The Oscar campaigns are starting up, the festival circuit is declaring winners left and right, and here at Filmcurious, the September Film Awards are upon us.
This year’s Venice International Film Festival concluded yesterday by giving the Golden Lion to the Venezuelan film Desde Allá (From Afar). Unfortunately I’m not in Venice, but I thought it would be appropriate to squeeze in a review for last year’s Golden Lion winner, A Pigeon Sat on a Branch Reflecting on Existence from Roy Andersson.
God exists. He lives in Brussels with his teenage daughter. And he’s a jerk.
This is the premise of Jaco Van Dormael‘s latest feature: Le Tout Nouveau Testament (The Brand New Testament). The film focuses on Ea, sister of Jesus, or J.C. in this universe. Her father, who happens to be God, is an abusive and pettiful creature, who rules the world through his computer. He shouts at his wife, beats his daughter, and makes up rules for mankind, such as “the other line at the cash register will always move faster.” He’s a prick who enjoys the suffering of his little toys, people. J.C. escaped years ago, and now his sister is ready to step into his footsteps and write her own testament.
Summer is coming to an end, which means that it’s time for me to give out awards to the films I watched in the last three months. I hope I still know how to do this.
(It’s quite a long read, so go get some cookies.)
It’s been a couple of weeks since I made my last post here. But since tomorrow is September First, I figured this would be a good time, to set some rules. Summer, festivals, holidays, and exams have been keeping me from writing, but soon regular old life will start up again, and this blog will most definitely be a part of that. Consistency hasn’t always been my strongest suit, so by posting this here, I will literally be forced to follow through with this, or else I lose face in front of
the entire internet the three people that read this blog.
I solemnly swear to publish a new post every Wednesday. First weeks are for Film Awards, second and fourth weeks are for REVIEWS. And during third weeks, I go freestyle.
Check back this Wednesday to see if I’ve shamefully deleted this post, or have managed to cram three months of watching a lot of movies into one blog post.
I hope I’ll be able to add another posting day soon!
I’ve been pretty MIA lately due to exams. But I can’t pass up on the opportunity to give my awards for the month of May, even though it’s a week late. Without further ado, I present the second installment of awards season. Enjoy!
From now on, it’s award season every month on filmcurious. Fashionably late I present you an overview of the films I’ve watched in April. Don’t expect a boring list, but find out which very special awards I give to films such as Ryan Gosling‘s Lost River or Quentin Tarantino‘s Pulp Fiction.
Only six more days until one of the world’s oldest, and most renowned, film festival kicks off it’s 2015 edition. It promises to be an interesting couple of days at La Croisette. Joel and Ethan Coen are the two Presidents of the Jury of the 68th Festival de Cannes. Other members include Xavier Dolan, fresh of his Mommy success, and Jake Gyllenhaal. That snub still hurts.
Below, you’ll find an overview of this year’s nominees as well as some of the most anticipated films that aren’t in competition. From the American Carol, which is obviously heading to the Oscars, to Son of Saul, a debut by a Hungarian filmmaker. You can always count on Cannes for delivering an interesting mix.
About a year and a half ago I saw a play called Na de Repetitie / Persona (After the Rehearsal / Persona), a two parter based on Bergman‘s films. They worked extremely well together, both questioning the relevance of art in everyday life. This wasn’t the first time I saw a theatre adaptation of one of Bergman‘s films. Scènes uit een huwelijk (Scènes from a marriage) is probably the best play I’ve ever seen. Both are directed by Ivo Van Hove (Toneelgroep Amsterdam), who recently won the Olivier Award for directing A view from the bridge at the Young Vic.
Going into a screening of this film, there are a couple of things an audience should know. In 2010 Jafar Panahi, was arrested for making a film against the Iranian regime. Since then he has not been allowed to make films, leave the country or participate in interviews. Taxi, however, is his third film since the ban, and even though it’s filmed entirely within the confined space of a taxi, it shows us the streets of Tehran. We’re out in the open, right under the nose of the Iranian government.