Not exact matches
At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerim
At the
film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all
age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look
at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerim
at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.
Ana Lily Amirpour follows up her alt - cult sensation A GIRL WALKS HOME ALONE
AT NIGHT with her sand - blasted, dystopian love story THE BAD BATCH; Maren Ade delivers what will be the most uncomfortable
film of the
festival, the desert - dry black comedy TONI ERDMANN; and Julia Ducournau's directorial debut, RAW, takes us on a cannibalistic coming - of -
age shock ride that resonates long after its stunning finale.
She came of
age in New York indie
film, interning first
at Killer Films with Christine Vachon, and going on to screen her work
at festivals such as New Directors / New Films MoMA / Lincoln Center.
Britain fared better, with my favourite sci - fi horror
film in a long time, Glazer's Under the Skin, and my favourite entertainment
film of the year, the conventional, but charming Pride, while the flawed Mr. Turner impressively reflects the great painter's sun worship through Dick Pope's widescreen cinematography.Highlights of my year included being on the FIPRESCI jury
at the Hong Kong IFF, where I admired Yang Hen's third feature, Na pian hu shui (Lake August), and a couple of first features among others, as well as attending the amazing HK
film market for the first time, where I saw one of my three 2014 «
films for the
ages», Tsai's Journey to the West; and seeing a nitrate print of Hitchcock's Rebecca
at the George Eastman House in Rochester (where they are doing a three - day all - nitrate
festival in May, 2015!).
Its
films have won 12 Academy Awards (for Tom Hooper's Les Misérables and The Danish Girl; James Marsh's The Theory of Everything; Tim Robbins» Dead Man Walking; Joel and Ethan Coen's Fargo; Shekhar Kapur's Elizabeth and Elizabeth: The Golden
Age; and Joe Wright's Atonement and Anna Karenina), 39 British Academy of Film and Television Arts (BAFTA) Awards, and prizes
at the Cannes and Berlin International Film
Festivals.
The
film won the inaugural Critics» Award from The
Age newspaper for Best Australian Feature
Film at the
festival.
Its
films have won 12 Academy Awards ® (for James Marsh's The Theory of Everything, Tom Hooper's Les Misérables, Joe Wright's Anna Karenina, Tim Robbins» Dead Man Walking; Joel and Ethan Coen's Fargo; Shekhar Kapur's Elizabeth and Elizabeth: The Golden
Age; and Joe Wright's Atonement); 39 BAFTA Awards; and prizes
at the Cannes and Berlin International Film
Festivals.
In addition, he paid tribute to Pierre Rissient, who passed away this week
at the
age of 81 as he was preparing to travel to the
festival to represent Korean director Lee Chang Dong's
film Burning which is in competition.
Yet gender diversity in
film remains lacking enough that when two people passed out
at a recent
film -
festival screening of Julia Ducournau's cannibalism coming - of -
age tale, Raw — much to the director's surprise and dismay — it was not only noteworthy but also a perverse measure of progress.