Their characters couldn’t be more different, but their personality traits are so contradictory they can’t help but be fascinated by one another. And I do think we all survive our childhoods — even the good ones — and then start anew, start a totally different life from the one that was described to us.”. Created with love, and with the considerable talents of Miranda July and her actors, this is the very definition … Cam is also one of the first American films to grapple with the realities of being doxed to family and friends, further demonstrating its primary acumen as a check on the social pulse of a particular strain of U.S. conservatism that continues to think about and patrol sex work, and those who participate in it, in even pre-Reichian terms. Theresa (Debra Winger) and Robert (Richard Jenkins) are so invested in their way of life that they’ve spent 26 years training their only daughter, Old Dolio (Evan Rachel Wood), to be an equal partner rather than be her parents.
There’s a line in there where [Elizabeth Olsen’s character] is talking about how she can see herself in the future, and she feels like a rough draft version of herself. That the sixth, torn-out page of the book involves death should come as no surprise.
Here’s the synopsis for the film: From acclaimed writer/director Miranda July comes a profoundly moving and wildly original comedy. Crawford arouses sympathy and repulsion by turns, and the hilarious tunnel-vision focus that made her the ultimate camp totem is also what makes her lovable, in spite of the increasing warrior-hardness of her face, her often-monotonous intensity, and the sometimes off-puttingly aggressive way she offered her psychic battle scars to the camera.
This is comedy wed not just to melancholy but to a deep sense, maybe fear, of failure. But they choose to drink instead.
Whether you can allow yourself a similar embrace of July’s indigo child honesty is still a matter of personal taste. In her best scenes, she shows her character’s illness subtly and accurately without going over the top. When you’re working with someone so closely for a period of time, it presents all sorts of interesting emotions and challenges.
The thirtysomething Melanie finds herself drawn to their criminal lifestyle, as laughably low-key as it might be, and helps them with a new set of scams. But rather than seeming like a dated point of contrast, classical music becomes a clever, unexpected companion to what, on the surface, appear to be distinctly modern anxieties. I think writers see college as a playground for them to write whatever they want.
Such is Crawford’s deluded grandeur, however, that she has several scenes in Torch Song that are somewhat touching, especially when her eyes tear as Tye Graham’s rehearsal pianist tells her that she will soon become a “cheap, vulgar has-been” and eventually turn to “the bottle.” Crawford wasn’t a fan of self-awareness, to put it mildly, but surely she could feel the truth in those harsh words, and predict the final descent into Berserk!
Last year, Hans Petter Moland’s Cold Pursuit, with tongue firmly in cheek, seemed to suggest that Neeson’s propensity for playing brooding middle-aged avengers had reached a point of self-parody—á la Arnold Schwarzenegger in James Cameron’s True Lies. It’s like living in a soap sponge with ethernet. Cast: Sydney Sweeney, Madison Iseman, Jacques Colimon, Ivan Shaw, Julie Benz Director: Zu Quirke Screenwriter: Zu Quirke Distributor: Amazon Prime Video Running Time: 90 min Rating: NR Year: 2020. You can’t not depend on people. But I will say that as a writer—I think I realized this recently because I’ve been writing a ton again—it does make me a better person. There’s no separation between your work life, your personal life, your home life, your relationship with your children, your mother, yourself, your partner.
You also sense that Dolio — who in another version of this movie, the one that might have come out 15 years ago, would be a plucky but over-it teenager — wants out.
Staring October 11, the Criterion Channel celebrates Crawford’s work with a career-spanning, 25-film retrospective. But the torment on display isn’t exactly a one-way street: As relentlessly as What Ever Happened to Baby Jane? The status quo is damning enough. The image she had started with is difficult to pull off in a movie: two women with back-length straight hair.
Not good at talking about their feelings, but so appealing.
Raiff and Gelula have a seemingly effortless chemistry, containing more of the warmth of friendship than the heat of romance, that sells the idea that the fast bond that develops between the two over the course of a single night (and roughly 40-minute second act) could actually be lasting. Spike Lee brings “David Byrne’s American Utopia” to the screen with all of its joy and energy intact. When I was directing for the first time, I realized just how deep into my bones movies are.
Review: With the environment on the line, ‘The Devil Has a Name’ wastes its shot on melodrama. It’s a film that explains who Crawford was better than just about anything else she did. 1922 informs Stephen King’s pulp feminism with primordial, biblically ugly force. Your guide to the 2020 election in California. There’s this beautiful choreography to it, but it seems very natural.”. Though she worked with many fine directors across her career, all of Crawford’s films are essentially about her, and they need to be seen in terms of her unending thirst for publicity and attention, which still bears fruit and fans more than 40 years after her death. That’s just how she was raised. “I go get my phone and reach over and start dictating. I couldn’t resist the opportunity to start our time by raising a personal connection: Raiff and I both attended small high schools in Texas that played against each other in the same athletic conference. The original ending, of Diane Baker screaming behind the door, is considerably harder to shake. Guadagnino uses Argento’s original as a launching pad for interrogating how the old, whether in dance or politics, often corrupts the new. A potentially wicked irony—that Pallavi is drifting into the sort of patriarchal culture that she’s long resisted, which she finds she actually likes—is ignored. Our wide-ranging conversation covered why he doesn’t think about cinematography when envisioning a film, how writing makes him a better person, and where he wishes he’d been more precious in editing his personal but not autobiographical character. I write a lot of like’s, and I write a lot of um’s.
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But then also, uniquely to Fox’s own story, I really focused in on her daily life as a way of saying if there’s anything that I’m able to illustrate in this film, if I have to stop shooting tomorrow, it’s to show how deeply embedded the system puts itself in daily life.
We’re not making a movie about being gay or we’re not making a movie about being a person of color.
I watch her films certain that we live on the same planet and equally prepared to see it through fresh eyes. When Annie, deep in the haze of misbegotten conviction, tells her son, “I’m the only one who can fix this,” she’s trying to rectify the sense of maternal guilt she feels for her daughter’s death. Independent writer-director’s first film in nine years turns a tale of three grifters into a mediation on blood ties, love and failure, Evan Rachel Wood in director Miranda July's 'Kajillionaire.'.
Cast: Evan Rachel Wood, Gina Rodriguez, Richard Jenkins, Debra Winger, Patricia Belcher, Kim Estes, Da’vine Joy Randolph, Rachel Redleaf Director: Miranda July Screenwriter: Miranda July Distributor: Focus Features Running Time: 104 min Rating: R Year: 2020, Review: Tragic Jungle Turns a Woman’s Exploitation into a Potent Allegory, Review: Tate Taylor’s Ava Doesn’t Lack for Star Power, Only Narrative Thrills, Interview: Miranda July on Kajillionaire and the Malleability of Movies, Review: Miranda July’s Me and You and Everyone We Know on Criterion Blu-ray, Review: Trolls: World Tour Is a Weird, Busy Exegesis on the State of Pop. I just wanted to get across that there’s gonna probably be some like’s and um’s in this one this big line. So that to me was such a great sign and such a rare thing these days. Did it just dawn on her that they might make a great addition to the film? Basically, Humoresque is a film about Crawford’s face, that marvel of early make-up call architecture and brutal star self-will. I think it goes back to this idea of the sort of cinematic challenge of trying to allow things to feel as they do in the real world.
But I wasn’t precious with it at all. That is the All-American avatar right now. At every turn, people remind Mrs. de Winter of how little she measures up to her predecessor, some more intentionally than others, from Max’s kindly sister, Beatrice (Keely Hawes), remarking about Rebecca being one of those “annoying people everyone loves,” to Danvers rhapsodizing in openly romantic terms about her late lady being “the most beautiful creature I ever saw in my life,” to Rebecca’s rascally cousin, Jack (Sam Riley), making snide innuendos about Rebecca’s horse-taming skills.
All rights reserved. So much about this film feels like it was almost fated to come together: discovering Emahoy Tsegué-Maryam Guèbro’s music through YouTube algorithms, Fox Rich giving you her archive and transforming the project, the cosmic parallels revealed in the edit between the footage you shot and her videos.
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