Like a lot of people, I’ve been hypnotized the past few weeks by Andrew Jarecki’s six-part HBO miniseries The Jinx. I’m not a TV writer, and I didn’t take notes while watching. These are five stand-alone observations in the interest of sharing in collective fascination with the series. NB: this is nothing but spoilers. 1. It’s completely germane that Andrew Jarecki (Princeton alum, father of a successful businessman, Moviefone co-founder) comes from money — his is surely the only family in America with the means to produce three documentary filmmaker siblings in the same generation. This privileged perspective has bitten […]
by Vadim Rizov on Mar 16, 2015Simple and effective: Kevin B. Lee breaks down the opening credits sequence of A Hard Day’s Night into four separate editorial strands. The main two are the “Beatles cam” trained on the running band and the “fan cam” following their screaming admirers; runners up are the “milk cam” (a guy eating in front of a milk ad) and the “Paul cam” (Paul in fake facial hair disguise, sitting out the pursuit). Each segment is timed with stopwatch precision, with all four parts arranged in a quadrant formation reminiscent of a security system, suggesting the surveillance that comes with celebrity. Very neat.
by Vadim Rizov on Mar 16, 2015Outside the avant-garde world, shorts are rarely granted extended critical writing — it’s hard to justify the expense of covering these hardest-to-see of items, confined as they often are to festivals and specialized screenings, so it’s up to salaried editors like me to step up when possible. (Making this my first piece about True/False 2015 may be straining to make the point, but I can live with that.) Case in point: Benjamin Pearson’s Former Models has been in circuation since 2012, but written information besides the broad outline is hard to find. In part, that’s due to the short’s sheer density: […]
by Vadim Rizov on Mar 12, 2015On the basis of the five films I sampled in the 20th edition of Lincoln Center’s annual “Rendez-Vous with French Cinema” series, I’m not inclined to make any diagnoses of either the state of French cinema or even this year’s edition. All five were worth seeing but only one skirted essential status, so let’s start there. Inelegantly labeled 40-Love in English (the French title, Terre batue, translates as “clay court”), Stéphane Demoustier’s first feature grows logically from his documentary short Fille du calvaire, a look at the long and difficult path awaiting young men training to be tennis pros. 40-Love initially appears to […]
by Vadim Rizov on Mar 6, 2015I’m an unabashed partisan for the True/False Film Festival (this will be my sixth consecutive year attending), which kicks off tomorrow and runs through Sunday. There are 37 features in this year’s line-up, plus four shorts programs, the first five episodes of Andrew Jarecki’s HBO mini-series The Jinx, and another five “secret screenings” — films identified in the program only by color, shown here prior to their official world premieres elsewhere. This is also the third year of the Neither/Nor sidebar, and this year’s edition is especially ambitious, a plunge into the largely underknown world of Polish documentary, complete with […]
by Vadim Rizov on Mar 4, 2015In delivering the first fully 20th-century filmic transplant of Hamlet, Michael Almereyda made wondering how he’d update each famous beat part of the fun, from “to be or not to be” rendered as prince Ethan Hawke’s internal monologue against Blockbuster’s “Action” aisle (totally unexpected, too-obvious only after its execution) to the total collapsing of “The Mousetrap”‘s text into a wordless Lewis Klahr short. That 2000 rendition took place in sleek, ever-more-expensive Manhattan — the birthright setting of one of Shakespeare’s most familiar plays, which deserved nothing less. This Cymbeline‘s location is never specified, but you can see Bay Ridge A-train subway stops at the frame’s sides; it’s an outer-borough and upstate […]
by Vadim Rizov on Mar 3, 2015Here’s the 39-film strong main lineup of this year’s True/False Film Fest, the increasingly-prominent annual documentary festival (with room for what that means) that takes place in Columbia, Missouri. Our coverage begins when the festival does; this year it runs from March 5th-8th. Almost There (Aaron Wickenden, Dan Rybicky) — “Almost There is a coming-of-(old)-age story about 83-year-old Peter Anton, an “outsider” artist living in isolated and crippling conditions whose world changes when two filmmakers discover his work and storied past. Shot over eight years, Almost There documents Anton’s first major exhibition and how the controversy it generates forces him […]
by Vadim Rizov on Feb 11, 2015Any publication on the culture beat has been inundated by emails and pitches tied to anti-50 Shades of Grey campaigns. It’s predictable enough that the easily-alarmed conservatives at, say, Breitbart.com would be on that beat, but once you start delving into the tangled coalition against the Walmart-friendly BDSM adaptation, things get more interesting. There are certainly opponents who merely worry about a surge of libertinism overtaking the land, but they’ve done an uncharacteristically good job of making some unlikely alliances, and they’re just the tip of the fragmented iceberg. Let’s start simple, with organizations whose names aren’t entirely straightforward about the interests they represent. The National […]
by Vadim Rizov on Feb 10, 2015Structurally, tonally and formally indebted to Roy Andersson — not least in opening and closing to the sardonically mournful strains of Benny Andersson’s “Briggens blåögda blonda kapten,” along the lines of the other Andersson’s ever-present ambient musical commentary — Ruben Östlund’s second feature Involuntary lays out five situations in which people behave contrary to how they should. The entire thrust of Östlund’s multi-film project is summed up early, with an elementary school classroom recreation of Solomon Asch’s conformity experiment. A subject is asked to identify which line of several on a cardboard display is the longest. Everyone in the room says the shortest line is the longest, […]
by Vadim Rizov on Feb 5, 2015“I argue that cinema is either dying or dead — it’s certainly changing very rapidly — so maybe now is the time to make a film about the greatest cinematic practitioner.” Peter Greenaway’s Eisenstein In Guanajuato — focusing on 10 days out of the 14 months Sergei Eisenstein spent in Mexico shooting what would eventually be edited into ¡Que viva México! — is one of the more keenly anticipated titles premiering at this year’s Berlinale. Above is the first of a three-part documentary on the film’s production from Mexico’s IMCINE (the national film financing/production agency). There are two brief bits in Spanish; the […]
by Vadim Rizov on Feb 4, 2015