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Darren H

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  1. La Fille Inconnue / The Unknown Girl (2016)

    Thanks, Jeffrey. It's funny that you mention that particular line because I'm not sure that I totally believe it. Even when Jean-Pierre said it, it felt rote compared with the rest of our conversation -- like it was an idea that they were committed to and liked to mention to interviewers. I can imagine them trying to take that stance as writers, but everything about their production model is so measured and controlled. I think they pull more strings than they're willing to admit. My favorite part of the interview is when I pressed them on their expressionist style. Luc is much more chatty and he rambled for a while around the question. Then there was a pause and Jean-Pierre broke their pattern (they always take turns answering questions) to add, "It’s true. [pause] We do try to pick primary colors. We liked to see Jenny dressed in blue and burgundy." I'm weirdly proud of getting that out of him. Critics seldom talk about their films in that way, and the two of them never do.
  2. First Reformed

    Agreed. The long conversation near the beginning of the film was the best thing I saw at TIFF. Part of the fun was imagining Schrader alone at a computer, arguing both sides of the debate.
  3. La Fille Inconnue / The Unknown Girl (2016)

    My interview was posted a couple weeks ago.
  4. First Reformed

    MAJOR SPOILERS (because I want to talk about this with Ken) . . . . . . I have a completely different reading of the end. If you think it's anticipated by Pickpocket, then I assume you think the last image is really happening? I'm 100% sure he has committed suicide and the final moments are him "standing on holy ground." In which case the main point of reference isn't Pickpocket but Through a Glass Darkly, when the father tells his son:
  5. TIFF 2017

    Not much recent activity on this forum, but I've been posting my TIFF list here for more than a decade and I'm nothing if not a creature of habit. Anyone else going this year? And if so, what do you think of the lineup? I feel a little unmoored because so few of my favorite directors have films at this festival. I've done my research and made my best guess at what I'm most likely to connect with, but I still know almost nothing about most of these films. For those who haven't been following TIFF news, a third of the lineup this year was directed by women, and I'd guess my schedule has about the same ratio. Thursday, 9/7 BPM (Robin Campillo) The Nothing Factory (Pedro Pinho) Good Luck (Ben Russell) Western (Valeska Grisebach) Friday, 9/8 The Rider (Chloé Zhao) The Future Ahead (Constanza Novick) I Am Not a Witch (Rungano Nyoni) Mrs. Fang (Wang Bing) Wavelengths 1: Appetite for Destruction (6 shorts) Florence (Erkki Kurenniemi) & Prototype (Blake Williams) Saturday, 9/9 Lady Bird (Greta Gerwig) Strangely Ordinary This Devotion (Dani Leventhal, Sheilah Wilson) & Beyond the One (Anna Marziano) Occidental (Neïl Beloufa) High Fantasy (Jenna Bass) Wavelengths 2: Fluid Frontiers (8 shorts) Nina (Juraj Lehotsky) Sunday, 9/10 Hannah (Andrea Pallaoro) ¾ (Ilian Metev) Cocote (Nelson Carlo de los Santos Arias) Wavelengths 3: Figures in a Landscape (7 shorts) Monday, 9/11 Angels Wear White (Vivian Qu) Jeannette, the Childhood of Joan of Arc (Bruno Dumont) Caniba (Véréna Paravel, Lucien Castaing-Taylor) Wavelengths 4: As above, so below (4 shorts) Le Fort Des Fous (Narimane Mari) Tuesday, 9/12 Ex Libris - The New York Public Library (Frederick Wiseman) Outside In (Lynn Shelton) Zama (Lucrecia Martel) Dragonfly Eyes (Xu Bing) Wednesday, 9/13 Lean on Pete (Andrew Haigh) A Fantastic Woman (Sebastián Lelio) I Love You, Daddy (Louis C.K.) Scaffold (Kazik Radwanski) & Ta peau si lisse (Denis Côté) Thursday, 9/14 Professor Marston & the Wonder Women (Angela Robinson) First Reformed (Paul Schrader) Alanis (Anahí Berneri) Let the Corpses Tan (Hélène Cattet, Bruno Forzani) The Day After (Hong Sangsoo) Friday, 9/15 Dark River (Clio Barnard) Faces Places (Agnès Varda, JR)
  6. La Fille Inconnue / The Unknown Girl (2016)

    I hadn't seen the new release date. I guess I need to finish writing up that interview!
  7. Something, Anything (2014)

    Well, this is one step closer to happening. From the IFP week announcement . . . James is the Indie Spirit-winning producer of Ain't Them Bodies Saints, Listen Up Philip, and A Ghost Story. And you've probably already heard of Elisabeth Moss.
  8. Why is my website invisible?

    Go to Settings > Reading in Wordpress and make sure the "Discourage search engines from indexing this site" isn't checked. Your designer might have checked it when the site was under development (that's what I usually do) and then forgotten to uncheck it. Once you've done that, ask Google to recrawl your site.

    My friend Jordan wrote a great piece about Pat O'Neill recently and posted some compelling side-by-side comparisons on Twitter yesterday: tweet 1, tweet 2, tweet 3.
  10. Paterson (2016)

    For the record, my tweets were an attempt to describe the scenario in realistic terms. Jarmusch always has one foot in reality, so I think that kind of description is not only fair but essential to understanding how the films work. I wasn't condemning the film. "It's about an emotionally co-dependent amateur poet in a not-altogether-healthy relationship" is a pretty great starting point for a film. Paterson, obviously, is about other things too.
  11. Paterson (2016)

    Isn't that the same thing as "desperately clinging for beauty?" I think you've loaded my comment with a lot more criticism than I intended. I also identify strongly with Paterson -- I'm working through PTSD and am a bit codependent and hyper-vigilant (to quote my therapist), which is why the film made me so anxious. Peter might not have seen my other Tweet last night because it was in conversation with someone: "It still might be really good -- just not in the ways I originally experienced it."
  12. Something, Anything (2014)

    Thought the Something, Anything fans might get a kick out of this. I had a nice dinner last week with Paul, Ashley, and Linds.
  13. The Gospel According to St. Matthew (1964)

    I somehow missed Enrique Irazoqui's posts on this thread almost exactly a decade ago. Awesome.
  14. Manchester By The Sea

    Even as I wrote that, I knew I was skipping some steps in my proof! The short answer, though, is that we're talking about artistic expression here. The form a piece of art takes is at least as important as its content (to me, it's more important, actually), so if I'm seeking wisdom through an experience of art, much of it will be discovered in the creativity of individual decisions made by the artist -- in this case, where to put the camera, the duration between cuts, the music that plays over the images, and on and on.
  15. Manchester By The Sea

    I've described MBTS a few times on social media as a middle-aged man's banal daydream, which is a bit overwrought, too, but it gets at something I haven't seen in other critiques of the film. First, a confession: I'm 44, I've been married for 20 years, I have two kids and a big mortgage, and I'm midway through a career that no longer gives me much personal satisfaction. In other words, I'm right in the midlife-crisis sweetspot, and more often than I care to admit I find myself fantasizing about escaping it all. (Don't worry, friends, I'm fine, my marriage is fine, my job is fine, everything is fine.) I've never entertained the exact scenario that we see in MBTS, but the film felt familiar to me. I could too easily imagine Lonergan shuffling down the street, indulging in this daydream (I passed him on the sidewalk soon after I saw the film and he looked exactly as annoyed with the world as his character). That in and of itself is not a condemnation of the film. It's the banality of the work that left me wanting. I've never been a member of #TeamLonergan, but this one in particular struck me as a failure of imagination. For someone who is praised for his writing, Lonergan, I think, copped out by making Lee so inarticulate. I'm not saying it was an inaccurate portrayal of a certain kind of self-punishing PTSD behavior or that great films can't be made with quiet, inarticulate characters (most of my favorites do, in fact); I'm saying that Lonergan is, by his own admission, a not particularly experienced or gifted filmmaker, from a formal perspective, and so the wisdom of the piece must be generated elsewhere -- the scenario, the writing, the performances, all of which were . . . fine. For all the flack American Beauty gets these days, I think these two films have much in common. By comparison, I just finished watching Horace & Pete, which is also a middle-aged man (Horace and his creator, Louis C.K.) reckoning with family, the life he's made for himself, and the future, and I found it all deliriously imaginative. Scene after scene did things I couldn't have predicted. By the end, I was in awe of CK's creativity, which goes hand in hand with wisdom and insight.