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Elles — A Hammer to Nail Review
Elles is being distributed by Kino Lorber and opens theatrically in NYC and LA on April 27, 2012. Visit the film’s official website to learn more. In Elles, the new film by Polish director Malgorzata Szumowska, Juliette Binoche plays a journalist writing an article for French Elle on young women who finance their education (and more realistically, their apartments, clothing, and lifestyles) through prostitution. But forget the pimps and hookers of the movie underworld. The world in Elles isn’t one of coercion or strung out desperation, but of choices. It’s softcore social criticism, far less interested in systemic injustice than in the strange forces that […]
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The Blue Velvet Project: A Confession
As author of The Blue Velvet Project—which owes a moral debt to the Dogme 95 movement, whose practice of constraint was an inspiration—I feel obligated to make this public statement of confessions regarding the rigors of the project. This is done in the spirit of Thomas Vinterberg’s confession regarding his film The Celebration. Despite the fact that I promised Mr. Macaulay, Filmmaker Editor-in-Chief, that I would compose each entry “well ahead of time,” I confess that the following posts were composed the day of posting: #12 #27 #28 #77 #93 I confess to posting—out of unreasonable affection for the frame […]
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The Blue Velvet Project, #105
Second #4935, 82:15 1. The car has come to a halt. Jeffrey’s crime has been to look at Frank, just as we also have been looking at the film itself. 2. “I shoot when I see the whites of the eyes,” Frank says at this moment, almost directing his stare at us, but not quite. This is either the statement of a psychopath or of a film director. 3. In Don DeLillo’s 1997 novel Underworld, there are these sentences: There is no space or time out here, or in here, or wherever she is. There are only connections. Everything is […]
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The Micro-Budget Conversation: The End
“Filmmaking is a visual medium. Is it a gimmick that I care about aesthetics in a visual medium? I think a well-shot film looks beautiful. I think well shot digital looks adequate. It’s simply a preference. Truth be told, I’ve always thought the idea of micro-filmmaking was something of a gimmick. How little someone spends on a project doesn’t interest me. Is The Blair Witch Project more enjoyable knowing they spent such a small amount? Should I not support the Batman movies because the budgets are excessive? I just don’t think it’s that important. The great thing about Kickstarter is […]
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The Blue Velvet Project, #104
Second #4888, 81:28 The red, terrifying beauty of the bridge truss as Frank and his gang take Dorothy and Jeffrey on a joy ride “out to the fuckin’ country.” These shots of the truss underside, bathed in light that may as well emanate from hell, are a sort of reverse-universe visual analogy of the earlier nighttime shots of the underside of trees as Jeffrey walks down his street. In Robert Bolaño’s novel 2666, in the section “The Part about the Critics,” each of the three main characters has a different and disturbing dream on the same night: Espinoza dreamed about […]
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The Blue Velvet Project, #103
Second #4841, 80:41 1. The spell is broken. Frank has shut off the song. Ben seems insulted, and punishes Frank with silence. Dorothy refuses to smile. A joy ride is suggested. Paul’s (Jack Nance’s) shadow offers evidence of a hidden light. There is also a folded newspaper or magazine in his jacket pocket. 2. In October 1986, the month after Blue Velvet’s release, Ronald Regan delivered a speech at the Republican Governors Association Dinner. He used the word revolution numerous times, and spoke of permanently altering the balance of power: But if I could, tonight, I’d like to take a […]
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The Blue Velvet Project, #102
Second #4794, 79:54 The gap between Frank and Ben, and the more radical gap between the viewer and Blue Velvet. For whom does Ben sing? He begins by singing for Frank, but then he seems to lose himself in “In Dreams,” the same way that Dorothy loses herself in her rendition of “Blue Velvet.” Ben’s face at this moment registers a catastrophic loss, his secret loss, and in this frame he’s more humanized than perhaps any character in the film. His eyes look away from Frank and into something even darker. In his book The Vital Illusion, Jean Baudrillard wrote: […]
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Post Mortem — A Hammer to Nail Review
(Post Mortem world premiered at the 2010 Venice Film Festival. It’s being distributed by Kino Lorber Incorporated and opens at the Film Forum in NYC on Wednesday, April 11, 2012. Visit the film’s page at the Kino Lorber website to learn more.) There is such a thing as pitch black comedy, and then there is the work of Chilean director Pablo Larraín, whose warped sense of humor deserves its own adjective. Tar black, maybe? With his latest two films, Larraín has returned to his country’s unpleasant recent past to try to make sense of what transpired. In Tony Manero, the Pinochet […]
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The Blue Velvet Project, #101
Second #4747, 79:07 You, in one part of your brain, know that Ben is not really singing at this moment. But then, Roy Orbison is not singing, either. He is dead, although he was alive at the time of Blue Velvet (and credited the use of “In Dreams” in the film to helping revive his career). You know it’s lip-synched, and yet somehow it’s not. It can’t be. If this seems like a contradiction, then consider that the entire scene is a special case of black magic, culminating in Frank’s literal disappearance from the screen in a few minutes in […]
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This is Where You Work: Braden King’s Office
“With all these devices,” Braden King says as he gestures to his iPhone, “you never have to be where you are at all.” The comment is overwhelmingly appropriate, since King’s first narrative feature, HERE, which opens on April 13th at New York’s IFC Center, is about nothing so much as having an appreciation and understanding of where one is. The moment is all the more interesting since King isn’t talking about his film at all; rather, he’s talking about his office space. A connection, regardless, begs to be made. HERE is a formalist reinvention of the road-trip romance, a film […]
