17731 Results for “”
-
Cannes 2022: The Awards, Close, Broker and Boy from Heaven
Only a couple of months after the Academy of Motion Picture Arts and Science’s completion of their decades-long endeavor to totally delegitimize the Oscars, Cannes provided another argument for doing away with all cinema awards entirely. The Vincent Lindon-led jury of nine couldn’t manage to make admirable choices even as they lauded virtually half the contenders in the field. Then again, at least one member of said jury admitted to not knowing who or how old Jerzy Skolimowski is until after the screening of his radiant EO—ex aequo winner, nevertheless, of the Jury Prize (something like third or fourth or […]
by Blake Williams on May 29, 2022 -
Champagne, the Red Carpet and Stars at Noon: Pepi Ginsberg’s Cannes Diary
Filmmaker Pepi Ginsberg is attending Cannes for the first time with her short, The Pass, in the La Cinef section. Below, she begins a diary series on her trip there. Read an interview with Ginsberg about the film here and part one of this series here. — Editor 5/25/22 Had a celebratory bottle of champagne with the team. It felt good to sit, take a beat, share the drink. Saw Nostalgia. Was fascinating to see Naples, I’ve never been. It was painted as some kind of inferno. The grit was palpable and exotic. Called it a night after the screening […]
by Pepi Ginsberg on May 27, 2022 -
Cannes 2022: Stars at Noon, Tori and Lokita
In France, I mostly don’t get immediately ID’d as American, which I assume is partially because I don’t conform to braying jackass US tourist type and partially because, the older I get, the more I look indeterminately “other.” Generally I first get spoken to in French and play along if I can, then when I can’t keep up I get “Do you speak English?” This is pretty flattering and will obviously only be an increasing asset as the American Experiment continues to go up in flames. A friend noted that, with its virulent displays of racism, Cristian Mungiu’s R.M.N. could just as […]
by Vadim Rizov on May 27, 2022 -
“Have I Mentioned I’m Working on a Sequel?” Leslie Harris on Her Groundbreaking 1993 Film Just Another Girl on the I.R.T.
In 1993, director Leslie Harris had an enormous breakthrough. Her debut feature Just Another Girl on the I.R.T., a coming of age story about a Black teenager named Chantel (Ariyan A. Johnson) who becomes unexpectedly pregnant, premiered at Sundance to overwhelming critical acclaim. The film won the festival’s special jury prize and was picked up by Miramax for distribution, making history as the first film directed by a Black woman to receive a wide-release deal. For Harris, it appeared her burgeoning career was off to an exciting start. However, despite multiple fundraising efforts and a veritable trove of screenplays she’s […]
by Natalia Keogan on May 27, 2022 -
Back to One, Episode 204: Mike Leigh Returns
Mike Leigh is back in New York City for Film At Lincoln Center’s retrospective of his films, which starts Friday May 27th. He’s doing Q&A’s after three of his best—Naked, Secrets and Lies, and Topsy Turvy. Since he was last on the show (Episode 54), a few of his most treasured actors have been on and discussed the joy of working with the legendary director. There have even been some guests who have talked about the pleasure of working with him just in an audition, even though they weren’t selected. I ask him to break down his audition process and […]
by Peter Rinaldi on May 27, 2022 -
Cannes 2022: Godland, Pacifiction
Day 10 is winding down, and it’s become quite clear that, as was the case for the Berlinale last February, this year’s Cannes is a significant regression after a 2021 edition that overflowed with a pre-pandemic backlog. So many of the films I’ve seen, produced and completed (if not completely developed) in the midst of COVID-era constraints, have felt smaller, cheaper, cruder than what I’ve encountered here in editions past—not a judgment per se, of course, but a new, ill-fitted look from a festival that so pointedly touts its eventitude: the spectacle, the glamor, the scope of its pet auteur’s […]
by Blake Williams on May 26, 2022 -
“Maria Was Saying Things in 1983 That Were Not Addressed by Actresses Until Decades Later”: Elisabeth Subrin on Her Cannes-Premiering Short, Maria Schneider, 1983
Researching the life and career of Maria Schneider (The Passenger, Last Tango in Paris) for a larger project, filmmaker Elisabeth Subrin discovered a brief interview the actress gave in 1983 for the French TV show Cinéma Cinéma. It’s a conversation alternately defiant and mournful, with Schneider reflecting with real critical awareness upon the gendered power structures of the film industry as well as the violations she experienced living and working within it — including, in one painful section, on the set of Last Tango in Paris. Subrin used the interview as the basis for a 60-second short that was a part of […]
by Madeleine Hunt-Ehrlich on May 26, 2022 -
Annie Ernaux and David Ernaux-Briot on The Super 8 Years
For Annie Ernaux fans, The Super 8 Years is something better than a movie—it’s effectively a new Ernaux novella, assembled from home movie footage shot by her late ex-husband Philippe Ernaux and directed by her son David. The author reads her text over a trim 61 minutes, assembled from footage shot by Philippe beginning in 1972, when he first bought a Bell & Howell super 8 camera, until their separation in 1981. Ernaux’s memoirs have examined her life while rarely overlapping what’s recalled from one book to another, which is true here even as what we see fills out her work: […]
by Vadim Rizov on May 26, 2022 -
Pepi Ginsberg’s Cannes Diary, #1
Filmmaker Pepi Ginsberg is attending Cannes for the first time with her short, The Pass, in the La Cinef section. Below, she begins a diary series on her trip there. Read an interview with Ginsberg about the film here. — Editor 5/23/22 The plane was delayed. In all of my Cannes anticipation (anxiety), I was convinced the plane would never leave Newark. That feels very existential. Stuck in the United Lounge for the rest of time. We did leave. And only an hour and half late. An easy flight. No major hiccups. Saw a sign for Gael Garcia Bernal when […]
by Pepi Ginsberg on May 25, 2022 -
Cannes 2022: De Humani Corporis Fabrica, Crimes of the Future, Jerry Lee Lewis: Trouble in Mind, Les Amandiers
The man sitting two seats over had averted his eyes from the screen a few times before he finally hit his breaking point. I saw a penis and a drill of some kind coming right for the urethra and heard a doctor saying that he was going to put the device on the “Kalashnikov setting.” What, I wondered, might that mean? When the drill started pumping away and blood spurted, the poor guy had had enough and exited swiftly, and I absolutely couldn’t blame him. This was the second screening of the instantly infamous De Humani Corporis Fabrica that day; after the […]
by Vadim Rizov on May 25, 2022
