What most fascinated me about this adaptation of Philip Roth‘s short novel, The Dying Animal, is that it’s directed by a woman, Spanish director Isabel Coixet. As Roth is known best for his semi-autobiographical male centered stories with promiscuous themes, Coixet puts a refreshing twist on the womanizing David Kepesh character — who also appears in two other Roth novels, The Breast and The Professor of Desire. Not as well recognized as Roth’s other main protagonist, Nathan Zuckerman, Kepesh is a literature professor who has never had a problem attracting the opposite sex and often times is wooing more than […]
Joe Swanberg’s Alexander the Last is not the only Swanberg film here at SXSW. His wife Kris’s movie, It Was Great, But I Was Ready To Come Home, premieres at the festival too. Pictured above at last night’s Florida Fish Fry, from left to right, are Alexander the Last star Amy Seimetz, Swanberg, and Three Blind Mice director Matthew Newton.
At Scott Kirsner’s SXSW panel on digital downloads and vanishing physical media, he urged his panel members, who included Matt Dentler of Cinetic, Steve Savage of New Video, Rick Allen of Snag Films, and directors Gary Hustwit and Morgan Spurlock to spill the deep dish about digital downloads. Just what are the deal terms at the various outlets and what are the size of the checks filmmakers are receiving? “C’mon,” he said, “there are no journalists here. Nobody’s going to tell.” Not everybody took the bait, but Hustwit and Spurlock were both quite candid. Hustwit said that the digital sales, […]
The most unlikely act of cultural excavation and redemption, Michael Paul Stephenson’s Best Worst Movie is a hilarious and poignant celebration of not only the communal experience of making and watching movies but the sheer randomness of life itself. The doc is Stephenson’s attempt to find out why a seemingly execrable B-movie he made as a child actor, Troll 2, has garnered a cult following of viewers who not only get off on its badness but also find an odd kind of joy in its screwy storytelling. While Stephenson is present in the film, he smartly chooses as the doc’s […]
The goal in any festival director transition: to maintain the quality of a festival and begin to put one’s personal stamp on it while not slowing its momentum or dampening its good will. Mid-way through SXSW, I’d say that for new director Janet Pierson, pictured here at the BMI dinner, that mission has been handily accomplished. Attendance is up; audience reaction to a good number of films is positive; the panels are informational and packed; there’s the requisite fanboy buzz from the opening night I Love You, Man plus today’s sneak of some of the Bruno footage; and there are […]
Sub-theme for me at SXSW this year: Fair Use. A day after posting my article on Tommy Pallotta about his American Prince, which employs a Fair Use strategy to include film clips illustrating doc subject Steven Prince’s life in the movies and relationship with Martin Scorsese, I run into Gerard Peary, who is here in Austin with his doc For the Love of Movies: The Story of American Film Criticism. His film includes interviews with critics like Andrew Sarris, Pauline Kael, Roger Ebert, Harry Knowles, Karina Longworth and Elvis Mitchell, and it also includes clips from the films they talk […]
David Russo’s The Immaculate Conception of Little Dizzle is not your average Seattle-based, night-shift janitors eating self-heating cookies as unwitting test subjects male pregnancy special effects-peppered butt fish movie. The film’s official synopsis is: “When Dory’s life seems like it’s going down the drain, a strange ‘new life’ takes shape inside him and he learns that sometimes you don’t have to find meaning; it grows in you.” But this is a film that defies description and transcends its bizarre title and bizarre-er premise to take you into a strange and beautiful place you never knew you wanted to explore (but […]
There is almost no dialogue in the first half of David Lowery’s feature debut, St. Nick. A young boy and a girl enter an abandoned house, clean it up, build a fire, forget to open a window and fill the house with smoke, figure out a chimney and watch the embers turn into flames. They sleep, they forage for food; somehow they survive, until reality starts bearing down on them. It’s not clear why they ran away, or if anyone is looking for them. The film is stark and the house feels haunted, but you can’t stop thinking: this was […]
At SXSW, the first festival to play out after Twitter passed the tipping point, I’ve seen something I’ve never seen before at a festival: people passed out after a long night of partying with their laptops open on their laps. For those more awake, early response here has been very good for the opening night film, John Hamburg’s I Love You, Man, starring Paul Rudd; David Lowery’s St. Nick; Joe Swanberg’s Alexander the Last; Gary Hustwit’s Objectified. One outsider recommendation: at a party last night, one industry vet raved to me about 45365, which refers to the zip code of […]
Pictured above, on the second floor of the convention center, Alexander the Last director Joe Swanberg and Cinetic Media Rights’ Matt Dentler. Dentler to me: “You know, I don’t work here anymore, but you don’t need to wait on this long line for your badge. You can go to the Panelists Registration over there.”