Authors — Howard Feinstein
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Palm Frites: Robin Campillo’s Eastern Boys
No matter the genre, you discover the imprimatur of the best classical Hollywood studio directors in all of their films—so posits the Auteur Theory. I accept the premise, with the proviso that it be applied, a bit differently, to the more distinctive non-Hollywood filmmakers, American or not. There’s a kernel of truth in the old saw that a director makes the same movie over and over. Robin Campillo is a French auteur, his work worthy of tracing a generic arc, even though he has directed only two films. In 2004, he made the profoundly disturbing low-budget horror flick They Came Back (Les […]
by Howard Feinstein on Feb 27, 2015 -
Par Avian: Lance Edmands’ Bluebird
A frosty night alone inside an unheated school bus puts a hypothermic gradeschooler at death’s door. The multiple protagonists in model ensemble Bluebird milk the mishap, each in their own way. In an oddly similar fashion, director Lance Edmands works — let’s say plays — his audience. He short-circuits a chilling overview of the mishap’s immediate impact in favor of charging a profound visual essay on the power of love — ongoing, terminated, or altogether lacking. The titles of the two mournful vintage pop songs most prominent on the soundtrack evoke cataclysms, in theory echoing the emotional toll on those […]
by Howard Feinstein on Feb 27, 2015 -
Working Class Heroes: Karim Aïnouz on Futuro Beach
I, I wish you could swim I, I wish you could swim Like the dolphins, like dolphins can swim Though nothing, nothing will keep us together We can beat them, for ever and ever Oh we can be heroes David Bowie, “Heroes” “How could I do the movie without that song?” Brazilian director Karim Aïnouz asks rhetorically. I’ve just noted the few jabs he’s taken for ending his vibrant new film with the arguably overused Bowie anthem. “That’s the song that actually started Futuro Beach for me. Maybe it was excessive, but I don’t care.” Italics mine: the polite, affable […]
by Howard Feinstein on Feb 25, 2015 -
The Raisers’ Edge: MoMA’s Transcendent “Documentary Fortnight”
Low and high art come to fruitful blows in the 14th edition of one of New York’s most substantive — and absurdly unsung — cinema exhibitions, the International Festival of Nonfiction Film and Media, aka Documentary Fortnight (February 13-27). Low? For 120 years, film has been on the short end of the cultural totem pole, and host venue Museum of Modern Art has never made any bones about the distinction. In this case, however, the medium is infused with accomplished elements from other art forms ranking among the cognoscenti. Long before complementary fora like DOC NYC and the Film Society’s […]
by Howard Feinstein on Feb 12, 2015 -
Pussy Riot: Celiné Sciamma’s Girlhood
We’re beautiful/Like diamonds in the sky. Clad in ripped-off-the-rack evening dresses with anti-theft devices intact, four teens who form a tight clique — semi-tough, to borrow from the Michael Ritchie/Burt Reynolds satire — lip-synch and boogie down to the assertive voice of Rihanna. Celebrating their frequently downplayed femininity, they spiritedly defuse in a hotel room rented for one special night, recharging from the heavy-attitude posturing and word- and fist-fights with newly cast rivals that interrupt their day-to-day aimlessness. Their loyal, affectionate companionship counters the ennui and male dominance entrenched in the world of charmless concrete projects that is Le Clos-Francais, their […]
by Howard Feinstein on Jan 29, 2015 -
Out of Order: Desiree Akhavan’s Appropriate Behavior
You’re ruining my birthday! You’re ruining my twenties! Let’s break up! Fine! The storm before the calm hits well into this film about a young Brooklyn woman in and (presumably) out of love. No spoiler this: In the first five minutes we learn that lovers Shirin (writer/director Desiree Akhavan), seen hastily packing, and Maxine (Rebecca Henderson) are going their separate ways. Desiree is going in the literal sense, to a less inviting apartment with two odd roommates attached in Bushwick; Maxine will remain in the love nest in tonier Park Slope that was already hers before they hooked […]
by Howard Feinstein on Jan 16, 2015 -
That’s Funny, You Don’t Look Jewish: The 2015 New York Jewish Film Festival
I was appalled by a posted comment on this site about the title of my coverage of last year’s New York Jewish Film Festival. A pun on a seminal German novel, “How Jewish Is It” was to me not just incredibly clever but apt. I felt the festival’s mission admirably expansive compared to some earlier editions and sister events in other cities. The commenter, who self-identified only as “The Judge,” felt differently: “How Jewish? Give me a break! Everything about movies is Jewish, or did I miss something?” Lo and behold! The Judge’s snarky observation was prescient. I had commended […]
by Howard Feinstein on Jan 13, 2015 -
Drive, He Said: A Most Violent Year
The guy’s a tease. Up until the end of Margin Call (2011), the debut feature of A Most Violent Year director J.C. Chandor (All is Lost), our moral compass in the story of a New York investment firm at the onset of the 2008 financial crash is brainy risk analyst Peter Sullivan (Zachary Quinto). The young MIT graduate is so upright that he not only disentangles the masked electronic numbers signaling impending doom for those who can least afford it but also allies himself with the mid-level powers who prefer to forestall than cash in. In the penultimate sequence, once […]
by Howard Feinstein on Dec 30, 2014 -
Never the Twain Shall Meet: Maidan
Our own separation of church and state is tenuous. From the Pledge of Allegiance: “…one Nation under God, indivisible…” Less official but equally patriotic are the lyrics of Irving Berlin: God bless America, Land that I love, Stand beside her and guide her Thru the night with a light from above; From the mountains, to the prairies… Church, state, soil: a trinity often muddled, collectively held sacred. Few would confuse our glib phrasings with imminent theocracy and unchecked nationalism. Pantheism aside, you might say that, if you can disregard Native Americans in the same way that our government always has, […]
by Howard Feinstein on Dec 11, 2014 -
In the Family Way: Still Alice
To watch Julianne Moore portray a 49-year-old woman diagnosed with early-onset Alzheimer’s might be as close as one can get to understanding the disease and its effects on patient and family without having oneself received a positive diagnosis. Make no mistake, though: Still Alice is no downer. It is a closely observed and brilliantly performed story of struggle and — how can I write this out without appearing trite? — love. Director-driven it is not. Yes, it is nicely shot (by Olivier Assayas’s frequent DP Denis Lenoir) and suitably edited. Filmmakers Richard Glatzer (whose battle with ALS since 2011 became […]
by Howard Feinstein on Dec 5, 2014
