No, I just wanted to have the stuffed wolf. Un Flic, the last film Melville ever made, is not often in the discussion as one of his masterworks. So yes, while it’s fair to say Melville himself is definitely not underrated, Un Flic has been a tad left out. You won’t be able to shake Them is primarily set in seems to grow bigger with each new hole the film’s villains tear out of. I never want something to sound false or feel uncomfortable coming out of their mouth. You’re having such a strange version of the rising star director narrative: Your debut feature wins SXSW but you never get to experience the film play before that crowd, you do the “water bottle” tour of Hollywood, but it’s all over Zoom. A house built of corpses is both a provocation and an invocation of documentary footage taken from Auschwitz and Katyn. Campillo is more upfront than Shyamalan—it’s more or less understood that the presence of the living dead in his film is likely metaphoric—and he actually seems willing to plumb the moral oblivion created by the collision of its two worlds. He travels with Amira Haas, an Israeli journalist he admires, to survey the West Bank areas sundered by Israel’s separation wall and to visit what Fink terms Israeli “colonies.” Inevitably, the reporter has been denounced as an anti-Semite, notably by Alan Dershowitz in a 2001 audio debate excerpted in the film. She keeps on singing, rocking Eddie as if casting a queer spell, or baptizing the “baby gay,” as she calls him. We meet the latter first in the extended bank robbery sequence that opens the film. Nocturne proceeds exactly the way it seems like it will, letting the supernatural element remain reasonably ambiguous while Julie keeps seeing a light like the symbol on her new notebook—a light so blinding and prominent that it suggests someone flying too close to the sun. There are other projects that I’m working on or thinking about where I’m coming at it actually from a larger scale first. Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors, to incarnate our sickest, most socially unpalatable fantasies. And as their own faux love affair begins to crumble, they can at last embrace the queerness and messy feelings for which there is no required language, no blueprints, and as such the opportunity to actually find a place that won’t kill them. It just felt right. She looks at her husband’s framed photograph and smiles, reminding us that while the fantasy of heterosexual domesticity holds many promises, in practice, it can be an exhausting hell. And I’m not really sure that the film is particularly obligated to do that. We are 360-degree beings. On the other end of the phone call when Tom proclaims the relative worth of his girlfriend is Special Agent Sam Baker (Robert Patrick), who Tom is attempting to turn himself in to, in exchange for a plea bargain. There’s something both comforting and tragic in the notion that cinema—and only cinema—can both preserve and reverse time. But Nocturne again stumbles over its own insularity, seemingly reluctant to explore the view of society at large as Julie notes that she doesn’t even have social media. Battleship Pretension © 2020. Shithouse recalls the best of Richard Linklater, not only because Raiff already proves his adeptness at mastering the director’s trademark “walk and talk” two-shots. November respects the logic and temporality of the unconscious. Post Is this a goal that you consciously set out to achieve when embarking on a new project, or are you discovering the way in which your work interacts with these notions and ideas? That’s why there’s a lot of like’s and um’s. The documentary’s title, which echoes that of Jafar Panahi’s This Is Not a Film, suggests an attempt to deconstruct cinematic storytelling. His full archive is at http://www.akareynolds.com/. And while he may have achieved this more successfully with Le Samourai, Melville’s final film acts as a more fitting grace note to his entire career. Your email address will not be published. My mom, even more so. Movies set at school, and college in particular, don’t really make a ton of space for stories like this about someone who’s feeling very alone and isolated. © IFC Films, As someone who’s not all that different from Alex, I didn’t feel like I had to travel far. So did D.W. Griffith. Coleman is called away on another case, leaving a pensive Cathy alone. Are you someone who needs to parse the events of your life through art, writing, or creating something to feel some sense of closure or finality in the experiencing of it? Let’s start at the end. How did movies both prepare and fail you for college? But reporting from overseas is messier in real life than in scripted drama, which is why Yung Chang’s engrossing portrait of the 74-year-old journalist is titled This Is Not a Movie. Our first warning that humor may have been only the sheen of a much more serious cinematic proposition, a cheeky red herring of sorts, comes in a sequence in which Eddie and Amber take the train to Dublin and happen upon a gay bar. Bad Hair unintentionally mirrors its characters’ own insecurities, teetering awkwardly between straight-faced camp and outright farce as it cuts the scare scenes to ribbons and makes jokes about itself, as if to preempt any disbelief from the audience. Ever since audiences ran screaming from the premiere of Auguste and Louis Lumière’s 1895 short black-and-white silent documentary Arrival of a Train at La Ciotat, the histories of filmgoing and horror have been inextricably intertwined. As for the leads playing the mere mortals wriggling under Danvers’s unflinching glare, neither James nor Hammer measure up. I’m betting that Greenhill didn’t lend you the mascot? Dialogues are rarely conversated while gazings, often imbued with implicit desire,… In a turn that suggests that Williams and co-screenwriter Steve Allrich failed to Google “civil asset forfeiture” during their research for the script, Hall and Nivens decide that they need to lie to their bosses and murder Tom in order to steal his misbegotten money. Returning to the rambling house where he and Eden once lived for the first time since the death of their son, Will finds himself inundated anew by his heartache, and the film, which otherwise hews to crisp, clean realism, is run through with these painful stabs of memory. And there was, riffing off of your last question before, just not even needing to have a literal reason for why we ended it the way we did. Fortunately, that place in history suits the film quite well. It feels like we have no way of my proving as a filmmaker what I knew, which was the holistic nature of who we are as human beings. In terms of developing a passion for film or movies. Five Years Later: The Best Music of 2013. It’s this interpersonal tension that sustains the film as it moves through its crime plot paces. Delon’s Coleman is a demoralized detective repeatedly called on by his dispatcher, and who repeatedly informs them in monotone: “On my way; I’ll call you after.” Delon’s famous cobalt-blue eyes react only opaquely in the face of every crime he investigates—though one can sense that with every new development something in Coleman dies a little more. I’m young and don’t know anything, so I’m not good at not doing the scrappy, singular thing. Though the fear that the film’s walking dead can turn violent at any second is completely unjustified, the writer-director allows this paranoia to reflect the feelings of loss, disassociation, and hopelessness that cripple the living. It wasn’t a stretch to figure out how I was going to film Shithouse, because even if I direct a ton of movies moving forward, I like coming from this place of always just caring about these characters and themes that are coming from these characters. There’s also, of course, a past atrocity that haunts Sarah and Chris’s new residence. 4.4 out of 5 stars 188. But it’s so small and quiet, so I didn’t know how many people were gonna really meet it. Cast: Alain Delon, Catherine Deneuve, Richard Crenna, Riccardo Cucciolla, Michael Conrad, Paul Crauchet Director: Jean-Pierre Melville Screenwriter: Jean-Pierre Melville Distributor: Rialto Pictures Running Time: 98 min Rating: PG Year: 1972, Sinful Cinema: Book of Shadows: Blair Witch 2, Blu-ray Review: The Complete Films of Agnès Varda on the Criterion Collection, Review: Jean-Pierre Melville’s Army of Shadows Gets New Criterion Blu-ray, Review: The Truth Is a Wry and Wise Look at a Mother-Daughter Relationship. It strikes a delicate aesthetic balance between hysteria and control, most evident in an unforgettable scene in which Susie (Dakota Johnson) dances for Madame Blanc (Swinton), much to the bone-breaking detriment of the Markos Dance Academy’s former star. The thesis of 28 Weeks Later is that the War on Terror is ultimately a self-destructive one for all concerned, from the bullying authority figures to the demoralized combat soldiers to the fractured family units. And he winkingly acknowledges that belief in an early scene from his remake when Dr. Josef Klemperer (Tilda Swinton, err, Lutz Ebersdorf) underlines the word “simulacrum” in a notebook. The film talks about how Fox’s story demonstrates the power of love as a tool of resistance.