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Everything posted by Anders

  1. I'd write about: 1) Summer Hours 2) Tokyo Story 3) Wild Strawberries
  2. I'm with you. It worked for me, but I've always been more invested in Star Wars than most of the rest of the folks here anyway.
  3. Anders

    Leave No Trace

    I love this film and was disappointed how little attention it got at year end. But I'm going to do my part and show it to my church movie group in May.
  4. I know that Colin Stacy had once tossed around the idea on Twitter. I'd be interested in talking about it.
  5. Anders

    RIP Agnes Varda

    A major loss for the cinema world. RIP.
  6. Attack the Block is great (also was the first major role for Star Wars' John Boyega as Moses, the leader of the crew of "hoodies"). Cornish is a friend and collaborator of Edgar Wright, Nick Frost (who appears in Attack the Block), and Simon Pegg. I'm looking forward to catching The Kid Who Would Be King soon. I'm thinking of reading my kids the first book of White's Once and Future King, "The Sword in the Stone," this summer.
  7. I'm in the minority of folks I know in not liking John Wick: Chapter 2, and this trailer doesn't make me think that Chapter 3 is going to change my mind. I kinda wish it had just stayed as a single film. Pass.
  8. It seems the reports that this film would focus primarily on the Manson Murders was exaggerated. The trailer seems to be more of a comedy-drama period piece about late-60s Hollywood. The Bruce Lee scene got a good laugh out of me.
  9. This is one of my wife's favourite books (she was a missionary kid in SE Asia in the 1980s). And Amy Adams is one of our favourite actresses. This could be good.
  10. Have not seen Alita: Battle Angel yet (and probably won't until home video/streaming), but with all the dunking on James Cameron for supposedly being "bad at writing women," what does the erasure of Laeta Kalogridis as a credited screenwriter mean?
  11. Anders

    The Favourite

    https://letterboxd.com/andersjb/film/the-favourite/ Thanks to Evan and others who gave me encouragement to check this out, despite my dislike of The Lobster. I liked it quite a bit.
  12. Anders

    Roma (2018)

    That isn't what I said. Clearly the final scene is one of tenderness and love in the midst of an intense experience, where the welling up emotions of both Cleo after her stillbirth and the family after the father's leaving finally breaks on the beach. I said that the fact that the film leaves out Cleo's life outside the family, and does not give us any insight into her "inner life" (Brody's issues), is the condemnation. Not that they don't genuinely love her. I do think that Cleo and the family genuinely love each other. I just think that the nature of their relationship precludes the family's inquiry into the rest of her life. It literally wouldn't occur to them to ask or grant that too her. And I think Cuarón is reflecting on his relationship with Libo and the paradoxical nature of it being both a relationship of love and one of labour and class relations. It's a reflection that I've seen my wife go through as well with her nanny in Thailand. As I said in my review: Posting the Alan Jacobs piece I mentioned above. https://blog.ayjay.org/the-circulation-of-roma/ Also, friend of some of us on the board, Joe Kickasola shares a nice reflection on the film as well, addressing the film as a kind of cinematic confession (perhaps a better term than self-condemnation that I used above). http://churchlife.nd.edu/2019/02/22/romas-wounding-confession/?fbclid=IwAR0XFmwjh1SOHRAVuaH4v6fIk-O91d-d5Eaou-7YcIjBWlFJqvzQ5DBvO2I This line from Joe also answers Brody's complaint: "a check on the presumptuous urge to over-dramatize another’s life."
  13. Anders

    Roma (2018)

    I think Brody goes too far when he says that Cuarón fails to consider who Cleo is and her inner life. I do wonder under what circumstances Cleo would speak about her life in the village and her family. Frankly, the film rang true to me, and what is left out is less a dehumanization of Cleo than it is a condemnation of the fact that in her experience with the family fails to offer her any space for that kind of expression. She is a cipher because the family, for all their care, doesn't actually have interest, or don't think to have an interest, in those aspects of her life. I will also mention that my own understanding of the film is shaped by my wife's childhood experience as a missionary kid in Thailand who had a nanny/housekeeper who was very close to the family, not unlike how Cleo is to the family in the film. I've met her during our time in Thailand a decade ago. I won't presume to tell my wife's or her nanny's stories, but suffice to say it took a long time before the family found out some very basic and central things about their nanny and her family. The nature of the relationship is such; no one is saying this is a good thing. The film is asking us to consider the way that this relationship is, to use Alan Jacob's wording "circumscribed" by class, culture, language, etc. While we may see it as a failure of imagination or an effacement, I think it speaks to the particulars of the social relationship and to portray it otherwise would be presumptuous and ring false.
  14. Anders

    Roma (2018)

    I'm with Joel. I loved Roma and it moved me immensely, both personally and politically. Nothing would make me happier as far as Oscars than for Yalitza Aparicio to win Best Actress. Joel, I'm really sad to hear that no one picked Roma for a HM! If I had known, I might have even bumped BlacKkKLansman for it, since it's still jockeying with First Reformed as my favourite film of 2018.
  15. Anders

    The Favourite

    Nice explanation, it's exactly this lack of playfulness that I found in The Lobster that you've identified that I had a hard time articulating on Twitter last night. I'll plan to check it out as it's still playing at the local theatre and it's my reading week next week and I'll have a bit more time.
  16. I was just gifted a copy of this one in a stack of Criterion DVDs so I'll move it up on my watchlist.
  17. I'd vote for An Education, in the sense that it leaves Jenny not just changed, but notably wiser. Having read the relevant parts of Lynn Barber's book, I think it's fair to say that Hornby's voice shines through. It's interesting to me that for a writer known for his books about male culture and aging (Fever Pitch, High Fidelity, About a Boy), his two screenplays for An Education and Brooklyn do such delicate work with their female protagonists. Ken, if you don't nominate High Fidelity, I will. I think it's a perfect example that "Growing Older" is different from "Coming of Age" but not just about "grey hairs."
  18. Boyle's sequel to his own film, T2 Trainspotting is a film revisiting the characters from the first 20 years later, not unlike Before Sunset or Before Midnight. But T2 Trainspotting is filled with deep sadness and regret, about repeating the same mistakes as we grow older. Quoting myself from Letterboxd: This film might do the most of any recent "belated sequels" to take advantage of that distance between the past and now, and in particular the pain of nostalgia, especially when the present offers little hope. There's a scene here where Mark Renton and Simon "Sick Boy" reminisce about their first experience with heroin that is heartbreaking. This film filters the past through the present of our Trump/Brexit/Social Mediated-world, so we can feel how crazy things are even in comparison to the 90s. There are a couple of formal and narrative choices I'm unsure about, and would have to watch the film again to really ponder, but those minor reservations aside, this is one of the best films I've seen recently about aging. And a killer soundtrack. The sequence with Queen's "Radio Ga Ga". Wow.
  19. Title: T2 Trainspotting Director: Danny Boyle Year: 2017 Language: English IMDB Link: https://www.imdb.com/title/tt2763304/reference YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): http://artsandfaith.com/index.php?/topic/28465-t2-trainspotting/&tab=comments#comment-287392
  20. A few more nominations with explanations: Tarkovsky's The Mirror is to fundamentally about memory, but it's entirely appropriate since it treats differences in perception between old and young. It also places our growing older in a context of culture, politics, and history, rather than simply a personal subjective experience. As a recent article I read terms it, if the foreground are all the things an individual can touch and see in one's own subjective near distance, and the background is the far off background of the cosmos or long history, then middle ground is that arena of the social that mediates between the two, something increasingly lost in our experiences of aging. Mirror is about memory as that mediating force. Lost in Translation has struck me as being increasingly wise about growing older, as I revisit about once a decade for the last nearly 20 years. It shows a person growing older, but not always wiser. Summer Hours is about growing older, the relationship between you and your parents as they age, and you and your siblings in relation to the cultural values that surround us, including art, etc. I think it should clearly be on the list. I've shown it numerous times, especially to people my parents age, who are going through the loss of their own parents and life transitions into becoming the heads of families, etc. If you haven't seen it, please do before we vote.
  21. Title: The Mirror (Zerkalo) Director: Andrei Tarkovsky Year: 1975 Language: Russian IMDB Link: https://www.imdb.com/title/tt0072443/reference YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): http://artsandfaith.com/index.php?/topic/27713-the-mirror-1975/&tab=comments#comment-209117 Title: Lost in Translation Director: Sofia Coppola Year: 2003 Language: English/Japanese IMDB Link: https://www.imdb.com/title/tt0335266/reference YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): http://artsandfaith.com/index.php?/topic/647-lost-in-translation-2003/&tab=comments#comment-4040 Title: Summer Hours Director: Olivier Assayas Year: 2008 Language: French IMDB Link: https://www.imdb.com/title/tt0836700/reference YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): http://artsandfaith.com/index.php?/topic/23009-summer-hours/&tab=comments#comment-198698
  22. I nominated Chimes at Midnight, which to me can be seen as about growing older both in the person of Falstaff and in Hal, who must betray his friend when he ascends to the throne. The moral dilemma is in how the betrayal of Falstaff seems painful, even though it is by all standards the right decision. Growth requires these kinds of hard choices, which Shakespeare and Welles treat beautifully. I also nominated the Hong Kong film A Simple Life by Ann Hui. It's about caring for the elderly in our lives and the process of growing older for both the younger person and the older person. The film treats issues of class, health, nursing homes etc. It's about aging with grace and the reversal of care that happens when those who cared for us (in this case a maid/servant) need our care.
  23. Second Limelight and A.I. I nominate: Title: Chimes at Midnight Director: Orson Welles Year: 1965 Language: English IMDB Link: https://www.imdb.com/title/tt0059012/reference YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one): http://artsandfaith.com/index.php?/search/&q="chimes at midnight" Title: A Simple Life (桃姐) Director: Ann Hui Year: 2011 Language: Cantonese IMDB Link: https://www.imdb.com/title/tt2008006/reference YouTube Link (a clip of/trailer for the film): https://www.youtube.com/watch?v=4ymwtdcIFbs Link to the A&F thread on the film (if there is one): http://artsandfaith.com/index.php?/topic/28377-a-simple-life/&tab=comments#comment-285485
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