October 21, 2006

Weekend fests and events.

Izobrajaya Zhertvy "The Best Film Award at the RomeFilmFest has gone to Izobrajaya Zhertvy (Playing the Victim) by Kirill Serebrennikov."

"This weekend is Crispin Hellion Glover weekend here in Frisco," writes Brian Darr. "Not only is the multifaceted artist bringing to the Castro Theatre three evening presentations of his controversial, finally-complete experimental film What Is It?, accompanied by his slide show presentation and a question-and-answer session with the audience, but there will also be an eight-film retrospective of his acting work matinees and midnights." So Brian talks with him: "Do you feel you're part of a tradition of oppositional cinema?" Absolutely. Glover talks extensively about Fassbinder and Bu˝uel.

Toronto After Dark Film Festival is off and running through Tuesday, and Mack opens Twitch's coverage with his take on Special.

The Chicago Reader's JR Jones previews the touring Resfest, making its local stopover for the weekend; Also, the Chicago International Children's Film Festival, running through October 29.

IndieWIRE's Eugene Hernandez has been filing dispatches from the Hamptons International Film Festival, which runs through the weekend.

Susan King previews From the Tsars to the Stars: A Journey Through Russian Fantastik Cinema, opening tonight and running through October 25, for the Los Angeles Times. Also, The Blood Is the Life: Vampires on Film, from Wednesday through Saturday, and... the Nihilist International Film Festival? Yep. Robert W Welkos meets organizer Elisha Shapiro.

The Hollywood Film Festival? Not really. Anne Thompson explains.

Robert Avila recommends ten to catch at the United Nations Association Film Festival at Stanford (October 25 through 29).

Kira-Anne Pelican, blogging for the Times from the London Film Festival, on The Lives of Others: "In this exploration of those who manipulate and the world at their hands, Henckel von Donnersmarck creates a taut thriller with a devastating conclusion. Not the easiest watch at midday on the first full day of the festival, but if it sets the standard of this year's programme, we're in for something very special." Also: Rob Forsyth on Taxidermia.

In the Guardian, Blake Morrison reflects on In the Face of History: European Photographers in the 20th Century, open at the Barbican in London through January 28.

Brian Darr was not alone in Lone Pine. Dennis Cozzalio presents a diary with lush pix.

Acquarello files the last round of reviews from the New York Film Festival, noting in a comment that...

  • "Coppola's visual style" in Marie Antoinette "gives a kind of (blatantly) artificial, candy colored glazing to Marie Antoinette's environment, a bit like the way a child (since she was only 14 when she came there) would see this baroque wonderland of Versailles."

  • Insiang: "[W]hile there is the temptation to characterize Lino Brocka's cinema through facile comparison with the works of contemporary filmmaker Rainer Werner Fassbinder through the commonality of incorporated elements of melodrama and kitsch..., there is also a stark divergence in Brocka's more classical aesthetic of gritty, social realism and subversive politicization that eschews the overt stylization and formalism intrinsic in Fassbinder's critical, yet introspective cinema."

  • And Pan's Labyrinth "is an intelligently rendered, provocative, and incisive cautionary tale on barbarism, repression, narcissism, rigid ideology, blind obedience, and inhumanity."

The Nation's Stuart Klawans wraps NYFF as well with notes on Marie Antoinette ("the concoction goes a little flat"), Climates ("the film's most memorable images, by far, are its faces; its most powerful forces are confused, unstoppable desires"), Little Children ("[Todd] Field's effortlessly fluent, impeccably timed direction moves the film along as if it were all freshly observed, while [Kate] Winslet and [Patrick] Wilson, in a triumph of nuanced, unshowy acting, bring the shadow of desperation and dangerousness to the surface of good, normal people") and: "The wonder of 49 Up is its unfolding, within a little more than two hours, of so many specific lives: the taxi driver, the librarian, the barrister, the college professor, the mother on disability, the recovering madman. They've mostly followed the paths you might have predicted in 1964; and each of them is a surprise."

At Cinematical, Scott Weinberg has a fun talk with Colin Geddes, who programs the Midnight Madness program for the Toronto International Film Festival, and they're joined by filmmaker JT Petty.



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Posted by dwhudson at October 21, 2006 9:47 AM