMPdbJfpkKk4bMZrALrpDkPl2IEmihoqF2AhSRd6LYAau5KfIOqA0K1Ff2PkVvp5Bl8numl1avHw_N-xmPL3OsBV5DgZCoYLuEM4KQ7Gvkt4Z193d57-s/s320/Rossellini_L'amore17.jpg" width="320" /></a></div><br /><p style="text-align: center;">===</p><p style="text-align: center;">Writing on the films of Roberto Rossellini previously here at the blog.</p><p style="text-align: center;"><b><i><a href="http://cinemasparagus.blogspot.com/2008/05/undersea-fantasy.html">Fantasia sottomarina [Undersea Fantasy]</a></i></b> [1938]</p><p style="text-align: center;"><b><i><a href="https://cinemasparagus.blogspot.com/2008/05/lively-teresa.html">La vispa Teresa [Lively Teresa]</a></i></b> [1940]</p><p style="text-align: center;"><b><i><a href="http://cinemasparagus.blogspot.com/2008/05/bullying-turkey.html">Il tacchino prepotente [The Bullying Turkey]</a></i></b> [1940]</p><p style="text-align: center;"><br /></p><p style="text-align: center;"><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-90761403648620086802024-02-05T19:41:00.003-05:002024-02-05T20:02:33.970-05:00Nana<p style="text-align: center;"><b><i>An Unsung Masterpiece Rediscovered: Viewing Notes</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE6q5LA2Nye_T6r6gdc7BM0BKxMwgNZyeNH4BEWGCf4TyTRmf6-0ai9Cs_uOGRwUDyXueVVCf0JoITIUs1BW2yln14_Jq87AeVpSI1pkTExmUzXVznPeJGWHA15vTFRUdThnkv_CIQXdOT1lpfj_1No6zedUhfMZZcnMezPB1Wi09UXt0EzCI/s718/Renoir_Nana01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="516" data-original-width="718" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE6q5LA2Nye_T6r6gdc7BM0BKxMwgNZyeNH4BEWGCf4TyTRmf6-0ai9Cs_uOGRwUDyXueVVCf0JoITIUs1BW2yln14_Jq87AeVpSI1pkTExmUzXVznPeJGWHA15vTFRUdThnkv_CIQXdOT1lpfj_1No6zedUhfMZZcnMezPB1Wi09UXt0EzCI/s320/Renoir_Nana01.jpg" width="320" /></a></div><p>Adapted from Émile Zola's novel, this definitive movie version of <i style="font-weight: bold;">Nana</i> [Jean Renoir, 1926] is a masterpiece, the longest Renoir film, and restores one of the master's earliest successes to a length of 2 hours 49 minutes. What follows are some viewing notes from my recent revisitation of the film, </p><p>-The lines of suitors, but with hierarchy.</p><p>-The hair on the comb-bristles.</p><p>-To liken one film to another usually you move from the later to the earlier. In the case of <i style="font-weight: bold;">Nana</i>, it's the opposite. It's absurd to call <i style="font-weight: bold;">Shadows</i> Cassavetes' <i style="font-weight: bold;">Nana</i>, but it makes all the sense in the world to all <i style="font-weight: bold;">Nana</i> Renoir's <i style="font-weight: bold;">Shadows</i>.</p><p>-Catherine Hessling as influence on Brigitte Helm.</p><p>-A flirt without abandon <–> archetype, Godard's <i style="font-weight: bold;">Vivre sa vie</i>. </p><p>-The horselegs' galloping in closeup, shot with lateral cameras.</p><p>-Nana's tawdry chamber with the tinfoil curtains: life is an act. <b>"Stillness Is the Move."</b> Nana exudes kineticism.</p><p>-Impressive scene: Vaudeuvre's suicide. The mice will play in the servants' kitchen.</p><p>-<i>bal</i> –> <i>balle</i></p><p>-Shot through with moments that can only be planned by one of the greatest of directors — Hessling drunk and being offered all the champagne. One second your eyes awaken, for a detail has snapped you back into focus.</p><p>-Muffat, the applauding crowd, and an indifferent assessor who passes through Muffat's frame twice.</p><p>-Smallpox: stand-in for syphilis. <b>•</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-xBNKRLA0plemjyKgJQ_e0V94_cffyQZO-ztzbZqpBYztqVwgfM2UZk1fwJ59zXgw15UBY4jsd2eeAfnBAXA7vXGaGRuQq1JSJYb7nukmyrcQcaNvByNe55Dtp0RJNtskhnne1ppDjqKm7j_v81PLrJZyTvAafI2sZ-J30B8SwcLeKhpoQw/s2160/Renoir_Nana02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="2160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-xBNKRLA0plemjyKgJQ_e0V94_cffyQZO-ztzbZqpBYztqVwgfM2UZk1fwJ59zXgw15UBY4jsd2eeAfnBAXA7vXGaGRuQq1JSJYb7nukmyrcQcaNvByNe55Dtp0RJNtskhnne1ppDjqKm7j_v81PLrJZyTvAafI2sZ-J30B8SwcLeKhpoQw/s320/Renoir_Nana02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBv729bgqTJuGKgt5_c5BXe5FfK3x9Qqt2-0rHmPVyic6F-wt_ewu7R_tSfh5Qp0Id-hIcBqn6zZxVmdgDzl97L2j7YmTG3-DJcUJfKe3b_FtbTtsrJ2cQA9b4MZnl4AbulXeO8QR8aYexVefIdSPYFpbMPnVQwrU6hb13NnIOGnpwi8HM19A/s2620/Renoir_Nana09.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1972" data-original-width="2620" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBv729bgqTJuGKgt5_c5BXe5FfK3x9Qqt2-0rHmPVyic6F-wt_ewu7R_tSfh5Qp0Id-hIcBqn6zZxVmdgDzl97L2j7YmTG3-DJcUJfKe3b_FtbTtsrJ2cQA9b4MZnl4AbulXeO8QR8aYexVefIdSPYFpbMPnVQwrU6hb13NnIOGnpwi8HM19A/s320/Renoir_Nana09.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcDzJbvd8BTs2UYcC7W4_XOSTJH7R1jOIpTqBtpui-rQgC0eviTsnzeLCtWCvGZXYE9gXeUgDsX74VX73I0tBH6C1f5su2SNqdYg7N0QxS96s1nzoxZ8yI2syLq4_EXMqHwOq_stTqLzecJxuQieDkP8zFwwJwFNkyBh0up9vH7AbQqQmKK0/s643/Renoir_Nana10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="643" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcDzJbvd8BTs2UYcC7W4_XOSTJH7R1jOIpTqBtpui-rQgC0eviTsnzeLCtWCvGZXYE9gXeUgDsX74VX73I0tBH6C1f5su2SNqdYg7N0QxS96s1nzoxZ8yI2syLq4_EXMqHwOq_stTqLzecJxuQieDkP8zFwwJwFNkyBh0up9vH7AbQqQmKK0/s320/Renoir_Nana10.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigjaxDk9qozQVfJnGEbrSJi5G5ZkQ8nwyliuXHQuPUiUTCvpdWq-ZZCfy0eGCI6nHlYIUTWIE30Lv2ZuHQQpyOEbwG9ED6R4bGI4Qmf0GNmndgN4NpFZhrKleX2jT5t84cahSLVkfeO7dcFEEQLRdkSGqWbOunydmKJ3dVBnqe8OBmaPFYJZw/s686/Renoir_Nana11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="502" data-original-width="686" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigjaxDk9qozQVfJnGEbrSJi5G5ZkQ8nwyliuXHQuPUiUTCvpdWq-ZZCfy0eGCI6nHlYIUTWIE30Lv2ZuHQQpyOEbwG9ED6R4bGI4Qmf0GNmndgN4NpFZhrKleX2jT5t84cahSLVkfeO7dcFEEQLRdkSGqWbOunydmKJ3dVBnqe8OBmaPFYJZw/s320/Renoir_Nana11.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDb7DzPKG1tGxBL2wlGKOKYgTuyRu7B7g-HyHcKiV11g3aBfGRCDVQM9KuNwsSlTrT0QAfwZEVDiQANxp6T6OLWxIe6PlLxDMy3ShC4r6HSsvlPcA1-k6s9SLSNch5uJgtcA8lPng6j4lwLwujvAFAIPzmoi5eeRGApe0Oid_p1f3hTLl1u3c/s623/Renoir_Nana12.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="471" data-original-width="623" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDb7DzPKG1tGxBL2wlGKOKYgTuyRu7B7g-HyHcKiV11g3aBfGRCDVQM9KuNwsSlTrT0QAfwZEVDiQANxp6T6OLWxIe6PlLxDMy3ShC4r6HSsvlPcA1-k6s9SLSNch5uJgtcA8lPng6j4lwLwujvAFAIPzmoi5eeRGApe0Oid_p1f3hTLl1u3c/s320/Renoir_Nana12.jpg" width="320" /></a></div><br /><div style="text-align: center;">Other writing about Jean Renoir at <i>Cinemasparagus:</i></div><div style="text-align: center;"><i><br /></i></div><div style="text-align: center;"><b><i><a href="http://cinemasparagus.blogspot.com/2021/09/la-fille-de-leau.html">La fille de l'eau [The Girl of the Water / The Current] [1925]</a></i></b></div><div style="text-align: center;"><b><i><br /></i></b></div><div style="text-align: center;"><i>===</i></div><div><i><br /></i></div><div><i><br /></i><p></p><p><br /></p></div>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-21723940284198652922024-02-03T19:08:00.002-05:002024-02-03T19:08:20.956-05:00Fantômas<p style="text-align: center;"><b><i>Louis Feuillade's First Serial Epic</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6XnRziJcDXg5YeZkbHAjzZ1PH_eRHKu7ljKSBItQsGSJgritlpMcY0sgv_BJLjFg08ARYtvewG5FrfhKrcl9V3Zj0MyhkTsf96M25S2ys49i7K-CBMqMPOxtb8Y_Z87ls7f6Om07tCuvn1jGad0DM0EYSkQxVK0rIsIacNIAc8y3tEQeqQtA/s425/Feuillade_Fantomas06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="425" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6XnRziJcDXg5YeZkbHAjzZ1PH_eRHKu7ljKSBItQsGSJgritlpMcY0sgv_BJLjFg08ARYtvewG5FrfhKrcl9V3Zj0MyhkTsf96M25S2ys49i7K-CBMqMPOxtb8Y_Z87ls7f6Om07tCuvn1jGad0DM0EYSkQxVK0rIsIacNIAc8y3tEQeqQtA/s320/Feuillade_Fantomas06.jpg" width="320" /></a></div><p style="text-align: center;"><b><i>Episode One: Fantômas</i></b></p><p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrMZ5jzx2Ok1CZI3SyzrJ7Y0AnfsdVmhEzSANHc6JSf6H7auY5bU-91wBs-brdji1QK6Ub_gHf4E2oO5DQbwqqdVjYQ65v_KYqxCb9uWBkcy3OTG-eeT8GjYN5tMZDpeLu935gYB2BSbaUCb22F7HcoiP6A1gjPdeVuebmmCgNGTisxsN55qg/s1376/Feuillade_Fantomas01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1376" data-original-width="1374" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrMZ5jzx2Ok1CZI3SyzrJ7Y0AnfsdVmhEzSANHc6JSf6H7auY5bU-91wBs-brdji1QK6Ub_gHf4E2oO5DQbwqqdVjYQ65v_KYqxCb9uWBkcy3OTG-eeT8GjYN5tMZDpeLu935gYB2BSbaUCb22F7HcoiP6A1gjPdeVuebmmCgNGTisxsN55qg/s320/Feuillade_Fantomas01.jpg" width="320" /></a></b></div><p></p><p>As Pedro Costa once put it, <i>"A second is an hour in John Ford." </i>We learned in the papers a few weeks back about 'units of time' being made up, perhaps, of (presently, experimentally) most-discrete 'bits': measurements have returned from recent scientific experiments that have gauged and validated the most detectable unit of time as a trillionth-trillionth of a second or shorter. </p><p>Rooms confused, and nary a staircase to be found — the camera re-set-up from Set A to Set B; one might question the distance in time and spatial configuration between the successive Locations/Scenes, a cubist reconfiguration <i>avant la lettre</i> of Borzage's <i><b>7th Heaven</b></i>.</p><p>A Feuillade* master-shot as conceived for the first time in <i style="font-weight: bold;">Fantômas</i> [1913-1914], perhaps even a lengthier two-shot, consists of 80% background: sometimes a mere drawing-room, and other times a majestic foyer, which exudes at once nefarious encroachment and menacing embrace or outright encumberment. </p><p><span style="font-size: x-small;">* <i>(for non-French-speakers: the director's name is pronounced "Fuh-YAHD.")</i></span></p><p style="text-align: center;"><i><b>Episode Two: Juve contre Fantômas [Juve vs. Fantômas]</b></i></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFG6KugWVuqD3aWynmHIT0ko3QQBR7_IDwZvREK_DILnCQrpIrA444QdVjF_RcbscPmy6jgP3LJMUqZX6nl0irfw9l0pS_2x8AUcpO3R9Uckb_f-MfcdKdgbHtR_jwSVRub20_aUlBiyN2nnxF2XrVs45mMdQM6MXqStwDTSR7JknaT4DyJ4/s1384/Feuillade_Fantomas02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1384" data-original-width="1382" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikFG6KugWVuqD3aWynmHIT0ko3QQBR7_IDwZvREK_DILnCQrpIrA444QdVjF_RcbscPmy6jgP3LJMUqZX6nl0irfw9l0pS_2x8AUcpO3R9Uckb_f-MfcdKdgbHtR_jwSVRub20_aUlBiyN2nnxF2XrVs45mMdQM6MXqStwDTSR7JknaT4DyJ4/s320/Feuillade_Fantomas02.jpg" width="320" /></a></div><p></p><p>The sets (<i>approximations</i> of living-spaces, at the same time <i>something elevated</i> in Feuillade's, — or our own, — portray <i>conception and perception</i> of the land of the living), within the confines of cinema, run tangential to death. Two operations: the interiors and the exteriors forgo the scenes of different method of acting direction, vs. the stage... Despite the difference in degrees of control, Feuillade fills his interiors with just enough panache and gives over to a control of high necessity, whereas in the uncontrollable setting of the Parisian streets he films the action like a documentary. The two domains, according to Chabrol on a <i>making of</i> focusing on behind the scenes of <i style="font-weight: bold;">La cérémonie</i><span>. </span></p><p style="text-align: center;"><b><i>Episode Three: Le mort qui tue [The Killing Corpse]</i></b></p><p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebHUugo7_hQiJJkhVyCaM9VSjGSEvEpuiIjzugSkSZlNrSVgfTpxNX84CepLmMFlEV0JFUqZGjgwm1A3Ky3PKl3PyCFiNNuPN3gAtbswAmMLei2r18aX7R-45Bkv62eCj2NvWqhVmzJ-Cj70dk6mRaJRjXUqukg508maup1WB77sRDjh3TNo/s1388/Feuillade_Fantomas03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1382" data-original-width="1388" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebHUugo7_hQiJJkhVyCaM9VSjGSEvEpuiIjzugSkSZlNrSVgfTpxNX84CepLmMFlEV0JFUqZGjgwm1A3Ky3PKl3PyCFiNNuPN3gAtbswAmMLei2r18aX7R-45Bkv62eCj2NvWqhVmzJ-Cj70dk6mRaJRjXUqukg508maup1WB77sRDjh3TNo/s320/Feuillade_Fantomas03.jpg" width="320" /></a></b></div><p></p><p>Larger than life or Paris, a super-villain, 'a shadow o'er the land,' this nefarious figure Fantômas steals... pearl necklaces! <i style="font-weight: bold;">Fantômas</i> presents its eponymous make: larger than the actuality less changed than his battles would seem to suggest. The surreal dominates; as in all of Feuillade's movies: a zeitgeist inflection, and precursor to Lang's Dr. Mabuse, where the persuasive element here is the run-up to the Great War. Prophetic, in many ways a precursor akin to a reëxamination of Renoir's <b><i>The Rules of the Game</i></b>.</p><p>Fantômas fills so many 'posts' — Nanteuil the banker — and demonstrates the cruel action of step after step in the execution of a task — say, moving a trunk from one residence to another; in later films or those by other filmmakers this would be deemed unacceptable. </p><p style="text-align: center;"><i><b>Episode Four: Fantômas contre Fantômas [Fantômas vs. Fantômas]</b></i></p><div class="separator" style="clear: both; text-align: left;"><b style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsTDH9HRGBUwtRfnW9GNXFUUj0zV4hyphenhyphenABwiBIi5wZoX46vsdYTNCMY_uP0zQ0rjUALPl1yoOOK5emLfk8FuxUQHvunmwkRJ9-PNYrdNEy27jgtpgs3UKIXs7CCSP1ZDAMbsmKtCRCBGrcCcbCGhmwiV98uiICDA7-dOxSvGfpMHTYh-rEPmyU/s1390/Feuillade_Fantomas04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1390" data-original-width="1390" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsTDH9HRGBUwtRfnW9GNXFUUj0zV4hyphenhyphenABwiBIi5wZoX46vsdYTNCMY_uP0zQ0rjUALPl1yoOOK5emLfk8FuxUQHvunmwkRJ9-PNYrdNEy27jgtpgs3UKIXs7CCSP1ZDAMbsmKtCRCBGrcCcbCGhmwiV98uiICDA7-dOxSvGfpMHTYh-rEPmyU/s320/Feuillade_Fantomas04.jpg" width="320" /></a></b></div><div class="separator" style="clear: both; text-align: left;"><br /></div>Regularly throughout this film and subsequent Feuillade serials, there's a dreamlike mixing of the real and mise-en-scène... Actions take longer than they should; the editor holds the spectator trapped, camera motionless. <i style="font-weight: bold;">Fantômas</i> wields an autonomous control in part by and on Feuillade who directs the blocking and chooses his subjects.<p></p><div>The ending of this fourth episode's plumb crazy: Fantômas's pair of captors plunge into two perfectly dug holes covered over by dry grass! As though Fantômas had taken prior planning to ensure this trap down to the pinky-toe position...</div><div><p style="text-align: center;"><i><b>Episode Five: Le faux magistrat [The Fake Magistrate]</b></i><b> </b></p><div class="separator" style="clear: both;"><b style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgKrdwlbC1VsGS_w83vpqv7mgfN6_Qx0UbMx_Af7EnFCsvZCMGG1G5s8RFjvnOCZ0PuGLifasJ8mpdAcdB1YTwpgGW3b7ZUeXWKlOi28VYyRomTo47TC3xbAyHf5ndMYui5zu7DtWIu8BHchpMIEC41Hl14G5qcQPJVrhfr709nAwC0h8jIE/s1386/Feuillade_Fantomas05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1380" data-original-width="1386" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgKrdwlbC1VsGS_w83vpqv7mgfN6_Qx0UbMx_Af7EnFCsvZCMGG1G5s8RFjvnOCZ0PuGLifasJ8mpdAcdB1YTwpgGW3b7ZUeXWKlOi28VYyRomTo47TC3xbAyHf5ndMYui5zu7DtWIu8BHchpMIEC41Hl14G5qcQPJVrhfr709nAwC0h8jIE/s320/Feuillade_Fantomas05.jpg" width="320" /></a></div><br /></b></div><div class="separator" style="clear: both;">The earliest serial example of Feuilladean acting. The predictability of the aforementioned escape at the end of Episode Four. The shot angle predicts the occurrence.</div></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In sum: Fantômas represents (all representation) the personification and straw-man of crime. <b>•</b></div><div class="separator" style="clear: both;"><b><br /></b></div><div class="separator" style="clear: both; text-align: center;">===</div><div><br /></div>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-88342470145251783742024-01-11T18:36:00.006-05:002024-01-11T19:17:50.484-05:00In Memoria: July to December 2023<p style="text-align: center;"><b>Jane Birkin. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHZ8xPrjWhoLfu5opEA0kw3KsAD2uE_1aBJCR4b0o4DygkB-aVeUovbV6T8Igoggmg5TPdaxtMQFyWlC2R-THn_SsIFsFDVjMATx9qLWSIkYsV4IuLmzkcjs6C38qsdMKyuMGDSS8hb4Khu_28kSYoRZrNA6aLXrBOGnagwCtjU3GSdoXLXDc/s1088/Jane%20Birkin%20Melody.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1070" data-original-width="1088" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHZ8xPrjWhoLfu5opEA0kw3KsAD2uE_1aBJCR4b0o4DygkB-aVeUovbV6T8Igoggmg5TPdaxtMQFyWlC2R-THn_SsIFsFDVjMATx9qLWSIkYsV4IuLmzkcjs6C38qsdMKyuMGDSS8hb4Khu_28kSYoRZrNA6aLXrBOGnagwCtjU3GSdoXLXDc/s320/Jane%20Birkin%20Melody.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="text-align: left;">A spirit both material and grounded. Briton-Franco chanteuse, muse, wife of Serge Gainsbourg, auteur of the pop single and the film </span><b style="text-align: left;"><i>Je t'aime moi non plus</i></b><span style="text-align: left;">. Outstanding presence in Varda's masterpieces </span><b style="text-align: left;"><i>Jane B. par Agnès V.</i></b><span style="text-align: left;"> and </span><b style="text-align: left;"><i>Kung-Fu Master!</i></b><span style="text-align: left;">. Melody Nelson.</span><p></p><p style="text-align: center;"><b>Tony Bennett.</b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-79tOOYDDCIzgioSysXzyZYkluGXa41QY7SEubo0YJY7b3ofvXDzvnWqaBhZa6NyiCrnK6W0NqO2lq-jxsWteylOWlBXIVn6ecgkPCrfoYj5jFzA863_jzM7iCfeYgE-3aVMBlfy7znJI__HI9d2ZIGQyp5w0rd3FgYNwJ1lQ3Klx0UpM-z0/s710/Tony%20Bennett.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="710" data-original-width="706" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-79tOOYDDCIzgioSysXzyZYkluGXa41QY7SEubo0YJY7b3ofvXDzvnWqaBhZa6NyiCrnK6W0NqO2lq-jxsWteylOWlBXIVn6ecgkPCrfoYj5jFzA863_jzM7iCfeYgE-3aVMBlfy7znJI__HI9d2ZIGQyp5w0rd3FgYNwJ1lQ3Klx0UpM-z0/s320/Tony%20Bennett.jpg" width="318" /></a></div><p></p><p>Born Anthony Benedetto. Class-act interpreter of the Great American Songbook. A more-than-gifted singer who was bolstered by family and Gaga in his last days, dignified as ever.</p><p style="text-align: center;"><b>Paul Reubens. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaczkfMJXlgFnkl57pQjGd7trbDFbD7yGpFp-sv_YotkhBO4RElhvwfJUWms-BYtqBabC6PpKSwEh0QXqzuFjEc-QQtuOflDC-Ui8qllbRYDSCio65Hxyp9gy4cRhE-9VSBc3RwteL2VwWtUGo0ZqqEyev94L5_ZB6wlfFV-lzUsaVCpp_Qus/s2592/CK%20Pee-Wee%20Pamela.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1936" data-original-width="2592" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaczkfMJXlgFnkl57pQjGd7trbDFbD7yGpFp-sv_YotkhBO4RElhvwfJUWms-BYtqBabC6PpKSwEh0QXqzuFjEc-QQtuOflDC-Ui8qllbRYDSCio65Hxyp9gy4cRhE-9VSBc3RwteL2VwWtUGo0ZqqEyev94L5_ZB6wlfFV-lzUsaVCpp_Qus/s320/CK%20Pee-Wee%20Pamela.jpg" width="320" /></a></div><p></p><p>I was lucky enough to pay a visit with Pamela Des Barres to Paul (with whom she was close friends) in his dressing room after a preview performance of his Broadway beautiful fantastic comic spectacle <b><i>The Pee</i></b><i style="font-weight: bold;">-Wee Herman Show </i>in late 2010 or early 2011. The auteur of <i style="font-weight: bold;">Pee-Wee's Playhouse</i> which I watched religiously Saturday mornings as a kid. One brilliant hell of a presence, and a terrific actor. I'd say he was ahead of his time, but he did his part to bring the future of society a couple steps further.</p><p style="text-align: center;"><b>Lelia Goldoni. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh17Ar-S_e0tsKeT9AlwuZranNBTaAG74MxCID4iVZAcKlIchVbUri9jmhqqlPU32UOU72UHRS-exmw40_P6xGrmXOQgQ31fBm4yYWNWAEMUT4YHPbcw6bXySnIj5dBuqD9o6nrWNF32sYoqGS1oFjD8dtHvB1ENdhqiTh7ecjfQBwUMHBdaFY/s1414/Lelia%20Goldoni.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1414" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh17Ar-S_e0tsKeT9AlwuZranNBTaAG74MxCID4iVZAcKlIchVbUri9jmhqqlPU32UOU72UHRS-exmw40_P6xGrmXOQgQ31fBm4yYWNWAEMUT4YHPbcw6bXySnIj5dBuqD9o6nrWNF32sYoqGS1oFjD8dtHvB1ENdhqiTh7ecjfQBwUMHBdaFY/s320/Lelia%20Goldoni.jpg" width="320" /></a></div><p>Before I got with the Cassavetes crew, I remember mispronouncing her name "Layla," but the actual "Lelia"'s more unique and lilting and beautiful, befitting the young star of <i style="font-weight: bold;">Shadows</i>. who 'turns in' a performance for the ages. In many ways, <i>the</i> face in <i>an</i> origin of American independent cinema.</p><p style="text-align: center;"><b>William Friedkin. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy1jsyQXwYuJG-B14IcnviqsDTdgk_RbXm2S4s9K4OKhE5h_hrh0tMSIH1_aui1ni4hqaGkOLSWRP9afzKp7bQqXNAPCGccv5xEwbGhY_YrTvjk25K3Et2kPsZ-_vP5gYM2zbMXaY3moFb2Ls3yXyuk2AgIW6t5-HYGDU_dnTc6GI5oviDR9w/s1218/William%20Friedkin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1218" data-original-width="908" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy1jsyQXwYuJG-B14IcnviqsDTdgk_RbXm2S4s9K4OKhE5h_hrh0tMSIH1_aui1ni4hqaGkOLSWRP9afzKp7bQqXNAPCGccv5xEwbGhY_YrTvjk25K3Et2kPsZ-_vP5gYM2zbMXaY3moFb2Ls3yXyuk2AgIW6t5-HYGDU_dnTc6GI5oviDR9w/s320/William%20Friedkin.jpg" width="239" /></a></div><p></p><p>I haven't seen half of his films, which I hope to change in 2024. When I was little and becoming obsessed with subliminal images, <i style="font-weight: bold;">The Exorcist</i> depicts a scene, almost non-diegetic, in which the (a?) demon's face flashes by in close-up shrouded in pitch black. Imagine trying to pause that on VHS with frame-forwarding. Took a few minutes. True terror came to Hollywood. Not to mention the dinner-party where Regan descends the stairs to confront a soon-to-be-astronaut in attendance and inform him, <i>"You're gonna die up there," </i>before pissing on the rug. Strong stuff. One of the great don't-have-a-shit-to-give raconteurs (presumably flush, and nonetheless the spouse of ex-Paramount head Sherry Lansing). Required viewing for Billy's charm and insouciance is the 2018 Francesco Zippel conversation-documentary <b><i>Friedkin Uncut</i></b>.</p><p style="text-align: center;"><b>Gary Young. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT7m2_FOIn40Q9ZRfs5eBC21rfGKasZwEmA8ajeY1ObI4cQNrZ-Gjg4wzTQEo3KlRgQOgkYZuI0Od_K3P3HXNGKwBy47fMSjKX1f174zPTaF5pUZHoW-JW2_aO73r1fFczm0-yEcIBH_jOSAYC6PxepGdb4xV-1zmC1F1DpW-HpAvCz5MHmJs/s950/Gary%20Young.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="950" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT7m2_FOIn40Q9ZRfs5eBC21rfGKasZwEmA8ajeY1ObI4cQNrZ-Gjg4wzTQEo3KlRgQOgkYZuI0Od_K3P3HXNGKwBy47fMSjKX1f174zPTaF5pUZHoW-JW2_aO73r1fFczm0-yEcIBH_jOSAYC6PxepGdb4xV-1zmC1F1DpW-HpAvCz5MHmJs/s320/Gary%20Young.jpg" width="320" /></a></div><p></p><p>The original drummer of Pavement from pre-<i style="font-weight: bold;">Slanted and Enchanted</i> up to that masterpiece debut. Another wild lion behind the kit, and before too, like when he'd come out to do a handstand. The subject of the earlier-in-the-year documentary by Jed I. Robinson, <b><i>Louder Than You Think</i></b>. Man, the stories I've heard, from Scranton all the way to Ithaca...</p><p style="text-align: center;"><b>Ebrahim Golestan. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2TlEhggFkyvC_86vJk5le6w5Rh_y6Gys3OFh1OJ8sso682KOP_LaCy9yoasfiMltTDoRWEga0TxaegvCP0ieQK3Qd_GtzHyS7Qxjvx9pYeX9jiCS0dbpsLKosam-CFgloN4TVW0xAXecZKAYitFFThQHCpDX_k0BIQu4n8KW6nIJJOkwYzs/s2330/Ebrahim%20Golestan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1308" data-original-width="2330" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2TlEhggFkyvC_86vJk5le6w5Rh_y6Gys3OFh1OJ8sso682KOP_LaCy9yoasfiMltTDoRWEga0TxaegvCP0ieQK3Qd_GtzHyS7Qxjvx9pYeX9jiCS0dbpsLKosam-CFgloN4TVW0xAXecZKAYitFFThQHCpDX_k0BIQu4n8KW6nIJJOkwYzs/s320/Ebrahim%20Golestan.jpg" width="320" /></a></div><p>At this moment I know very little of the films of the Iranian writer and cinéaste Ebrahim Golestan, which will be rectified in the time ahead. I await seeing Farahani's documentary correspondence-portrait between the late filmmaker and Jean-Luc Godard that was shot in their final months, <i style="font-weight: bold;">See You Friday, Robinson</i>.</p><p style="text-align: center;"><b>Samuel Bréan. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PnHqK7B9ot55AIuSQnUvzctLINMOcCGiHOeONUCZ5qnDl6t2V9L8ZJSrenXlfciSIJM0cUyE7U2VQVEBg32mrH9CUP8AV_6NphLN66f4qL8_rd5cNEZpZ8kWhhldoDf_RCSifITad1QsN6QH2H8SMjwhQCOJ7QFor597KLRpXQTYKk5HNZ0/s500/Samuel%20Brean.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-PnHqK7B9ot55AIuSQnUvzctLINMOcCGiHOeONUCZ5qnDl6t2V9L8ZJSrenXlfciSIJM0cUyE7U2VQVEBg32mrH9CUP8AV_6NphLN66f4qL8_rd5cNEZpZ8kWhhldoDf_RCSifITad1QsN6QH2H8SMjwhQCOJ7QFor597KLRpXQTYKk5HNZ0/s320/Samuel%20Brean.jpg" width="320" /></a></div><p></p><p>A marvelous critic and translator, who actually died in March of this year. I had some correspondence with Samuel years ago around Emmanuel Burdeau's piece on "Godard, la ZAD et le pastiche," and perhaps more recently with his brilliant text on <b><i>Film Socialisme</i></b> and its Navajo-English subtitles by Godard. No better example to provide than that essay, originally published in <i>Senses of Cinema</i> in 2011 <b><a href="https://www.sensesofcinema.com/2011/feature-articles/godardenglishcannes-the-reception-of-film-socialismes-navajo-english-subtitles/">here</a></b>.</p><p style="text-align: center;"><b>Bérénice Reynaud. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtw2o1bblP-2kagpoAkaNwjwdbMsBq7exRRNshWbXu2Ir6Ub6l3mk-k2kYfqIeqGFL0iYdGUkktOnyDHIJMsDJh1kvQNqv2lBqtmbOPtQn_6DpsdfYP9xw0QOt6zSnVlLdIJD1kQDPbA8nzvFBtY1IkGCerkchh-mj4ArojRmsaOlOXWCFFUU/s867/Berenice%20Reynaud.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="610" data-original-width="867" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtw2o1bblP-2kagpoAkaNwjwdbMsBq7exRRNshWbXu2Ir6Ub6l3mk-k2kYfqIeqGFL0iYdGUkktOnyDHIJMsDJh1kvQNqv2lBqtmbOPtQn_6DpsdfYP9xw0QOt6zSnVlLdIJD1kQDPbA8nzvFBtY1IkGCerkchh-mj4ArojRmsaOlOXWCFFUU/s320/Berenice%20Reynaud.jpg" width="320" /></a></div><p>A critic I admired from the early-2000s around the time of the <i style="font-weight: bold;">Movie Mutations</i> drop. I read her articles here and there, but haven't yet read her landmark book <b><i>Hou Hsiao-hsien's </i>City of Sadness</b>. <b><a href="https://scvnews.com/calarts-mourns-death-of-longtime-film-video-faculty-berenice-reynaud/">In a September remembrance issued by CalArts,</a></b> the following: <i>"This summer, she was planning 'Fourteen Questions for Jean-Luc Godard,' a deep dive into the fimmaker's work before his death last year."</i></p><p style="text-align: center;"><b>Terence Davies. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjb5knOgktVRXS9MVFM_CKXqKEZAZV5ZADlJBvinxVlkBKHBPE3KqkDJy015QyqSDRmrQ18liluFSwb6FE5YhxFtP8zt8YhvjhiwtgCwPRGRkFU98-U3veIUwPrbAmQyc_3S4GOW5v2wt9CnmqHxL9PgWESVLHCoaM828tqyr7LS5EzUOwJWs/s1310/Terence%20Davies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1310" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjb5knOgktVRXS9MVFM_CKXqKEZAZV5ZADlJBvinxVlkBKHBPE3KqkDJy015QyqSDRmrQ18liluFSwb6FE5YhxFtP8zt8YhvjhiwtgCwPRGRkFU98-U3veIUwPrbAmQyc_3S4GOW5v2wt9CnmqHxL9PgWESVLHCoaM828tqyr7LS5EzUOwJWs/s320/Terence%20Davies.jpg" width="320" /></a></div><br />In the morass of British cinema, there are contemporary artists who transcend the (especially recent) reputation of a national film industry that repeatedly leaves the good cards on the table — Peter Watkins, Mike Leigh, WEIRDCORE, are examples that come immediately to mind. Terence Davies is another. His <i style="font-weight: bold;">Distant Voices, Still Lives</i> is a supreme masterpiece. I had it out for him for a long spell because in his 2008 essay-doc-film <i style="font-weight: bold;">Of Time and the City</i> he expressed total disinterest in The Beatles. And I thought, I'm not a fan of anyone who's not a fan of The Beatles — since then I've worked through some things.<br /><p></p><p style="text-align: center;"><b>Keith Baxter. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEzBWbbsIaAL4Y9W1wHtGJYwWhd1z8PBAmIdSEXvLwhpGIFIvo8TFnadZNySjfN8wFYKdDlqO9imquNGs0EC2GbGTBHlmq0EGchSKXIGeRouGuwdI8hO_TcrfgjoR9FA5D72HZvTHbOE0nPviYzSogKw49Ijc5rNAfS-6YIIO8ai8MZrvfQY/s905/Keith%20Baxter.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="905" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEzBWbbsIaAL4Y9W1wHtGJYwWhd1z8PBAmIdSEXvLwhpGIFIvo8TFnadZNySjfN8wFYKdDlqO9imquNGs0EC2GbGTBHlmq0EGchSKXIGeRouGuwdI8hO_TcrfgjoR9FA5D72HZvTHbOE0nPviYzSogKw49Ijc5rNAfS-6YIIO8ai8MZrvfQY/s320/Keith%20Baxter.jpg" width="320" /></a></div><br /><p>Prince Hal in Welles' 1966 god-film <i style="font-weight: bold;">Falstaff (Chimes at Midnight)</i>. A performance that beautifully navigates the transformation of Hal to Henry, just as the power of the performance transforms and complicates and transfixes the viewer with every subsequent viewing.</p><p style="text-align: center;"><b>Dariush Mehrjui. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggnGXzNkVs94kZDL155OkbpvaWSNe91Wo0THIuUFYEloLgjwVUWBULBgvqGDH-CdS9gEDUmfxAij4vEdLZksOsXchljrPkJinrpwVLJaphEU0vw1Oy4I2PmBH2XtJmvq1NWpJ6wsmAhcrBLBK1XljmwsLPktrIxeQE1VJ-drctTCrz1cO5pBI/s896/Dariush%20Mehrjui.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="896" data-original-width="576" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggnGXzNkVs94kZDL155OkbpvaWSNe91Wo0THIuUFYEloLgjwVUWBULBgvqGDH-CdS9gEDUmfxAij4vEdLZksOsXchljrPkJinrpwVLJaphEU0vw1Oy4I2PmBH2XtJmvq1NWpJ6wsmAhcrBLBK1XljmwsLPktrIxeQE1VJ-drctTCrz1cO5pBI/s320/Dariush%20Mehrjui.jpg" width="206" /></a></div><p></p><p>It shouldn't have come to this — Mehrjui and his wife stabbed to death during a break-in orchestrated by a government that wanted him erased. I first learned of Merhjui from a friend out on the back patio of the Ivy Inn in Princeton, who told me his films were extraordinary — he mentioned <i style="font-weight: bold;">The Cow</i> as one of the highlights of his work. The discovery of Iranian cinema, a cinema of martyrs, continues to expand: a determined flourishing, the blood and soil of one of the world's richest film-poetic traditions. </p><p style="text-align: center;"><b>Henri Serre. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf1zzlCtudqhKKH32Jfp7Cv4s_48KPQEMG0XTi2iOrQmt15NYpUAlTfXt0JQyf0zU9nCVIYPo_y8SidEoscPe7e0S34mYKhX1zY5AyZz15V_dsvQC-tX4FiEIvwkpmlLoR4ZrNAz4N59OzLvMVhclAs0qwp8s06FANydXREvgOAvn5nQ4r1Pw/s902/Henri%20Serre.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="902" data-original-width="724" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf1zzlCtudqhKKH32Jfp7Cv4s_48KPQEMG0XTi2iOrQmt15NYpUAlTfXt0JQyf0zU9nCVIYPo_y8SidEoscPe7e0S34mYKhX1zY5AyZz15V_dsvQC-tX4FiEIvwkpmlLoR4ZrNAz4N59OzLvMVhclAs0qwp8s06FANydXREvgOAvn5nQ4r1Pw/s320/Henri%20Serre.jpg" width="257" /></a></div><p>The star of Cavalier's <b><i>Le combat dans l'île </i></b>(just released on Blu-ray, restored, from Radiance Films) and Truffaut's <b><i>Jules et Jim</i></b>. A paragon of the Gallic physiognomy but with a uniquely soulful character... </p><p style="text-align: center;"><b>Burt Young. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMeYF2c8CaVN5XmkhIfpD9C1d36jJKjskh6dRFfzmphRXfU9xwBeR-I2dd6QzhnmnPnQQsPuj5tsxWTAg5A_9HFNDgx9k7-lOFq7L3OlCIkSvbgqp-qnQ2xuGGwM2xUxchgIs4mXM9x-1rjV4xsEiAUBIXEQnnPBQGDkB765XgN7sx8H-58q4/s1723/Burt%20Young.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="969" data-original-width="1723" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMeYF2c8CaVN5XmkhIfpD9C1d36jJKjskh6dRFfzmphRXfU9xwBeR-I2dd6QzhnmnPnQQsPuj5tsxWTAg5A_9HFNDgx9k7-lOFq7L3OlCIkSvbgqp-qnQ2xuGGwM2xUxchgIs4mXM9x-1rjV4xsEiAUBIXEQnnPBQGDkB765XgN7sx8H-58q4/s320/Burt%20Young.jpg" width="320" /></a></div><p></p><p>...which could be said too of Burt Young. Categorize as, not "They Don't Make Them Like They Used To," which is baloney — more accurate to say "They Don't Hire People Like Him Anymore." Best known as Paulie in the <i style="font-weight: bold;">Rocky</i> series, he served as a lynchpin for Robert Aldrich in his strange later fims <b><i>The Choirboys</i></b> and <i style="font-weight: bold;">Twilight's Last Gleaming</i>, including his final work <i style="font-weight: bold;">...All the Marbles</i>. Was just looking at his biography the other day, and course he owned a restaurant in the Bronx.</p><p style="text-align: center;"><b>Matthew Perry. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisGqp002GSVySlyDT0KGa_C77pABrBEyucAHWgfjWvnRL5Km4qda32nCyUuQDyP-xN1FyXr1mJPLUvRKWhhA2mDeYOmhFDdVA9kJcwBP-bNdjTnrxkB1HcgG-nsc4bZu155eq0g3lnaIf03JxijgZQDY11806c0GOt_S6gKA5LPiQrBFBd0HY/s776/Matthew%20Perry.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="658" data-original-width="776" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisGqp002GSVySlyDT0KGa_C77pABrBEyucAHWgfjWvnRL5Km4qda32nCyUuQDyP-xN1FyXr1mJPLUvRKWhhA2mDeYOmhFDdVA9kJcwBP-bNdjTnrxkB1HcgG-nsc4bZu155eq0g3lnaIf03JxijgZQDY11806c0GOt_S6gKA5LPiQrBFBd0HY/s320/Matthew%20Perry.jpg" width="320" /></a></div><p>Proud of this guy, the funniest Friend, for breaking the chain of addiction. Won't speculate on the ketamine, but his body was nevertheless ravaged. Sounded like, to have him in your acquaintance, he'd be up there with the warmest and funniest of friends.</p><p style="text-align: center;"><b>Michel Ciment. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9DApPQQEhXCcNVbe8ko9tnCrA5T5sQ-BQbQHIaL20t4NjBVkq5fAgHxpAEICsJlP3Q4G40HSDNvYMVCteyzp19guFKUYk5yKyB2h-kxlqZeWPG_eyeDgzS8QuGoLEKNkuDZbp_Lp8jWr7yzMSG0ngKJDPq_BjWBrSpv6NUkJaBuDhdDp0JvQ/s600/Michel%20Ciment.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9DApPQQEhXCcNVbe8ko9tnCrA5T5sQ-BQbQHIaL20t4NjBVkq5fAgHxpAEICsJlP3Q4G40HSDNvYMVCteyzp19guFKUYk5yKyB2h-kxlqZeWPG_eyeDgzS8QuGoLEKNkuDZbp_Lp8jWr7yzMSG0ngKJDPq_BjWBrSpv6NUkJaBuDhdDp0JvQ/s320/Michel%20Ciment.jpg" width="320" /></a></div><br /><p>The first serious book of criticism I read was an English translation (later updated to include <i style="font-weight: bold;">Eyes Wide Shut</i>) of Michel Ciment's monolithic <b><i>Kubrick</i></b>. Freshman year at school I took <b><i>Kubrick</i></b> out of the stacks three separate times to read. Elements of Kubrick I had only sensed at 17 were articulated by Ciment, from "the Kubrick stare" to so on. It's still the best writing on Kubrick I've come across. His ratings in the <i>Cahiers</i> Conseil des Dix were, all told, demented.</p><p style="text-align: center;"><b>Rosalynn Carter.</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghu_UfEfZdI1SBnckHT-mfepEYUzER68uvper8w4Eyc29eYHDn3MCSz7ICMscXzvPHcIWCUSGLaI5UswHXBp-E16bdDPr_J0Ow56rIFF82TaUfQ7l6PjNGmZScgRpw9oe7QP8VzpwseDRgzP5cjYnbqkLHMLsCOcl8Hv_o6bIW8JCcVupi5Rw/s1250/Rosalynn%20Carter.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="1250" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghu_UfEfZdI1SBnckHT-mfepEYUzER68uvper8w4Eyc29eYHDn3MCSz7ICMscXzvPHcIWCUSGLaI5UswHXBp-E16bdDPr_J0Ow56rIFF82TaUfQ7l6PjNGmZScgRpw9oe7QP8VzpwseDRgzP5cjYnbqkLHMLsCOcl8Hv_o6bIW8JCcVupi5Rw/s320/Rosalynn%20Carter.jpg" width="320" /></a></div><br /><p>"<span style="font-family: "Helvetica Neue"; font-size: 13px;">Shy and introverted, Rosa can’t stop thinking about that picture on the wall, that uniformed Carter boy with the sweet smile who’s broken the force field and gone far away. He comes home on leave, in the summer of 1945. He’s 20, she’s 17." (Michael Paternini in <i>The New York Times</i>.) </span></p><p><span style="font-family: "Helvetica Neue"; font-size: 13px;">Love is a burden.</span></p><p style="text-align: center;"><b>Jane (Brakhage) Wodening.</b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWsqlyDV4szmLYnmp2bG-lmGGNHeJDhg80f0tVhGk5evqt8zVMiDcMHCnhfEC2WJq-bqMc4ZsPG7uzKzt6R85i_Rxou9_wdQDv_XojYP_msaQy1d8VgHtjCRJmfSnvzqjVCwMNLRxdUgaGCLZ7DgxyZxgaoYad094VyJmGqFv_30ZlfjGz2g/s1520/Jane%20Brakhage%20Wodening.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1170" data-original-width="1520" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWsqlyDV4szmLYnmp2bG-lmGGNHeJDhg80f0tVhGk5evqt8zVMiDcMHCnhfEC2WJq-bqMc4ZsPG7uzKzt6R85i_Rxou9_wdQDv_XojYP_msaQy1d8VgHtjCRJmfSnvzqjVCwMNLRxdUgaGCLZ7DgxyZxgaoYad094VyJmGqFv_30ZlfjGz2g/s320/Jane%20Brakhage%20Wodening.jpg" width="320" /></a></div><b><br /></b><p></p><p>The difference between muse and collaborator, in the face of being the female who takes backseat to the male artist partner and one time husband Stan Brakhage, who precedes later wife Marilyn Brakhage (filmmaker behind the 15-minute 2009 masterpiece, <b><i>For Stan</i></b>. — [See also Françoise Gilot.] — Sincerely: It's not subservience, it's love).</p><p>From Wodening's Wikipedia page:</p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">"Brakhage and Wodening have both stated that she played a large role in Brakhage's career. In an interview once, Brakhage is quoted as having said, "'By Brakhage' [the Criterion Collection release] should be understood to mean 'by way of Stan and Jane Brakhage,' as it does in all my films since marriage. It is coming to mean: 'by way of Stan and Jane and all the children Brakhage.'" Wodening has reiterated this as well saying: "And so, this point of contention about, was I a partner in Stan's work. Stan said so, over and over again, from the stage. And that's interesting. . . . So, I'll see what I can say, but what I'm speaking from is: I was working on the films." She made films that were 'scrap-books,' and was a prolific author with a deep concern for the environment.</p><p style="text-align: center;"><b>François Musy. </b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRIldMs0hzfdloE421nA9VQJ6ik0CEWiNK8Hx3Efvef0yOIqFs_ii1qgb9woz3FfwgDjhlWYdQilW4mKqUEZ3ZAhVVWo4qVCCq-hLlfwe6uSYPUkb0dKkqdffY6eIKC88imX-ySnHQWFOQ4l2jP1WuXN2-GmQT3TxlIjeGYoCbSxt96m5ZRu0/s1710/Franc%CC%A7ois%20Musy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="947" data-original-width="1710" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRIldMs0hzfdloE421nA9VQJ6ik0CEWiNK8Hx3Efvef0yOIqFs_ii1qgb9woz3FfwgDjhlWYdQilW4mKqUEZ3ZAhVVWo4qVCCq-hLlfwe6uSYPUkb0dKkqdffY6eIKC88imX-ySnHQWFOQ4l2jP1WuXN2-GmQT3TxlIjeGYoCbSxt96m5ZRu0/s320/Franc%CC%A7ois%20Musy.jpg" width="320" /></a></div><p></p><p>Godard's sound recordist from the 1980s up to 2010's <i style="font-weight: bold;">Film Socialisme</i>. Always up to the task, setting new challenges for himself and addressing the audio-wishes of Jean-Luc. "Musy," like "music," appropriate mnemonic. His expertise was put to good use assisting the greatest sound-mind of the cinema artform.</p><p style="text-align: center;"><b>Shane MacGowan. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjepoOuYeoPGHs30K6RhYSURaX6nRdG7VXzoc53TEvjDc6Ga9U-FMHDlZI__parlSqq8Ogfa5imNyOd61mcVaYepk6pCQSlqFbdiQmmze-12YYspptt_0cIAx30gNTJ5LSHgpPUErDs-TjLODZiy_6gi06fTVhHuABJQZfWkjj7v1nQlNsqgwk/s1388/Shane%20Macgowan.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1354" data-original-width="1388" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjepoOuYeoPGHs30K6RhYSURaX6nRdG7VXzoc53TEvjDc6Ga9U-FMHDlZI__parlSqq8Ogfa5imNyOd61mcVaYepk6pCQSlqFbdiQmmze-12YYspptt_0cIAx30gNTJ5LSHgpPUErDs-TjLODZiy_6gi06fTVhHuABJQZfWkjj7v1nQlNsqgwk/s320/Shane%20Macgowan.jpg" width="320" /></a></div><p>I grew up in Scranton, Pennsylvania, the 2nd largest Irish hub in the US after Boston, and possibly tied for that number 2 spot by New York City. There were ghosts at the two-story pub The Banshee, who would sidle down the waxed banistered staircase from the upper floor, then either vanish or re-ascend up the steps to the second level. Miners and their families died <i>en masse</i> while boarding at the Banshee building in the late 1800s and early 1900s. </p><p><i>Rolling Stone </i>recently wrote of The Pogues' "Fairytale of New York": "<span face="Georgia, Helvetica, sans-serif" style="background-color: white; font-size: 18px;">When Shane calls her “<i>an old slut on junk,”</i> Kirsty rifles back with a homophobic slur that shocks by today’s standards: <i>“You scumbag, you maggot / You cheap lousy faggot / Happy Christmas your ass / I pray god it’s our last.”</i> (Jon Bon Jovi changed it to <i>“braggart”</i> when he rerecorded it in 2020)." ( — I'm reminded of Mike Love telling an interviewer to look up "braggart, B-R-A-G-G-A-R-T.")</span></p><p style="text-align: center;"><b>Ken Kelsch. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR0pR5OzMVPWOHmBah-sEo7aHS2PHHE-rmh3yVIWMVr-068vlzAj5x2b4Vg5zXZwnU35y5OYKappkanZq4vtCKQLCUMWamPJyuLQxQ8oNlSguFek8ZvrD9Za9qzKP6vPq8nahaCFwLCyJSAZAng4QHaVvAgcKbNsg-yII7KJTe_ToQu90RKs/s1946/Ken%20Kelsch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1086" data-original-width="1946" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaR0pR5OzMVPWOHmBah-sEo7aHS2PHHE-rmh3yVIWMVr-068vlzAj5x2b4Vg5zXZwnU35y5OYKappkanZq4vtCKQLCUMWamPJyuLQxQ8oNlSguFek8ZvrD9Za9qzKP6vPq8nahaCFwLCyJSAZAng4QHaVvAgcKbNsg-yII7KJTe_ToQu90RKs/s320/Ken%20Kelsch.jpg" width="320" /></a></div><p>Abel Ferrara's long-time cinematographer — this will remain (cf. Gary Graver) Ken Kelsch's legacy, or rather, a showcase of his best achievements. Shot the early films; years passed following a falling-out with Abel, and then Kelsch returned to Ferrara's productions at the time of — perfect timing — <i style="font-weight: bold;">Bad Lieutenant</i>. No film set could compare to his time in the Vietnam War, which is why his and Abel's films feel like war from start to finish, a maybe-calibrated fight against societal convention and the Cinema of Lies itself. I recommend viewing Mark Rance's 2004, 47-minute documentary <i style="font-weight: bold;">A Short Film About the Long Career of Abel Ferrara</i> in order to encounter Kelsch in his prime.</p><p style="text-align: center;"><b>Guy Marchand.</b> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3eaa1dd0Y4xuPVdIhosgtGeu4zBxvbL05Y5-cTBuR5jybIUm_JB-RQ6r0b55BU1oD8VqQb4me4WpKqIIoBiGiXmk6pn994zgjmakDyrLC7h0wiBtqX4WirAN8RJVOCrTHm3GcPEgDK69DQj4-cCZCNOKWPpfpthbZw0w6EdPu2SHAkpyOfsw/s864/Guy%20Marchand.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="864" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3eaa1dd0Y4xuPVdIhosgtGeu4zBxvbL05Y5-cTBuR5jybIUm_JB-RQ6r0b55BU1oD8VqQb4me4WpKqIIoBiGiXmk6pn994zgjmakDyrLC7h0wiBtqX4WirAN8RJVOCrTHm3GcPEgDK69DQj4-cCZCNOKWPpfpthbZw0w6EdPu2SHAkpyOfsw/s320/Guy%20Marchand.jpg" width="320" /></a></div><p>One of those Frenchmen who in the 1960s still showed up in pinstripe suits in the course of carrying out promotional duties. I salute the performer who brought great talent to his participation in Truffaut's <i style="font-weight: bold;">Une belle fille comme moi</i> and Pialat's <i style="font-weight: bold;">Loulou</i>. </p><p style="text-align: center;"><b>Otar Iosseliani. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7LnfbquV4AYi3Z6LolRoLVpoA3vdnIHIAiI1nFDPXBLAYtlyNAG7AfPGx6RsOMKfaqtJweHfyUE9A4mNcfdLmC0Hg0gn7PrAF0-RkzsyWv9RJRwC31gH2a2dNYfvCSxW3kZmZgNMX-HvOnhe7nqVZap3qy4LF_pCuftleijSXT38Swdllyo/s1421/Otar%20Iosseliani.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1421" data-original-width="1169" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS7LnfbquV4AYi3Z6LolRoLVpoA3vdnIHIAiI1nFDPXBLAYtlyNAG7AfPGx6RsOMKfaqtJweHfyUE9A4mNcfdLmC0Hg0gn7PrAF0-RkzsyWv9RJRwC31gH2a2dNYfvCSxW3kZmZgNMX-HvOnhe7nqVZap3qy4LF_pCuftleijSXT38Swdllyo/s320/Otar%20Iosseliani.jpg" width="263" /></a></div><p>A director I discovered in the mid-2000s, with me tuning in to the buzz at the time on the occasion of a complete-works boxset in France that had English subtitles and, as I recall, multiple theatrical screenings in France and wider Europe. <b><i>There Once Was a Singing Blackbird</i></b> from 1970 is the one I focused on at the time. I can't wait to finally see the entirety of this iconoclast's body of work.</p><p style="text-align: center;"><b>Tommy Smothers. </b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdHVxp9uUmuNVHDKe_PsRWbg079ZGrEeUwp1Ucr1HsFa2hS2sk1kJuvE6s2EzUPECSf5dthIXZPLxKlXTAfmqjT7G2tg2wmli-7PpKOdCKkQM1ZQT33yy4EwHoeOcHZdYfRv3w9LlEfASAkyUxrStY3Kowwz7lCU-VM-UWdIPBNUe1dmW7gws/s1919/Tommy%20Smothers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1919" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdHVxp9uUmuNVHDKe_PsRWbg079ZGrEeUwp1Ucr1HsFa2hS2sk1kJuvE6s2EzUPECSf5dthIXZPLxKlXTAfmqjT7G2tg2wmli-7PpKOdCKkQM1ZQT33yy4EwHoeOcHZdYfRv3w9LlEfASAkyUxrStY3Kowwz7lCU-VM-UWdIPBNUe1dmW7gws/s320/Tommy%20Smothers.jpg" width="320" /></a></div><p><i style="caret-color: rgb(64, 64, 64); color: #404040; font-family: Arial, Helvetica, sans-serif; font-size: 18px;">"Everybody's talkin' 'bout John and Yoko / Timmy Leary / Rosemary / Tommy Smothers / Bobby Dylan / Tommy Cooper / Derek Taylor / Norman Mailer / Allen Ginsberg / Hare Krishna / Hare, Hare Krishna."</i><span face="Arial, Helvetica, sans-serif" style="caret-color: rgb(64, 64, 64); color: #404040; font-size: 18px;"> – John Lennon</span></p><p style="text-align: center;"><b>Shecky Greene.</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN7LV-pMZvySliD0F2R6AjNIeYMwC-LL7d-nP9TxF7tNXdLr33Gq1s1Bnpiuerp4Rg83kv_x1aCXfkVjchG__8KcL9Ou9t8Me0XAAcD1fHAbD_LvHb8NXSQuVtAxXZFbJ13b_ctJqHYtWxaJK9a9eBhHtF_h8bbUTzS6oy_GUJ5JpMksJF-zc/s1184/Schecky%20Greene.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="780" data-original-width="1184" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN7LV-pMZvySliD0F2R6AjNIeYMwC-LL7d-nP9TxF7tNXdLr33Gq1s1Bnpiuerp4Rg83kv_x1aCXfkVjchG__8KcL9Ou9t8Me0XAAcD1fHAbD_LvHb8NXSQuVtAxXZFbJ13b_ctJqHYtWxaJK9a9eBhHtF_h8bbUTzS6oy_GUJ5JpMksJF-zc/s320/Schecky%20Greene.jpg" width="320" /></a></div><p>The story goes like this: senior year of school (once again, invoking the quasi-halcyon; stay tuned for the book), my roommate and I late one night called the Vatican, and I asked to speak to the Pope. Actually went through an umbilical line of prelates. I want to believe we'd be connected; my first question was going to be if he ever had the chance to meet Whitley Strieber. I think what happened was, it was going so well, I hung up thinking the rest would ruin it. So the next call we made was to Schecky Greene's manager whereupon we said we were from one of the school's event-planning committees. So we say we'll get him into Kennedy Hall or else The Haunt, but our budget only allows us really to get him work-pay, a take from the house, and travel expenses. As far as lodging went, we told his manager we could set him up nice on our living room couch. Next five minutes are devoted to descriptions of the couch and the apartment. If we'd had access to smartphones in 1999 we could have just texted him photos from the scene. The point is, Shecky Greene could turn dogshit into lemons — unrelenting. Just unrelenting. <b>•</b></p><p style="text-align: center;">===</p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-52610022888614073392024-01-01T17:08:00.002-05:002024-01-01T17:08:14.521-05:00The Books I Read in 2023<p><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Outer Dark</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Cormac McCarthy</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1968</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Collected Poems: 1947-1980: VI: Planet News: To Europe and Asia</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Allen Ginsberg</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1961-1963</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Everything Ravaged, Everything Burned</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Wells Tower</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2009</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Kepesh: Volume 3: The Dying Animal</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Philip Roth</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2001</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Collected Poems: 1947-1980: VII: King of May: America to Europe</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Allen Ginsberg</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1963-1965</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">All the Houses</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Karen Olsson</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2015</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Notre alpin quotidien, entretien avec Emmanuel Burdeau et Jean Narboni</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">[Our Daily Alpinist: Interview with Emmanuel Burdeau and Jean Narboni]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Luc Moullet</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2009</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2 x 50 ans de cinéma français: Phrases</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">[2 x 50 Years of French Cinema: Phrases]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Jean-Luc Godard and Anne-Marie Miéville</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(translated by Stuart Kendall)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1998</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">For Ever Mozart: Phrases</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Jean-Luc Godard</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(translated by Stuart Kendall)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1996</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Life and Adventures of Martin Chuzzlewit</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Charles Dickens</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1844</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Harlem Trilogy: 1: Harlem Shuffle</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Colson Whitehead</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2021</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(2nd read)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Legend of Zelda: Breath of the Wild: The Complete Official Guide: Expanded Edition</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Simone Dorn, Matthias Loges, Carsten Ostermann, et al</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2017</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Harlem Trilogy: 2: Crook Manifesto</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Colson Whitehead</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2023</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Tafsīl tānawī</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">[Minor Detail]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Adania Shibli</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(translated by Elisabeth Jaquette)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2016</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Weil Conjectures: On Math and the Pursuit of the Unknown</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Karen Olsson</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2019</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Éloge de l’amour: Phrases</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">[Eulogy for Love: Phrases]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Jean-Luc Godard</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(translated by Stuart Kendall)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">2001</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Glory</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">by Vladimir Nabokov</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(translated by Dmitri Nabokov in collaboration with Vladimir Nabokov)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">1932</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">(3rd read; first since two consecutive readings c. 2001)</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px; text-align: center;">===</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-2344078892249690072024-01-01T17:00:00.002-05:002024-01-01T17:00:15.395-05:00The Films I Saw in 2023<p><span style="font-family: "Helvetica Neue"; font-size: 13px;">First Seen of the Year:</span></p><p><span style="font-family: "Helvetica Neue"; font-size: 13px;">Cure [Kiyoshi Kurosawa, 1997]</span></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Last Seen of the Year:</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Chicago Calling [John Reinhardt, 1951]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">===</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Accattone [Pier Paolo Pasolini, 1961]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ådalen 31 [Bo Widerberg, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Adam’s Rib [George Cukor, 1949]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">After Hours [Martin Scorsese, 1985]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ain’t It Aggravatin’ [David Barclay, 1953]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Aiqing wansui / Vive l’Amour [Tsai Ming-liang, 1994]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">À l’ombre de la canaille bleue [In the Shadow of the Blue Rascal] [Pierre Clémenti, 1985]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Älskande par [Loving Pair] [Mai Zetterling, 1964]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Un américain [An American] [Alain Cavalier, 1958]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’amore [Love] [Roberto Rossellini, 1948]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’amour fou [Mad Love] [Jacques Rivette, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Amsterdam [David O. Russell, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Anémic cinéma [Rrose Sélavy aka Marcel Duchamp, 1926]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">An jan [Hidden War] / Running Out of Time [Johnnie To, 1999]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">An jan 2 [Hidden War 2] / Running Out of Time 2 [Johnnie To and Law Wing-cheung, 2001]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Annette [Leos Carax, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Anthropological Sketches: Scenes from the Life of Andy Warhol: Friendships & Intersections [Jonas Mekas, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Apollo 10-1/2: A Space Age Childhood [Richard Linklater, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Arat az Orosházi “Dózsa” [Harvest on the “Dózsa” in Orosháza] [Miklós Jancsó, 1953]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’argent de poche [Pocket Money] [François Truffaut, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Art History [Joe Swanberg, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty [Jonas Mekas, 2000]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Award Presentation to Andy Warhol [Jonas Mekas, 1964]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Backtrack [Dennis Hopper, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bakuchū-uchi: Sōchō toba+ku [The Gamester: The Big-Time Gambling Boss] [Kōsaku Yamashita, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ballerina [David Lynch, 2007]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ballet mécanique [Mechanical Ballet] [Fernand Léger and Dudley Murphy, 1924]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Banshees of Inisherin [Martin McDonagh, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Barbie [Greta Gerwig, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Barnvagnen [The Baby Carriage] [Bo Widerberg, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Baxter, Vera Baxter [Marguerite Duras, 1977]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Beach Bum [Harmony Korine, 2019]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Une belle fille comme moi [A Gorgeous Girl Like Me] [François Truffaut, 1972]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bergman Island [Mia Hansen-Løve, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bergman’s Ghosts [Gabe Klinger, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Blast of Silence [Allen Baron, 1961]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bless Their Little Hearts [Billy Woodberry, 1984]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Bowery Boys Meet the Monsters [Edward Bernds, 1954]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Boy with Green Hair [Joseph Losey, 1948]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Bride of Frankenstein [James Whale, 1935]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Cassis [Jonas Mekas, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Catherine Called Birdy [Lena Dunham, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Céline et Julie vont en bateau: Phantom Ladies Over Paris [Céline and Julie Go Boating: Phantom Ladies Over Paris] [Jacques Rivette, 1974]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">C’est plein [It’s a Full House] [Alain Cavalier, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La chambre verte [The Green Room] [François Truffaut, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Le chant du styrène [The Song of the Styrene] [Alain Resnais, 1958]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Chicago Calling [John Reinhardt, 1951]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Chilly Scenes of Winter [Joan Micklin Silver, 1979]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Christian Louboutin [David Lynch, 2014]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Christmas Carole [Agnès Varda, 1966 / posthumous 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Chronik der Anna Magdalena Bach [Chronicle of Anna Magdalena Bach] [Jean-Marie Straub and Danièle Huillet, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ciao, Federico! [Gideon Bachmann, 1970]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Cinéastes de notre temps: Pasolini l’enragé [Filmmakers of Our Time: Pasolini the Enraged] [Jean-André Fieschi, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Il cinema di Pasolini (appunti per un critofilm) [Pasolini’s Cinema (Notes Toward a Critique-Film)] [Maurizio Ponzi, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Cinema Is Not 100 Years Old: A Manifesto [Jonas Mekas, 2006]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Circus Maximus [Harmony Korine et al, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Clock [Vincente Minnelli, 1945]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Le combat dans l’île [Face-Off on the Island] [Alain Cavalier, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Cooley High [Michael Schultz, 1975]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Countess from Hong Kong [Charles Chaplin, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Courtship of Eddie’s Father [Vincente Minnelli, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Crack [Jon Moritsugu, 1999]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Creature from the Black Lagoon {2D Version} [Jack Arnold, 1954]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Un crime d’amour [A Love Crime] {Incomplete/Rushes} [Jean-Denis Bonan, 1965]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Csillagosok katonák [The Ones with the Star, Soldiers] [Miklós Jancsó, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Cure [Kiyoshi Kurosawa, 1997]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Curse [Nathan Fielder, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Demon House [Zak Bagans, 2018]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La deuxième femme [The Second Woman / The Second Wife] [Pierre Clémenti, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Diaries: Notes and Sketches: Also Known as ‘Walden’ [Jonas Mekas, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Dixieland Droopy [Tex Avery, 1953]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Dogleg [James Alexander Warren, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La donna della domenica [The Sunday Woman] [Luigi Comencini, 1975]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Dracula [Tod Browning, 1931]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Dr. Jekyll and Mr. Hyde [Rouben Mamoulian, 1931]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Elle [Her] [Paul Verhoeven, 2016]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Elle a passé tant d’heures sous les sunlights… [She Spent So Much Time Under the Sunlamps…] [Philippe Garrel, 1985]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Elvira Madigan [Bo Widerberg, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’enfant sauvage [The Wild Child] [François Truffaut, 1970]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">eXistenZ [David Cronenberg, 1999]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Fame [Alan Parker, 1980]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Fame Whore [Jon Moritsugu, 1997]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Family Plot [Alfred Hitchcock, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Fantômas [Louis Feuillade, 1913-1914]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Fårö Dokument [Fårö Document] [Ingmar Bergman, 1970]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The FBI Story [Mervyn LeRoy, 1959]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Fellini-Satyricon [Federico Fellini, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La femme bourreau [The Executioner Woman] [Jean-Denis Bonan, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Fényes szelek [Sparkling Winds] [Miklós Jancsó, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Filming ’The Trial’ [Orson Welles, 1981/2001 posthumous]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Film Magazine of the Arts: No. 1 Summer 1963 [Jonas Mekas, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Flickorna [The Girls] [Mai Zetterling, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Force of Evil [Abraham Polonsky, 1948]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Frasier: The Third Act: Season 1 [James Burrows, et al, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Freaks [Tod Browning, 1932]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Friedkin Uncut [Francesco Zippel, 2018]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Front Page [Billy Wilder, 1974]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Fuller Life [Samantha Fuller, 2013]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Funny Ha Ha [Andrew Bujalski, 2002]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La garce [The Bitch] [Christine Pascal, 1984]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The General [Buster Keaton, 1927]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Il giorno della civetta [The Day of the Owl] [Damiano Damiani, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Gloria [John Cassavetes, 1980]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Greetings from Africa [Cheryl Dunye, 1994]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Guernica [Alain Resnais and Robert Hessens, 1949]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La guerre est finie [The War Is Over] [Alain Resnais, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hairspray [John Waters, 1988]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hallelujah the Hills: A Romance [Adolfas Mekas, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Halloween Party [David Skowronski, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Happy Birthday to John [Jonas Mekas, 1995]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hare Krishna [Jonas Mekas, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Harmadik jelenlét [Third Presence] [Miklós Jancsó, 1986]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Have a Nice Life [Prashanth Kamalakanthan, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hippy Porn [Jon Moritsugu, 1991]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hishū monogatari [A Tale of Grief] [Seijun Suzuki, 1977]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’histoire d’Adèle H. [The Story of Adèle H.] [François Truffaut, 1975]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hold That Ghost [Arthur Lubin, 1941]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hollywood Scout [Pete Smith, 1945]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Holy Motors [Leos Carax, 2012]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’homme qui aimait les femmes [The Man Who Loved Women] [François Truffaut, 1977]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hong Kong Solitude [Nicolas Saada, 2016]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hong Kong Stories [Yves Montmayeur, 2003]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Hugo [Martin Scorsese, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Imitation of Life [John M. Stahl, 1934]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In Between [Jonas Mekas, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Indián történet [An Indian Story] [Miklós Jancsó, 1961]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">India Song {French-Language Soundtrack} [Marguerite Duras, 1975]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ingmar Bergman [Stig Björkman, 1972]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ingmar Bergman: Reflections on Life, Death and Love: With Erland Josephson [Stefan Brann, 2000]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">INLAND EMPIRE [David Lynch, 2006]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ins Blaue hinein… [On Into the Blue…] [Eugen Schüfftan, 1931]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">An Interview with Ambassador from Lapland [Adolfas Mekas, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L’istruttoria è chiusa: Dementichi: Tabante sbarre [The Case Is Closed: Forget It: Many Bars] [Damiano Damiani, 1971]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Invaders from Venus! [Frank Mosley, 2003]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">I rollerna tre [In the Roles of Three] [Christina Olofson, 1996]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">It Came from Outer Space {2D Version} [Jack Arnold, 1953]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Janine [Cheryl Dunye, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Jelenlét [Presence] [Miklós Jancsó, 1965]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Joan Micklin Silver: Begegnung mit der New Yorker Filmregisseurin [Joan Micklin Silver: Encounter with the New York Director] [Katja Raganelli and Konrad Wickler, 1983]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Kagerō-za [Heat-Shimmer Theater] [Seijun Suzuki, 1981]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Kamerával kosztromában. [With a Camera in Kostroma.] [Kézdi Kovács Zsolt, et al, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Keeper of the Flame [George Cukor, 1943]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Killers of the Flower Moon [Martin Scorsese, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Koroshi no rakuin [Branded to Kill] [Seijun Suzuki, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Kurosawa, la voie [Kurosawa: The Way] [Catherine Cadou, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Kvarteret Korpen [Bo Widerberg, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">L 182 (En passion) [L 182 (A Passion)] [Ingmar Bergman, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lachende Erben [Laughing Heirs] [Max Ophüls, 1933]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Lady from Shanghai [Orson Welles, 1948]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Last Picture Show [Peter Bogdanovich, 1971]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Letter to Penny Arcade [Jonas Mekas, 2001]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Life and Death of 9413: A Hollywood Extra [Robert Florey and Slavko Vorkapich, 1927]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Little Debbie, Snack Whore of N.Y.C. [Jon Moritsugu, 1987]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Le livre d’image: Image et Parole [The Image Book: Image and Word] [Jean-Luc Godard, 2018]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Long, Long Trailer [Vincente Minnelli, 1954]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lost Highway [David Lynch, 1997]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lost Lost Lost [Jonas Mekas, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Louis CK: Back to the Garden [Louis C.K., 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lynch [blackANDwhite, 2007]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Lynch: 2 [blackANDwhite, 2007]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La madre muerta [The Dead Mother] [Juanma Bajo Ulloa, 1993]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ma femme vit dans la peur [My Wife Lives in Fear] [Alain Cavalier, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Un maledetto imbroglio [A Bloody Scam] [Pietro Germi, 1959]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mamma Roma [Pier Paohlo Pasolini, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Manhatta [Paul Strand and Charles Sheeler, 1921]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mannen på taket [The Man on the Roof] [Bo Widerberg, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ein Märchen aus alten Zeiten [Jonas Mekas, 2001]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Marguerite, telle qu’en elle-même [Marguerite, as in Herself] [Dominique Auvray, 2003]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La mariée était en noir [The Bride Was in Black / The Bride Wore Black] [François Truffaut, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Marnie [Alfred Hitchcock, 1964]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Második jelenlét [Second Presence] [Miklós Jancsó, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mathieu-Fou [Jean-Denis Bonan, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ma vie de courgette [My Life as a Zucchini] [Claude Barras, 2016]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mean Streets [Martin Scorsese, 1973]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Még kér a nép [And the People Still Ask] [Miklós Jancsó, 1971]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Memoria [Apichatpong Weerasethakul, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Menschen am Sonntag, ein Film ohne Schauspieler [People on Sunday: A Film Without Actors] {Most Complete Extant Version} [Robert Siodmak and Edgar G. Ulmer, 1930]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Menu [Mark Mylod, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Merde [Shit] [Leos Carax, 2008]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Merrill’s Marauders [Samuel Fuller, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Messiah of Evil [Willard Huyck and Gloria Katz, 1973]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Miami Blues [George Armitage, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mission: Impossible: Dead Reckoning: Part One [Christopher McQuarrie, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Les mistons [The Mischief-Makers] [François Truffaut, 1957]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mod Fuck Explosion [Jon Moritsugu, 1994]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">More Things That Happened [David Lynch, 2007]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Möte med Mai [Meeting with Mai] [Solveig Nordlung, 1984/1996]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Mummy [Karl Freund, 1932]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">My Bolexes [Jonas Mekas, 2016]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">My Degeneration [Jon Moritsugu, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Mystery of the Mary Celeste [Denison Clift, 1935]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Mystic [Tod Browning, 1925]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Nana [Jean Renoir, 1926]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">National Velvet [Clarence Brown, 1944]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Nattlek [Night Games] [Mai Zetterling, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Neige [Snow] [Juliet Berto and Jean-Henri Roger, 1981]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">New Old, ou les Chroniques du temps présent [New Old, or: Chronicles of the Present Time] [Pierre Clémenti, 1979]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">New Strains [Artemis Shaw and Prashanth Kamalakanthan, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">New York Stories: Life Lessons [Martin Scorsese, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">New York Stories: Life Without Zoe [Francis Ford Coppola, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">New York Stories: Oedipus Wrecks [Woody Allen, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Notes for Jerome [Jonas Mekas, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Notes on the Circus [Jonas Mekas, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Obsession [Brian De Palma, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Oppenheimer [Christopher Nolan, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Ösz Badacsonyban [Autumn in Badacsony] [Miklós Jancsó, 1954]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Out-Takes from the Life of a Happy Man [Jonas Mekas, 2013]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Paracelsus [G. W. Pabst, 1943]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Paradise Not Yet Lost, Also Known as ‘Oona’s Third Year’ [Jonas Mekas, 1979]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Paul Gauguin [Alain Resnais, 1949]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Perche si uccide un magistrato [How to Kill a Judge] [Damiano Damiani, 1974]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Petite maman [Little Mama] [Céline Sciamma, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Phantom of the Opera [Arthur Lubin, 1943]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Phantom of the Opera [Rupert Julian, 1925]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Pier Paolo Pasolini [Ivo Barnabò Micheli, 1995]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Pier Paolo Pasolini - Agnès Varda - New York - 1967 [Agnès Varda, 1967 / posthumous 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Pig Death Machine [Jon Moritsugu, 2013]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Le plein de super [Fill ‘Er Up with Super] [Alain Cavalier, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Pojken och draken [The Boy and the Kite] [Jan Troell and Bo Widerberg, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Poker Face: Season 1 [Rian Johnson, Natasha Lyonne, et al, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Positano [Pierre Clémenti, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Potluck and the Passion [Cheryl Dunye, 1993]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Il prefetto di ferro [The Iron Prefect] [Pasquale Squitieri, 1977]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Presents [Michael Snow, 1981]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">PTU [Johnnie To, 2003]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Quartet #1 [Jonas Mekas, 1991]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Qianxi mambo / Millennium Mambo [Hou Hsiao-hsien, 2001]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">A Really Important Person [Basil Wrangell, 1947]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">El reino de Víctor [Víctor’s Kingdom] [Juanma Bajo Ulloa, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Reminiscences of a Journey to Lithuania [Jonas Mekas, 1972]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Results [Andrew Bujalski, 2015]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Report from Millbrook [Jonas Mekas, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La révolution n’est qu’un début. Continuons le combat. [The Revolution Is Only a Beginning. Let’s Continue the Fight.] [Pierre Clémenti, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La ricotta [The Ricotta] [Pier Paolo Pasolini, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Riten [The Rite] [Ingmar Bergman, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">River of Grass [Kelly Reichardt, 1994]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Le roi des biberons [The King of Baby-Bottles] [Alain Cavalier, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Rote Sonne [Red Sun] [Rudolf Thome, 1970]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Saboteur [Alfred Hitchcock, 1942]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Une saison chez les hommes [A Season with Mankind] [Jean-Denis Bonan, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Sans lendemain [Without Tomorrow / No Tomorrow] [Max Ophüls, 1939]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Screwy Squirrel: The Screwy Truant [Tex Avery, 1945]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Scumrock [Jon Moritsugu, 2002]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Shadow of a Doubt [Alfred Hitchcock, 1943]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Sharp Stick [Lena Dunham, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">She Dies Tomorrow [Amy Seimetz, 2020]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">She Don’t Fade [Cheryl Dunye, 1991]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Shitoyaka na kedamono [Elegant Beast] [Yūzō Kawashima, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Shout [Jerzy Skolimowski, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Showgirls [Paul Verhoeven, 1995]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Silence, Please! [Jonas Mekas, 2014]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Silver Bullets [Joe Swanberg, 2011]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La sirène du Mississipi [The Siren of the “Mississipi”] [François Truffaut, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Sirokkó [Sirocco] [Miklós Jancsó, 1969]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Skammen [Shame] [Ingmar Bergman, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Skyscraper Symphony [Robert Florey, 1929]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Shùnliú nìliú [Downstream and Counter-Current] / Time and Tide [Tsui Hark, 2000]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Smile: “Wall of Eyes” [Paul Thomas Anderson, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Soleil [Sun] [Pierre Clémenti, 1988]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Song of Avignon [Jonas Mekas, 2001]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Sopralluoghi in Palestina [Scoutings in Palestine] [Pier Paolo Pasolini, 1965]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Souvenirs, souvenirs [Memories, Memories] [Pierre Clémenti, 1978]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Sparks: “The Girl Is Crying in Her Latte” [Ron Mael, Russell Mael, and Richie Starzek, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Spirit of ’45: The Labour Victory of 1945: Memories and Reflections [Ken Loach, 2013]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Spring Breakers [Harmony Korine, 2012]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Spy no tsuma [Wife of a Spy] {Continuous Episode Version Smoothed into Theatrical Feature} [Kiyoshi Kurosawa, 2020/2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Stanley Tucci: Searching for Italy: Season 1 [Stanley Tucci, et al, 2021]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Strangers on a Train [Alfred Hitchcock, 1951]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Stromboli [Roberto Rossellini, 1950]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Super Mario Bros. Movie [Aaron Horvath and Michael Jelenic, with Shigeru Miyamoto and Chris Meledandri, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Support the Girls [Andrew Bujalski, 2018]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Les surmenés [The Overworked] [Jacques Doniol-Valcroze, 1959]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Szegénylegények [Poor Lads] [Miklós Jancsó, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Szerelmem, Elektra [My Love, Elektra] [Miklós Jancsó, 1974]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Tall T [Budd Boetticher, 1957]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Targets [Peter Bogdanovich, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Tenth Annual Live On Cinema Oscar Special [Eric Notarnicola and Tim Heidecker, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Terminal USA [Jon Moritsugu, 1993]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Texasville {Bodanovich’s 1992 Cut} [Peter Bogdanovich, 1990/1992]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">There There [Andrew Bujalski, 2022]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">This Side of Paradise: Fragments of an Unfinished Biography [Jonas Mekas, 1999]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Thomas Crown Affair [John McTiernan, 1999]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Three Ages [Buster Keaton, 1923]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Touch [Ingmar Bergman, 1971]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Tin yeuk yau tsing [If There’s a Passion in Heaven] / A Moment of Romance [Johnnie To and Benny Chan, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Tom and Jerry: Pent-House Mouse [Chuck Jones, 1963]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Tough Guys Don’t Dance [Norman Mailer, 1987]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Tōkyō no chorus [Tokyo Chorus] [Yasujirō Ozu, 1931]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">To Live and Die in L.A. [William Friedkin, 1985]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Toute la mémoire du monde [All the Memory in the World] [Alain Resnais, 1956]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Travel Songs [Jonas Mekas, 1980]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Trial [Orson Welles, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Tristesse des anthropophages [Sadness of the Anthropophagi] [Jean-Denis Bonan, 1966]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Trouble Every Day [Claire Denis, 2001]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Trouble with Harry [Alfred Hitchcock, 1955]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The True Adventures of Raoul Walsh [Marilyn Ann Moss, 2019]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Undercurrent [Vincente Minnelli, 1946]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Unknown [Tod Browning, 1927]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">An Untitled Portrait [Cheryl Dunye, 1993]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">UNTOLD: Johnny Manziel [Ryan Duffy, 2023]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Van Gogh [Alain Resnais, 1948]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vanilla Sex [Cheryl Dunye, 1992]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vargtimmen [The Hour of the Wolf] [Ingmar Bergman, 1968]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vengeance Is Mine [Michael Roemer, 1984]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">La vie brève de Monsieur Meucieu [Jean-Denis Bonan, 1962]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vielleicht bin ich wirklich eine Zauberin: Die Regisseurin Mai Zetterling und ihre Filme [Maybe I’m Actually a Sorceress: The Director Mai Zetterling and Her Films [Katja Raganelli and Konrad Wickler, 1989]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Il vangelo secondo Matteo [The Gospel According to Matthew] [Pier Paolo Pasolini, 1964]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Visa de censure nº X [Pierre Clémenti, 1967]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Viskningar och rop [Whispers and Cry] [Ingmar Bergman, 1972]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Vive le cinéma! [Jacques Rozier, 1972]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Watermelon Woman [Cheryl Dunye, 1996]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Weekend am Wannsee [Weekend on the Wannsee] [Gerald Koll, 2000]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Welcome to the Dollhouse [Todd Solondz, 1995]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">White Zombie [Victor Halperin, 1932]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Williamsburg Brooklyn During Its Golden Age Before the Emergence of Artists’ Utopia [Jonas Mekas, 2002]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Xin Szechuan jianxia [New Shushan Swordsman] [Tsui Hark, 1983]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Yakuza no hakaba: Kuchinashi no hana [Yakuza Burial: The Jasmine Flower] [Kinji Fukasaku, 1976]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Yankee Doodle Dandy [Michael Curtiz, 1942]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">You and Me [Fritz Lang, 1938]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Yume [Dreams] [Akira Kurosawa, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">‘Yume’: Eiga shōzō [‘Dreams’: A Portrait of Cinema] / A Portrait of Cinema [Nobuhiko Ōbayashi, 1990]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Yumeji [Seijun Suzuki, 1991]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Zefiro Torna, or: Scenes from the Life of George Maciunas [Jonas Mekas, 1992]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">Zigeunerweisen [Seijun Suzuki, 1980]</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">The Zone [Joe Swanberg, 2011]</p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">===</p>
<p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-54961972586254774762023-12-31T21:31:00.001-05:002024-01-01T17:34:33.280-05:00The End of 2023<p>Thanks for checking in on <i style="font-weight: bold;">Cinemasparagus</i> throughout 2023. Probably highest readership so far, now that people are coming round to blogs and discs again. Some kind of year. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOBXkAh-nvyGLw1RWxZJbJo76a3hDSHjyJJ1r_PaCi0LeqtFnT2YuBAA5fqskby3pCagEAE98Dlma0dzinT5_d_JnMF31-XtuIhmWWcU-IARO51-eojHYxn38pmUMDiFlrNDgyffBqxBl6yxdN-_I-ykd0DMA5XgScfapSfw6B6sd-x2BQL1A/s2880/FILHAS_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="2880" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOBXkAh-nvyGLw1RWxZJbJo76a3hDSHjyJJ1r_PaCi0LeqtFnT2YuBAA5fqskby3pCagEAE98Dlma0dzinT5_d_JnMF31-XtuIhmWWcU-IARO51-eojHYxn38pmUMDiFlrNDgyffBqxBl6yxdN-_I-ykd0DMA5XgScfapSfw6B6sd-x2BQL1A/s320/FILHAS_01.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYOU4S7Z0_SrfIA49PGEbnJytG2x0w3ell_sbu-jTLhF4KyziToJI5Xg714uOCeIcG812dHEYQa57r5ZlPJyB2WqxFo_rCxXyj-3ebpiiCuT41cfj8BF4H4TSx4p0y27Xeyh6l0OMb5T5TIFdmj-LLlHFuR_elo67YCiCr2UPJlVFg27i01F8/s2256/Venice.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1519" data-original-width="2256" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYOU4S7Z0_SrfIA49PGEbnJytG2x0w3ell_sbu-jTLhF4KyziToJI5Xg714uOCeIcG812dHEYQa57r5ZlPJyB2WqxFo_rCxXyj-3ebpiiCuT41cfj8BF4H4TSx4p0y27Xeyh6l0OMb5T5TIFdmj-LLlHFuR_elo67YCiCr2UPJlVFg27i01F8/s320/Venice.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p>Above: <b>(a)</b> a screengrab from the opening seconds of Pedro Costa's <b><i>As filhas do Fogo</i></b> [<b><i>The Daughters of Fire</i></b> / <b><i>The Daughters of Fogo</i></b>]. <b>(b)</b> a screengrab of the opening seconds of Pedro Costa's Venice trailer. Undoubtedly for me the film of the year (I haven't yet seen the Godard), although in the case of the former, to see it on a small MacBook screen is not to have seen it. I suspect only a theater can do justice to this three-frame Gancean spectacle.</p><p><br /></p><p style="text-align: center;"><b><u>The Films I Saw in 2023 That I Hadn't Previously Seen, but Which Expanded My Mind:</u></b></p><p style="text-align: center;"><b>(Omitting the Godard, Costa, and Korine works for the moment.)</b></p><p style="text-align: center;"><b><i>À l'ombre de la canaille bleue [In the Shadow of the Blue Rascal]</i></b> [Pierre Clémenti, 1985]</p><p style="text-align: center;"><b><i>Un américain [An American]</i></b> [Alain Cavalier, 1958]</p><p style="text-align: center;"><b><i>L'amore [Love]</i></b> [Roberto Rossellini, 1948]</p><p style="text-align: center;"><b><i>L'argent de poche [Pocket Money]</i></b> [François Truffaut, 1976]</p><p style="text-align: center;"><b><i>As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty</i></b> [Jonas Mekas, 2000]</p><p style="text-align: center;"><b><i>Baxter, Vera Baxter</i></b> [Marguerite Duras, 1977]</p><p style="text-align: center;"><b><i>La chambre verte</i></b><b><i> [The Green Room]</i></b> [François Truffaut, 1978]</p><p style="text-align: center;"><b><i>The Curse</i></b> [Nathan Fielder, Benny Safdie, et al, 2023]</p><p style="text-align: center;"><b><i>Elle a passé tant d'heures sous les sunlights... [She Spent So Much Time Under the Sunlamps...]</i></b> [Philippe Garrel, 1985]</p><p style="text-align: center;"><b><i>eXistenZ</i></b> [David Cronenberg, 1999]</p><p style="text-align: center;"><b><i>Family Plot</i></b> [Alfred Hitchcock, 1976]</p><p style="text-align: center;"><b><i>Fåro Dokument [Fåro Document]</i></b> [Ingmar Bergman, 1970]</p><p style="text-align: center;"><b><i>La femme bourreau [The Executioner Woman]</i></b> [Jean-Denis Bonan, 1968]</p><p style="text-align: center;"><b><i>Filming 'The Trial'</i></b> [Orson Welles, 1981/2001 posthumous]</p><p style="text-align: center;"><b><i>Hallelujah the Hills: A Romance</i></b> [Adolfas Mekas, 1963]</p><p style="text-align: center;"><b><i>Hare Krishna</i></b> [Jonas Mekas, 1968]</p><p style="text-align: center;"><b><i>Holy Motors</i></b> [Leos Carax, 2012]</p><p style="text-align: center;"><b><i>India Song</i></b> [Marguerite Duras, 1975]</p><p style="text-align: center;"><b><i>Killers of the Flower Moon</i></b> [Martin Scorsese, 2023]</p><p style="text-align: center;"><b><i>The Last Picture Show</i></b> [Peter Bogdanovich, 1971]</p><p style="text-align: center;"><b><i>Messiah of Evil</i></b> [Willard Huyck and Gloria Katz, 1973]</p><p style="text-align: center;"><b><i>My Degeneration</i></b> [Jon Moritsugu, 1989]</p><p style="text-align: center;"><b><i>The Mystic</i></b> [Tod Browning, 1925]</p><p style="text-align: center;"><b><i>Nana</i></b> [Jean Renoir, 1926 — the recovered/restored 2h 49m version]</p><p style="text-align: center;"><b><i>Neige [Snow]</i></b> [Juliet Berto and Jean-Henri Roger, 1981]</p><p style="text-align: center;"><b><i>Presents</i></b> [Michael Snow, 1981]</p><p style="text-align: center;"><b><i>Riten [The Rite]</i></b> [Ingmar Bergman, 1969]</p><p style="text-align: center;"><i><b>Rote Sonne [Red Sun]</b></i> [Rudolf Thome, 1970]</p><p style="text-align: center;"><b><i>Shitoyaka na kedamono [Elegant Beast]</i></b> [Yūzō Kawashima, 1962]</p><p style="text-align: center;"><b><i>The Smile: "Wall of Eyes"</i></b> [Paul Thomas Anderson, 2023]</p><p style="text-align: center;"><b><i>Texasville</i></b> [Peter Bogdanovich, 1990/1992 — Bogdanovich's cut]</p><p style="text-align: center;"><b><i>There There</i></b> [Andrew Bujalski, 2022]</p><p style="text-align: center;"><b><i>The Touch</i></b> [Ingmar Bergman, 1971]</p><p style="text-align: center;"><b><i>Vengeance Is Mine</i></b> [Michael Roemer, 1984]</p><p style="text-align: center;"><i style="font-weight: bold;">The Watermelon Woman</i> [Cheryl Dunye, 1996]</p><p style="text-align: center;">===</p><div><br /></div>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-17508252647132645002023-12-27T15:46:00.003-05:002023-12-27T15:47:43.847-05:00There There<p style="text-align: center;"><b><i>Bujalski Ushers in the '20s</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZ577nHrdYbleb0ZksOVsGpCJwiMlJT_g-XS7aJNamZ2G_BCK9uZGVC2kPwhD7PfxQ1qsfSeevteMYCSRhr73kAt9wLCcfedoKi2eE82eroEYMWjppbB7iGIQpoOPXHRdwcx919SKjt27lUjbIN1VaA5Ftnhceqr6ybo5bJLr0XK31IHhYZQ/s934/Bujalski_TT_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="495" data-original-width="934" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLZ577nHrdYbleb0ZksOVsGpCJwiMlJT_g-XS7aJNamZ2G_BCK9uZGVC2kPwhD7PfxQ1qsfSeevteMYCSRhr73kAt9wLCcfedoKi2eE82eroEYMWjppbB7iGIQpoOPXHRdwcx919SKjt27lUjbIN1VaA5Ftnhceqr6ybo5bJLr0XK31IHhYZQ/s320/Bujalski_TT_01.jpg" width="320" /></a></div><p>It always seems a long while till a new Andrew Bujalski movie drops. In the case of 2022's <i style="font-weight: bold;">There There</i> I've been waiting ever since 2018's soft-land breakthrough <i style="font-weight: bold;">Support the Girls </i>for the follow-up. Never second-guess what kind of premise or form Bulaski's next project will house. In the case of <i style="font-weight: bold;">There There</i>, the filmmaker presents a series of one-on-one conversations, with a segment handing off from one character to the next encounter. </p><p>Bujalski's technique here is radical: filmed entirely during the Covid peak, a single respective actor was employed and present for the shot-reverse-shot; incredible logistical planning alone on the filmmaker's and actors' and DP's (the great Matthias Grunsky) eyeline matches. Nothing keeps a great artist down. Love and affection reside at the core of this remarkable, psychologically and emotionally penetrating film.</p><p>Yet <i style="font-weight: bold;">There There</i> doesn't push a 'realist' agenda: The decor within the opening segment's bedrooms differ wildly from the Lili Taylor shots to Lenny James'. Other films would in post deal with composites of a profile <i>plan américain</i> tracking shot, where the camera would, say, track from left to right and pass through a close-up 'wall barrier' in the process, with one of the participants in a different part of space, a phone call between the figures. The question Bujalski sets forward is, "Why 'do' artifice for its own sake?" <i style="font-weight: bold;">There There </i>represents a modern <i>ne plus ultra</i> of the Kuleshov effect.</p><p>The title indicates not only the typical sense of assuagement but also the spatial sense, "there" and "there." <b>•</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh21bHfT2nsJptCNejUX88vGpLKupB6zHdqaA0X-KGiayvVBTiiW6K2ZtUJJeptHlEz6-2xowqG5ozSOQ1qhFPML7QOdVPqIE-ZYk2CXQYuXP8AKxaXWtMikrsuSMe7A8Bg30ZKQUlhsbIAJlcrHsKijN_tohaSENxX6uSvRZ2N1F4-HjCdfYk/s473/Bujalski_TT_02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="245" data-original-width="473" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh21bHfT2nsJptCNejUX88vGpLKupB6zHdqaA0X-KGiayvVBTiiW6K2ZtUJJeptHlEz6-2xowqG5ozSOQ1qhFPML7QOdVPqIE-ZYk2CXQYuXP8AKxaXWtMikrsuSMe7A8Bg30ZKQUlhsbIAJlcrHsKijN_tohaSENxX6uSvRZ2N1F4-HjCdfYk/s320/Bujalski_TT_02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="246" data-original-width="476" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGOnsB0Q8u9_PsfYi8P6Xt9-jyOgxwllsOoOVp9pOiqQJmiY2pz2UOUggvhFlpiRxMDPG3-1ZNXIxkKBHJ8R5xJNINLgX-ReFjwTRHdC2772okWkmFDj_Es2QomvBZ8tFvoSQ3CzhzPDMyF_zJTbExTmazHeiFrH6fr8rlyeZVutlbxy1tp0A/s320/Bujalski_TT_04.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNiLGZXHqw97UfcexwmjT_ebTJSBo6-ncyudesCTndIIZOY9_3X8w0outrLwPLlMIO3mVgbn5ScP7cm4NpY6p9FCxddMXVwKMwW6wVttqpN6BmlD_jcj8kQZIijhf7wXqDiBuK_T8U3C5hwHAGzhbfOod9LVYIdSP4-hUNz-PBv7w-sbV9ic/s474/Bujalski_TT_05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="250" data-original-width="474" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNiLGZXHqw97UfcexwmjT_ebTJSBo6-ncyudesCTndIIZOY9_3X8w0outrLwPLlMIO3mVgbn5ScP7cm4NpY6p9FCxddMXVwKMwW6wVttqpN6BmlD_jcj8kQZIijhf7wXqDiBuK_T8U3C5hwHAGzhbfOod9LVYIdSP4-hUNz-PBv7w-sbV9ic/s320/Bujalski_TT_05.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="245" data-original-width="432" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxk4zOCOVB9XCx2kmpGi8RbCE6G_87k8V2xnRaRFMMY83pYv5FkAwUW5JmKPVcJ9OGEB-tkwJlaRqgU5IvyU1OB_bUsq2GX6f-vIjYUZKRFmHWiSKplX4eZKTuRDZvv7RJmd6Ii8RULt7SBppx3lP7ijzYL6G0Bz44gDGVzxJ73QnilZfknYk/s320/Bujalski_TT_07.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdmghXgg172D-R5wIkL8ZVkXK4xC13hMUFZavt6BtZO1e0B9pNA0hk8AVSMv_ev3i1NnUhRNt-yRaiGTKiIKET8htOi0Nhv3noOJlvxGGCDxf3MC0MYURV7k_LoLRdtPdVeyJ_HStgIGlz0_-eXSJDNujU9IDB_gsxO_g7-JebOipieMtwieg/s438/Bujalski_TT_08.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="219" data-original-width="438" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdmghXgg172D-R5wIkL8ZVkXK4xC13hMUFZavt6BtZO1e0B9pNA0hk8AVSMv_ev3i1NnUhRNt-yRaiGTKiIKET8htOi0Nhv3noOJlvxGGCDxf3MC0MYURV7k_LoLRdtPdVeyJ_HStgIGlz0_-eXSJDNujU9IDB_gsxO_g7-JebOipieMtwieg/s320/Bujalski_TT_08.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jOBPnBgj48yd06_OvX_oE6bcwgqQ4_rpNl1XHyHw-tv-lcMVm_uu1oWqsZdrCNhg-Y_Yp5Yh1pVi6m2dNC-PRsbOI-zSWPGMD2sZY0wZMNbZYZD9kxJ2Ii8C2SgtJrb7xTNPBAoR-45GZc6O7_Iq9LQKE_Hfi-pfbXuf5wF2dd3rsYqMD3k/s449/Bujalski_TT_09.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="231" data-original-width="449" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jOBPnBgj48yd06_OvX_oE6bcwgqQ4_rpNl1XHyHw-tv-lcMVm_uu1oWqsZdrCNhg-Y_Yp5Yh1pVi6m2dNC-PRsbOI-zSWPGMD2sZY0wZMNbZYZD9kxJ2Ii8C2SgtJrb7xTNPBAoR-45GZc6O7_Iq9LQKE_Hfi-pfbXuf5wF2dd3rsYqMD3k/s320/Bujalski_TT_09.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Lc0AXhezTruq2pxFhDyEehSMV0bhHKO15bmt8DqfMSyZ74nmMWXE5SDI4O84Rch4rfZrxgagOrRvCey9h1r_1qAOl5pIwXW2ty0UAafasKRfo9oxWZf_4vlpj2sTSim7ANHjnP51QZ-ofG0M-u9HY4daU7slY0K-lerz0-aF21IrBETXHTU/s453/Bujalski_TT_10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="247" data-original-width="453" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Lc0AXhezTruq2pxFhDyEehSMV0bhHKO15bmt8DqfMSyZ74nmMWXE5SDI4O84Rch4rfZrxgagOrRvCey9h1r_1qAOl5pIwXW2ty0UAafasKRfo9oxWZf_4vlpj2sTSim7ANHjnP51QZ-ofG0M-u9HY4daU7slY0K-lerz0-aF21IrBETXHTU/s320/Bujalski_TT_10.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><br /><b><br /></b><p></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-55058641016586174242023-12-11T18:19:00.002-05:002023-12-11T18:19:10.386-05:00Dogleg<p style="text-align: center;"><i><b>Dog Gone</b></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaVzl_k-M8p40HNXv-osSQSSXCCw96j9hZ34uUp-9Q1K0lukGXIPC5FGDVeoeDmaV6wMjxqVU0NjcbZbskR52I-hRu3WSP17X5zFn_-V8vx2eBoBAP6PjjyWfReVylOF5Nc4Hy7hIOrQQqnqD5lvlpxc_LDLBs0GY_suslETF5H1Ryt6a5R3A/s2863/Warren_D01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1505" data-original-width="2863" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaVzl_k-M8p40HNXv-osSQSSXCCw96j9hZ34uUp-9Q1K0lukGXIPC5FGDVeoeDmaV6wMjxqVU0NjcbZbskR52I-hRu3WSP17X5zFn_-V8vx2eBoBAP6PjjyWfReVylOF5Nc4Hy7hIOrQQqnqD5lvlpxc_LDLBs0GY_suslETF5H1Ryt6a5R3A/s320/Warren_D01.jpg" width="320" /></a></div><p style="text-align: center;"><i><span style="font-size: x-small;">(from L to R: Alex Warren, me, Jamie Granato, Nick Pinkerton)</span></i></p><p>Al Warren's follow-up to his underseen but splendid first feature, <b><i>Sequence: Four Short Stories</i></b> [2014], <b><i>Dogleg</i></b> [2023] (also co-written by the novelist Michael Bible) is the kind of film that is either a breakthrough in and of itself, or the augury of a next work that will signal a <i>widespread</i> breakthrough. (See, as recent examples, Kris Borgli's <i style="font-weight: bold;">Sick of Myself</i> to <i style="font-weight: bold;">Dream Scenario</i>, or the Safdies' <i style="font-weight: bold;">Heaven Knows What</i> to <i style="font-weight: bold;">Good Time</i>.)</p><p>With the premise: "the family dog of 30-something new parents goes missing the day the wife leaves for travel, and Warren (who also stars) stresses out on a search to find her," the filmmaker devises for his fractured comedy all kinds of set-pieces, of vignettes — some taken from the main character's ( / Warren's) film-in-the-works, some hanging self-contained and absurd. One of <b style="font-style: italic;">Dogleg</b>'s final-act culminations takes place on a set where our man the director has a total nervous breakdown, and this seems to snap the dream-state-of-consciousness that characterizes the bulk of the film.</p><p>The end sequence at the backyard party (from which the above image is a frame) plays like a dance of relief, the come-down before a return to some sense of 'normalcy.' With its acute examination of the '20s family way (an entire text on which could be written), <b><i>Dogleg</i></b> is the present-day <b><i>thirtysomething</i></b>; no — wait. <b><i>Dogleg</i></b> is the present-day's <b><i>dirtysomething</i></b>. <b>•</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilpOgcKnlZhbmgdK02tC3rxCKcug-UsOrZx5V_dXQZhgZHcBS9ih1gw-GBPwnIjHTibRUXIhpHRD9CxCADe1te_dg0p81SoLcI562CL5vf0xH__UYvJ_3vK06DwM4SfO3RSo9IXTGXqj2Z3iREk0A7Aug5MXq_0wc7c-fyzH5lNtn1m382u2U/s2852/Warren_D02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="2852" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilpOgcKnlZhbmgdK02tC3rxCKcug-UsOrZx5V_dXQZhgZHcBS9ih1gw-GBPwnIjHTibRUXIhpHRD9CxCADe1te_dg0p81SoLcI562CL5vf0xH__UYvJ_3vK06DwM4SfO3RSo9IXTGXqj2Z3iREk0A7Aug5MXq_0wc7c-fyzH5lNtn1m382u2U/s320/Warren_D02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">Other writing on <i style="font-weight: bold;">Cinemparagus </i>on the films of Al Warren:</div><p></p><p></p><div style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2020/10/bar-snakes.html"><b><i>Bar Snakes</i></b> [2020]</a></div><p style="text-align: center;">===</p><p></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-65471083448171845622023-12-07T15:48:00.004-05:002023-12-07T15:56:05.990-05:00Hugo<p></p><div class="separator" style="clear: both; text-align: center;"><b><i>Part A: </i>Hugo<i> Is</i><i> a Christmas Movie </i>As Well<i>!</i></b></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOea8sxi_tbbNMpj82DfD3NQvzG5K24Xj1FfZ4jx5Y4yIx8c8M6aaLJQl4ZRbyapQcYszgDVwntNM9EdxVYpVFP5uMn-JStTo4ZjBbMQt48nVCrkqW8ql6Zl2pub_qUNikwldCbf6w35mKjFiEMl9tPoiqNAswnBmHnuhKaI-HyvUFejq2tmY/s665/Scorsese_Hugo01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="602" data-original-width="665" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOea8sxi_tbbNMpj82DfD3NQvzG5K24Xj1FfZ4jx5Y4yIx8c8M6aaLJQl4ZRbyapQcYszgDVwntNM9EdxVYpVFP5uMn-JStTo4ZjBbMQt48nVCrkqW8ql6Zl2pub_qUNikwldCbf6w35mKjFiEMl9tPoiqNAswnBmHnuhKaI-HyvUFejq2tmY/s320/Scorsese_Hugo01.jpg" width="320" /></a></div><p></p><p><span style="font-family: "Helvetica Neue"; font-size: 13px;">A very short Christmas capsule: If any tiny tykes are visiting for the holidays (or live somewhere in your house) — and to shuffle things around from the usual Yuletide of <b><i>British Sounds (See You at Mao)</i></b> and <b><i>Eyes Wide Shut</i></b>, I sincerely suggest showing the squadlings Scorsese’s one and only movie for kids, <b><i>Hugo</i></b>, from 2011. Marty made it for his daughter Francesca when she was 10 or 11 ($130 million quasi-gift, an option based around published YA IP, tax breaks like sugarplums or quasi-grifts). It’s a fantasia draping late-1800s / early-1900s Paris and involves the toy maker and lapsed magician (Ben Kingsley) Georges Méliès’s path to regaining public acclaim and becoming institutionalized as a national treasure: the inventor of cinematic spectacle. Before once more falling back into obscure recognitions and reexperiencing the hand-to-mouth life. <b><i>Hugo</i></b> invites comparison with Jeunet's <b><i>Amélie Poulain</i></b>, but more intelligent and beautiful, despite its jack-in-the-box nature as a synthetic, autonomic machine that springs forth a baker's-dozenteen of admittedly painstaking (not necessarily painful) CGI shots and decompressed pre-vizzed <i>milieux</i>. A fairytale for the family nest, something more Coppola than Scorsese. Next year at this time you can guide the kids to Breillat’s <i><b>Bluebeard</b></i> or FFC's <b><i>Megalopolis</i></b>.</span></p><p style="text-align: left;"><span style="text-align: center;"><span style="font-family: Helvetica Neue; font-size: x-small;"> </span><b style="font-style: italic;">Part B: ...But Serge Bozon Has Taken a Position Too</b></span></p><p><span style="font-family: Helvetica Neue; font-size: x-small;"><i>From the latest issue of </i>SoFilm<i>: a conversation between Serge Bozon and Emmanuel Levaufre. English translation (from the French) kindly performed and supplied December 2023 by Jhon Hernandez.</i></span></p><p><span style="font-family: Helvetica Neue; font-size: x-small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Helvetica Neue; font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXH2ot-h_gT-ouQI3rZCnwcSCCpvCMJwzbDJRVR2pW2LqmjHise38NRDHY9NDrW_XXBKjdX5kszUTpgvFtZ8Gs3SmDglQDtu5tJ9Zq4hz8pIMlg2fATxgdO0g47cOMckz3m0WCXprLTo3PXvypYKmohoTBpcBgeKRx3aNuxND916WbotGWTc/s1000/Serge%20Bozon%202022.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikXH2ot-h_gT-ouQI3rZCnwcSCCpvCMJwzbDJRVR2pW2LqmjHise38NRDHY9NDrW_XXBKjdX5kszUTpgvFtZ8Gs3SmDglQDtu5tJ9Zq4hz8pIMlg2fATxgdO0g47cOMckz3m0WCXprLTo3PXvypYKmohoTBpcBgeKRx3aNuxND916WbotGWTc/s320/Serge%20Bozon%202022.jpg" width="320" /></a></span></div><span style="font-family: Helvetica Neue; font-size: x-small;"><br /><i><br /></i></span><p></p><p><b style="font-family: "Helvetica Neue"; font-size: 13px;">Filmmaker Serge Bozon returns to questions of cinema which deserve to be seen with more care. And, with the help of his magnifying glass, he always discovers a lesson.</b><span style="font-family: "Helvetica Neue"; font-size: 13px;"> </span></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">There is no criticism without critical heritage, so let's start from what we inherit. Twenty years ago, Skorecki wrote in <i>Libération</i>: "Scorsese, you know? Rarely has a filmmaker been so little attuned to cinema. Who is this body that only films for show? It’s as if it's not his job, he tries so hard not to learn it." Thirty years ago, Lourcelles defined Scorsese in his <i><b>Dictionnaire des films</b></i> by his “constant and decadent sluggishness,” and his inability “to disengage from the sordidness he depicts to adopt in its place a distance, or any point of view.” We should just repeat their words for <i><b>Killers of the Flower Moon</b></i>. But you have to earn your bread so I decided to look for mine with Emmanuel Levaufre. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">In <i><b>Killers of the Flower Moon</b></i>, Scorsese hesitates between three films. The first is a great machine of repentance intended to plunge us into the oblivion of American history, just to see to what extent capitalism is not only greedy, but racist. And, not only racist, but genocidal. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Do we really need cinema for that? To show the traces of a genocide, yes. But that’s not what Scorsese does: he reconstructs the genocide. Reconstructing a genocide as a grand spectacle, its quite disgusting, isn’t it? To understand what happened, it is better to read a book by a historian. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-But a big movie with big stars attracts people who would never read that. For many, Scorsese’s project is worthy and important. Don’t forget he is a Catholic. He created his film in a spirit of a collective contemplation. A big film, for him, can be like mass. In fact, before filming, he and his team were blessed with Osage songs and dances. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-I find this, like the final shot (the shape of the flower that appears when the camera goes up to the sky), ridiculous. That Apple finances (to the tune of $200 million) the first work revealing the intrinsically genocidal dimension of capitalism gives us hope, after Mattel and feminism, of great films to come, including an Amazon production against tax evasion. This will perhaps be the grand return of Oliver Stone. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Be serious. You know well that capitalism can encompass everything, including its own denunciation. And the worst part is not there. By becoming millionaires because of oil, are the Osages also, yes or no, capitalists? Who employs the workers on their land, them or the whites? Is it only the women who are under guardianship or men too? How are profits distributed? Nothing is explained, so the denunciation of capitalism is a smokescreen. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-The second film is more interesting. It’s a macabre fable about an imbecile who sinks into evil without ever understanding anything. His stupidity protects the hero. For example, his stupidity keeps his romantic innocence intact: he loves his wife at the same time as he poisons her. Yes! He kills her little by little like a greedy bastard, and he loves her like a big blind dog, he wants to protect her and kill her at the same time. It’s mysterious and the idea is potentially superb. His stupidity also allows for all the twists and turns: he tells the FBI agents that he is going to testify and in the next scene he tells his uncle’s lawyer that he will not testify. Both convinced him because he really has no point of view, therefore the scenario cannot be established on moral foundations, nor accumulate dramatic certainties. Another superb potential idea: a macabre fable entirely unstable due to the imbecility of the hero. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-You talk about a macabre fable. Rather, I had the impression of seeing a sinister farce. I also said to myself that Scorsese was building his second film on a comedy method: the slow burn, the stretched gag. There, it’s as if he was doing a 3-hour slow-burn. I kept wondering when the hero was going to explode. I couldn’t take it anymore. I should have suspected that it would be like Jerry Lewis’ slow-burns: the character endures without ever exploding, he implodes. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Macabre fable or sinister farce, there is something ironic in this second film which culminates in the final radio show. And the third is the non-ironic mirror of the second: a woman refuses to see in her husband the man who killed her sisters and is slowly killing her. Does she love him to the point of madness, even though she is so intelligent, autonomous and determined? Is she a saint ready to forgive everything? Is she just as stupid as him? Or, are they same thing: love, holiness, and stupidity? Here again, the character is mysterious and the idea potentially superb. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-I also saw it as a slow-burn. We wait for the explosion, and it never comes. It’s a way of exhausting the character at the same time as the viewer. We can’t help but wonder how such an intelligent woman could be in love with such an idiot. Scorsese plays with our nerves to suddenly end up leaving the scene, without a word. This final separation sequence is beautiful. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Yes, but I wonder why there are so few beautiful sequences. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Because of the actors. Leonardo DiCaprio is never as bad as in a Scorsese, while he can be great with others. Here he is catastrophic. Like his false jaw blocking his face, the “elephantism” of his performance buries the minimum of dryness necessary for any fable. It’s the same with Lily Gladstone. Scorsese massacres her potential by imposing on her an interminable pain that buries her alive. He achieves the feat of blocking his two main actors! </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-But this, it’s almost a detail. The basic problem is structural: the gravity of the first film constantly overwhelms the other two. For example, the mystical scenes (rites) or political (assembles) scenes with the Osages are bathed in a sanctification preventing any irony. And, how can a farce, even a sinister one, be reconciled with so much solemnity! It’s impossible. And it’s obvious that it’s impossible. It looks like Scorsese didn’t ask himself any of the basic questions about his project. It’s crazy not to think about what we’re doing at this point. He is as stupid as his hero. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-You are wrong about the basic problem. Even if we could ignore the first film, the other two wouldn’t work. Scorsese gives himself two mysterious characters, but he immediately melts them into an incomprehensible world: he obscures the succession of events (we never know how much time has passed between two sequences), introduces strangers (who are these parents who insult children at the table, and who are these insulted children?), multiplies the opaque characters (why does the brother-in-law turn out to be an enemy of the family corruption when he also seems to be marrying the Osage to benefit from their wealth?), and leaves actions without follow-up (what happens to the investigation carried out by the brother-in-law?). How, in these conditions, can we be surprised by the attitude of the two main characters? Scorsese is not surprised because he has the key <i>[cf. </i><b style="font-style: italic;">Hugo</b> <i>—CK]</i>, and it is the same as usual. Daney said that Scorsese’s question is always: “Why me?” Whether it is Christ, a paramedic, or a boxing champion, the answer is always the same: because you must suffer a lot and comprehend nothing – before your redemption. So why be surprised at what happens to the characters? They are marked by original sin and live in a world in ruin. In this world, it is impossible to be good (Mollie) or become a little better (Ernest) without suffering a lot. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Yes, Scorsese’s key is so abstract that it is always ready to be used. Abstraction is his original sin. The first film cannot be combined with the other two, but the three share an abstraction hidden under the deluge of characters, adventures, murders… in his bad characters as in his good ones, Scorsese is never interested in the particular form that their qualities and defects can take, in a particular time and in a particular place. What interests him and even fascinates him is, on the contrary, that these qualities and defects are present everything in the same way at all times – an ahistorical fascination with Evil and Good which makes his cinema so monotonous. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-Yes, we would order a film about Hamas from him and we would get another endless thing about the Mafia with stars doing fanny face contests. </p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;">-In this sense, he doesn’t care about the particular history of the Osage, so he doesn't care at all. <b>•</b></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px;"><b><br /></b></p><p style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; line-height: normal; margin: 0px; text-align: center;">===</p><p><span style="font-family: Helvetica Neue; font-size: x-small;"><br /></span></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-82672919411199824842023-12-06T23:39:00.000-05:002023-12-06T23:39:03.597-05:00Taylor Swift's Landscape<p> </p><p>This is a precursor to a text I wish to write analyzing the following images in each other's presence. <i><b>Letter to Taylor: Investigation About a Still</b></i> <b>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqG2UHWD3oo4xoB1vuZ4qUmPJOKSaqvmsbSWEQsprzMvh510JPPOaKM2XxB5vSBwljczuzeo9rLAkXr9z-W95TYFmXXF-oaG5Dm1xKwX2uTNc7MilnORunfNVHqRQG-qJyFV7GRJDXeHXezNHBi1gf8EQYYCS72A9lyqNVjSDzBpnIR2uxsWo/s3000/Taylor%20Swift%20and%20Henry%20Fonda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="3000" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqG2UHWD3oo4xoB1vuZ4qUmPJOKSaqvmsbSWEQsprzMvh510JPPOaKM2XxB5vSBwljczuzeo9rLAkXr9z-W95TYFmXXF-oaG5Dm1xKwX2uTNc7MilnORunfNVHqRQG-qJyFV7GRJDXeHXezNHBi1gf8EQYYCS72A9lyqNVjSDzBpnIR2uxsWo/s320/Taylor%20Swift%20and%20Henry%20Fonda.jpg" width="320" /></a></div><br /><p style="text-align: center;">===</p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-2065484279175106112023-11-22T14:41:00.004-05:002023-11-22T14:41:43.206-05:00New Strains<p style="text-align: center;"><i><b>Making the Best of It / Social Distances</b></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKyaoA7NmrJ78zpQfWbP0E1gJsMSHkttyENEDK_Jpc5diT_6KRN_rnKmUYeERfnrzlvmfMW6f9zaVpRHLs6IcF3Z-_a0hOX1BEQji87YZd3WhD7bSUC-rbgr7diYeN6yicIDfvMdkZKIC-aMYiK4rJm4a8E20dyZ3YNWCi3pX11AlMv6kiVY/s2236/ShawKamalakanthan_NS01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1779" data-original-width="2236" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKyaoA7NmrJ78zpQfWbP0E1gJsMSHkttyENEDK_Jpc5diT_6KRN_rnKmUYeERfnrzlvmfMW6f9zaVpRHLs6IcF3Z-_a0hOX1BEQji87YZd3WhD7bSUC-rbgr7diYeN6yicIDfvMdkZKIC-aMYiK4rJm4a8E20dyZ3YNWCi3pX11AlMv6kiVY/s320/ShawKamalakanthan_NS01.jpg" width="320" /></a></div><p>The best and funniest film made about COVID, Artemis Shaw and Prashanth Kamalakanthan's 2023 <i style="font-weight: bold;">New Strains </i>(double-entendre in full effect) depicts a visitation in a long-distance relationship between Kallia (Shaw) and Ram (Kamalakanthan) in the opening weeks of the pandemic, with the two holed up in a beautiful apartment belonging to Kallia's uncle.</p><p>At first DV was pushed to create images that were 'resolvable' — now, the format's usage is no longer that of a chase after high-resolution, but a complicated present-day matter of texture. 'The Past' as DV has become a subject and a phenomenon signified by the medium which screams it — we recall the contemporary footage of 9/11 here during the cruel succeeding happenstance of The Pandemic. This specific tale connotes, as with any good document, the general within and surrounding the specific.</p><p>In hindsight we observe the myths, rumors, falsehoods, and truths of the opening weeks of the COVID pandemic. Some were pure horseshit; others all too accurate. People overreacted, people experienced the illness exactly for what it was, people were compromised and died, including the mother of a friend of mine. I'm thinking today of the lyric from The Clash's <b>"London Calling"</b> — <i>"You know what they said? / Well some of it was true!"</i>. All glues together in the preternatural expressivity of Shaw's face.</p><p>I'm posting this on the day before Thanksgiving. Among various reasons for my gratitude this year, I give thanks to Shaw and Kamalakanthan for their remarkable film. <b>•</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLJP4vpbQ0Q9WXySvD1ELjTDutX6-EICDB0al-1xJkMb9ThriMNHsO0Ah3ITui3HGd22VAdtNmXhMNdfZQByTeTzxa-hIkOUfDGor5pIyNtqxDvMTypwvfC-cPXcAJwJnEy7C4f03S4x9u6Et6-lgG2tl9E5T6f8SZ0O4ob3-1HtXtIQIuJxk/s2254/ShawKamalakanthan_NS02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1771" data-original-width="2254" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLJP4vpbQ0Q9WXySvD1ELjTDutX6-EICDB0al-1xJkMb9ThriMNHsO0Ah3ITui3HGd22VAdtNmXhMNdfZQByTeTzxa-hIkOUfDGor5pIyNtqxDvMTypwvfC-cPXcAJwJnEy7C4f03S4x9u6Et6-lgG2tl9E5T6f8SZ0O4ob3-1HtXtIQIuJxk/s320/ShawKamalakanthan_NS02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0gGELzYSOMevNSmzn4UQSiK0yGKn9sGU4M6hjR2VWd8KLfxokYMFdmwIfcrydaZsc3q6eMW4WQbqbIElbwwozZueM671KbwoPUDMUTHaoBtdSLwP2jhETLMLAI1EUPLJzdx13rL84gPD8edXLTkgn8UoosaDBDtIpXVFajJBJ9kAnKaCrODU/s2231/ShawKamalakanthan_NS03.jpg" imageanchor="1" style="margin-left: 1em; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHBSIAKpGnP2qBJjXasexHG2VhBdNOIbV-zLDu5FZrSpYU9zwmLaDCLz0CQ5hInStM4sqHicuMhzWdx3UikIdv8iZ5uvdnvWapBVA-h1sf78LY83KlGEX_aK0G6kc2kIEPw3EFQlzrtfhOuA_YJypniRYKP04dia2GD4_mNaiQarcFvNW0Js/s2202/ShawKamalakanthan_NS17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1776" data-original-width="2202" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyHBSIAKpGnP2qBJjXasexHG2VhBdNOIbV-zLDu5FZrSpYU9zwmLaDCLz0CQ5hInStM4sqHicuMhzWdx3UikIdv8iZ5uvdnvWapBVA-h1sf78LY83KlGEX_aK0G6kc2kIEPw3EFQlzrtfhOuA_YJypniRYKP04dia2GD4_mNaiQarcFvNW0Js/s320/ShawKamalakanthan_NS17.jpg" width="320" /></a></div><br /><div style="text-align: center;">===</div><p></p><p style="text-align: center;">Other Writing at <b><i>Cinemasparagus</i></b> on the Films of Shaw and/or Kamalakanthan</p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2023/08/have-nice-life.html"><i style="font-weight: bold;">Have a Nice Life </i>[2021]</a></p><p style="text-align: center;">===</p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-46270693168407961892023-11-12T18:12:00.001-05:002023-11-12T18:12:55.184-05:00Hong Kong Solitude<p style="text-align: center;"><b><i>Lonely Beauty / Beautiful Loneliness</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTq8fRVi01uNG9Y0otMTQ1NyLikSsoNA1jy1RnExKwYmuJURQyB4X5hm8XL7Og-53hJcl2jBmRkiFk-o830_QXavanQmtkVM5jCRkPxh3x9wctwUqpnXuxkNO380wtVzTpShv96kBlcSQf0EJcMkaoUXtD95ebsVHn6t5S69cpsAMchmAAmak/s2870/Saada_HKS03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1286" data-original-width="2870" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTq8fRVi01uNG9Y0otMTQ1NyLikSsoNA1jy1RnExKwYmuJURQyB4X5hm8XL7Og-53hJcl2jBmRkiFk-o830_QXavanQmtkVM5jCRkPxh3x9wctwUqpnXuxkNO380wtVzTpShv96kBlcSQf0EJcMkaoUXtD95ebsVHn6t5S69cpsAMchmAAmak/s320/Saada_HKS03.jpg" width="320" /></a></div><p>Hail the fabulous filmmaker and critic Nicolas Saada, whose 2016 two-and-a-half minute short <i style="font-weight: bold;">Hong Kong Solitude </i>(which you can watch <b><a href="https://www.youtube.com/watch?v=BNvRwvGYz8s">here</a></b>) needs to be seen; it's a beautiful entry-point for Saada's body of work — Saada, who needs to be recognized far more than he has been to-date in the United States, let alone in France.</p><p>The film's title can be interpreted in at least three ways: (1) The solitude of present-day Hong Kong as, I'll say, a nation in the global matrix; (2) The solitude of the citizens' daily lives per capita in the context of a populace enormous in swell; (3) The solitude of the outsider, the observer, the filmmaker.</p><p><i style="font-weight: bold;">Hong Kong Solitude </i>stands at once as a tribute and a lament. History hangs over the present. The stunning black-and-white cinematography grants the impression of a nostalgia for the future akin to the crux of Marker's <i style="font-weight: bold;">La Jetée</i>. (Two years ago I wrote about Marker's film <b><a href="http://cinemasparagus.blogspot.com/2021/08/la-jetee.html">here</a></b>.) Melancholy of the subject, melancholy of the witness... Will those filmed — both the people and the urban infrastructure itself — hold on to Saada's mnemonic excursion as their own memories too?</p><p>There will be much more on this blog in the time ahead regarding Nicolas Saada. <b>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTwQ6E5ArETHJ2716TFd2XcCUSY00lC5IUzY8UeAB2TL2p1OeIV-fE_86s1L_7XQQKdTkO7dG48cSm1Zjo9PstLzKX2Hp_dzfxWClwZEa2k2FR-tG73r8g4ip1NlYz2Mrz5X67sCbDOmq_0fHPDiw2X8Q2wwowBnB4HfZj57dPEMbwcUNVpI/s1661/Saada_HKS01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="1661" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTwQ6E5ArETHJ2716TFd2XcCUSY00lC5IUzY8UeAB2TL2p1OeIV-fE_86s1L_7XQQKdTkO7dG48cSm1Zjo9PstLzKX2Hp_dzfxWClwZEa2k2FR-tG73r8g4ip1NlYz2Mrz5X67sCbDOmq_0fHPDiw2X8Q2wwowBnB4HfZj57dPEMbwcUNVpI/s320/Saada_HKS01.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKC55Bnmkd2ke10jdZWq6fXLSnfAEEjw6bhyphenhyphenO4EGx60yYjWGy9HRxjz1dkDRtszRtfLVhwHseppyM7UHJkcbq0wdSS61SexuykzmD-QMR1ShkGE6FfDOFIEX_lEe6izzVyLwUJxg0HdbiEfRroUcUaKcTMGHiCRjjdKzt4HA-sDWGjVR8C9kU/s2875/Saada_HKS09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1290" data-original-width="2875" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKC55Bnmkd2ke10jdZWq6fXLSnfAEEjw6bhyphenhyphenO4EGx60yYjWGy9HRxjz1dkDRtszRtfLVhwHseppyM7UHJkcbq0wdSS61SexuykzmD-QMR1ShkGE6FfDOFIEX_lEe6izzVyLwUJxg0HdbiEfRroUcUaKcTMGHiCRjjdKzt4HA-sDWGjVR8C9kU/s320/Saada_HKS09.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrL8wFR25k6Uq68sxnQoUiOnDoFGGvP31aF2sMjH2a1Ua423uivzKkaccYTrZVaOydwuDYQHuocogWwOTdIms6e10T5vd_GYxrhyhnwHACOUJ59fv5ukPuFsZUgOrcYf20bLhqYMS1hzYy3R_j6hqpjvR2wge9MZ-A14oNQxv4jO-Fdvq5U0Y/s2858/Saada_HKS10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1359" data-original-width="2858" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrL8wFR25k6Uq68sxnQoUiOnDoFGGvP31aF2sMjH2a1Ua423uivzKkaccYTrZVaOydwuDYQHuocogWwOTdIms6e10T5vd_GYxrhyhnwHACOUJ59fv5ukPuFsZUgOrcYf20bLhqYMS1hzYy3R_j6hqpjvR2wge9MZ-A14oNQxv4jO-Fdvq5U0Y/s320/Saada_HKS10.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><br /><p><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-32590806432459314462023-11-05T15:56:00.002-05:002023-11-06T15:17:05.197-05:00Christmas Carole<div style="text-align: center;"><b><i><br /></i></b></div><div style="text-align: center;"><b><i>Varda Recovered, Depardieu Discovered</i></b></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9R_ziKHKhK-XE3_zbWZ2cqYi3JByDwJqTWbrffZ6GdwJFHfDni-1z9nQTUm8RCtoiWENgOe8C1llQlSmdkJR1K_lwrxcwU0IILbYYj7i12_4l70xMpcWM37kw5XmtpoFwDLCl-Jn9CF24g0hWZMvWGwfEHV-bG-uxQ9uPLTh2jxVKC9DBVE/s2701/Varda_CC02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1603" data-original-width="2701" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9R_ziKHKhK-XE3_zbWZ2cqYi3JByDwJqTWbrffZ6GdwJFHfDni-1z9nQTUm8RCtoiWENgOe8C1llQlSmdkJR1K_lwrxcwU0IILbYYj7i12_4l70xMpcWM37kw5XmtpoFwDLCl-Jn9CF24g0hWZMvWGwfEHV-bG-uxQ9uPLTh2jxVKC9DBVE/s320/Varda_CC02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIE7XOOch_bZ-lRUjj4knls8oP4eXbNA5vPKbEKYDLJfoahrVJ_WXFqvQ0Ho-HjZSE3rvc1A8PL21SuOh92zX33q-EdpGvQ_NOGHC8MMjPyikpCHwVAJmK9KJkUaV9RUbjtaTKmLDGSZ0NLZdpoX0OF25i3s_Kfk_MZuK_pg826PNbkTceig/s2688/Varda_CC03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1580" data-original-width="2688" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIE7XOOch_bZ-lRUjj4knls8oP4eXbNA5vPKbEKYDLJfoahrVJ_WXFqvQ0Ho-HjZSE3rvc1A8PL21SuOh92zX33q-EdpGvQ_NOGHC8MMjPyikpCHwVAJmK9KJkUaV9RUbjtaTKmLDGSZ0NLZdpoX0OF25i3s_Kfk_MZuK_pg826PNbkTceig/s320/Varda_CC03.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7ql9jd2oPnZSIQ7FZFV9ONffWSKgqc39lC2Ya_Lw82L5MYpOYvsPyd9Q5sakDxKyjbzAHf86kD_9evian3f7SZAmn_isHu6ZcIxLr33PC8KnKY0TGuAkI-tJXecIPwlQhyhkjCdpwEspFzAfMAFzRZfKoi6aCMOU4ZtMtY3E2BdnuOZL6BiA/s2679/Varda_CC01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1610" data-original-width="2679" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7ql9jd2oPnZSIQ7FZFV9ONffWSKgqc39lC2Ya_Lw82L5MYpOYvsPyd9Q5sakDxKyjbzAHf86kD_9evian3f7SZAmn_isHu6ZcIxLr33PC8KnKY0TGuAkI-tJXecIPwlQhyhkjCdpwEspFzAfMAFzRZfKoi6aCMOU4ZtMtY3E2BdnuOZL6BiA/s320/Varda_CC01.jpg" width="320" /></a></div><div><br /></div><div>Critical, celebratory — the perfect Christmas movie, and only five minutes long.</div><div><br /></div><div>Varda's 1966 <i style="font-weight: bold;">Christmas Carole</i> marks another 2021+ Ciné-Tamaris restoration that has gone up in all its restored beauty on the Cinémathèque's Henri site. You can watch it <a href="https://www.cinematheque.fr/henri/film/154645-christmas-carole-agnes-varda-1966/"><b>here</b></a>. The frames above from the introductory titles provide the general gist: Rosalie Varda oversaw the project, as she did with the contemporaneous <i style="font-weight: bold;">Pier Paolo Pasolini - Agnès Varda - New York - 1967</i>. </div><div><br /></div><div>Via which <i style="font-weight: bold;">Christmas Carole</i> shares the city-street-set peregrinations of the aforementioned film, and at least through <i>la rose</i>-colored lenses observes a stark contrast between the haywire confusion of Times Square in <b><i>PPPAVNY67</i></b><i> </i>and Paris of the same era. </div><div><br /></div><div>There's the girl Carole (Hélène Viard) and her two male friends, played by Francis Merle and, in the earliest role I've seen him, Gérard Depardieu. Will she sleep with this other guy Paul outside the duo, or should she just throw some therapy in the mix and bed one or both of the Merle-Depardieu pair? Made as a producer test (or maybe as we'd say today, as a 'proof-of-concept') <i style="font-weight: bold;">Christmas Carole </i>recalls the earliest mid- to late-1950s New Wave shorts, say Godard's <b><i>Charlotte et son Jules</i></b> or Truffaut's <i style="font-weight: bold;">Les mistons </i>(or even Godard's third feature, <i style="font-weight: bold;">Une femme est une femme</i>) and their similar sexual conundrums. Consumerism became time for forgiveness — <i>"You need money to buy gifts. Give me a franc."</i> —<i>"The folly of money. I buy, I give. He buys, he gives. Same old song: money, money, money."</i> </div><div><br /></div><div>As Depardieu says, in a questionably different context, <i>"We can call it 'making friendship'." </i><b>•</b></div><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVrdLC6U36TSEK9LdX1gonCqupj-B3wZqHkMYQ64BSWcq4IRNA2HwHwHOvZWsd3fQnkuymyyn749OyYoTR_yFCV3Mspqf06YnUQwwAgiCMF4qMRbsR6uBAt13WzhKjAdHFJUk2xmctt3SACaUTDLWPVCz0sZXVw6aW4aEd3VYc_pf3Qz3MrQ/s2672/Varda_CC04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1590" data-original-width="2672" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihVrdLC6U36TSEK9LdX1gonCqupj-B3wZqHkMYQ64BSWcq4IRNA2HwHwHOvZWsd3fQnkuymyyn749OyYoTR_yFCV3Mspqf06YnUQwwAgiCMF4qMRbsR6uBAt13WzhKjAdHFJUk2xmctt3SACaUTDLWPVCz0sZXVw6aW4aEd3VYc_pf3Qz3MrQ/s320/Varda_CC04.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nCL6kQraEcd-eky063ccCmV2TRbPxrHgt2MT7JvYgxkA5k0-VP2OlFWpPx7vlifACl6NMj3TVAx0R4AEHrQDH9Vl9wRmvsLs5HayVcMmQktrVa-KTF1AW6ZC7baWcvneO-ixm4cycda3x_kTlDABIwIm3NrzCg-ejwX2t6bAKZt2thUYVP0/s2668/Varda_CC05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1586" data-original-width="2668" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nCL6kQraEcd-eky063ccCmV2TRbPxrHgt2MT7JvYgxkA5k0-VP2OlFWpPx7vlifACl6NMj3TVAx0R4AEHrQDH9Vl9wRmvsLs5HayVcMmQktrVa-KTF1AW6ZC7baWcvneO-ixm4cycda3x_kTlDABIwIm3NrzCg-ejwX2t6bAKZt2thUYVP0/s320/Varda_CC05.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV0MGNOfqNGO_c0Rg-900ZVwy__dBYSfhvkCoDw2_PC35ai6L8o7UxD4IDUREA2bR4JvIRp9t7Hj3AL67PlrT-xV1GWDVsd8wijjcCLPXtx2HZ5QkvD1x8F4CK4WL_AvEdUDr53DLIRxJleMJfK9J71aTUiXPpKx4_70JovwckFgXJiBeP8F8/s2663/Varda_CC06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1570" data-original-width="2663" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV0MGNOfqNGO_c0Rg-900ZVwy__dBYSfhvkCoDw2_PC35ai6L8o7UxD4IDUREA2bR4JvIRp9t7Hj3AL67PlrT-xV1GWDVsd8wijjcCLPXtx2HZ5QkvD1x8F4CK4WL_AvEdUDr53DLIRxJleMJfK9J71aTUiXPpKx4_70JovwckFgXJiBeP8F8/s320/Varda_CC06.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6E46JaC0Gq-Pq9Lx7wiIzx6Akss1dNUo13hnigC35NmvRIUE-JKfBHYG9rZg6Nj_3PvH9okD87_Ov3rfVlDug-zU-6tTOKrZMh4upvdY2dnRQyay2uCvpRFrU-SLP0ecanMTjvKNTKzySTIlDWeJZcbDYpZ8FanrTOVG6MuqsQraIX-Zg0Y/s2674/Varda_CC07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="2674" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6E46JaC0Gq-Pq9Lx7wiIzx6Akss1dNUo13hnigC35NmvRIUE-JKfBHYG9rZg6Nj_3PvH9okD87_Ov3rfVlDug-zU-6tTOKrZMh4upvdY2dnRQyay2uCvpRFrU-SLP0ecanMTjvKNTKzySTIlDWeJZcbDYpZ8FanrTOVG6MuqsQraIX-Zg0Y/s320/Varda_CC07.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqTv4Mdo6BtEKbGDAalZyYexCZ9ZVJe4RMEYEu1ZR-lHOvZ5YaGEuEXhkk3r3xWewQ3wlsPNSLrDyueAa8KJLveZpZevdCkDRQp3KiQfj3pnp-jUd7W48Z8Jz_RMfJBs3jirI1xyhxMIBXLyKnJsqlOBSF1hdcehYEog-iGA-3SxoAKDLriqg/s2454/Varda_CC08.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1577" data-original-width="2454" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqTv4Mdo6BtEKbGDAalZyYexCZ9ZVJe4RMEYEu1ZR-lHOvZ5YaGEuEXhkk3r3xWewQ3wlsPNSLrDyueAa8KJLveZpZevdCkDRQp3KiQfj3pnp-jUd7W48Z8Jz_RMfJBs3jirI1xyhxMIBXLyKnJsqlOBSF1hdcehYEog-iGA-3SxoAKDLriqg/s320/Varda_CC08.jpg" width="320" /></a></div><b><br /></b></div><div><p style="text-align: center;">===</p><p style="text-align: center;">Other writing on <b>Agnès Varda</b> at <b>Cinemasparagus</b>:</p><p style="text-align: center;"><br /><a href="https://cinemasparagus.blogspot.com/2020/08/la-pointe-courte.html"><b>La Pointe-Courte</b> [1955]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/08/o-saisons-o-chateaux.html"><b>Ô saisons ô châteaux</b> [<b>O Seasons, O Châteaux</b>, 1957]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/08/lopera-mouffe.html"><b>L'Opéra-Mouffe, carnet de notes filmées rue Mouffetard par une femme enceinte en 1958</b> [<b>The Opéra-Mouffe: Diary Filmed on the rue Mouffetard in Paris by a Pregnant Woman in 1958</b>, 1958]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/09/du-cote-de-la-cote.html"><b>Du côté de la Côte</b> [<b>Around the Côte</b>, 1958]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/12/the-fiances-of-pont-mac-donald-or.html"><b>Les fiancés du pont Mac Donald, ou (Méfiez-vous des lunettes noires)</b> [<b>The Fiancés of the Pont Mac Donald, or: (Beware of Dark Glasses)</b>, 1961]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/12/cleo-from-5-to-7.html"><b>Cléo de 5 à 7</b> [<b>Cléo from 5 to 7</b>, 1962]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/01/le-bonheur.html"><b>Le bonheur</b> [<b>Happiness</b>, 1964]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/02/elsa-la-rose.html"><b>Elsa la Rose</b> [<b>Elsa the Rose</b>, 1966]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/03/les-creatures.html"><b>Les créatures</b> [<b>The Creatures</b>, 1966]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2023/11/christmas-carole.html"><b>Christmas Carole</b> [1966, posthumous release 2023]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2023/10/pier-paolo-pasolini-agnes-varda-new.html"><b>Pier Paolo Pasolini - Agnès Varda - New York - 1967 </b>[1967, posthumous release 2023]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/03/uncle-yanco.html"><b>Uncle Yanco</b> [1967]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/04/black-panthers.html"><b>Black Panthers</b> [1968]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/04/lions-love-and-lies-lions-love.html"><b>Lions Love... and Lies / Lions Love</b> [1969]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/07/nausicaa.html"><b>Nausicaa</b> [1970]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/08/reponse-de-femmes.html"><b style="text-align: left;">Réponse de femmes à une question produite par Antenne 2 pour le magazine 'F. comme Femme'</b><span style="text-align: left;"> [</span><span style="text-align: left;"><b>Women's Response to a Question Put Forth by Antenne 2 for the Magazine-Show 'F. comme Femme'</b></span><span style="text-align: left;">, 1975]</span></a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/08/daguerreotypes.html"><b>Daguerréotypes</b> [1976]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/06/plaisir-damour-en-iran.html"><b>Plaisir d'amour en Iran [Giddiness of Love in Iran]</b> [1976]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/07/the-one-sings-other-doesnt.html"><b>L'une chante l'autre pas</b> [<b>The One Sings the Other Doesn't</b>] [1977]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/11/mur-murs.html"><b>Mur murs </b>[1980]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/11/documenteur-emotion-picture.html"><b>Documenteur: An Emotion Picture </b>[1981]</a></p><p style="text-align: center;">===</p></div><div><br /></div>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-65499952515592943682023-10-30T23:22:00.006-04:002023-10-31T23:24:30.770-04:00Circus Maximus<p style="text-align: center;"><b><i>The Film Maudit of the Last Twenty Years Besides Lawrence Kasanoff's </i>Foodfight!</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS6Pb67NedhHblTpSbhpJuqjxUuZnwmvUFkSKaKNXjzhtkXtJgp5XmvmEHr-Ie-FBHEhlx9Xe0tdGnDa1jrjZ6YbwtQ-3aX07nrz4-do9UfAACPPY-xlDUgaycwv-8o0pQBk4bA1Xy5wykzOl9yd3AZUVZS7dDR7QhIrCq3HjVAcxoBJn2Log/s1311/Korine_CM01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="940" data-original-width="1311" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS6Pb67NedhHblTpSbhpJuqjxUuZnwmvUFkSKaKNXjzhtkXtJgp5XmvmEHr-Ie-FBHEhlx9Xe0tdGnDa1jrjZ6YbwtQ-3aX07nrz4-do9UfAACPPY-xlDUgaycwv-8o0pQBk4bA1Xy5wykzOl9yd3AZUVZS7dDR7QhIrCq3HjVAcxoBJn2Log/s320/Korine_CM01.jpg" width="320" /></a></div><p style="text-align: center;">(You can read this <i>New York Times </i>article about <i style="font-weight: bold; text-decoration: underline;">Foodfight!</i> <b><a href="https://www.nytimes.com/2013/08/11/movies/the-rise-and-fall-of-the-computer-animated-foodfight.html">here</a></b>.)</p><p>This is something. Travis Scott (who mostly sucks) decided to produce a streaming short-film this year — it's <b><a href="https://www.youtube.com/watch?v=-AmjlRjMKsY">here</a></b> on YouTube — to promote his new record. Harmony Korine, from my understanding, was brought on to organize the affair, which consists of different fragments of Africa and Italy, specifically at the Circus Maximus, populated at various times by African natives, clubgoers, and Travis. Obviously it's an ego-project on Scott's part — but I find these to almost always have something interesting that shines a beam on the director's psychology. Whether he knew it or not, he created a no-one-said answer to <i style="font-weight: bold;">Lucifer Rising</i>.</p><p><i style="font-weight: bold;">Circus Maximus </i>is a horror-show of pacing, but this is its <i>maudit</i> structure. Take the sequence (30-minutes+?) of Scott traipsing around the Circus Maximus followed by drones and backdropped by fifty amps as props for his half-songs, there he is searching for something to do... Harmony's piece in the end-credits is titled <b><i>Pompeii</i></b> (I'm assuming this involves the limo ride, and maybe material set in the club, and maybe some other suggestions).</p><p>This is true <i style="font-weight: bold;">This Is Spinal Tap</i> shit. Down the rabbithole. Like the Alan Smithee movie of the Alan Smithee movie. <i style="font-weight: bold;">Circus Maximus </i>evokes the <i>sense</i> of desiring a movie to end.</p><p>If the film weren't without a beauty and an utter oddity I wouldn't write about it. — If it weren't Korine-related. It's a document of the Travis Scott world id and ego; Harmony read the email-chain. <b>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjktBgn8kVsl-QNBAEi-QnCnvNhVbeJI8qx01jSKHk3b-FP9tYLhhEWZFXs6T_VKiY3K9Vi1XLDNdHuygPHy_hckNbzN882zJ133QZRFuAPMtJK0AQUGX2h_kkIIM4iJ-lTHwQYl9gvWgVl1ACFXBGct5OYdU0mEP3uCNNew1GZGz1UdkfMOw0/s1514/Korine_CM02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="764" data-original-width="1514" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjktBgn8kVsl-QNBAEi-QnCnvNhVbeJI8qx01jSKHk3b-FP9tYLhhEWZFXs6T_VKiY3K9Vi1XLDNdHuygPHy_hckNbzN882zJ133QZRFuAPMtJK0AQUGX2h_kkIIM4iJ-lTHwQYl9gvWgVl1ACFXBGct5OYdU0mEP3uCNNew1GZGz1UdkfMOw0/s320/Korine_CM02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtsQ_PbyEXeh6g5Zm8lJIYcqKvNc9ZhOBfPETwTULs26_PvEyx5OGyPOkGkH_MFH1ZY9Tx0VLOBsFNHQeeYBnyqWjA6TMXU7p8BA7T58pIOTxnsW1TtSQVjfdOq3-c68ngmFHhWKNNqcTqpII_jYgewQdywUDCDeNwUymL1Yf8oO87AALVKyM/s1639/Korine_CM03.jpg" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="609" data-original-width="1629" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4qdoGqawVYvlUqMJWZJhoM0BYe1GOzAOq3lmKvVb0SNTNmUEuD0TjbiiKxOtnSRhbJd4Y239vjYiJnFhsB1zoT5tq7lrXqWhiQiY2zSc0huDp4kFlt3WxR65Dpk6KxMfJgVptK_b9b377WRBiVBghCc1UlO4nLdjBYGmu3OY9JdShJpXgao/s320/Korine_CM06.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUiQ2I9j_t5YrIh2XlnkUrqmCE5xHsd9WcOPibUFV_GugS9YmWGe7KfKIyMreDXfCY1aNxMYyWnik7YJfpd8fLB6i_ue8xAfp-_HBIBgVNmgByLfIfTGLnDiVzvinedWPOP9t_L4ru_KDjsdDhEe7R3-naG7oSXwuRf0-k3hwM3LZCEUy1YJc/s1534/Korine_CM07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="1534" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUiQ2I9j_t5YrIh2XlnkUrqmCE5xHsd9WcOPibUFV_GugS9YmWGe7KfKIyMreDXfCY1aNxMYyWnik7YJfpd8fLB6i_ue8xAfp-_HBIBgVNmgByLfIfTGLnDiVzvinedWPOP9t_L4ru_KDjsdDhEe7R3-naG7oSXwuRf0-k3hwM3LZCEUy1YJc/s320/Korine_CM07.jpg" width="320" /></a></div><div><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Other writing at <i style="font-weight: bold;">Cinemasparagus</i> on <b>Harmony Korine</b>:</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b><i><a href="http://cinemasparagus.blogspot.com/2023/09/spring-breakers.html">Spring Breakers</a></i></b> [2012]</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><i style="font-weight: bold;"><a href="http://cinemasparagus.blogspot.com/2023/10/the-beach-bum.html">The Beach Bum</a> </i>[2019]</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b><i><a href="http://cinemasparagus.blogspot.com/2023/10/circus-maximus.html">Circus Maximus</a></i></b> [Harmony Korine, et al, 2023]</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><div><br /></div><p><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-73620606914975028522023-10-27T13:57:00.007-04:002023-10-27T16:02:14.359-04:00Invaders from Venus!<p style="text-align: center;"><b><i>Origin Story</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9u4suiBDIyChdVXHGkVzfQI2aJzsoiNGtsjbT6-yaarRc6xkAcZ03ypq0gTZ1-dHHqErqyNLa2JMsrk6IPG5FMhFh4oTGDRwE4CRPKimDeT0sQYMtKEs06zltU9XxWT-x0S-5AGxLuvsVuRS3QsFzmQ_Ih_C9Z_I6PTA5unwTRLCkNABUl54/s2362/Mosley_IfV01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="2362" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9u4suiBDIyChdVXHGkVzfQI2aJzsoiNGtsjbT6-yaarRc6xkAcZ03ypq0gTZ1-dHHqErqyNLa2JMsrk6IPG5FMhFh4oTGDRwE4CRPKimDeT0sQYMtKEs06zltU9XxWT-x0S-5AGxLuvsVuRS3QsFzmQ_Ih_C9Z_I6PTA5unwTRLCkNABUl54/s320/Mosley_IfV01.jpg" width="320" /></a></div><p>Frank Mosley's 1997-through-to-2003 high-school era "backyard movie" <i style="font-weight: bold;">Invaders from Venus!</i> is really something to behold. It's one of those video films when we were a particular type of younger, made around the same era, but to which we never had access to digital editing software — we had to cut in camera. Frank is a couple years earlier in age than me, I think, and he had access to the tools that didn't quite exist around '97, which makes <i style="font-weight: bold;">Invaders from Venus!</i> all the more impressive because aside from the early existence of 'non-linear' software, he knew how to put a sequence together. No offense to compare to Dave Skowronski's outsider <i style="font-weight: bold;">Halloween Party </i>(which I wrote about a few days before this post), but Mosley's 'amateur' effort surpasses <i style="font-weight: bold;">HP</i> in all degrees; his natural cinema instincts at such an early age are truly impressive. From shot continuity and overlap of audio across cuts — and a progressive zoom-in on the aliens' human captive during his monologue, <i style="font-weight: bold;">Invaders</i> is if anything else a document of an era, which for a certain demographic, might remind an audience of its very self. Kids play sheriff (the little girl in the role is always looking for more drops from her essentially empty booze bottle); one plays the goddamn President of the United States.</p><p>It even sports one of the funniest lines I've heard in any movie I've seen, in the final act, as the Texas-based hero breathes a sigh of relief after the invaders have supposedly been eradicated: <i>"I feel really bad that Oklahoma and Arkansas didn't get obliterated." </i></p><p>Frank is one of the best actors and filmmakers going right now. <i style="font-weight: bold;">Invaders from Venus! </i>stands as the evidence that the kid's got talent. You can watch the film <b><a href="https://www.splittoothmedia.com/invaders-from-venus-frank-mosley/">here</a></b> through Split Tooth Media. </p><p>As if that weren't enough, Frank holds his equal own to the generational talent Lily Gladstone in 2020's <i style="font-weight: bold;">Freeland </i>by Mario Fuloni and Kate McLean, available to view currently on MUBI. <b>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZN0pHnI0WwJBI1hPKMMYXMrB0f1muftOo6i78s5mtXyapETqmu7Nzoo53CkNBOoh-Lb4tMUkxWsBZmpmBPYasjKuSpyaz5y1VrDgBX5-d_ecYHmau5_RxZuKjPOKNn9pDajkuceMMUyWEjZsju8NOGDd6McP_mwPiAPDp2zZdsFEF-K2o2DY/s2395/Mosley_IfV02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1800" data-original-width="2395" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZN0pHnI0WwJBI1hPKMMYXMrB0f1muftOo6i78s5mtXyapETqmu7Nzoo53CkNBOoh-Lb4tMUkxWsBZmpmBPYasjKuSpyaz5y1VrDgBX5-d_ecYHmau5_RxZuKjPOKNn9pDajkuceMMUyWEjZsju8NOGDd6McP_mwPiAPDp2zZdsFEF-K2o2DY/s320/Mosley_IfV02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="1515" data-original-width="2473" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitu6OcnCIZFQYxJJx9mFRx4l9CXXRt7BiAQ7ddiuGDZ9z4RwcRAgHOh8L9Wa95LAwKPS9YbP-WGVFj6-5hZCImxC8P4WTCZZ9s5JYcmktsRdSWPddJ1hCa2ExTXRqG4XiXZk-JQLS7tdwb3yNFhaKNikdcaNspi1EZ54qz0Wa1utg8iUb7B1U/s320/Mosley_IfV16.jpg" width="320" /></a></div><br /><p style="text-align: center;">===</p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-65802977293620874842023-10-18T18:08:00.005-04:002023-10-18T18:21:44.360-04:00Halloween Party<p style="text-align: center;"><b><i>For the Love of Amateurs</i></b></p><p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIWRn7Yumjg0a8GQ9N-JhZhRhNYjqHsh8CmAgMxESB86BmSOmKd4VLAdzefBJsnBxqcrOHmBUGXslvVLPTOk98hsNiWDEkYWsBmz7eHKDy4D-PZ4tfaT1byeoAtjvsNtMJ-lyhyphenhyphen-Z755hdKP2fg4zPe84vwpGvFoJaTBcIb8VHBL0csAkEYY0/s2466/Skowronski_HP01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1849" data-original-width="2466" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIWRn7Yumjg0a8GQ9N-JhZhRhNYjqHsh8CmAgMxESB86BmSOmKd4VLAdzefBJsnBxqcrOHmBUGXslvVLPTOk98hsNiWDEkYWsBmz7eHKDy4D-PZ4tfaT1byeoAtjvsNtMJ-lyhyphenhyphen-Z755hdKP2fg4zPe84vwpGvFoJaTBcIb8VHBL0csAkEYY0/s320/Skowronski_HP01.jpg" width="320" /></a></b></div><p></p><p>Split Tooth Media have highlighted a 38-minute 1989 film from Dave Skowronski. (You can watch it <b><a href="https://www.youtube.com/watch?v=8EAoXP678I8">here</a></b>.) It's a high-school era camcorder movie about a slasher who emerges from Connecticut graveyard sod and slaughters a bunch of teens during a Halloween night get-together. The high-school movie experiments! The cast of girls who responded "Okay!" to the offer "Do you want to be in my movie?"!</p><p>Halloween Party is very much an artifact, and touches me seeing the period and setting I was contemporary with.</p><p>Present-day teen-made films are all over YouTube these days, but instead of having been rocked with an Amiga, they're made in iMovie with the kids typing titles in Impact, upon which they throw on a glow. <b>•</b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBp8dsOXzEbFaN21pRIP70hAWq_eXYXClFsXTNM9KiX0BQwLhHIuq7HOFAQCUmMTUgd_4c9UrWsmWmUqv_BOM6XEp15MacSHydgtiHAVJvlYpy6pdliPqMm1s2Efag0w2scrV7wOYNEWxWOXCHrQ6dcA1jtu6PbSzDPXAmMg3C5BuHS9Rel18/s1323/Skowronski_HP02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="980" data-original-width="1323" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBp8dsOXzEbFaN21pRIP70hAWq_eXYXClFsXTNM9KiX0BQwLhHIuq7HOFAQCUmMTUgd_4c9UrWsmWmUqv_BOM6XEp15MacSHydgtiHAVJvlYpy6pdliPqMm1s2Efag0w2scrV7wOYNEWxWOXCHrQ6dcA1jtu6PbSzDPXAmMg3C5BuHS9Rel18/s320/Skowronski_HP02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><br /><b><br /></b><p></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-66457936485391512882023-10-17T15:44:00.005-04:002023-10-17T16:02:07.691-04:00Pier Paolo Pasolini - Agnès Varda - New York - 1967<p style="text-align: center;"><b><i>From the rue Daguerre to Show World</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHEKzS7_XGsTldBwZT1aDi8BL402Zbs7wMsmRJ_iJcTCLusGF4ntUD6MIs5pL-u9zgxKsjQ9q_Q6BsEgmB3K3uvvhbb8P18HdZaLxMmTfsl2Ff1qM16aDeHJ9fFvDIF0gxs0ZY5ewb8Rydn7qrtfxqZjJ6sWSKqdXQgkb7hOw_0Av_qoDHKJ8/s2414/Varda_Pasolini01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1664" data-original-width="2414" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHEKzS7_XGsTldBwZT1aDi8BL402Zbs7wMsmRJ_iJcTCLusGF4ntUD6MIs5pL-u9zgxKsjQ9q_Q6BsEgmB3K3uvvhbb8P18HdZaLxMmTfsl2Ff1qM16aDeHJ9fFvDIF0gxs0ZY5ewb8Rydn7qrtfxqZjJ6sWSKqdXQgkb7hOw_0Av_qoDHKJ8/s320/Varda_Pasolini01.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-eU1o8q1KcRZz-EF1SX9W2F9e0h6jaYjDjiaR7IIfJlVYOmx7Ip-riocoPgK6_MaveZeZG4eySRZedkwp-MhUqbowwt-CrcaBJ3ZlkckQEbyPkH5ohXbuvcn9PlPMpUwqt9GXyRtNp5KW4jXQG-NzduWtrR4pmzyDx4I-ZBqKZUcIMYYPJc/s2220/Varda_Pasolini04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1610" data-original-width="2220" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl-eU1o8q1KcRZz-EF1SX9W2F9e0h6jaYjDjiaR7IIfJlVYOmx7Ip-riocoPgK6_MaveZeZG4eySRZedkwp-MhUqbowwt-CrcaBJ3ZlkckQEbyPkH5ohXbuvcn9PlPMpUwqt9GXyRtNp5KW4jXQG-NzduWtrR4pmzyDx4I-ZBqKZUcIMYYPJc/s320/Varda_Pasolini04.jpg" width="320" /></a></div><p>Pier Paolo Pasolini alights around Times Square, immediately struck by the poverty of Manhattan — and this before the 2020s — all things relative. The film is assembled from the newly discovered, in 2021 (hence the non-inclusion in Criterion's <i style="font-weight: bold;">The Complete Agnès Varda</i> set), handheld footage that Varda shot in 1967 during a stopover in New York by the Italian filmmaker and poet. "He calls this poverty? I've seen the arid lots of <b><i>Accattone</i></b> and <b><i>Mamma Roma</i></b>," some American viewers might once have bristled. A Middle Easterner looked at us clearly during the catastrophic response to Hurricane Katrina, and sees us again with the housing displacement and tent cities of the modern age and remarks, How sad they live, in the greatest nation on earth.</p><p>The aptly titled <i style="font-weight: bold;">Pier Paolo Pasolini - Agnès Varda - New York - 1967</i> considers the era and world of Colson Whitehead's trilogy-in-progress of novels (the first two parts being the recent <b><i>Harlem Shuffle</i></b> and <b><i>Crook Manifesto</i></b>) and shuttles the arrivals at relief. Pasolini's got a return ticket in his pocket. <b>•</b></p><p style="text-align: center;">===</p><p>The film is available to watch <b><a href="https://www.cinematheque.fr/henri/film/154644-pier-paolo-pasolini-agnes-varda-new-york-1967-agnes-varda-1967/?fbclid=IwAR3qjQP5mxDNhKUu8tzciAoC5aGtWkGMf0Imf9DroKmTfHLAAsQ4fUG94Fg">here</a></b>, with English subtitles, at the Cinémathèque Française's essential streaming platform Henri, where it premiered and, at present, resides exclusively from late-2023. An accompanying note by Agnès's daughter Rosalie Varda reads (my translation now, from the French) —</p><p style="text-align: center;">===</p><p>During the pandemic, we were cleaning things up at the little family enterprise Ciné-Tamaris. In the cellar of the office we found boxes of celluloid, of 35mm, of 16mm, of reels of Super 8. There were two boxes of 16mm rather enigmatically labeled: "<i>PASOLINI NEW YORK.</i>" When I opened it up, I found two double-track reels of 16mm. Unspooling this film, I come across Pasolini's face.</p><p>Obviously this is a huge surprise! Agnès always used to say, "Oh là là, there's still some tidying to be done! You'll get around to it later." So it got taken care of: the reels were immediately sent to the Éclair Classics / Immagine Ritrovata lab, place de Clichy, and, to the surprise of all, we discovered that Agnès had done some filming in New York with a 16mm camera.</p><p>The second surprise was that actually Agnès had edited the images an audio interview that she made later with Pasolini. We carried out the investigation. Pasolini and Agnès were together in 1966 at the New York Film Festival. They already knew one another. Why didn't she complete the editing of this interview? The mystery shall remain intact.</p><p>What's extraordinary about this little treasure is that Agnès, always full of force, poses simple and precise questions, and that Pasolini who is nevertheless very complicated, responds to her questions just as simply. It's what makes the originality of this work: two friends in discussion. <i>— Rosalie Varda</i> <b>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKe-0h5bPJfGFqPa7kUIqyjXbVkQTPxWuIRb2JtPSNW68dNw8chkEgk6bjztzXHHpbZV4alY6An_BhpoIJHd8H1reHQalXq8hh_EBJAQrQbVcrF67ZJOipefkLjsm5E_iPkXG5R1muNx6_ACxGLJcvxMcKU2m6yBEhCqMYOLjwXhGeVWU6g0g/s2208/Varda_Pasolini02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1595" data-original-width="2208" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKe-0h5bPJfGFqPa7kUIqyjXbVkQTPxWuIRb2JtPSNW68dNw8chkEgk6bjztzXHHpbZV4alY6An_BhpoIJHd8H1reHQalXq8hh_EBJAQrQbVcrF67ZJOipefkLjsm5E_iPkXG5R1muNx6_ACxGLJcvxMcKU2m6yBEhCqMYOLjwXhGeVWU6g0g/s320/Varda_Pasolini02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyOdwdlcjXBEOFQutY-r18U2I90Q0NVrKo0cjwew6lqDouGJWnQ77tZIanmJIjSWVcf6AxipRWfea8QkkufNtJqpPGlDEsm03IryAbwJTke3a915eC0Sf3PcaNXMrqeMOo4je17aTVIBccl9sZwpp-dVEnP4ebiTnnBqQXnn5kCmOb5NcoPCc/s2217/Varda_Pasolini03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1608" data-original-width="2217" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyOdwdlcjXBEOFQutY-r18U2I90Q0NVrKo0cjwew6lqDouGJWnQ77tZIanmJIjSWVcf6AxipRWfea8QkkufNtJqpPGlDEsm03IryAbwJTke3a915eC0Sf3PcaNXMrqeMOo4je17aTVIBccl9sZwpp-dVEnP4ebiTnnBqQXnn5kCmOb5NcoPCc/s320/Varda_Pasolini03.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj92dJUu4_fVdKbDeb5XdkpBZvj5tek2xYjSMeA5xh5Fy7ihR2cH_xyAKP-cSDM_jqljPU0p_yBFBD2nzSNLG_Jo2eMpAONBMY15QRKNSGE7WsfRB6pq7B8OjgO0SgZODM4Grw0eWci7WQ-ohMNiRsE-x3sVT2raqkhivg8dK31ANvxGFNA72c/s2215/Varda_Pasolini05.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1548" data-original-width="2215" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj92dJUu4_fVdKbDeb5XdkpBZvj5tek2xYjSMeA5xh5Fy7ihR2cH_xyAKP-cSDM_jqljPU0p_yBFBD2nzSNLG_Jo2eMpAONBMY15QRKNSGE7WsfRB6pq7B8OjgO0SgZODM4Grw0eWci7WQ-ohMNiRsE-x3sVT2raqkhivg8dK31ANvxGFNA72c/s320/Varda_Pasolini05.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7fNkMCjSC9bsPHoPsG72MA-kb4meZak0x_SIhbkRNm_idey12oEicT4UGGFNGIamhqczVAkY6HfxzNNkkmADAXLIBpDIsSKDd4ro9mfrhnS02V3jWoXVIS0cSMCx-5y8sLWWO8uANQdUf08I2oXRF-eCOI1J5YXXqd5jYmE3-1skCghpTK_c/s2201/Varda_Pasolini06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1574" data-original-width="2201" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7fNkMCjSC9bsPHoPsG72MA-kb4meZak0x_SIhbkRNm_idey12oEicT4UGGFNGIamhqczVAkY6HfxzNNkkmADAXLIBpDIsSKDd4ro9mfrhnS02V3jWoXVIS0cSMCx-5y8sLWWO8uANQdUf08I2oXRF-eCOI1J5YXXqd5jYmE3-1skCghpTK_c/s320/Varda_Pasolini06.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhMZRFBZBQfySPSl8id1TO_bhVXg-3gRV1J9ysCjD7CMMsPi14vSfLEB760ocGO9-HghRW50TZ9rfZp2pzunQnfgAnM26ca-ujwBTtEjUbVMBKsRWnti0s3Stjfv_U6fC7IihzptPBUFPqYOYRH_g_1_vofl6EO8I1b-jlYFomk5awRjtb0Y/s2214/Varda_Pasolini07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1547" data-original-width="2214" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYhMZRFBZBQfySPSl8id1TO_bhVXg-3gRV1J9ysCjD7CMMsPi14vSfLEB760ocGO9-HghRW50TZ9rfZp2pzunQnfgAnM26ca-ujwBTtEjUbVMBKsRWnti0s3Stjfv_U6fC7IihzptPBUFPqYOYRH_g_1_vofl6EO8I1b-jlYFomk5awRjtb0Y/s320/Varda_Pasolini07.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ97gMF39c15xgMfo9kNXyVh9_hpyptyGSwCyVsNKKMVyIcuFE5xeWWvxSL2ZzQqZJqe_7YmcBnUxGJV612hSTIag8XDTTgELNyqcsgGzrHMATsPKZMNP4mWQTRVg1Zr8zDYnzHWwlxpoqO3M6T3v_x3wRcUmgnhZtfPp6GJF1t0KEySS5SJo/s2208/Varda_Pasolini08.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1571" data-original-width="2208" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ97gMF39c15xgMfo9kNXyVh9_hpyptyGSwCyVsNKKMVyIcuFE5xeWWvxSL2ZzQqZJqe_7YmcBnUxGJV612hSTIag8XDTTgELNyqcsgGzrHMATsPKZMNP4mWQTRVg1Zr8zDYnzHWwlxpoqO3M6T3v_x3wRcUmgnhZtfPp6GJF1t0KEySS5SJo/s320/Varda_Pasolini08.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcXkgVXBuWu0pVtsfJUg45W6ujSx9eSfcPxXBkoTtaocH8-L8_QJnQ9OSY3n3BAXUmG12KUPP8am2DvoUrjxjCVFHjjeoU1snuH7ndZJGI_Oc91Es5O5o3rZo13MSgO80mDdcW8QcGX5y717lACNLAN2hMLSCIVDCC-NoO5k1CLmcpy2LQPY/s2066/Varda_Pasolini09.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1253" data-original-width="2066" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcXkgVXBuWu0pVtsfJUg45W6ujSx9eSfcPxXBkoTtaocH8-L8_QJnQ9OSY3n3BAXUmG12KUPP8am2DvoUrjxjCVFHjjeoU1snuH7ndZJGI_Oc91Es5O5o3rZo13MSgO80mDdcW8QcGX5y717lACNLAN2hMLSCIVDCC-NoO5k1CLmcpy2LQPY/s320/Varda_Pasolini09.jpg" width="320" /></a></div><p style="text-align: center;">===</p><p style="text-align: center;">Other writing on <b>Agnès Varda</b> at <b>Cinemasparagus</b>:</p><p style="text-align: center;"><br /><a href="https://cinemasparagus.blogspot.com/2020/08/la-pointe-courte.html"><b>La Pointe-Courte</b> [1955]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/08/o-saisons-o-chateaux.html"><b>Ô saisons ô châteaux</b> [<b>O Seasons, O Châteaux</b>, 1957]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/08/lopera-mouffe.html"><b>L'Opéra-Mouffe, carnet de notes filmées rue Mouffetard par une femme enceinte en 1958</b> [<b>The Opéra-Mouffe: Diary Filmed on the rue Mouffetard in Paris by a Pregnant Woman in 1958</b>, 1958]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/09/du-cote-de-la-cote.html"><b>Du côté de la Côte</b> [<b>Around the Côte</b>, 1958]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/12/the-fiances-of-pont-mac-donald-or.html"><b>Les fiancés du pont Mac Donald, ou (Méfiez-vous des lunettes noires)</b> [<b>The Fiancés of the Pont Mac Donald, or: (Beware of Dark Glasses)</b>, 1961]</a><br /><br /><a href="https://cinemasparagus.blogspot.com/2020/12/cleo-from-5-to-7.html"><b>Cléo de 5 à 7</b> [<b>Cléo from 5 to 7</b>, 1962]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/01/le-bonheur.html"><b>Le bonheur</b> [<b>Happiness</b>, 1964]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/02/elsa-la-rose.html"><b>Elsa la Rose</b> [<b>Elsa the Rose</b>, 1966]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/03/les-creatures.html"><b>Les créatures</b> [<b>The Creatures</b>, 1966]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2023/10/pier-paolo-pasolini-agnes-varda-new.html"><b>Pier Paolo Pasolini - Agnès Varda - New York - 1967 </b>[1967, posthumous release 2023]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/03/uncle-yanco.html"><b>Uncle Yanco</b> [1967]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/04/black-panthers.html"><b>Black Panthers</b> [1968]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/04/lions-love-and-lies-lions-love.html"><b>Lions Love... and Lies / Lions Love</b> [1969]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/07/nausicaa.html"><b>Nausicaa</b> [1970]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/08/reponse-de-femmes.html"><b style="text-align: left;">Réponse de femmes à une question produite par Antenne 2 pour le magazine 'F. comme Femme'</b><span style="text-align: left;"> [</span><span style="text-align: left;"><b>Women's Response to a Question Put Forth by Antenne 2 for the Magazine-Show 'F. comme Femme'</b></span><span style="text-align: left;">, 1975]</span></a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2021/08/daguerreotypes.html"><b>Daguerréotypes</b> [1976]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/06/plaisir-damour-en-iran.html"><b>Plaisir d'amour en Iran [Giddiness of Love in Iran]</b> [1976]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/07/the-one-sings-other-doesnt.html"><b>L'une chante l'autre pas</b> [<b>The One Sings the Other Doesn't</b>] [1977]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/11/mur-murs.html"><b>Mur murs </b>[1980]</a></p><p style="text-align: center;"><a href="http://cinemasparagus.blogspot.com/2022/11/documenteur-emotion-picture.html"><b>Documenteur: An Emotion Picture </b>[1981]</a></p><p style="text-align: center;">===</p><div><br /></div>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-76677143289303024102023-10-15T18:31:00.003-04:002023-10-30T23:21:47.905-04:00The Beach Bum<p style="text-align: center;"><b><i>Key West (Philosopher Poet)</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_26fYOtNalg8RYfcda8KsNUnaHU2PKtlUhPEOA40K8HCFGj1eD3Euv2HnNVGzpspP6JabnaMxYvMAith8zxFF4t2ORlXvlTuxjxbwfIrEnY5ND4JotpABmzwT3DdMc1vZzL903eVyIUc-7-JBE3w-NBlFn-gWpgrHsdZRRnobwEukKFk1INU/s1024/Korine_TBB_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="539" data-original-width="1024" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_26fYOtNalg8RYfcda8KsNUnaHU2PKtlUhPEOA40K8HCFGj1eD3Euv2HnNVGzpspP6JabnaMxYvMAith8zxFF4t2ORlXvlTuxjxbwfIrEnY5ND4JotpABmzwT3DdMc1vZzL903eVyIUc-7-JBE3w-NBlFn-gWpgrHsdZRRnobwEukKFk1INU/s320/Korine_TBB_01.jpg" width="320" /></a></div><p>Like with muscle memory carrying over to button-functions on a controller when you go one sequel deep — let's say, <b><i>Zelda: Breath of the Wild</i></b> to <b><i>Zelda: Tears of the Kingdom</i></b> — it's best to check in on Korine's <b><i>The Beach Bum</i></b> [2019] following the aesthetic lessons of <b><i>Spring Breakers</i></b>. HK understands that a movie — especially one called <i style="font-weight: bold;">The Beach Bum</i> — generally never lives up to the title-activated expectations. Korine also understands, as he's frequently noted in recent interviews around <i style="font-weight: bold;">Aggro Dr1ft</i>, that a movie doesn't need a plot <i>per se</i>, rather it requires a vibe, something you put on in the background on repeat, like with <i style="font-weight: bold;">Belly</i>, <i style="font-weight: bold;">Heat</i>, or <i style="font-weight: bold;">Miami Vice</i>. Cuts back up in a completely different location for the counter-counter-shot; take, for example, Moondog (Matthew McConaughey at his best) on the phone with his wife Minnie (Isla Fisher), one sequence among a dozen that go on long, a continuous conversation played over a Key West-multiverse, just so you can zone into the atmosphere enhanced by John Debney's (<i style="font-weight: bold;">The Passion of the Christ</i>, <i style="font-weight: bold;">Spy Kids</i>) Jon Brion'y score. </p><p><i style="font-weight: bold;">The Beach Bum</i> taps into a dramaturgic ideal of mine, which is to say, aside from 'dangerous threats' and <i>setups</i> for conflict, there's really no drama, no end boss. Just a guy in a wheelchair getting knocked out and robbed by Flicker (Zac Efron) and Moondog. To quote a different number from the modern Dylan canon: <i>"It's all good."</i> (I'm consistently dazzled by the <b>"Is That All There Is"</b> and <b>"Sundown" </b>tracts.)</p><p>The end finds Moondog on a barge with his newly acquired cash set aflame, blanketing the gathered crowds — key image of the current American cinema, and a lit-year away from the climaxes of <i style="font-weight: bold;">The Treasure of the Sierra Madre</i> and <i style="font-weight: bold;">The Killing</i>.</p><p>Moondog's making that index-finger gesture again, like: "Hold on now..." — Here's a pair of his poems from the collection <i style="font-weight: bold;">Key Zest</i>:</p><p style="text-align: center;">"There she is. She has great shapes</p><p style="text-align: center;">And her cargo is $46 million."</p><p style="text-align: center;">and:</p><p style="text-align: center;">"You know what I want to do?</p><p style="text-align: center;">I want to have a big fucking fireworks show.</p><p style="text-align: center;">Invite all my friends from the Keys.</p><p style="text-align: center;">None of that sparkler bullshit</p><p style="text-align: center;">that impresses lesbians, pregnant women,</p><p style="text-align: center;">and babies. No, no. Let us Valhalla</p><p style="text-align: center;">this motherfucker.</p><p style="text-align: center;">You know what I mean?</p><p style="text-align: center;"><br /></p><p style="text-align: center;">Raise the dead!" <b>•</b></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmL6BzNtCgRJAtSjxeG_g4wayjDcPhBl3QGtqv4rje8ABkUXexumI8Rn75haS0IL-6dkuy2waSXC3Ggn_lMLAxEIW4l8l0BZO2J43QmYSofymz_cuLOGCGIfBtZyLSUyRejjC9ykLMUiUoq-OQnIXqw4pd869rVMt-EZghGGYQMKSQqju62uE/s1002/Korine_TBB_02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="375" data-original-width="1002" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmL6BzNtCgRJAtSjxeG_g4wayjDcPhBl3QGtqv4rje8ABkUXexumI8Rn75haS0IL-6dkuy2waSXC3Ggn_lMLAxEIW4l8l0BZO2J43QmYSofymz_cuLOGCGIfBtZyLSUyRejjC9ykLMUiUoq-OQnIXqw4pd869rVMt-EZghGGYQMKSQqju62uE/s320/Korine_TBB_02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ_LJO9m8qihVYYr-2oVfxXv6IA6BaZYmsaKpPNVAwr7V3BboqF8jYzs0xu0bL3BbduurRgSNj_KYHBb67b1zoqFwLUIJhyWoow9Fwl_Djlj-RpEG8pRpHl-B2ZMIupUhvcNxePi8qeRs0bq25ptEx2UTb1xXCqtY1Aztro0XD4063G9a_944/s499/Korine_TBB_37.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="184" data-original-width="499" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ_LJO9m8qihVYYr-2oVfxXv6IA6BaZYmsaKpPNVAwr7V3BboqF8jYzs0xu0bL3BbduurRgSNj_KYHBb67b1zoqFwLUIJhyWoow9Fwl_Djlj-RpEG8pRpHl-B2ZMIupUhvcNxePi8qeRs0bq25ptEx2UTb1xXCqtY1Aztro0XD4063G9a_944/s320/Korine_TBB_37.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Other writing at <i style="font-weight: bold;">Cinemasparagus</i> on <b>Harmony Korine</b>:</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><b><i><a href="http://cinemasparagus.blogspot.com/2023/09/spring-breakers.html">Spring Breakers</a></i></b> [2012]</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><i style="font-weight: bold;"><a href="http://cinemasparagus.blogspot.com/2023/10/the-beach-bum.html">The Beach Bum</a> </i>[2019]</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><br /><b><br /></b><p></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-22550746413039185942023-10-04T19:31:00.004-04:002023-10-04T19:41:54.543-04:00Pedro Costa in Bucharest + Rinaldo Censi<p style="text-align: center;"><b>Mystique</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpjB1y26f7kuLiyow98uXt-a6hDpnjggL094wXLn5zx-HhpZM0SjKQH1JL1z7Y8K_zLOkrUSJKmTw3lq9b1Jn5ROniEqWSuZ_r_d8SznA_ji-A9m3tKlEG7I44qrA3M-zTQuS_oCnUBfqhEpiylZyJlKNWr9XpvBB-3W1STObvBXGT-Q75SSg/s2048/films_in_frame_pedro_costa-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpjB1y26f7kuLiyow98uXt-a6hDpnjggL094wXLn5zx-HhpZM0SjKQH1JL1z7Y8K_zLOkrUSJKmTw3lq9b1Jn5ROniEqWSuZ_r_d8SznA_ji-A9m3tKlEG7I44qrA3M-zTQuS_oCnUBfqhEpiylZyJlKNWr9XpvBB-3W1STObvBXGT-Q75SSg/s320/films_in_frame_pedro_costa-2.jpg" width="320" /></a></div><p>Exceptional medium-length interview with Pedro Costa conducted during his stint in Bucharest which is presenting his complete body of work. In conversation with Ionut Mares (I can't recreate the accent marks, I apologize). You can read it <b><a href="https://www.filmsinframe.com/en/interviews/pedro-costa-interview/">here</a> </b>at <i>Films in Frame</i>.</p><p>I'd also like to draw attention to Andy Rector and Tag Gallagher's English translation of Rinaldo Censi's Italian text about Pedro's 2023 short <b><i>As filhas do Fogo</i></b> [<b><i>The Daughters of Fogo</i></b> / <b><i>The Daughters of Fire</i></b>], which you can read at Andy's blog <b><a href="https://kinoslang.blogspot.com">here</a></b>. Excellent work.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdf9BqZiZWMWWB88-bSjsnZ2t4UBPx2rgAZUveZ_hvF-c_hiqfzqrdGvyd_zLc4275RR5qalo0yJSganxpvBAsJ5HbcPi10ntTTpH1U_OHfI57ztM6_rBigaKvHABndqXdzKSLOBS5JxcaKEi5QWG8C5t23ueUFLyqohWzvhfen0gTYkvRSFU/s918/films_in_frame_pedro_costa_kinoslang.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="774" data-original-width="918" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdf9BqZiZWMWWB88-bSjsnZ2t4UBPx2rgAZUveZ_hvF-c_hiqfzqrdGvyd_zLc4275RR5qalo0yJSganxpvBAsJ5HbcPi10ntTTpH1U_OHfI57ztM6_rBigaKvHABndqXdzKSLOBS5JxcaKEi5QWG8C5t23ueUFLyqohWzvhfen0gTYkvRSFU/s320/films_in_frame_pedro_costa_kinoslang.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">===</div><br /><p><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-86143327448292395552023-09-28T22:56:00.027-04:002023-09-29T18:04:46.079-04:00The Deflowering of Ariella Von<p style="text-align: center;"><b><i>piece I wrote originally published in the </i>NoBudge Newsletter<i>, 2013:</i></b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_sI3ttuG9Erh_7rqdI-bDGJSF-kQYPfNW61CePTQI8FxZErrduWL1gGh-tH3xTZ8DUcXSZ4_kU6Ok-QpQPnJeoO304KtCl-zsihJ-Zvgyhr7rfGIA12xbTOmrqPbSg7GUHYo1JXygjOceat5B9kz7H5PiHOGTV_IXVsOp8PIhADEhSGHSMo/s1552/Ariella_Von_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1552" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_sI3ttuG9Erh_7rqdI-bDGJSF-kQYPfNW61CePTQI8FxZErrduWL1gGh-tH3xTZ8DUcXSZ4_kU6Ok-QpQPnJeoO304KtCl-zsihJ-Zvgyhr7rfGIA12xbTOmrqPbSg7GUHYo1JXygjOceat5B9kz7H5PiHOGTV_IXVsOp8PIhADEhSGHSMo/s320/Ariella_Von_1.jpg" width="320" /></a></div><p></p><p><span style="color: #f3f3f3;"><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">Slashed through with punk-45-sleeve hues,</span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"> </span><i style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"><b>The Deflowering of Ariella Von</b></i><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"> [Marianna Ellenberg and David Louis Zuckerman] </span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">represents a new</span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"> </span><i style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"><b>Breakfast Club</b></i><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">, that is, a similar odyssey-of-inertia, now taking place in New York’s upper sides, A and B, with its avatar this</span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"> </span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">Ariella</span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"> </span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">Von. In the sense that she doesn’t slum-it, she attains status as a cultured persona, an artist / creative, —</span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;"> </span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">Ariella</span><span style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; letter-spacing: 0px;">’s as sham an aristocrat as Erich and Josef Von or Ludwig Van. And she, too, is an anachronism, miring herself in the retro style mash-up that makes new again the sartorial vocabulary of an older New York or, not so new again, a postmodern idiom. </span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; margin: 0px;"><span style="color: #f3f3f3;"><span style="letter-spacing: 0px;">The film begins with a call to arms by way of The Mo-Dettes’ classic “White Mice,” which I first ever heard on WFMU’s Evan “Funk” Davies Show and always wanted to use for a film of my own — so eternal jealousy/ingratitude to Ellenberg and Zuckerman, alongside pleasure and cheer for this world they have chosen to depict for young Ariella — it’s a Jewish Hogwarts wherein our heroine early-on has to fend off the two JAPpy heads of a veritable anti-AV club. <i>“Am I a </i></span><span style="letter-spacing: 0px; text-decoration: underline;">woman</span><span style="letter-spacing: 0px;"><i>?”</i> ponders Ariella in the opening scene, and then you have her mother, the archetypal Jewish girl’s-best-friend / incessant nag who raises a <i>l’chaim</i>-with-qualifications at the delayed onset of Ariella’s period dribbling down her legs — <i>Harriet Potter and the Sacrificial Calves</i>.</span></span></p><p style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; margin: 0px; min-height: 13px;"><span style="color: #f3f3f3;"><span style="letter-spacing: 0px;"></span><br /></span></p><p style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; margin: 0px;"><span style="color: #f3f3f3; letter-spacing: 0px;">Although this movie isn’t being properly released till 2014: in Ariel Kavoussi we have one of the finest performances of the past year; she is more interesting than Chiwetel Ejiofor, and this is a film at least as interesting as <i><b>12 Years a Slave</b></i> — no, much more so. Much more to say about this <i><b>Deflowering</b></i> in the future. <b>•</b></span></p><p style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; margin: 0px;"><span style="color: #f3f3f3; letter-spacing: 0px;"><br /></span></p><p style="caret-color: rgb(34, 34, 34); font-family: Verdana; font-size: 11px; margin: 0px; text-align: center;"><span style="color: #f3f3f3; letter-spacing: 0px;">===</span></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-61271310182892085852023-09-16T17:59:00.004-04:002023-09-16T17:59:24.949-04:00Spring Breakers<p style="text-align: center;"><b><i>Chicken Money</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilxF5MW-QHiMFFuUPBU8ffcodz1ce2O00h7_uGB6qb8cUUNqx4wRIf3MgpWx8vbHzOUBlpQiH5bacfhc29i_sIcH3EPHRskCATby6lpayuD9T1hG3BV6L9s8DYSpXPMuKj6sgOuiEBIxDn5j0SnOJ9lFKkJjTl7X2e99czTsjlAOxLmv152ns/s3527/Korine_SB_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1455" data-original-width="3527" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilxF5MW-QHiMFFuUPBU8ffcodz1ce2O00h7_uGB6qb8cUUNqx4wRIf3MgpWx8vbHzOUBlpQiH5bacfhc29i_sIcH3EPHRskCATby6lpayuD9T1hG3BV6L9s8DYSpXPMuKj6sgOuiEBIxDn5j0SnOJ9lFKkJjTl7X2e99czTsjlAOxLmv152ns/s320/Korine_SB_01.jpg" width="320" /></a></div><p style="text-align: center;"><b>Teleos Vision</b></p><p style="text-align: left;">I didn't intend to begin this with <i style="font-weight: bold;">Law & Order: Special Victims </i><b><i>Unit</i></b>. But you have to start somewhere, somehow, and it can be as arbitrary as anything, — I'm just selecting <b><i>SVU</i></b> as a point of 'springboard' since it happens to be on the tube...</p><p style="text-align: left;">Yet this might be natural, linking the ethos of the long-running NBC terrestrial series to Harmony Korine's tremendous 2012 <i style="font-weight: bold;">Spring Breakers</i>. I think, in my voice, American terms about <i style="font-weight: bold;">LAOSVU </i>(with one eye cast backward in time; just cuz I like calling it <i style="font-weight: bold;">Lost View of Laos</i>) because of the series' self-assured cunning, its prosecutorial mandate and bent, and its <i>"thou dost protest too much"</i> framework of rape and sex-assault and various <i>faits divers</i> ( — <i>de la une aux épisodes!</i>; the forthcoming Man Disasterson entry is certain to garner season-high ratings) — all set in a seemingly everlasting Giuliani's-New-York where essentially no-one accused truly gets off (when it does happens it's seldom). </p><p style="text-align: left;">Side-note aropos later on in the film, at the trap: A claustrophobic wheezing of heat in the garage — as with the opening sequence at spring break — the sky a pink and blue gradient such that the crowds run <i>toward</i> the clouds of 9/11, Tuesday night lights snapped to power like with Frankenstein's monster. Idea of America gone-to-seed? — one might say it happened with the atom bomb... Korine's Manhattan project seems to be through for now.</p><p style="text-align: left;">Harmony shows us a new state of the union. Metaphorically it's eschatology; literally it's Florida. </p><p style="text-align: center;"><b><i>"Hi Grandma"</i></b></p><p>Selena Gomez strides up the night sidewalk. Once her girls make the decision to hit spring break, then once well into arrival, she starts making calls to her grandmother, just checking in... A voicemail: <i>"I'm starting to feel this is the most spiritual place I've been..."</i> As a result of Harmony's reported closeness to his own grandmother, we can take note of the stuff in <i style="font-weight: bold;">Gummo </i>with the toe-BB, the Yonkers house for Herzog to sermonize in <i style="font-weight: bold;">julien donkey-boy </i><span>(filmed, I believe, in Korine's grandma's own house)</span> and so on... Grandma-memories live on a spectrum, although NPR's food show remembers only the warm aroma wafting round a cup of Earl Grey.</p><p style="text-align: center;"><b>Go On Trance with Your RX...</b></p><p>In America there's this phenomenon of the "strip-mall church." The sacred spaces have taken up residence next to nail salons and vape shops. Selena (regularly?) attends one of these satellite functions on or off campus. The 'pastor,' as one is called (because neo-Baptist-screed writes a 'fake' faith such as my friend recently articulated as that which "has no foundational texts such as the Qu'ran, the King James Bible, or the Torah," — cf. Mormonism), is played by professional wrestler Jeff Jarrett who barks psyched-up, in a quick scene that passingly recalls <b><i>julien donkey-boy</i>'s </b><i>"Black albino straight from Alabama"</i>: <i>"Krazy Kevin, you krazy for Jesus?" </i>10 minutes 55 seconds in already feels like a year — not boring, just content-packed. (What a foolish term... it's the difference between 'content' as we think of it now — see also 'creatives' — and as the actual intellectual-stuff, the grist, the mechanics, — aesthetic web.) Selena, with a character name of "Faith," escapes from one milieu to the next — college to spring break — and it's her prerogative, choosing which she finds prettier. — Prom: Trance King / Trance Queen, but he insists on Tramp King</p><p style="text-align: center;"><b>Action Figures</b></p><p><i>Sprayng brayk is on, y'all.</i> We're now well into the 'liquid narrative,' as Korine has described it ever sense the interview circuit for <i style="font-weight: bold;">Spring Breakers</i>. He was referring to the structure, the colors, which have something either to do with the 'vibe' of Florida or with color-correction on this film shot in 35mm. (A disquisition on directorship of photography and post-production should land on this blog at some point...) (Some precursors but not all of them: Wong Kar-wai, Tran Anh-hung, Hype Williams.)</p><p>They're broke, so the solution is to don ski-masks and rob the registers and customers at this local restaurant called the Chicken Shack. <i>"Just act like you're in a video game!" </i>while Nikki Minaj showers down from the soundtrack. <i>"Let's just get that fucking money and go on spring break, y'all."</i> 'You coulda been a logline...' </p><p>They pull the heist off (in a remarkable, but unflashy, tracking shot taken from the interior of the girls' car as she circles the establishment) and embark upon their journey into the post-Busch Gardens "Dark Continent"... <i style="font-weight: bold;">Spring Breakers</i> from this moment initiates Harmony's Florida tales in earnest, which span <i style="font-weight: bold;">SB</i> and go up to the new stuff, but also include his unfilmed script for <i style="font-weight: bold;">The Trap</i>...</p><p><i>"Like, we'll have this moment together forever..."</i></p><p style="text-align: center;"><b>A World of Totally Fungible Tokens</b></p><p>Long-term short-term liquid memories. Girls don't wanna have fungible tokens. (— Anachro-/anarcho-dr1ft...) Hanging in front of the liquor store singing Britney Spears' "<b>...Baby One More Time"</b>, a couple years after the starlet/pop-icon's purported 2007'ish breakdown (I prefer 'backlash') — zeitgeist and the egg, or the chicken with the wang... vino, or veritas?</p><p>The girls get hauled off to jail, where shortly after they're bailed out by Alien (James Franco), a Riff Raff stand-in, a 2012 Skrillex drop that brings back The Prodigy c. 1997 and <i style="font-weight: bold;">The Fat of the Land</i>. <i>"Who ARE you?" "I'm ALIEN, but mah name is AL. Truth be told, ah'm not from this planet y'all."</i> </p><p><i>"Looka mah SHYIT! Ah got SHORTS in every fuckin' color, ah got designer T-SHIRTS, ah got gold bullets, motherfuckin' VAMpires, ah got <b>SCARFACE on rePEAT, SCARFACE ON REPEAT</b>, constant y'all, ah got Escape, Calvin Klein Escape, mix that shit up with Calvin Klein Be... Ah smell nice, ah smell nice,... Looka mah SHYIT, looka mah SHYIT... Ah got mah byig Kool-Aid, ah got mah muthafuckin' NUMCHUCK. Ah got shuri-KEN, ah got different flavors... ah got the SAIS, I got SAIS, and BLADES... Looka mah SHYIT! This ain't nothin! Ah got ROOMSA mah SHYIT."</i></p><p>Selena experiences a small breakdown from experiencing the trap: that is, shirtless blunted Black gangstas with gold-plated fronts shooting pool. The trope of the small-town girl who gets in over her head. Why does this particular moment get to her? </p><p style="text-align: center;"><b>I Don't SEE Race — I Just Searace</b></p><p>Little Latina girl Faith sexually intimidated by Alien/Franco, and the pervasive fear of miscegenation-rape instilled in (within) Faith by the Black guys milling around in the background like — not 'extras' — but the French word <i>'figurations'</i>. As Harmony says in the audio-commentary track on the Blu-ray, <i>"The bodies would begin to look more sculptural..."</i> A long history of the role of celebration and representational critique of Black bodies runs throughout the States, the continents, — art history and (distinct from the aforementioned) the art world. <i style="font-weight: bold;">Spring Breakers</i> is a paradox whose origins go all the way back to Korine's scenario for Larry Clark's <i style="font-weight: bold;">Kids</i>. Joyce: <i>"History is a nightmare from which I'm trying to awake."</i> Add this to the paraphrase of a remark by Harmony, again on the audio-commentary: Jim Crow is a nightmare from which we're trying to awake.</p><p>Hip-hop culture and its music-videos' aesthetic have grown parallel to, and are now the equivalent of, or have been outpaced by, video games. A distinct line as the Crow flew. Gucci Mane represents the end boss — his assassination echoes the killing-off of Colonel Kurtz in Conrad's <i style="font-weight: bold;">Heart of Darkness</i> and Coppola's <i style="font-weight: bold;">Apocalypse Now</i>. Things grow indistinct...</p><p style="text-align: center;"><b>Swivel-Arm Battle-Grip</b></p><p>Remarks from Harmony Korine from the audio commentary:</p><p><i>"Again you know these are kids who would've grown up watching Kimbo Slice videos." </i>(RIP Kimbo Slice, 2016)</p><p><i>"...the kind of kissing you would learn in porn. Porn is 'romance' now."</i></p><p>32-minutes in: <i>"the weird tripping morphing effect"</i></p><p><i>"uniquely American"</i></p><p><i>"coded interlogic" </i><b><i> </i>•</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX5P11H5J_2qGwqK2CO_Lao65OOyF5imcWpzenos6CyHd8txulgUhy0Le1do7aTMairvMpGDey6IiftDbqLl5NG2fcYjmA_TVDGdbaIuNVw3Bz-EO718r2NLog7wVymR-hJDoK1KhpVJfMkBEKCIz5-ZYxBUDUl1UNU-Lgo6ALHbGoauHPVZY/s3616/Korine_SB_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1768" data-original-width="3616" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX5P11H5J_2qGwqK2CO_Lao65OOyF5imcWpzenos6CyHd8txulgUhy0Le1do7aTMairvMpGDey6IiftDbqLl5NG2fcYjmA_TVDGdbaIuNVw3Bz-EO718r2NLog7wVymR-hJDoK1KhpVJfMkBEKCIz5-ZYxBUDUl1UNU-Lgo6ALHbGoauHPVZY/s320/Korine_SB_02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="577" data-original-width="1284" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTT-2u_aFyvNEFWX5aGZA47U_OdqIjfivhkoqOyqeodraFp3u7LBVorZwBPj773owwAEV8F9fQbPaFd2hmAsWVtwg07B_kzW-HwLaKxal6b516c-jyoPuXxrNShbEQnlElQMNFuSSpoHd1TOpILmBqx7X5sIriEEJ1iQ7cS_GVYXw9NoBD_o/s320/Korine_SB_31.jpg" width="320" /></a></div><br /><p style="text-align: center;">===</p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-12843799988522111172023-09-04T19:17:00.006-04:002023-09-04T19:18:48.250-04:00Showgirls<p style="text-align: center;"><b><i>You See Berkley</i></b></p><p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIY7et0f6ghdATq38ynbu32ZosV8V0A0_r78AU1cWIffNPZ5ogElGjPYZuA8C5sS0CGGWmtO677hlW1ciX25rwtgTfZHsrXqvLuxMp7xdyS7v4hPuS0JXkl_abxgEps_sl9wnlGre6hpXrom0aoFmenXcMY1qg94Tg9QQoBihJvw0LAIvJP8/s768/Verhoeven_S01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="768" height="142" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIY7et0f6ghdATq38ynbu32ZosV8V0A0_r78AU1cWIffNPZ5ogElGjPYZuA8C5sS0CGGWmtO677hlW1ciX25rwtgTfZHsrXqvLuxMp7xdyS7v4hPuS0JXkl_abxgEps_sl9wnlGre6hpXrom0aoFmenXcMY1qg94Tg9QQoBihJvw0LAIvJP8/s320/Verhoeven_S01.jpg" width="320" /></a></b></div><p></p><p><span face=""Open Sans", sans-serif" style="background-color: white; caret-color: rgb(15, 15, 15); color: #0f0f0f; font-size: 14px;"><b><a href="https://www.sensesofcinema.com/2001/jacques-rivette/rivette-2/">Jacques Rivette, 1998, "The Captive Lover":</a></b> In <b><i>Starship Troopers</i></b></span><span face=""Open Sans", sans-serif" style="background-color: white; caret-color: rgb(15, 15, 15); color: #0f0f0f; font-size: 14px;"> [Paul Verhoeven] uses various effects to help everything go down smoothly, but he’s totally exposed in <b><i>Showgirls</i></b></span><span face=""Open Sans", sans-serif" style="background-color: white; caret-color: rgb(15, 15, 15); color: #0f0f0f; font-size: 14px;">. It’s the American film that’s closest to his Dutch work. It has great sincerity, and the script is very honest, guileless. It’s so obvious that it was written by Verhoeven himself rather than Mr. Eszterhas, who is nothing. And that actress is amazing! Like every Verhoeven film, it’s very unpleasant: it’s about surviving in a world populated by assholes, and that’s his philosophy. Of all the recent American films that were set in Las Vegas, <b><i>Showgirls</i></b></span><span face=""Open Sans", sans-serif" style="background-color: white; caret-color: rgb(15, 15, 15); color: #0f0f0f; font-size: 14px;"> was the only one that was real – take my word for it. I who have never set foot in the place!</span></p><p style="text-align: center;">===</p><p>A whispered legend, at least until Rivette's 1998 interview from <i>Les Inrocks</i>, which over the years initiated a gradual spread from cine-cult circles to a wider realm, and seems gradually to have set into motion a re-evaluation of the film by, well, let's not call it the mainstream — but by a somewhat wider audience. Perhaps more than to Rivette's remarks, the film owes its reappraisal in part to the old adage of "They don't make 'em like they used to." It behooves me to step around a commentary dedicated to the fact that Verhoeven's 1995 moral tale couldn't be made in 2023 — too sexual, too non-PC, and to repeat Rivette, too guileless. A film that conflates the male <i>and female</i> gazes in lanes of unmitigated tragedy and desire.</p><p>Elizabeth Berkley provides a fearless performance, one that critics and commentators in the past have traduced by referring to it in so many misogynist (PC?) terms as ditzy and blank-eyed. Berkley throws everything into her performance, a tour-de-force of raw physicality coupled with a naïveté misread as evidence of cerebral deficiency — no sympathy or empathy for either character or actress: I'll take Berkley's Nomi over any role of Meryl Streep's in the latter's crafty career.</p><p>Gina Gershon 'gives a best-ever career turn' as Berkley's bisexual nemesis, the lead of the "Goddess" show at a mid-level Vegas outlet, with Kyle MacLachlan as Gershon's svengali lover. Once the trio's card-house collapses, all routes point to a <i style="font-weight: bold;">Thelma & Louise</i> climax — but instead there's only a masochistic tenderness remaining between Berkley and the then-hospitalized Gershon, before an ironic ending that few directors or writers would aim towards in the present-day, in which they'd err instead on the side of the non-scenaristic — which, of course, is needless to suggest, explicitly, 'the storytold.' <i style="font-weight: bold;">Showgirls</i> is no longer a story the studios want to hear, which practically by default alone registers this film as an American classic. <b>•</b></p><p style="text-align: center;">===</p><p><br /></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-89848810391134101562023-08-19T17:32:00.002-04:002023-08-19T17:32:13.922-04:00The Image Notebook: Preview of FILM ANNONCE DU FILM QUI N'EXISTERA PAS "DRÔLES DE GUERRES" by Jean-Luc Godard<p style="text-align: center;"><b><i>Emotion / Passion</i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKhPYIouN4GcIIB8PuNvFai0DDWA47hzpVjweONFF7b_DWVI0OeeXoXungkx8J87UlgLFZj96BWr6fxyyMbJliWweiFVbmmIf5VAEjM6B60ROHoGIQoGd9VDI5kTWtqy6SkWaU1QffXR5CS78ipAGwTB52GIf82cRPdT9-BGlOA9eTxC6HVOI/s3517/JLG_Dro%CC%82les_Preview1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3517" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKhPYIouN4GcIIB8PuNvFai0DDWA47hzpVjweONFF7b_DWVI0OeeXoXungkx8J87UlgLFZj96BWr6fxyyMbJliWweiFVbmmIf5VAEjM6B60ROHoGIQoGd9VDI5kTWtqy6SkWaU1QffXR5CS78ipAGwTB52GIf82cRPdT9-BGlOA9eTxC6HVOI/s320/JLG_Dro%CC%82les_Preview1.jpg" width="275" /></a></div><p>The following appeared in the <i>Cahiers du Cinéma </i>no. 798, May 2023; cover story: "Cannes: Alternating Currents" — the Aragno text was conducted by Marcos Uzal via telephone on April 26th, 2023. Translations by Craig Keller.</p><p style="text-align: center;">===</p><p>Undoubtedly, one of the events of the year will be the discovery of the final film that Jean-Luc Godard finished completely and approved of just before his death. A text by Nicole Brenez and remarks by Fabrice Aragno, two of his faithful collaborators (with Jean-Paul Battaggia) return to the genesis and conception of this hand-made film.</p><p style="text-align: center;"><b>FABRICE ARAGNO</b></p><p>"We had to stop, notably because of the pandemic confinement, and postpone the shooting of the film known as <i style="font-weight: bold;">Drôles de guerres</i> [<i style="font-weight: bold;">Phony Wars</i>], which we didn't end up making. As usual, Jean-Luc made a paper pamphlet for this film, with collages, photos, hand-written texts, in a very artisanal manner. In the same manner, he also made a pamphlet of the "trailer" that explicates <i style="font-weight: bold;">Drôles de guerres</i> — some forty-odd pages in A5 format on card stock. At the beginning of last year, he had the idea of filming all the pages, attaching Post-It notes to indicate the number of seconds each shot should last. I put it all in a timeline and it made up a film, each shot of which was one page. Then he made a document with colored markers, indicating the placements of the sound to the nearest second. <i>"From such-and-such minute to such-and-such second, place such-and-such excerpt from </i><b>Notre musique</b>,<b> </b><i>or such-and-such piece of music, or such-and-such end of an interview that we did together to talk about the film to be made,"</i> etc. The indications were all provided graphically, and I manually put together the film at my home, but Jean-Luc was so precise that the result corresponded exactly to what he had been thinking, without his needing to place his hand on the cutting. It was completely finished and approved by him."</p><p style="text-align: center;"><b>NICOLE BRENEZ</b></p><p>The first of March 2022, in a weary but firm voice full of joy, Jean-Luc Godard declares to Fabrice Aragno and Jean-Paul Battaggia, who record him on the subject of <i style="font-weight: bold;">Film annonce du film "Drôles de guerres"</i>: <i>"I don't know what you thought of it when I told you it was one of my best films; what I like is that it's very slow, very silent at times, and then there's something else — so it's perfection."</i> For those who have become accustomed to the permanent self-criticism thanks to which Godard's work evolves, the surprise is considerable. After Sisyphus, imagine Godard happy? Jean-Luc thought about the duration of each shot on the physical model of the few seconds dedicated by visitors to an art museum to the perception of each painting, with, on the horizon, the extreme figure of Reger, this character of Thomas Bernhard who, for thirty years, just sat every two days before <i style="font-weight: bold;">Man with a White Beard</i> (according to 1985's <i style="font-weight: bold;">Old Masters</i>). Thus the slowness, the kinetic version of a contemporary residue of contemplative experience, yes; the silence, the blank page, yes. But then, what would this “something else” consist of that allows access to an even ironic perfection? Initial hypotheses: beings engaged in their cause until death; the irruption of a moving shot in the age-old history of immobile images, of which sometimes a film revives the miraculous character; a dense web of open or broken relationships between words, images, and sounds; the last bursts of a devouring research on the negative; much suffering, torture, lost battles, flouted ideals, on a piece of paper that bears the name of a weapon ("Canon"); various phases of the work, sometimes very old, laid bare and joined; shadow mouths, falls, dizziness; the pathway to a text where one can read: <i>"If she is dead, don't forget. If she is dead, a simple announcement. A simple announcement." </i>(Charles Plisnier, <i style="font-weight: bold;">Faux passeports</i>, 1937).</p><p style="text-align: center;"><b>A PROMENADE: PHOTOGRAPHS BY FABRICE ARAGNO, AND HIS NOTE</b></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk3K5jh55OcVYaT8lBWSaY8ctxu_ZqR7KEQfCnvRGMAiwO6I5JUZ_7B_09uZedN6tYuX1_Ol1GWfMimsDehSM3KH0ba_yQqPXiBvRI5l_eJQOsPn7VAh6i3xyAWmsLl19lLM91RfoUipWUn_7FrMcQzQ4CuRpYC20RTFpH1Wvbk6-lkrkjHqw/s3931/JLG_Dro%CC%82les_Preview2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3931" data-original-width="3008" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk3K5jh55OcVYaT8lBWSaY8ctxu_ZqR7KEQfCnvRGMAiwO6I5JUZ_7B_09uZedN6tYuX1_Ol1GWfMimsDehSM3KH0ba_yQqPXiBvRI5l_eJQOsPn7VAh6i3xyAWmsLl19lLM91RfoUipWUn_7FrMcQzQ4CuRpYC20RTFpH1Wvbk6-lkrkjHqw/s320/JLG_Dro%CC%82les_Preview2.jpg" width="245" /></a></div><p></p><p>These photos taken in January 2022 go back from the time of the realization of this film. They're sketches done with black-and-white cinema 35mm, with scraps of reels mounted on spools in order to stick them into a film camera [<i>cf. </i><b style="font-style: italic;">À bout de souffle</b> <i>from 1960. —CK</i>], which was cheaper than unwinding 120 meters inside of a camera. It was just to see the quality, the grain, the contrasts of this film-stock. As I didn't know what to take pictures of, one I took my device along when I went to see Jean-Luc. These sketches were for <i style="font-weight: bold;">Drôles de guerres</i>, for which we were equipped with 35mm, 16mm, and Super 8 cameras. I continued on with the sketches for <i style="font-weight: bold;">Drôles de guerres</i>, but Jean-Luc was already started on the film trailer. <b>•</b></p><p style="text-align: center;"><b>===</b></p>craig keller.http://www.blogger.com/profile/04633188566264641743noreply@blogger.com0tag:blogger.com,1999:blog-20326335.post-56734189494780975822023-08-17T17:32:00.007-04:002023-08-17T17:32:37.621-04:00Have a Nice Life<div style="text-align: center;"><b><i>Breakdowns</i></b></div><div><b><i><br /></i></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIEmi18LkkTNVlqlfdqKhx4vtAEEpvDyel7RN6wYtOshtnQm_z-Fwa55uq-s4tsdftm1fPlIFANj-0uvANtOcj6530ULbjoHGgNP18zhp-y_6thmZoOR2GhVygj87NtR3m_qMgxvUstjKbSsDNTLYxsXjDosy6C2QFqgFnyVpg6H_QMayo70/s2880/Kamalakanthan_HaNL_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1208" data-original-width="2880" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCIEmi18LkkTNVlqlfdqKhx4vtAEEpvDyel7RN6wYtOshtnQm_z-Fwa55uq-s4tsdftm1fPlIFANj-0uvANtOcj6530ULbjoHGgNP18zhp-y_6thmZoOR2GhVygj87NtR3m_qMgxvUstjKbSsDNTLYxsXjDosy6C2QFqgFnyVpg6H_QMayo70/s320/Kamalakanthan_HaNL_01.jpg" width="320" /></a></div><br /><div><i><b>Have a Nice Life</b></i>, the 2021 feature by the up-and-coming filmmaker Prashanth Kamalakanthan, is one of those films you find programmed in the sidebar of a regional festival, but which one will go back to a few years from its premiere for the sake of the completist viewing of an intriguing new director's œuvre. </div><div><i style="font-weight: bold;"><br /></i></div><div><i style="font-weight: bold;">Have a Nice Life</i> combines the template of the indie road-trip, the buddies-on-the-run movie, and the portrayal of a culture clash: Jyothi (Jagathi Kamalakanthan, the filmmaker's real-life mother, in an amateur but natural performance) and Sophie (Lucy Kaminsky, a natural performer whose talents are anything but amateur, and who bears a passing resemblance to Eleanore Pienta) criss-cross after the latter is ejected from her grandfather's guest-house, and the former becomes estranged from her husband while he takes up with another woman in Montreal. Somewhere in the middle (in the middle of North Carolina), Jyothi and Sophie set out to catch up with Jyothi's husband — and along the way a rifle murder occurs when a 19th-century firearm goes off while pointed at a clerk's chest. Jyothi, a fledgling American citizen, thus becomes wrapped up in Sophie's purple/green/neon manic fantasy-land — did this murder even occur? The irony of the title <i style="font-weight: bold;">Have a Nice Life</i> springs from the South Asian tradition of frequently arranged unhappy marriages, and the Hindu belief in the transmigration of souls — Jyothi and Sophie, their first-names chiming, might even bring to mind the <i style="font-weight: bold;">Vice Versa </i>scenario. 'Far' from being a journey from NC to Quebec, the pair instead circle around the state in a continuous whirlpool of paranoia. Which brings to mind three beautiful moments, for Kamalakanthan does not relegate himself only to script and color-correction: <b>(1)</b> Jyothi swishing her foot distractedly in a rain puddle while on the phone with her mother; <b>(2)</b> Jyothi's "welcome" mat sitting on the <i>inside</i> of her apartment's threshold. </div><div><br /></div><div>—<b>(BONUS) </b>Sophie in a pawn shop disguised in a blonde wig, unloading a copy of the early Masters of Cinema Series UK DVD edition of Toshio Matsumoto's 1969 cult drag classic <i style="font-weight: bold;">Funeral Parade of Roses </i>(released before I came on board to work on production of the series), with the store-clerk remarking: <i>"I met him at the airport once — Matsumoto. Same plane. They called him up to security — they wanded him!"</i> </div><div><br /></div><div>Identity static, stark, and infinite. <i>"We gotta stay on the small roads now..."</i> You <i>never</i> have to stay on the small roads: but when you finally hit them, you know still broader pathways await. <b>•</b></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvXNa1bUuTA9IJbmDZm34SQN6wirW2aVrUJhfaOnOItjzHOIlvWTYBFwP1gdCh4tCgmJm44fvue9oR7cXN7g9yTeDgPNqD61mcd9nTKL5vWY3Ojq2oWN4QRBA9FUpFb75Je97aamw25cfAbrHvTiBvlfCE-QmNGrzgZmN0wVDrIdrf3KxMOuM/s2813/Kamalakanthan_HaNL_02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1193" data-original-width="2813" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvXNa1bUuTA9IJbmDZm34SQN6wirW2aVrUJhfaOnOItjzHOIlvWTYBFwP1gdCh4tCgmJm44fvue9oR7cXN7g9yTeDgPNqD61mcd9nTKL5vWY3Ojq2oWN4QRBA9FUpFb75Je97aamw25cfAbrHvTiBvlfCE-QmNGrzgZmN0wVDrIdrf3KxMOuM/s320/Kamalakanthan_HaNL_02.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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