[Our thanks to Ben Umstead for the following review.]
Sold out show. Standby line. Director Sion Sono in person. A crowd from 18-80: men, women, White, Asian, Black, Latino, everybody, anybody with a taste for the real, weird, wacky. I don’t want to over hype the fest screening nor the film itself (which won the Fipresci prize at this year’s Berlinale and played to sold out shows in Japan for three months) but when one feels the energy popping like I did on Friday night, one can’t help but know exactly why cinema does the wonderful things it does. And Love Exposure contains many wonderful things – Catholicism, cults, up-skirt photography, kung fu, cross-dressing – and over its epic (lean) 4 hour running time it explores all this and more like no other film. Yet when it gets down to it, Love Exposure translates to three
words: susceptibility, devotion and yes, love (in all its quaint and twisted forms). So yeah, get ready, I’m going to ask the question, some of you have been wanting to know… is it Sono’s masterpiece? You bet. I’ll take it one further now… best film of the year? So far… And one more… Will people be expressing their joy for this with physical feats such as reenacting its bonkers street fighting scenes, while others do their geek dances, exclaiming it to be an instant classic? Why yes, how could they not?
Continue Reading "NYAFF 09 Review: LOVE EXPOSURE"...
Soon to appear in the latest from Wong Jing’s production line, On His Majesty’s Secret Service, Taiwanese actress Barbie Hsu has managed a successful film and television career in soap operas, genre flicks and Hong Kong blockbusters – but last year’s My So-Called Love saw her make a major attempt at serious drama. How did she measure up with an up-and-coming director and a weighty script heavy on the emotional baggage? Find out after the break.
Continue Reading "MY SO-CALLED LOVE review"...
Oh how we have waited with bated breath for the return of Japanese director Hiroyuki Nakano to return with another film. I am a mighty fan of both Samurai Fiction and Stereo Future. I gave Red Shadow a miss and I haven’t been able to see any of the short film work he has done in recent years so his record is pretty much unblemished in my opinion. And it has been long enough since he last did a feature film perhaps all this short film work in the meantime has put him back on track to deliver us another gem. We hope Tajomaru is that film, Nakano’s adaptation of the short story “In a Grove” by Ryunosuke Akutagawa. I’m a bit mixed about the new trailer, some parts seem a bit silly and Jpop gets me every time, but final judgment is reserved for when I can finally see the film sometime in the fall. Tajomaru is scheduled for a September release in Japan.
Naomitsu (Shun Oguri) is the second son of the Hatakeyama family and fiance of Princess Ako (Yuki Shibamoto). When he gets chased away from his home as the result of a conspiracy against him, Naomitsu flees into the mountains with Ako in tow, but they’re soon attacked by a bandit named Tajomaru (Hiroki Matsukata). After managing to kill Tajomaru, Naomitsu takes the bandit’s identity as his own. NipponCinema
Full trailer and teaser after the break!
Continue Reading "Full trailer out for Hiroyuki Nakano’s samurai film ‘Tajomaru’"...
Once again, Michael Hawley helps the Twitch readership keep abreast of one film festival after the other in the San Francisco / Bay Area. Thanks, Michael!
The San Francisco Jewish Film Festival (SFJFF) turns a ripe young age of 29 this year, continuing its reign as the oldest and largest festival of its kind in the world. Over the course of 18 days (July 23 to August 10) SFJFF will present 71 films from 18 countries—showcasing the best Israeli and Jewish Diasporan cinema to emerge in the past year. Although I missed last week’s press conference announcing the line-up, I’ve poured over the catalog and compiled this list of ten programs I don’t want to miss.
Continue Reading "SFJFF09—Michael Hawley Anticipates the Line-Up"...
The San Francisco Film Society’s longstanding working relationship with Film Movement ensures the theatrical exhibition of several festival-lauded films on the Sundance Kabuki’s SFFS Screen. For this, Bay Area audiences should be especially grateful. Recently, Film Movement’s collaboration with SFFS provided Munyurangabo; this week they’re providing Eldorado (July 3-9); and in future weeks they’ll be providing encore screenings of both La Ventana (July 17-23) and Lake Tahoe (July 24-30), which were featured at the 52nd edition of the San Francisco International Film Festival.
This week’s entry, Belgian director Bouli Lanners’ Eldorado—a “small but damn-near perfectly formed serio-comedy” (Leslie Felperin, Variety)—was selected for the 40th anniversary of the Quinzaine des Réalisateurs (Directors’ Fortnight) at the 2008 61st Cannes Film Festival where it won Best European Film. Eldorado was likewise the official entry from Belgium for the 81st Annual Academy Awards (Oscars®), received a special mention at Italy’s Pesaro Film Festival, and was nominated for a César for Best Foreign Feature.
Continue Reading "REVIEW of ELDORADO"...
The Eternal director Justin McConnell just passed along five new teaser posters for his developing vampire flick. He also let us know that at this year’s edition of Rue Morgue’s Festival of Fear they will be in the house and hosting a contest for visitors to their booth that weekend. Things are still at the developing stages for Justin’s film but as soon as things start rolling again I’m sure he’ll have more news for us to pass on to you.
The Eternal will be once again represented at this year’s Rue Morgue Festival of Fear in Toronto (August 28 – 30). We urge all attending to swing by the Unstable Ground booth to grab some free swag, meet the crew and lead actor Adam Kenneth Wilson, preview the entire first issue of the graphic novel The Eternal: Final Dawn, and enter to win one 3 of “The Eternal” prize packs.
First Prize - A “one-of-a-kind” painting by co-creator Kevin Hutchinson (www.secondskincreations.net), a copy of the printed limited edition first issue of “The Eternal: Final Dawn” (only 20 of this version of the pressing will ever be made!), a “Final Dawn” T-shirt, and the short film prequel “Ending the Eternal” on DVD.
Second Prize – A “The Eternal: Final Dawn” T-shirt, copy of the printed limited edition first issue, and the short film prequel on DVD.
Third Prize – A copy of the printed limited edition first issue, and the short film prequel on DVD.
And The Eternal film synopsis…
Samuel Gradius has lived too long. In his 500 years on earth he has seen empires rise and fall, changed the course of history with his bare hands and experienced countless revolutions first hand. Samuel Gradius is a vampire, perhaps the only vampire, and he’s had enough. He wants to die. No longer content with the idea of simple suicide, he makes the decision to go out in the ways of old. He wants a warrior’s death. THE ETERNAL follows Samuel on the pursuit of his own personal oblivion, he hopes, at the hands of someone worthy.
[Our thanks to Christopher Bourne for the following review.]
Hajime Kadoi’s contemplative second feature Vacation explores the relationship between Toru (Kaoru Kobayashi), a prison guard at a high-security facility, and Kaneda (Hidetoshi Nishijima), a condemned prisoner soon to be executed for murder, who has spent most of his years in prison appealing to the authorities for clemency. The “vacation” of the title is granted to Toru for volunteering for the traumatic task of assisting in Kaneda’s execution by leading him to the death chamber and holding his legs as he is hanged. Making this much harder for Toru is the fact that he has developed an unexpressed fondness for this quiet prisoner, who spends his days in his immaculately furnished cell drawing in his sketchbook. For his efforts, Toru is given a week off to have a brief honeymoon with his new bride, divorced single mother Mika (Nene Otsuka), accompanied by her young son Tatsuya (Shusei Ito).
Continue Reading "NYAFF 09 Review: VACATION"...
It is obvious to any Twitchfilm reader who has been around long enough that we are big fans of English director Shane Meadows and his films A Room For Romeo Brass, Dead Man’s Shoes and This Is England. His latest film Le Donk & Scoz-ayz-ee just premiered at Edinburgh International Film Festival but he gave Empire the skinny on his next big film, a horror film, and one we’ve known about for a while now, Beware the Devil...
“It’s based on a book of the same name, based on the life of a guy who, by getting involved with Ouija boards and the occult by trying to disprove it, trying to take the piss out of it, got possessed, had to be exorcised, and later became an exorcist himself. The guy it happened to has died, but his son’s a novelist, and he helped him turn it into a book before he passed away, and now I’m working with him to turn it into a film.” Empire also said Meadows described Beware the Devil to us as “making Dead Man’s Shoes look like Play School”
[Our thanks to Christopher Bourne for the following review.]
A very lengthy feature (three hours and fifteen minutes) which, like Ryosuke Hashiguchi’s film All Around Us (also screening as part of Japan Cuts), deals with the criminal justice system in Japan, and that is as deliciously engrossing as it is disturbing, Gen Takahashi’s Confessions of a Dog is perhaps the most devastating indictment of Japan’s police ever committed to film. Following in the great tradition of, and likely inspired by, Sidney Lumet’s stories of police corruption such as Serpico and Prince of the City (which this film is most analogous to), Confessions of a Dog maps out with surgical precision the anatomy of police crimes, and the system which supports and enables them.
Continue Reading "Japan Cuts Review: CONFESSIONS OF A DOG"...
[Our thanks to Christopher Bourne for the following review.]
One of the best selections this year of both the New York Asian Film Festival and the Japan Cuts Festival is Ryosuke Hashiguchi’s All Around Us, a beautifully observed film that examines the vicissitudes of the relationship between a married couple – Kanao (Lily Franky), a courtroom sketch artist, and Shoko (Tae Kimura), an editor at a publishing house – against the backdrop of the larger Japanese society from 1993 to 2001. At the film’s outset, the tone is lightly comic, as Shoko puts Kanao on a strict schedule of sex three times a week, and also a curfew, because of her suspicions that he is cheating on her – which are probably not unfounded, as evidenced by early scenes in which Kanao openly flirts with women at his shoe-repair shop. Kanao is a somewhat isolated person, estranged from his own family and saddled with in-laws who don’t show him much respect. During a family dinner, Shoko’s mother (Mitsuko Baisho) leans toward her daughter and whispers, “You can do better.” Shoko resists her family’s opposition, perhaps sensing that Kanao’s easygoing nature balances out her control-freak tendencies. Soon after, a friend of Kanao’s introduces him to a new line of work, as a courtroom artist for a local television station. At first, this promises to be the latest in a series of jobs Kanao casually drifts into, but he soon takes to the work, and he now spends his days in the courtroom observing trials for some of the most heinous crimes: serial killers, cannibals, cult mass murderers, as well as their victims, fall under his artist’s gaze, as he picks up the telling details that he sketches and presents to the public to satisfy their insatiable curiosity. While Kanao becomes a more responsible, stable person due to his new calling, Shoko begins making an opposite trajectory, unable to cope with the death of their infant daughter and sinking into a deep depression. Kanao, as much as he wants to help her, is ultimately at a loss as to how to do so, and can only observe his wife getting worse, much as he observes the criminals in the courtroom.
Continue Reading "NYAFF 09 Review: ALL AROUND US"...
Twitch has not as yet given the work of Jonathan Nix any attention. That will change. Better late than never, right? Jonathan’s work producing animated shorts and soundtracks for the same has won him critical acclaim at festivals across his native Australia and beyond, and his latest project is the very wonderful-looking The Missing Key. This planned 25-minute short appears to build on the whimsical baroque setting for his earlier piece Hello (2003), a melancholy Italianate fantasy world with a distinctive touch of the surreal, and so far it looks to be absolutely gorgeous. Find the synopsis and a two-minute preview trailer from YouTube embedded after the break.
Continue Reading "Gramophone! Teaser for Jonathan Nix’s THE MISSING KEY"...
Shortly before the hordes began chanting, “The Daily is dead; long live The Daily”, David Hudson gathered reviews of Francis Ford Coppola’s Tetro, first from its Cannes debut, and then later mid-June when it opened stateside. Here in San Francisco, Coppola met with his audience at the film’s first screening at the Sundance Kabuki.
Outlining how The Godfather created a “tsunami of success” that irrevocably changed his life and filmmaking, Coppola has gleaned from the passing of years a restoration of creative spirit leaning into what he admits is his “second career.” Tetro is, in fact, the second film of his second career; Youth Without Youth being the first. Lustrously shot in digital and projected in 35mm, the film is a rapture to watch, even as its rich visuals disguise an anemic narrative that doesn’t quite ring true. One is grateful for what one has seen; but, not completely satisfied. I’m not a huge Vincent Gallo fan so I place the blame there—for me, he just couldn’t carry the movie—but, Coppola’s “discovery” Alden Ehrenreich has charisma to spare in his debut role and is a talent to watch in future years.
* * *
Michael Guillén: One of the images I’m going to carry away with me from Tetro is that of the staged dance sequence near the edge of the sea. It reminded me of One From the Heart for being thrillingly artificial; the kind of artifice that lends itself in some odd way to emotional authenticity. Can you speak to your use of theatrical artifice to create emotion in your films?
Francis Ford Coppola: Of course. Just as the story implies, when Bennie [Alden Ehrenreich] was a little kid, his older brother Tetro [Vincent Gallo] used to take him to movies that were a little bit advanced for a seven-year-old kid and gave him some books to read and what have you and that’s why the boy idolized his brother so much. It’s true, in my own life I have an older brother who took me to see the Korda films, The Red Shoes—of which there’s an excerpt in Tetro—and also Tales of Hoffmann, which is much stranger for a young kid. Just as the character Bennie says, whenever he thought of his brother he always thought of Tales of Hoffmann.
My idea was that—when Bennie is reading [Tetro’s] cryptic notes and writings—that he imagines the story as though it’s scenes from a Michael Powell / Emeric Pressburger dance film. The version of the story that the boy understands is as though it’s told in dance. It’s great that film is one of those mediums that can use different art forms to do different things. It was also fun for me—as someone who has admired The Red Shoes and Black Narcissus and all those beautiful Technicolor films—to get to fool with telling this little story in those images. The image you mentioned of the dancers on the stage with the sea coming in is very much inspired by the dance in The Red Shoes, as you can imagine.
Cross-published on The Evening Class.
Once again, Michael Hawley privileges the Twitch readership with his preview of YBCA’s upcoming calendar. Thanks, Michael!
Norwegian Black Metal, Graphic Sexual Horror and a Headless Woman. Jeez, is it Halloween already? No, it’s just this summer’s insouciant film/video line-up at the Yerba Buena Center for the Arts. But before we dig into what curator Joel Shepard has in store through September, here’s exciting news for YBCA filmgoers. Starting July 6, ticket holders will be allowed FREE admittance into YBCA’s exhibition galleries, whose days and hours of operation have been adjusted to align with evening film and video screenings.
Continue Reading "Michael Hawley Previews YBCA’s Summer 2009 Lineup"...
Though I have no idea what it’s like from the local perspective, to an outsiders eye it looks as though now is an interesting time to be making films in Australia. Though several of the big, high profile genre films have failed to find the international traction they were expected to post-Wolf Creek the country has turned out a string of small, sharp thrillers and indie dramas that just look to be dead solid. Films like Acolytes, Beautiful, Last Ride and Van Diemen’s Land. And Van Diemen’s Land takes me to where I want to go - to the resurgence of the hard edged Australian period drama, the Aussie western if you will, post The Proposition.
It’s a genre pretty uniquely suited to Australia, a land with stark landscapes and an even starker history, and another very solid entry in the genre is just around the corner. Kriv Stenders’ Lucky Country is due to hit Australian screens in mid-July. The just-released trailer starts off looking like a period-set family drama but things quickly take a darker turn and it is obvious something is lurking below the surface. Beautifully shot with a strong cast, this story of a failing farm and gold-seeking ramblers looks like a keeper. Check the trailer below the break!
Continue Reading "Australia Goes Western In LUCKY COUNTRY"...
Seventy years later and 1939 is still hailed as a benchmark year for Hollywood cinema. Celebrating that fact, this evening The Castro Theatre launches its 18-film tribute to 1939, including such classics as Son of Frankenstein and The Man They Could Not Hang, At the Circus and You Can’t Cheat An Honest Man, They Made Me A Criminal and Each Dawn I Die, The Women and Ninotchka, Mr. Smith Goes to Washington and Destry Rides Again, Wuthering Heights and Goodbye, Mr. Chips, Tarzan Finds A Son and Another Thin Man, Gunga Din and The Hunchback of Notre Dame, wrapping up with Golden Boy and Only Angels Have Wings.
If you prefer your home entertainment system to a movie palace, at least 10 of those titles are likewise included in Turner Classic Movies’ 39-film tribute “1939—70th Anniversary of Hollywood’s Greatest Year.” Each Thursday night through the month of July, TCM will shoot off 1939’s most celebrated fireworks, including all 10 Best Picture Oscar® Nominees (reminding—in the light of recent events—that everything old is new again). Robert Osborne offers a preview of the festival at Now Playing: The Show and the full schedule can be found at TCM’s website. TCM’s “39 From 1939” Film Festival also features the premiere of the new Warner Home Video documentary 1939 (2009), which recounts the astonishing accomplishments of Hollywood during this historic film year.
The Academy of Motion Picture Arts and Sciences has, of course, been screening all 10 Best Picture Oscar® Nominees throughout the Summer, with only four screenings left to go.
Of related interest, at One Way Street Alan Rode angles in on 1939 by way of a sterling portrait of “the incredible twelve month run of film roles by the great character actor, Thomas Mitchell.”
And, of course, no survey of any given year in cinema history would be complete without a tip of the hat to Thom Ryan’s Film of the Year. He chose Confessions of a Nazi Spy as his focus on 1939.
So, out of sheer curiosity, what is your favorite film from 1939?
Cross-published on The Evening Class.
