The New York Times - Articles - Zimbio

American Cinematheque...Samuel L. Jackson to be honored at tony Black Tie affair!

Mon, 18 Nov 2008 03:15:29 GMT

posted by julianayrs

Samuel L. Jackson will be honored on December 1st (2008) with the prestigious American Cinematheque Award at an elegant Black Tie soiree at the Beverly Hilton Hotel in tony Beverly Hills.

The coveted prize is presented annually to an extraordinary artist who has contributed significantly to the Art of Filmmaking.

Tickets for the glitzy much-anticipated festivities start at $500 a pop - a bit pricey for some - but I expect that the Hollywood elite will turn out in full force to hob-nob, sip on exotic cocktails, and pay tribute to a talented actor who has the respect of many inside-the-industry and out.

Proceeds from this annual tribute fund the year-round community film programs at the American Cinematheque, the non-profit viewer supported arts organization, that preserves the historic 1922 Egyptian Theatre on Hollywood Boulevard and the 1940 Aero Theatre on Montana Avenue in Santa Monica.

The American Cinematheque's public programming celebrates the art of moving pictures and all of its forms - from the classics - to the American Independents, the latest International Productions, Documentaries, Shorts, Animation, and Experimental projects.

Series are highlighted by screenings of rare works, special prints, and audience discussions with filmmakers.

In the final analysis, Cinematheque is dedicated to preserving the movie-going experience - including, but not limited to - ensuring films are screened on the silver screen as they were originally meant to be seen and heard by movie buffs.

AFI Fest..."Hunger" a knock-out drama about IRA Political Prisoner Bobby Sands!

Thu, 14 Nov 2008 18:49:12 GMT

posted by julianayrs

If you live in Los Angeles, you've no doubt heard horror stories about the abuse inmates have suffered at the hands of perverse jailers down at the County Jail at Twin Towers.

In "Hunger" - a new release screened at the AFI Fest - shocking scenes of prisoners being beaten with clubs by guards in riot gear are depicted on film.

Unlike the County Jail, however, the inmates portrayed in "Hunger" are political prisoners.

The prison drama is a true story which is set in Maze Prison (Northern Ireland) which recalls the highly emotional events of the IRA HUNGER STRIKE in 1981 led by Bobby Sands.

The producers describe the feature as a timely exploration which - ultimately reveals - what happens when body and mind are pushed to the uttermost limit.

In the opening scenes, filmgoers are taken aback and squirm in their seats - when one of the main characters is forced to strip down in front of a handful of pig-headed guards - and summarily humiliated into submission as he is carted off to his dreary cell.

From the offset, the stark images on screen are difficult to digest.

In one revolting scene, a prisoner scoops up handfuls of human feces and brazenly smears the flaking surface of the wall with the earthy pigment, in utter defiance.

In another, guards don riot gear - then thrust naked prisoners headlong down a narrow gauntlet - at which point they mercilessly beat and batter the inmates to a pulp.

Moments later - Sands and his cohorts - are degraded and humiliated further when guards slip on rubber gloves and conduct brutal cavity searches (at both ends).

Talk about breaking the human spirit or trampling upon a man's dignity!

But, the soldiers of fortune spit in their charges faces and fight back violently, vowing never to succumb.

Regular visits from wives, girlfriends and loved ones are a saving grace and offer up tender moments that resonate deeply, in an otherwise emotionally-charged celluloid experience that sickens the toughest hard case.

On these occasions, filmgoers chuckle over the inventiveness of the sneaks who managed to smuggle contraband in to their lovers under the very noses of the stern watchful guards ever-present.

After a prison riot breaks out, there is a lock-down at H-Block, and the prisoners embark on a spirited hunger strike.

At this juncture, the audience witnesses a grueling metamorphosis as the lack of nourishment weakens the stanima, breaks down the flesh - and likewise - invites an onslaught of disease and open sores which quickly ravish the limp bodies til death.

In advance press notices, director Steve McQueen underscored the filmmaker's "Hunger" goals.

"I wanted to show what it was like to see, hear, smell, and touch in the H-Block in 1981."

"What I wanted to convey is something that you cannot find in books or archives: the ordinary and the extraordinary, of life in this prison."

"Yes, the film is also an abstraction of what it is to die for a cause."

In one scene, a female politician is heard to note in a voice-over, with disdain.

"They have turned to a hunger strike for pity."

Curious, that!

When Gandhi commenced with a hunger strike on behalf of his countrymen in India, no one ever accused the spiritual leader of that lowly bid for sympathy.

The independent feature, which screened at the conservatory grounds in Los Feliz under the auspices of the AFI Fest, was shot overseas on location.

"It was not possible to film in H-Block, but a shoot in Northern Ireland was essential," noted the director.

In the final analysis, the making of the film was a coming together, he asserted.

For example, once on location with his Northern Ireland cast and crew, it became apparent how many people had been touched by the story initially when the dramatic tale unfolded in 1981.

"Remarkably," he pointed out excitedly, "everyone knew where they were when Bobby Sands died during the hunger strike. Everyone had some kind of relationship to the events at the time."

As expected, the prison scenes in "Hunger" are pretty harsh.

However, Mr. McQueen has weaved into the stark tapestry, reflective moments that resonate in an almost poetic way on occasion.

For instance, McQueen has facilitated images of bare trees and drifting snow outside the prison walls, to hint at the healing passage of time.

On occasion, there are eloquent silences and subtle perceptions about the natural order of things that speak volumes, too.

"Hunger" was shot on 2 perf 35mm with an aspect ratio of 2:35:1.

According to McQueen, by using this ratio, there's bound to be a relationship to something else in the frame which sets the stage for a powerful narrative.

Here, it is a thought-provoking, dynamic one.

Although "Hunger" is a tough ride, it is a rivetting film experience, nonetheless.

Filmmaking at its very best!

Gotham Independent Film Awards...prestigious Indie Fest honors Penelope Cruz & Gus Van Sant! Screenings run Nov. 20th - Dec.6th...

Sun, 17 Nov 2008 19:19:33 GMT

posted by julianayrs

To the delight of filmgoers who thrive on off-beat Independent feature-length films with Art House sensibilities, the Gotham Independent Film Awards Series returns to the "Big Apple" once again.

The 18th Annual Fest - which kicks off November 20th and runs through December 6th - is the Nation's oldest and largest organization of independent filmmakers.

For film buffs, Gotham is not only a must-attend Festival, but one of the social events of the year.

In addition to a scintillating round of screenings throughout the week, there will be a host of glittering cocktail parties and tony Award Celebrations sure to intoxicate and swell any pretty little head.

Gotham Award Tributes go out to Gus Van Sant, Sheila Nevins, Melvin Van Peebles, & actress Penelope Cruz.

The nominees for Best Feature include Ballast, Frozen River, Synecdoche (New York), The Visitor, and the Wrestler (Micky Rourke).

A handful of exceptional directors have been given the nod in the "Breakthrough Director" category, as well; for instance, Barry Jenkins, Alex Rivera, Lance Hammer, Dennis Dortch, and Antonio Campas.

The "Breakthrough Actor" category has rustled up a few intriguing choices, too.

Rosemarie Dewitt, Rebecca Hall, Michael J. Smith, Sr., Alejandro Polanco, Melissa Leo, and Pedro Castaneda will compete for the coveted prize.

For the third year, IFP teams with MoMA to select the year's best films off the festival circuit which have yet to be released theatrically. (Best Film Not Playing at a Theatre Near you)

Films such as the New Year Parade, Afterschool, Meadowlark, Wellness, and Sita Sings the Blues, are sure to attract large enthusiastic audiences at the eclectic gallery at the heartbeat of the city.

"Best Documentary" hopefuls include "Chris & Dan: A Love Story", "Encounters at the End of the World", "Man on Wire", "Roman Polanski: Wanted and Desired", and "Trouble the Water".

The Gotham Awards are selected by distinguished juries.

The Awards began in 1991.

The public showcase honors the independent filmmaking community and expands the audience for independent films.

In addition, the Gotham Awards Festival supports the work that IFP does behind the scenes throughout the year to bring such films to fruition.

Founded as a satellite program of the 1979 New York Film Festival, the nonprofit IFP, has evolved into a premier advocate for Independent Film.

Since its start, IFP has supported the production of 7,000 films and provided resources to more than 20,000 filmmakers' voices that otherwise might not have been heard.

IFP believes that independent films broaden the palette of cinema, seeding the global culture with new ideas, kindling awareness, and fostering activism.

Currently, IFP represent a network of 10,000 filmmakers in New York City and around
the world.

Through its workshops, seminars, conferences, mentorships, and Filmmaker Magazine - the IFP - schools its members in the art, technology, and business of independent filmmaking.

IFP also builds audiences by hosting screenings, usually in collaboration with other major cultural institutions, in Gotham City.

Venues
Director's Guild Theatre
(110 West 57th Street, NYC)
MoMA
(11 West 53rd Street, NYC)
BAMcinematek
(30 Lafayette Avenue, NYC)
Tribeca Screening Room
(375 Greenwich Street, NYC)

AFI Fest...Tilda Swinton "Julia" role of Oscar calibre! Flawed gem has limited audience appeal...

Wed, 13 Nov 2008 02:59:38 GMT

posted by julianayrs

After Tilda Swinton wrapped up her talk at the AFI Fest tribute to her career last week, her handlers urged filmgoers to remain in their seats; after all, there was a surprise.

Swinton's new feature - "Julia" - was going to be unveiled for all the dedicated fans who showed up to toast the talented actress at the prestigious event.

In the opening scenes, the producers quickly established that Swinton's character - Julia - was a chronic alcoholic struggling to maintain a semblance of normalcy in her troubled life.

When her main sponsor (Saul Rubinek/Canadian Actor) gives her an ultimatum - clean up, or else hit-the-road - Julia goes into a tailspin.

Will there ever be a way out?

Early in the film, Julia crosses paths with a young Mexican mother, emotionally distraught over the loss of custody of her child to his grandfather.

Soon, the oddball duo are hatching a plot to "kidnap" the child which - ultimately - will kill two birds with one stone.

Swinton's character will acquire a much-needed influx of cash to launch a new life for herself elsewhere (anywhere, please!) while the mother - God bless her - will lovingly turn to nurturing parental duties long overdue.

Understandably, things go awry.

During the course of the "grab" - Julia mows down the kid's guardian with a late-model vehicle - and ends up on the lam when the shocking news hits the airwaves and commands the attention of the local police.

Although Julia manages to set up a drop for a $2 million ransom - the grandfather is a wealthy old coot bent on getting the child back - it is quite evident when she shows at the pick-up location that the authorities are lurking on the sidelines to nab her and recover the young boy.

At this juncture, there is a wild ride into the desert to escape the clutches of the authorities, a few testy moments with the confused victim, then a hair-spin high-speed chase with ICE which triggers Julia's frenzied escape south of the border into Mexico out-of-harm's way (so she thinks).

Now, the plot thickens. (sickens?)

To paraphrase an old line from a popular musical:

"She had it coming".

Because of her carelessness, and a false sense of security, a nasty plot twist unfolds.

In fact, the tawdry tale takes a convoluted turn, into surreal territory.

Suddenly - without warning - the intense drama turns into a show-down at High Noon where gunslingers play for keeps under a dark and moody midnight sun.

Ms. Swinton sinks her teeth into this role and ends up a winner by virtue of a multi-faceted complex portrayal which resonates with truth.

In particular, I was wowed by Ms. Swinton's uncanny ability to take stilted dialogue that any actor would have turned into high melodrama (or kitsch) - and not only make sense of it - but touch the filmgoer in intriguing thought-provoking ways.

A gritty on the edge - emotionally-charged roller-coaster ride - the Berlin Festival stand-out is not an easy one-hundred-and-sixty plus minutes to settle into or be at ease with.

Swinton nabs it, though.

Her performance in Erick Zonca's exotic hybrid thriller is being touted as a sure win for a Golden Bear overseas (Best Actress Award).

All elements considered, "Julia" begs the question.

Can an ill-conceived feature film - gone wild at the helm - rustle up an Oscar nomination for one of its deserving players, in spite of the odds against the fatally-flawed gem?

The envelope, please!

AFI Fest...Matthew Modine appears in Black Leather at premiere! Danny Boyle & Simon Beaufoy articulate ideas! Game on Columbine angers press!

Fri, 8 Nov 2008 22:00:05 GMT

posted by julianayrs

Matthew Modine strode onto the carpet in a black leather jacket, Danny Boyle appeared for all-the-world like a mischievous wizard, and "Full Monty" screenwriter Simon Beaufoy was surprisingly down-to-earth.

Amid the dizzying red carpet glitz, security was tight, the press was antsy, and AFI Staff bent over backwards to please their honored guests.

Bright and early this morning, I am still a little overwhelmed by all the tantalizing events that unfolded before me at the Cinerama Dome last night.

In sum, AFI fulfilled its mission this year, in my estimation.

After all, the eleven-day Festival (to wind down November 9th) provided a forum for - an exchange of ideas, insightful forays into the creative mind, a perch for a smattering of showbiz luminaries to alight and share their visions, and - last but not least - thought-provoking topics to mull over.

For starters, I was particularly thrown a little by Mr. Modine when he sauntered into the room a bit cautious - but confident - none the less.

His fashion choice - a black leather jacket matched up with sexy tight-fitting jeans - jarred the sensibilities a bit.

When I took a poll around the AFI party-scene after the carpet event - many (who weren't at the premiere) - painted a portrait of Modine similar to the one oft-seen onscreen: middle-American, white-bread boy, squeaky clean.

So, when the strapping 6' 2 (plus?) actor sauntered over to have a one-on-one, I seriously had to wonder, who exactly was Matthew Modine?

A couple of my personal questions (are you content right now?) elicited an intriguing response.

"Such personal questions," he mused, a bit hesitantly.

I noted that if he preferred not to go there, that was OK.

On the heels of this comment, after the first bit of posturing between us, the magic door opened wide.

Suddenly, he relaxed.

Undoubtedly, there's a lot of soul to the man, submerged beneath a calm surface.

Still waters run deep?

Although he generally doesn't discuss the premise of a film beforehand, he gave me a scoop on "I Think I Thought".

The fictional tale is about a man - people assert - "thinks too much".

So, to appease his accusers, he seeks out "Thinkers Anonymous" to get a grip on the dilemma.

A couple of comments about the project prompted me to ask if this was a take-off on Orwell's 1984 (controlled societies) or a concept about "thought" Police.

At this juncture, the floodgates opened and his thoughts spilled out.

"Are we headed in that direction," I started to ask.

"Well - "

The look on his face spoke volumes.

"You think we're there already," I quizzed.

"Sure. This past eight years of the Bush Administration was bad. Rights were violated and the U.S. Constitution was trampled on."

Of course, he was referring to powers of the FBI that were extended in one fell swoop - and in the aftermath - the intelligence agency's alleged involvement in wrongful conduct.

What many perceived as illegal wiretaps, for instance, and a government philosophy that smacked-of and turned-on the unjust concept of "guilty" until proven innocent.

Un-American, from the get-go.

Should be an intriguing film!

On the other hand, Danny Boyle struck me as a sort-of whimsical "wizard", what with the granny-style specs, greying hair, and character-driven face.

Tell me about "Sunshine".

He appeared to be flattered that I mentioned a film that was obviously very special to him.

"The idea of space. It intrigued me."

He asserted that every director should have a project like Sunshine.

"Once they get it out of their system, they'll move on."

The new film - "Slumdog Millionaire" - came by way of a script submission out-of-the-blue.

Essentially, the fictional tale is about a game-show winner who is accused of committing fraud.

"It was a fascinating subject for me. Great script by Simon Beaufoy."

Actors, take note.

Mr. Boyle is open to using "fresh" faces whenever the opportunity arises.

"A Quiet Little Marriage" also premiered last night.

Essentially the story focuses on a young married couple and a drama which unfolds when the young woman expresses her desire to start a family.

The director - shy, but very real - apparently worked closely with the actors to develop their characters.

I pointed out to Mo Perkins that there were a slew of films at the festival which threw the spotlight on a myriad of far-reaching topics.

Why, then, did Perkins choose old-familiar territory on the subject of marriage?

Did the insightful director feel she could cover new ground somehow?

"Relationships are important to me. It was a good script in that respect."

Who knows, maybe the subject matter is timely - in view of the fact the issue of "Gay Marriage" - is now gearing up to go forward in the courts in the wake of the passing of Proposition 8 in California in the past election.

The two stars (Cy Carter and Mary Elizabeth Ellis ) - who played the married couple - are gorgeous!

The actor, reminded many of heart-throb Christopher Atkens (Blue Lagoon) when he was younger.

I expect exposure in this film may catapult his career into lofty realms as a romantic leading man.

The fan magazines will be buzzing, no doubt.

Screenwriter Simon Beaufoy - who directed the English feature - Full Monty (directed by Peter Cattaneo) was surprisingly approachable when he glided up.

My jaw dropped when he stated - matter-of-fact - that he didn't make films to make "money".

Admirable!

I noted I was fan of "Monty" and that I recalled the initial reaction to the sensational strip scene.

Although I thought the titillating reveal was all about selling tickets and stirring up controversy, he assured me that wasn't his intention.

"It was all about humiliation.It was a metaphor."

In contrast, the scene was a liberating one, to me.

In that project, he chose to go under the radar in his choice of actors.

"I'm inclined to go that way when necessary. A less-recognizable face is sometimes more appropriate in a particular circumstance."

Tonight, the effervescent screenwriter was in attendance to take in the premiere of - "Slumdog Millionaire" - a project he penned the script for.

Anil Kapoor - a Bollywood star - was also on hand to chat up his current feature-film release, "Slumdog Millionaire" (Danny Boyle).

A separate post on that interview will publish in a day or two since the whole topic of "Bollywood" warrants a separate piece on that film phenomenon.

Some of the press folks on hand were angered by the appearance of one director - Danny Ledonne - and refused to interview him about his project, Playing Columbine.

Playing Columbine is being promoted as a video game that allows players to reenact the Columbine massacre.

One newsie from a local TV Station angrily noted in an aside to me:

"I won't give him any publicity for that."

Like the 9/11 tragedy, many feel Columbine should remain on sacred ground, not to be tampered with, exploited, or made light of.

I pointed out the controversy to the young director, and he argued that maybe we - as a society - need to "go there".

"The purpose of the Columbine project was to get people to talk about subjects they normally wouldn't."

But, as I emphatically put forward to him, the word "game" tends to suggest a leisure activity, something that is "playful", and not to be taken seriously.

That's why people are upset.

This was a tragedy. Turning it into a game - to many - is not only shocking but sick.

I pointed out that I would double-check the dictionary definition of the word "game" before I wrote this piece to determine if there was any validity to his bold-faced arguments.

As expected, one dictionary referred to a game as:

"An amusement or pastime, as in children's games."

Was Columbine about killing for sport or amusement?

Or, simply the twisted actions of a demented person?

A second definition defined game as a competitive activity involving skill, chance, or endurance on the part of two persons who play according to a set of rules, usually for their own amusement or for that of the spectators.

Weren't the victims here just "picked off", and murdered in cold bold, without any set of rules that could have possibly changed the end scenario?

Was anyone at Columbine amused by the deadly game that unfolded that day on campus?

One reference noted that in a game, a number of points are required to win.

In this instant case, a body count would be required, right?

One analysis is intriguing, though.

It described games as a pursuit, attack, or an abuse.

"The new boy at school was fair game for practical jokers," was cited as an example.

Were the victims at Columbine fair game by any stretch of the imagination?

After raising these points initially - the director emphasized that his film - "Playing Columbine" - was all about role-playing; video games, he asserted, focused on stealth play, stalking, and - yes - even murder.

Was he trying to say that these activities may have caused the murders in Columbine?

If so, surely there was a more respectful way to meet the challenge of expressing those thought-provoking ideas in a more meaningful constructive way.

"We'll all be role-playing one day," the computer whiz quipped.

Personally, I don't think so.

George Eliot once opined:

"Blessed is the man who, having nothing to stay, abstains from giving us worthy evidence of the fact."

In my opinion, people should articulate their rage.

Let's pray that "Playing Columbine" doesn't even go straight to DVD.