Jump to content

Darren H

  • Content Count

  • Joined

  • Last visited

Everything posted by Darren H

  1. I haven't tried it outside yet, but I'm really pleased with how it looks in my basement. My only small complaint is I wish I could've paid a little extra to have the screen shipped to me rolled instead of folded. The frame works really well and pulls the screen taut, but when the center of the image is really bright, the crease from the fold is hard to ignore.
  2. That looks great, Ken. The screen I ordered has a metal frame and legs that can be sandbagged, so I'm hoping it'll be stable outside. I should find out in a day or two.
  3. This is only somewhat related, but I just ordered a portable, 100-inch screen with the idea that I might start inviting friends over for safe, outdoor movie nights. The projector I bought five years ago when we started The Public Cinema has been sitting unused for nearly a year. The screen hasn't arrived yet, but it looks like I should be able to remove the legs and hang the screen in my basement too. Since I'm not sure when I'll ever get to go back to a festival or a theater, I'm getting desperate for a more cinematic experience. I'll post pics if it works out like I hope.
  4. I can't wait. I just ordered a portable screen and am going to try to figure out how to get that image as big as possible in my basement!
  5. Ken, do you really not know what a 4K restoration and release is? I've seen Beau Travail dozens of times over the years but still don't know exactly what it's supposed to look like, because I've only seen it once on film (on a beat up print whose colors had shifted) and the original DVD release, which is a low definition scan of a beat up print. There are very few prints of Beau Travail in circulation, and most of them look and sound terrible. This new release is a full restoration made from the best existing physical materials, which were then scanned at the highest reasonable resol
  6. I watched Joanna Hogg's first feature, Unrelated, yesterday and it inspired me to revisit Archipelago and Exhibition this week. I really like her.
  7. Darren H

    Young Ahmed

    Has anyone mentioned that Olivier Bonnaud, who plays the main case worker here, is also the medical intern in The Unknown Girl? I'd be curious to see him in a lead role. I finally watched Young Ahmed this morning. I like it quite a bit, mostly because it fits into my favorite genre of Dardenne film: Affectless Lead Performance (see also The Kid with a Bike, The Son, and The Unknown Girl). On paper this film is basically an afterschool special, but most of their films are. The pleasure is watching such a precisely controlled balance between realistic technique and expressionistic mise-en-s
  8. My sense of the Venice, TIFF, NYFF partnership is that they're essentially agreeing to drop (temporarily) their battles over premiere status. Not that it really matters this year. Everyone is just trying to keep people employed and their bills paid in hopes of returning to some new sense of normal in 2022. I suspect the fall festivals will function primarily this year as launch platforms for VOD releases. The festivals will take a small cut of that revenue, but whatever streaming they do will have to be locked down tight. I wonder if the virtual screenings will be like press screeners, with th
  9. This will be the first time since 2004 that I haven't spent at least a week at TIFF. Which will be weird. I did the math recently and discovered I've spent more than five months in Toronto over the years. Also weird -- and a little worrying -- is that I have zero interest in online film festivals. To be honest, I've lost most of my interest in films, generally, during the quarantine. When we were all preparing for the Top 100, I binged on great movies. But over the past two months, I've only watched eight feature films, and seven of them were with my kids. Still, I'm looking forward
  10. My first thought when I saw the subject of this thread was body/spirit, which is in the same ballpark as immanence/transcendence.
  11. I forgot about this thread! Since the quarantine began, my kids have gradually shifted to a later bed time, which means I have less than an hour to myself every night before I start falling asleep. I've gotten in the habit of fixing a cocktail and watching something from the Tell Me series on Criterion Channel. I'm a little more than halfway through the collection so far, and it's been a real treat. Few of the films are excellent on their own, but the program has such a clear voice. Most of the films were made in the early-'70s, when I was a child, so it's giving me a new perspective on m
  12. Sorry, you're only allowed to watch Satantango projected in 35mm in a single day with one 30-minute intermission. Like I did.
  13. Joel, I read one of Paul's early drafts of the script and was able to so clearly imagine that scene. It gets me every time I watch it too. Paul guided me through the process of writing a script treatment and first draft of a feature screenplay, and I think about one of his observations all the time now when I'm watching movies. "Beginnings and endings are usually pretty easy. It's figuring out all of the stuff in the middle that takes so much work." They trimmed the heck out of Light from Light in post-production. One big scene was cut completely, another brief scene was added, and I get
  14. I'd love to. Working from home while three kids run around me is starting to take its toll, so I'm struggling to find the energy and concentration I need for writing. But I'll give it my best shot.
  15. Only thing that strikes me as odd is Scorsese is sneaking in above the Dardennes.
  16. Here's the top 25. The number after each title represents the slots it moved because of the final round of voting. The big winner is The Seventh Seal, which jumped eight slots. No other film moved more than four slots. I was happy to see there were no ties. The most interesting facet of this round is that many of us appear to have voted strategically in hopes of causing more significant moves, but for every person giving Three Colors: Blue a 1, there were two people giving it 23, so it ended up in the same slot. 2001 is the most divisive film, with a standard deviation of 8.1 (average is
  17. Darren H

    Sophie Scholl

    I mentioned this briefly in another thread, but a great companion with Sophie Scholl is Su Friedrich's The Ties That Bind, which is on Criterion Channel right now. It's an experimental essay film that compares 20-something Friedrich's life in 1980s Chicago to her mother's in 1940s Germany. Her mother was the same age and from the same town as the Scholls.
  18. If they made it today Elisabeth Perceval would probably be credited as co-director of Heartbeat Detector. She and Klotz have been making films together for almost 30 years but it's only been in the last few that she's taken a director credit in addition to screenwriter.
  19. From Philip Roth's The Ghost Writer: "I turn sentences around. That’s my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I read the two sentences over and turn them both around." I've taught the shitty-first-draft approach to writing because in theory it makes sense, but I also tell my students I've never been able to use that technique myself. I write a sentencen and then read it out loud nand then rewrite itn and then reread it out loud along with the preceding para
  20. So jealous of everyone who can write quickly. After doing this for 25 years, I now average about 100 words/hour.
  21. I thought about nominating Su Friedrich's The Ties That Bind (1984) as my +1, but it had been 15 years since I saw it and I couldn't remember it well enough to judge how it fit the tenor of our list. I revisited it this morning as part of the Tell Me series and now think it certainly needs to be on our growing alt-list. I'd encourage whoever writes the blurb on Sophie Scholl to try to see this film, which is a portrait of Friedrich's mother, who was a peer of the Scholls.
  22. Ken, I did this for two seasons of The Public Cinema.
  23. Ken, since 7th Heaven and The Immigrant made the cut, I might be interested in writing something about expressionist American melodrama, also pulling in Sunrise, Frisco Jenny, and possibly other films like The Best Years of Our Lives, The Grapes of Wrath, The Song of Bernadette, and others. I'm seriously considering jumping into a grad program this summer, so I should know soon if I'll have time for serious writing.
  24. Here are the films from my original 25 nominations that made the final cut. Asterisk beside the ones I've advocated for most strongly over the years. Two asterisks beside the ones I'd love to write about. 2001: A Space Odyssey (1968) Beau travail (1999) ** Close-Up (1990) Frisco Jenny (1932) ** In a Lonely Place (1950) * In Praise of Love (2001) * My Night at Maud's (1969) Night and Fog (1956) Ordet (1955) Still Life (2006) * The Flowers of St. Francis (1950) The Gleaners & I (2000) The Grapes of Wrath (1940) What Time Is It There? (2001) ** I didn't end
  • Create New...