Los Angeles Needs Its Own Wavelengths

I had begun writing about my viewing experience of TIFF’s Wavelengths section for Film Journey with the customary introduction and mini-history of the section and its crucial importance to the world’s largest film festival, followed by reviews/analyses of each of the key films in the program.

Then I looked at what I had written, and thought, “Nah. Scrap that.” It needed something else. I needed to consider this differently. Because I was looking at things differently. Part of this stems from my own work as a writer. Until recently, I’ve devoted my writing to cinema, which I’ve done consistently (and …

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The Underworld Story (1950)

The latest issue of Cineaste features an extended excerpt on 1950’s powerful The Sound of Fury (I wrote about the recent restoration here), part of a forthcoming biography on director Cy Endfield, whom author Brian Neve claims is the “least well known of the American filmmakers who came to Europe in the early Fifties to circumvent the Hollywood blacklist.” It’s mostly a historical overview of the production, but hopefully it will help convince some enterprising DVD/Blu-ray distributor to take notice.

Tomorrow, Angelenos can see Endfield’s other film from 1950, The Underworld Story, as part of the annual Noir

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Ceylan’s Winter Sleep

The festival is over, and the best films from Cannes embody what truly matters: the ability to move backward and forward, projecting a sense of the moment, live bulletins of a country’s pulse and state of mind. With his scalding and magisterial new work, Winter Sleep, the great Turkish director Nuri Bilge Ceylan walked off with the Palme d’Or.

In his acceptance speech, Ceylan dedicated the film to the young people of Turkey who have lost their lives in the last year protesting the country’s unnerving political repression and withholding of essential freedom. Because of its three-hour and 16-minute …

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Grading the Cannes Competition

This year’s Cannes Film festival, the 19th I’ve covered and written about, showcased a strong competition. The trajectory was like a bottle rocket, blasting off with superb work by Abderrahmane Sissako (Timbuktu), Mike Leigh (Mr. Turner) and Nuri Bilge Ceylan (Winter Sleep), flattening out with an uneven stretch before picking up and soaring with strong new works by Andrey Zvyagintsev (Leviathan) and French master Olivier Assayas (Clouds of Sils Maria).

Curatorially, the main competition was tighter than normal (with just 18 films). Only seven of those are given what I …

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Cannes Awards

The 67th edition of the festival ended today on a superlative note. On Saturday night, the professional jury awarded the festival’s top prize, the Palme d’Or, to Winter Sleep, the extraordinary new work by Turkish master Nuri Bilge Ceylan.

The director’s sixth feature marks the ideal crystallization of his style, sharply yoking physical wonder and emotional acuity. The director Jane Campion, a Palme laureate in 1993 for The Piano, admitted going in, she felt a bit daunted by the prospect of the movie’s three-hour and 16-minute running time. “But I sat down, and the film had such a …

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Cannes Dispatch #1

The 67th edition of this year’s film festival is roughly one-third over, and the early signs are pretty ecstatic. The competition has been tightly slotted, with just 18 features, three or four fewer than most years. It means the films get to breathe and live on their own.

In the first three days of the festival, three superb movies—one I think that will be seen in time as one of the greatest of its era—have already jolted the festival, defusing already the criticism of the festival selection committee playing it safe and familiar. (By the way my feeling has always …

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