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9 posts tagged clip
First Clip from Cronenberg’s COSMOPOLIS
“you need to be enflamed, don’t you?”
well what have we here? this clip may run a scant 73 seconds, but i’d wager that it provides a pretty accurate sense of the film’s tone and rhythms. the trailers were dazzling, but this is the first time that i’ve really understood how Robert Pattinson is going to function as a Cronenberg hero, and — if this scene is any indication — he’s going to function just fine. the pointedly dull diner, the dutch angles, the brooding ambient soundscape, the femme fatale… it’s like a noir riff on Strange Days, and i like the way that sounds.
Cosmopolis will premiere at Cannes later this month.
p.s. i assume the irony in this is not unintentional, but is it just me or does RPatz totally *not* need a haircut?
(via Collider)
The First 6 Minutes of Jean-Pierre Gorin’s POTO AND CABENGO (1980)
so criterion unloosed a trio of new releases today, the most exciting of them being Belle de Jour, which has absolutely nothing to do with this post. the *second* most exciting of them however, is certainly Eclipse Series 31: Three Popular Films by Jean-Pierre Gorin, which collects a triptych of fascinating and open documentaries from a filmmaker still waiting to be rescued from beneath the wide shadow of his contemporaries.
the earliest of the three films included in this set, Poto and Cabengo, chronicles the story of two young San Diego twins, little girls who speak to one another in their own private language. it seems like some TLC material, but Gorin has a master’s command of the medium and his interest in his subjects transcends the journalistic within the first few minutes, which can be viewed up top. watch with caution, as it’ll be tough to resist plunking down for the whole set once you hit the play button.
(h/t/ The Doc Channel Blog)
Watch a New Clip From SHAME (dir. Steve McQueen) 2011
(sorry about the ad)
so apparently lots of folks are jazzed for SHAME. that might have something to do with the fact that it’s magnificent, or it might have something to do with the fact that penis penis penis. whatever it takes.
anyway, i’m not usually much for promo campaigns teasing audiences with complete scenes… kinda guts the immediacy of the eventual experience, but this is a lovely little one-shot sequence that does a good job of conveying the film’s palette and its ferocious undercurrents… how Michael Fassbender renders Brandon’s sex addiction so tortured and feral and seductive, all at once.
SHAME opens on december 2nd with an NC-17 rating (oooooo)
Clip: PINA (dir. Wim Wenders) 2011
ahhhhhhhh, this movie!
i try to go into these things as fresh as i can, but my appetite for Wim Wenders’ latest film is out of control. PINA is playing at approximately *all* the festivals this fall, so a bunch of you should be getting a chance to check it out real soon… to my knowledge, no US release date has been announced yet, but expect one imminently.
Clip: WUTHERING HEIGHTS (dir. Andrea Arnold) 2011
so Andrea Arnold (she of the amazing FISH TANK) is about to hit the festival circuit with her third feature: WUTHERING HEIGHTS, an adaptation of Emily Bronte’s famous novel. now we have about 4 minutes worth of footage from the film, and it looks like… well, it looks like Bronte by way of the woman responsible for FISH TANK, and that’s more than enough to whet my appetite. i’m confused by the lack of Michael Fassbender, but that’s true these days whenever I see a movie that doesn’t have Michael Fassbender.
Clip: First Footage From Werner Herzog’s Death Row Doc INTO THE ABYSS
the toronto international film festival is upon us, which means… new werner herzog! the man who made the truth ecstatic has entered a period of prolificacy unlike anything he’s enjoyed before, and though he’s got some “narrative” films in the pipeline he’s been just churning out some of the best docs of his career.
INTO THE ABYSS — despite what this clip might suggest — isn’t an overview of death row culture so much as it is a more focused portrait of one triple homicide and the various players involved. The official synopsis reads: “Herzog probes the psyches of those involved, including the 28-year-old death row inmate scheduled to die within eight days of appearing on-screen. Herzog’s inquiries unveil layers of humanity against an American Gothic landscape. As he’s so often done before, the director makes an enlightening trip out of ominous territory.”
strangely enough, it appears as if Herzog left the 3D cameras behind on this one. i can’t wait.
(hat-tip to the cool dudes over at The Film Stage)
Clip: DRIVE (dir. Nicolas Winding-Refn) 2011
been out of the office all day, in part to bask in the fluorescent glory of Nicolas Winding Refn’s badass bonanza, DRIVE. i only mention it on the blog because, well… here’s my post-screening reaction:
“DRIVE: Jean-Pierre Melville for the 21st century (80s fetish included). A lean, mean, neon noir about survival gone wrong. Flawed but majorly satisfying.”
Ryan Gosling is Le Samourai Behind the Wheel, and Refn has finally arrived in a big bad way. this thing won him the best director award at Cannes, and should be a minor sensation when it hits in September. also, it’s got Albert Brooks as the reluctant heavy… what more could you want? peep the clip above (which is from the opening sequence) for an idea of the vibe, and AVOID THE TRAILER AT ALL COSTS, AS IT ESSENTIALLY BLOWS THROUGH THE ENTIRE MOVIE IN SEQUENCE with all the details and none of the pulse.
Jean-Pierre Melville’s cameo in BREATHLESS
(while we’re on the subject of Melville, what with LEON MORIN, PRIEST heading our way later this month).
ya know, if i had that man’s speaking voice there’d be nothing i couldn’t accomplish in life. my generic, slightly nasal drawl is clearly all that’s keeping me from my dreams.
there are way too many indelible scenes in BROADCAST NEWS for me to conclusively say that any one of them is best, but i can totally roll with what’s written below. nebbishy steve guttenberg albert brooks just nails the delivery of that last line.
The best moment of Broadcast News. Almost everything could have gone wrong with this scene: were Albert Brooks a typical comedian, he might have oversold the humor in this rant, tipping the balance toward farce. Instead, he finds and maintains the thread of heartbreak underneath the monologue that manages to combine the film’s own dichotomy between personal and professional strife with Aaron’s haphazard honesty and acerbic self-defense. Albert Brooks plays it beautifully, even selling the crushing end to the speech with such deflated, resigned want and sadness that the line “I buried the lead,” is made poignant rather than cute. The greatest moment of a great film. Full review here.
Grade: A
