Italian director Matteo Garrone has risen to international stardom with lightning speed, especially since his 2008 film Gomorrah took the second-highest prize at the Cannes Film Festival. Yet, for all his acclaim, I have tended to find his work remote and slightly inaccessible. Garrone’s latest film, Dogman, is a film worthy of his stature and the first time his bite has been as strong as his bark. This morality tale wrings gripping drama from an imperfect man backed into an unenviable corner.
Find out more in out full Dogman review below. Read More »
You really don’t know what you’re getting when you settle in for a new Matteo Garrone film. The Italian director has been making feature films for twenty years, but he achieved international renown for his stunning and brutal crime film Gomorrah in 2008. He then shifted gears in a major way for Reality, a comic drama about an ordinary man whose life is thrown into chaos after he’s cast on a reality show. Garrone’s latest film is another big left turn: a fantasy anthology based one of the world’s most influential fairy tale collections.
The Tale of Tales trailer is filled with stunning shots and oddball moments and it certainly looks like a must-see for fans of offbeat cinema. But most importantly, it features a scene where Salma Hayek eats the heart of a sea monster.
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Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week we catch up with Alex Winter by way of Frank Zappa, wonder at what the fuss was all about with that anti-vaxx documentary, see what old timey film projectionists are up to, watch some fairy tales come to life and find a human connection with our simian brothers.
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Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week we stop being polite and start getting real, try not to be beheaded by a drug cartel, look back wistfully at a time that has long since passed, get coked out with the pretty people, hit the slopes for a little R&R, reflect on 20 years of Groundhog Day, and then get excited about stopping over in England to hear Edgar Wright and some directorial blowhards drone on about film.
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The primary lineup for the competition slate at the 2012 Cannes has been unveilend, and it is a very strong list of films. There are quite a few expected entries: David Cronenberg‘s Cosmopolis, Lee Daniels‘ The Paperboy, John Hillcoat‘s Lawless (formerly The Wettest County), and Andrew Dominik‘s Killing Them Softly (formerly Cogan’s Trade), and we already knew that Wes Anderson‘s Moonrise Kingdom would open the festival.
But the international lineup is even more exciting, with films such as Rust & Bone from Jacques Audiard, Amour from Micheal Haneke, The Hunt from Thomas Vinterberg, and Mekong Hotel from 2010 Palme d’Or winner Apichatpong Weerasethakul. As is occasionally the case with Cannes, this year’s lineup features many returning Cannes award winners; it’s a world-class program.
The downside to all of that is that Paul Thomas Anderson‘s The Master and Terrence Malick‘s as-yet untitled romance starring Ben Affleck, Rachel McAdams and Javier Bardem didn’t show up in the list. There is some time for them to be added to the festival lineup in some measure, but (as expected) we’ll likely have to wait until this fall for The Master. As for the Malick movie… well, it’s Malick, so who knows?
You’ll find the lineup as it has been announced so far after the break. Read More »