Never Coming to a Theater Near You - Arthouse Cinema 2016

I just felt i'd seen a lot of what was in the third act of EotS before, not that it was bad.

sorry i left of outta the title

there were definite "LET THE INFINITE IN" 3rd act stuff that was a little old when 2001 did it but I thought it was artful and well handled.
i'd say it's the best or second best film made this year that i've seen tho'

btw it has grossed almost $1M in the US! A HIT.

“Rain The Color Blue With A Little Red In It” was a little slow and some of the acting isn't the best, but I still liked this adapted homage to Purple Rain

This Tuaregs in Niger movie is gonna be shown again (twice) at another DC fest, Filmfest DC between April 14 and the 24th

Next weekend I'll have three days in a row where I'm watching Out 1 pt 1 on Saturday, Out 1 pt 2 on Sunday, and The Assassin on monday. That's a good few days :)

Surprisingly promising Cannes program this year. Ade, Mendonca Filho, Puiu, and, yay, Guiraudie. And a bunch of usual suspects, many of whom I have hopes for.

Yay, Dumont and Mungiu

Perhaps a few more coming? 20 already, which is more than the last few years.

v strong less obvious picks, wonder how every usual palmes suspect's entry is tho. i feel like the surplus that makes it a large group is just unpromising American films, cf sean penn ~helmed~ dramas

Dumont is a plague.

With a bit of luck he will infect The BFG

I kinda don't get how Nicholas Winding Refn got so big that half the newswires from Cannes seem to feature pictures from his film. The wisdom on Drive was that it was a commercial dissapointment, and most people hated Only God Forgives. And yet apparently there's still a bunch of clicks in writing about him?

I mean, I like it. I liked Only God Forgives. I saw Bleeder the other day, and it really is one of the best uses of Copenhagen on film. He does certain things really well. But somehow, someway, he became a world director, three time Cannes participant, even when the second was called a flop and the third is divisive.

Quainzaine:

Divines - Houda Benyamina
Dog Eat Dog - Paul Schrader
L’Économie du couple - Joachim Lafosse
L’Effet aquatique - Sólveig Anspach
La Pazza Gioia - Paolo Virzì
Les Vies de Thérèse - Sébastien Lifshitz
Ma vie de courgette - Claude Barras
Mean Dreams - Nathan Morlando
Mercenaire - Sacha Wolff
Neruda - Pablo Larraín
Poesía Sin Fin - Alejandro Jodorowsky
Raman Raghav 2.0 - Anurag Kashyap
Risk - Laura Poitras
Tour de France - Rachid Djaïdani
Two Lovers and a Bear - Kim Nguyen
Wolf and Sheep - Shahrbanoo Sadat

"The wisdom on Drive was that it was a commercial dissapointment."

It was not some huge crossover indie hit, but it was only a commercial disappointment if your expectations were that it was fated to be.

I think Refn's appeal maybe has more to do with his personality than his films (and certainly their commercial successes) anyway.

A mate of mine got his movie "The Transfiguration" selected for the 'un certain regard' section. Delighted for him.

Showing at Filmfest DC tonight and later this week:

Rain the Color of Blue with a Little Red in It

The Tuareg people who live in the Sahara desert region of Niger don’t have a word for purple, which is why first-time director Christopher Kirkley’s adaptation of Prince’s Purple Rain is called Rain the Color of Blue with a Little Red in It . Starring singer/guitarist Mdou Moctar, this leisurely paced effort substitutes tea-drinking rituals for the flash and sex of its 1984 Minneapolis predecessor and is the first full-length movie to be voiced completely in the Tuareg language Tamasheq. While the film’s plot, with its father/son tension and battle of the bands ending, is a tad simplistic—and the acting a bit wooden—this Afro-groove celebration of Tuareg culture is nonetheless unique and endearing.

Tues., April 19, 6:30 p.m., E Street Cinema; Sat., April 23, 9:15 p.m., E Street Cinema

well, this was astonishing; go in knowing as little as you can i say

https://www.youtube.com/watch?v=QaKUaqJHYeI

on Minervini's Southern 'docufictions'

https://thefilmstage.com/features/the-films-of-roberto-minervini-capturing-a-complicated-portrait-of-the-american-south/

aferim is one of the best films ive seen in a long time. set in the 1800s, with a brilliant sense of the period and place, a little bit like a western, full of humour, *life*, and tragedy, but never striving too hard to make its points. the humour in fact just makes the serious points its making even sharper and more powerful. its also quite timely, and makes you wonder if people/society can ever really change that much. really want to see what his other two films are like now. shame its not getting a wider release from the looks of things, just a few weeks at bfi southbank. basically, another example of why modern cinema programming/programmers/audiences are all equally disappointing.

hmm, looks like its been on DVD for about 6 months already! odd :|

morbs thank you for the louisiana recommendation, really loved it

going to see the new hong sang soo film on saturday at the fancy metrograph place. reviews are good

so has anyone seen Happy Hour?

http://www.filmcomment.com/blog/film-week-happy-hour/

Yeah, I saw it in Gothenburg. It's quite good, the extended setpieces are the best thing about it. But I was perhaps slightly disappointed that it wasn't the masterpiece I'd hoped it would be. Anyone seen earlier Hamaguchi?

I found it equally compelling and irritating.

Pinkerton:

http://reverseshot.org/archive/entry/2233/happy_hour

Yeah, that's kinda how I felt as well. That scene with the reading, though, right?

possibly my least favorite

apparently that story was supposed to be godawful, right?

I honestly have no idea... The scene is so weird. I didn't really get the sense that the husband was showing a better side of himself, he keeps talking about himself rather than the story in question.

no, Men Are Creeps was a steady theme.

anyone seen this?

https://www.youtube.com/watch?v=C8HY-6F4Y_I

That Venezuelan Golden Lion winner, From Afar. It's actually really good guys, even though Guillermo Arriaga is involved. Great as an aesthetic portrait of the isolation felt in a society with nothing inbetween the utmost private and the completely public, shades of Pablo Larrain and even Lucretia Martels great The Headless Woman, I think. As a gay film it's admittedly more problematic, though. Still, worth seeing.

Diaz wins top prize at Venice with a short one - hope this gives it a chance of a wider release

http://variety.com/2016/film/news/the-woman-who-left-by-filipino-auteur-lav-diaz-wins-venice-film-festival-golden-lion-complete-list-of-winners-1201856697/

Diaz wasn't who I was rooting for originally - probably Larrain or Konchalovsky - but I kinda love how it played out. Filmtwitter was just an echo chamber for the first week, when all the American prestige films came out before Toronto. Tom Ford? Stylish genius! Damien Chazelle? Better than Demy! Villeneuve? Sci-fi masterpiece. Malick? Hum... Then came the second week, and it all died down. I didn't even see anyone talk about Konchalovsky, and he was considered a frontrunner, ended up winning a Silver Lion, and his Postman's White Nights was a great great award winner a few years back. So to see the jury - led by Sam Mendes - give out the main award to the four hour b/w low-budget one, that's great.

There's no hope of a release in Denmark, though. I really hope that both Diaz' 2016 films will be shown at CPH:PIX next month, but I'm kinda worried they're going completely mainstream. The opening film is Dr Strange...

So has anyone seen FuoccoAmare, the winner from Berlin? It's pretty fucked up. I was quite surprised to find it's not the humanistic documentary I was promised, in fact, it's one of the most inhumane documentaries I've seen in a long time (the Italians live pointless and banal lives, while the Africans are depicted only as this swarm on the periphery of the continent, I think they're compared to a squid fisherman's catch at one point. It's quite explicitly racist, though that's the point (that they're denied their humanity)) It's not really about immigrants, as much as it's about European pathologies, I think. I'm a bit shellshocked, actually.

it's playing NYFF next week, opening NY/LA later in October

https://www.kinolorber.com/film/fireatsea

hoping to catch this a/g thang this weekend

https://www.fandor.com/keyframe/deborah-stratmans-illinois-parables