BrightStar Tagged Articles at Cinematical

Fall brings with it awards season, and among our first round of nominations are those of the British Independent Film Awards. According to Empire, Andrea Arnold's acclaimed Fish Tank took the lead with eight, while Duncan Jones' similarly lauded Moon came up with seven, including one for lead actor Sam Rockwell.

I'm personally happy to see the savage political satire In the Loop getting due notice, especially its expletive-laden screenplay, since it'll likely go overlooked when it comes to Yank laurels (sad but true, although I'll be happy if it's not). Meanwhile, the multiple nods for An Education and Bright Star only parallel their warm reception Stateside and their likely contention in next year's Oscar race.

And after being quietly blown away by it at Fantastic Fest a few weeks back, I'm also glad to see Down Terrace get some love under the Raindance Award category. Enough of these awards, and maybe that puppy'll earn some distribution in our neck of the woods. (You listening, IFC?)

Last week, Peter Bart of Variety wrote "Unlikely Rivals on the Oscar Circuit," outlining how Jane Campion and Kathryn Bigelow were a part of the Oscar race with Bright Star and The Hurt Locker. But rather than simply outlining their accomplishments and discussing their talents, Bart gave the piece this weird, "at odds" theme, kicking it off with their looks. It's apparently strange that the "cerebral, somewhat severe, leans toward post-hippie attire" Campion could helm an all-out romance* while Bigelow -- the "tall, model thin" director with a "gracious manner" -- could bring us The Hurt Locker. As if looks are inextricably tied to theme. As if Wes Craven has to look like Freddy Krueger, or James Cameron has to be a beefy Terminator.

To be fair, kind words are given to both filmmakers; it's just fueled by this strange desire to make things at odds. Its execution doesn't relay a sense of distaste in Campion's and Bigelow's accomplishments, but rather an inability to discuss them without noticing a woman's physicality, without struggling to make connections between their looks and interests. It continues right down to the final line -- "Keats vs. Iraq: Now that's downright weird." -- as if Campion's Piano didn't already face off against the likes of Schindler's List and The Fugitive, as if Juno never faced off against No Country for Old Men, and so on and so forth.

As if women are some sort of alien species that cannot be understood without their physical presence -- they must be judged by it, defined by it.

*Let alone the ridiculousness that Campion has to be characterized as the "severe" woman to Bigelow's cuteness.

Indie Roundup invites you to relive the last seven days and look forward to the near future in the ever-diverse indie film world.

Deals. A big buzz title at Toronto was the most notable deal of the week. Aaron Schneider's Get Low, starring Bill Murray, Robert Duvall, Sissy Spacek, and Lucas Black, sold to Sony Pictures Classics for distribution in North America, according to our friends at indieWIRE. Scott Weinberg called it "an excellent little dramatic piece that's awash in humanity, warmth, insight, and wit." Details on several other deals that were made, all related to the Toronto fest, can be found at indieWIRE.

Online / On-Demand Viewing. Even less-publicized fest films are getting out into circulation. Hailing from Chile, Scrambled Beer (Malta Con Huevo) premiered at SXSW in 2008, and is now available for free streaming exclusively at Babelgum. It's described as "a delirious black comedy and bizarre story about two friends named Vladimir and George who move in together and begin to see reality differently. Vladimir lives a supernatural tale of time travel, while Jorge grows obsessed and embarks on a twisted adventure." In other words, possibly the perfect movie for the beginning of fall.

Fests. My favorite festival ever, Fantastic Fest, starts tomorrow night. Unfortunately, I'll only be able to pop in over the weekend to savor a small taste of the cinematic banquet that will be served over the next seven days. Look for much more coverage right here at Cinematical.

Actors in period costume, multiple shots of rum, and foreign cities -- all after the jump!

The lasting impact of first love is the subject of Jane Campion's Bright Star, a Palme d'or-nominated film that is at once about, and not merely about, the brilliance of the Romantic poet John Keats. Tossing the usual biopic formula, Campion opts not to retell Keats' entire life, focusing instead on the brief lifespan of his romantic courtship with a young woman named Fanny Brawne in 19th century London -- a relationship that, Campion argues, awakened love in Keats, and in turn, inspired his genius.

As such, what unfolds is less a by-the-numbers examination of the artist, who died a pauper at the age of 25 before any of his poetry was truly appreciated, and more a tribute to the power of the well-documented love that Keats and Brawne shared, partly through letters.

When they first meet, Keats (played marvelously by British actor Ben Whishaw) is a struggling poet with no money to his name. He has a sick and dying brother and no marriage prospects, but he's beloved among a circle of London artist types who look out for him here and there, including fellow poet Charles Armitage Brown (Paul Schneider). Fanny Brawne (Abbie Cornish), on the other hand, is the eldest daughter of the family next door. A fashionista of sorts, Fanny spends her days sewing and designing her own clothes, and has no interest in things like poetry – that is, until she becomes fascinated with Keats.

There's an interesting phenomenon going on at the Toronto International Film Festival this year. Female filmmakers were a big part of the festival's opening weekend. (The fest might be 9 days long, but that first weekend is the time that packs the punch -- the time when the stars descend, the parties commence, and the big films have their premieres.) But this isn't only relevant to festival goers. These fests showcase tomorrow's films, so in some ways, TIFF is a peek into the future. And it's one where women defy what's expected of them.

At the moment, I'm calling it the Anna Kendrick effect. While she might be one of the youngest Tony Award nominees ever, this actress shot into the public eye with a supporting role in that incessant, sparkly piece called Twilight. Her performance was fine, but she really wasn't given enough for a large buzz to commence, especially while under the shadow of Kristen Stewart and Robert Pattinson. But now she's got a co-starring role in Jason Reitman's new Up in the Air -- a role where she must hold her own against George Clooney and Vera Farmiga. And she does. In fact, she's so good that her performance has been getting a lot of buzz up here in Toronto -- and it's proved one thing: We might see women and blow them off as nothing more than the crazy jealous friend, but there can be a lot of other talent in there if given a solid role to prove it.

The other day I watched My Life in Ruins out of curiosity and because I was bored. In the past, I've been quite cynical about the movie and Nia Vardalos's upcoming film I Hate Valentine's Day, but when all was said and done, I was a captive audience. And you know what? I like Nia Vardalos. I want to root for her. But it was in spite of myself that not only did I like it... I cried.

Yes, despite the hackneyed plot – woman uproots her life, is cranky and miserable and loveless, then gets her groove back, along with a hunky fellow; despite the use of every possible ethnic and sexual stereotype possible; despite a love interest whose name is Poupi Kakas; and despite the complete lack of innovation in terms of the romantic comedy genre.... I liked it. And I cried. And I was very embarrassed.

I cry at a lot of movies, which is awkward, since I see a lot of movies, often with colleagues, friends, and publicists. After seeing The Fall, which I adored, another viewer asked me if I was okay. I bawled during the excellent movie Bright Star, although I am 99 percent sure everyone else did too. I even cried during Seven Pounds, one of the most ludicrous and manipulative "feel-good" movies I've ever had the trauma of sitting through. And after seeing The Family Stone one Christmas, hoping for the light-hearted comedy that the trailers promised, I left the theater dazed and angry at how mean-spirited and sad it was.

There are certain things that set me off, but even the lamest Sunday afternoon guilty pleasure can get me sniffling.

Are you a movie crier? Which movies have you cried at? (No need to get gory with whys and wherefores.) Were you in a public theater? What do you do when you start tearing up (or sobbing)?

Bright star, would I were steadfast as thou art ... Awake for ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever -- or else swoon to death. John Keats

Yes, we've finally got more news about the John Keats film, Bright Star, that has been brewing since 2006, and I'm happy to say that this isn't just some casting notice that might, or might not, come to fruition. Jane Campion's film about the famous poet has finally begun production in the UK, and has got two more cast members. Variety reports that Paul Schneider and Kerry Fox will be joining Ben Whishaw, who already signed on to play Keats, and Abbie Cornish, who is taking on the role of the poet's muse -- Fanny Brawne.

You probably aren't familiar with him just yet, but Ben Whishaw is an actor worth taking note of. He was nominated recently for the BAFTA Rising Star award (Eva Green won it), mostly for his starring role in Perfume: The Story of a Murderer, which was one of my favorite films of last year. He's also been racking up roles in which he plays famous people (one day he could even catch up to Val Kilmer and Gary Oldman). Last year he was Keith Richards in Stoned, this year he can be seen as one of many Bob Dylans in I'm Not There and now he's in negotiations to portray the poet John Keats in Jane Campion's Bright Star.

The period romance takes place in the early 19th century, focusing on Keats' romance with Fanny Brawne, who has already been cast with Australian actress Abbie Cornish (who is rumored to also be in talks for the next Bond film.) The couple's romance only lasted a couple years before Keats' health deteriorated due to his suffering from tuberculosis. He died a year after they separated, at the age of 25. As much as we could do without another tragic, tear-jerking romance film, with Campion behind the camera this could be one of the better ones. And in addition to further boosting the careers of both Whishaw and Cornish, it could, as many Campion films are good for, garner some acting nominations for the pair as well. Next up for Whishaw is a new adaptation of Evelyn Waugh's Brideshead Revisited.

Although Jane Campion's latest project seemed to have been forgotten, much like her career, it's finally making some headway. In May of last year, Martha Fischer posted that the director's latest project, Bright Star, would deal with John Keats and his relationship with Fanny Brawne, which stretched three years until his death at the age of 25. They had met when he had moved next door to the girl, and it is said that their relationship was not a big bowl of bright peaches. By the end, all that she could write in her diary was: "Mr. Keats has left Hampstead." (That is when he left for Italy in an attempt to get well, which, obviously, didn't happen.)

Finally, the casting is starting to come together for the film, and The Hollywood Reporter has released that Abbie Cornish, the star of last year's Candy with Heath Ledger, is in talks to take on the lead role as Ms. Brawne. If the talks are successful, this will bring the actress one step closer to a solid career as a professional love interest. She's got a thing for pulling hearts, with each of her most recent features dealing with romance -- Somersault, Candy and A Good Year. From there, she can take on the world! That's the way it works right? Most big-name celebrity actresses seem to start out that way -- Julia Roberts, Sandra Bullock... Considering the rumors that Cornish might be the next Bond girl, it seems to be working already! Me, I'll just be happy to finally see another Campion movie, even if it will make me feel like I should have accomplished a lot more by the age of 25. On a side note: I wonder if they'll end the movie like Brawne ended the Keats relationship in her journal? That would be amusing.