lornas silence Tagged Articles at Cinematical
Indie Spotlight - New Releases for July 31
Filed under: New Releases », Indie Spotlight »
Here's a quick look at what's opening in limited release this weekend. If they're not playing where you live, keep an eye out as they make the rounds. And if all else fails, there's always DVD.Adam (pictured) is an unusual romantic comedy starring Hugh Dancy as a man with Asperger syndrome, a mild form of autism, who develops a relationship with his new neighbor (Rose Byrne). It has a 70% approval rating at Rotten Tomatoes, including my own Cinematical review from Sundance, where I wrote: "This isn't some cheesy TV movie about a wise "special needs" person who teaches life lessons to those around him.... It's a simple, light comedy with dramatic underpinnings, and a pleasant way to spend an evening." Now playing in New York and L.A.
The Cove, another Sundance alumnus, is already one of the year's most acclaimed documentaries, with a 94% positive rating at Rotten Tomatoes. It's about a cove in Japan where thousands of dolphins are slaughtered every year for shady reasons, and it plays out like a thriller. Cinematical's Scott Weinberg called it "brutally honest and effortlessly fascinating" and "easily one of the most powerful, heartfelt, and ... important 'nature' documentaries I've ever seen." Playing in New York and L.A.
Discuss: The Foreign & Indie Films of 2009
Filed under: Foreign Language », Independent », Distribution »
Many of this year's foreign and indie releases showed up on some of the more obscure top ten lists of 2008, and will no doubt be rolling out across the country in various irregular patterns all year long. For example, Steven Soderbergh's Che turned up on more than half a dozen lists that I saw (including our own James Rocchi's), yet most people haven't seen it yet. I have seen it, and I doubt it'll be sticking around long, though I greatly admire it. It's a deliberate attempt to subvert the current biopic formula, and though it's somewhat cold and ultimately a bit one-sided, it's also endlessly mesmerizing. Silent Light, the newest drama by the great and peculiar Mexican director Carlos Reygadas (Battle in Heaven) is also due to show up this month. Matteo Garrone's Italian gangster movie Gomorrah and Steve McQueen's British based-on-a-true-story drama Hunger have also placed well on several top ten and awards lists, and will be turning up in February and March. The two-time Cannes champs Jean-Pierre and Luc Dardenne have a new one, Lorna's Silence, which I haven't seen, but that has a very nice poster. (It's supposed to be coming around in June.) And James Gray (The Yards, We Own the Night), who for some mysterious reason is quite beloved in France, opened his new film, Two Lovers -- starring Gwyneth Paltrow and Joaquin Phoenix -- there to great acclaim. It's due here in February. And one of my contacts tells me that Roy Andersson's outstanding deadpan Swedish comedy You, the Living, which I saw early in 2008, will finally open to theaters sometime in 2009. I'm still waiting for a release date for Kathryn Bigelow's war film Hurt Locker, but it has enough buzz that I'm not worried. I'm a little more concerned about John Woo's Chinese epic Red Cliff, which will hopefully return that master to his former glory; so far there's no U.S. release date -- and no indication that the entire, uncut film will make it over here.
Live From Toronto: Watching the Cannes Holdovers
Filed under: Cannes », Sony Classics », Festival Reports », Toronto International Film Festival », Cinematical Indie »
Cinematical goes to Cannes, so when it comes time for the fall festivals, we mostly ignore the movies we've already covered there. But since I didn't go to Cannes, the many holdovers from that festival are new to me, and a big part of the fun. (Less fun: complaining about being conflicted out of a movie only to be met with "oh, I saw that at Cannes." Thanks, jackass.)
One such holdover is the Dardenne brothers' very good Lorna's Silence, an(other) study of guilt and self-deception. The Dardennes' approach can be charitably termed "narrative economy," or less charitably "a pathological refusal to let important events happen on screen." For that reason, Lorna's Silence plays like a mystery, except that the mystery is what the hell is going on, with the filmmakers dropping tidbits of information at their leisure. It's an unusual way of generating suspense – a bit tyrannical, but also a recognition that real life generally does not contain expository dialogue. Though the film contains plenty of conventional what-happens-next suspense as well, its nature makes virtually any plot description a spoiler. If you like the Dardennes, or are just interested in the current art film vanguard, don't read much about Lorna's Silence but just go see it. Sony Pictures Classics will release it in North America.
'Waltz with Bashir' Goes Where it Belongs
Filed under: Animation », Documentary », Independent », Deals », New Releases », Cannes », Sony Classics », Distribution », DIY/Filmmaking », Cinematical Indie »
Among the handful of titles Sony Pictures Classics snatched up for American distribution at the conclusion of the Cannes Film Festival, the animated Israeli documentary Waltz with Bashir makes the most sense. While Tyson certainly has potential to alter the public perception of the country's infamous boxer, and Lorna's Silence has appeal for crime fans and art house aficionados alike, both movies could perform well regardless of which distributor picked them up (more or less). Bashir, on the other hand, has SPC written all over it: Relentlessly downbeat and frequently unsettling, Bashir is director Ari Folman's account of his 1982 experience in the Israeli military during the infamous massacre of Palestinian refugees in Lebanon. The animated approach sometimes has a gimmicky feel to it, but that's probably the point; Folman's memories are so foggy that his reconstructions of them seem plausibly unrealistic. Bashir isn't easy to get into, but you could say that about Thomas Pynchon, too. What we have here is an animated movie for grown-ups, which puts it squarely in SPC's line of expertise. The company has guided many mature animated films to audiences in a manner unparalleled by their colleagues. Last year, talented SPC co-presidents Michael Barker and Tom Bernard commandeered the releases of the outlandish anime Paprika and Marjane Satrapi's Persepolis, and the latter film very nearly won an Oscar. Remember The Triplets of Belleville? That was them, too. These people know their stuff. Listen up, guys: I hear Bill Plympton's new movie is quite good.
Cannes 2008 Winners: 'The Class' Takes Palme d'Or
Filed under: Awards », Cannes », Festival Reports », Fandom », Newsstand »
Earlier today, Laurent Cantent's The Class became the first French film in 20 years to win the Palme d'Or, the top prize at the 2008 Festival de Cannes. Coincidentally, we have James' review of The Class scheduled to run in just a little while; in it, he says of the film: "The Class may very well wind up taking home a nod or two from the jury here in Cannes; rest assured, if that happens, it'll represent more than just sympathy votes for a local favorite."
The grand prize went to Gomorra, which James called "a sweeping, stirring drama that has the shoot-and-loot tension of the best crime cinema but also has the scope and serious intent of great drama." Special Prize went to Catherine Deneuve (A Christmas Tale) and Clint Eastwood (Changeling); the latter of which was a favorite heading into the awards (as was Waltz with Bashir, which, surprisingly, did not take home one of the top awards). Jury Prize went to Il Divo, while Nuri Bilge Ceylan took Best Director for Three Monkeys. Additionally, Benicio del Toro won Best Actor for his performance in Soderbergh's Che, Sandra Corveloni took Best Actress for Linha de passe, and Jean-Pierre and Luc Dardenne won Best Screenplay for Lorna's Silence.
For reviews of most of these films, head on over to Cinematical's official Festival de Cannes hub. We'll be rounding out this year's coverage over the next few days.
Cannes Deals: Sony Classics Grabs French 'Lorna,' Norwegian 'O'Horten'
Filed under: Comedy », Documentary », Drama », Foreign Language », Deals », Cannes », Sony Classics », Distribution », Cinematical Indie »
After a somnolent week in which it appeared that IFC Films was the only US distributor making deals at Cannes, Sony Pictures Classics sprang into action and snapped up two pictures, with a third possibly on the way. According to Anne Thompson of Variety, Sony Classics has acquired North American rights to the latest film by French filmmaking brothers Jean-Pierre and Luc Dardenne, Lorna's Silence, as well as Norwegian director Bent Hamer's comedy/drama O'Horten, and are also in talks to pick up James Toback's documentary Tyson.
Cinematical's James Rocchi felt "in tune" with Lorna's Silence, which he says has provoked polarized reactions in Cannes; he concluded: "It's a strong film from strong filmmakers." The titular character is an Albanian woman living in Belgium who has entered into a marriage of convenience that turns out to be a complicated, life and death affair.
Cannes Review: Lorna's Silence (Le Silence de Lorna)
Filed under: Drama », Foreign Language », Theatrical Reviews », Festival Reports »
Some films are, for lack of a better word, glacial; they're immense, dense, frozen and seemingly immobile. And a film like that can affect the viewer in one of two ways; either you bounce off the frozen surface of it, shut out and shunned -- or you find the frozen surface to be a mirror, showing you things within your own reaction to it. With its naturalistic tone and bleak outlook, the new film from the Dardenne Brothers, Lorna's Silence, is certain to provoke those kinds of polarized reactions. I found myself more in tune with the film and what it was reaching for, and was impressed by the familiar Dardenne methods and concerns and themes (which won their film L'Enfant the Palme d'Or in 2005 and Rosetta the same award in 1999) in Lorna's Silence. At the same time, I can also understand the somewhat lukewarm reception for Lorna's Silence; it's only at Cannes that you hear people saying "Oh, not another hyper-realistic drama set in the gulfs and gaps between old and new Europe. ..."
We follow Lorna (Arta Dobroshi) through her day -- phone calls, work, dealing with life. And that life gradually makes its shape known to us. She's an Albanian, living in Belgium; she's entered a marriage of convenience with Claudy (Jeremie Renier) that's not actually convenient at all, as Claudy's a junkie who's trying to quit; his needs and demands hang heavy on her. But then Lorna has a meeting with Fabio (Fabrizio Rongione), and things take a very different turn, as he explains that they have to be sure that Claudy's death looks like an accident. ...
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