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October update

11 Oct

In my last post, optimistic-but-ultimately-naïve that I would get to see Gravity from the TIFF rush line (did not, obviously), I ended with a link to ScreenRant’s summary of early reviews/previews.  Per the archival aspirations of this blog, I’ve since begun collecting reviews from Venice (I started with Sandy Schaefer’s original list, and kept going with whatever Google turned up in my inbox) and from Telluride.  Toronto’s next (and I’ll tell you about how I waited for three hours only to not see Gravity).

By the way, I feel really good about my decision to avoid all the reviews and promotional interviews and other news alerts. ;)


Another look at Great Expectations

13 Jun

Kantogirl looks back to Cuarón’s Great Expectations, ten years later after catching a bowdlerised version on television. I only saw this one once, and I didn’t like it for the film so much as the score (I discovered Cuarón through Patrick Doyle after seeing A Little Princess when I was 7 or 8), but I only saw it once, when I was maybe 13 or 15… I like reviews that look back at underappreciated films, it’s refreshing. Maybe I’ll be inspired to take another look at the film.

…seeing this again ten years later makes me appreciate how Cuaron was able to successfully take the themes of Dicken’s novel and make it work in the present day context. There’s the amazement of viewing a richly visualized film (always, there is green), the score by Patrick Doyle that enhanced the storytelling (and Life in Mono!), and the artwork by Francisco Clemente that helped crystallize the desires of Finn and put it in display for all the world to see. Read more.

Not really a “new wave,” says producer, as Déficit premieres

7 Jun

“Nobody here talks to each other,” laughs producer Pablo Cruz, speaking to Scott Macaulay from FilmInFocus about the scope of his work. Realising the success of the “three amigos” (del Toro, Cuarón, and González Iñárritu), Cruz and actors Diego Luna and Gael García Bernal founded the company Canana Films, which has already produced a documentary about the Mexican boxer J.C. Chavez (Luna) and Drama/Mex (Gerardo Naranjo) which premiered at Cannes, among others, including two more currently in post-production. Click here to read more about the difficulties and rewards of making Mexican film in Mexico.

Gael García Bernal’s directorial debut Déficit (also produced by Canana) opened to Mexican cinemas from Granada last weekend after screenings at several international film festivals last year (including Toronto and Cannes). With a critique of class struggle as it exists in Mexico, Déficit, also starring the first-time director, tells the story of two wealthy brothers organising a party in which both poor workers and rich friends are in attendance.

On his first time behind the camera, he told Rocío García of El País:

The Russians said that making movies is sculpting time. To the directors this is obvious, but for me, it was a discovery. Read more.

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Año uña

22 Mar

Just went to the last showing of Año uña at Cinéma du Parc for Festivalissímo. I thought it was sweet. I arrived half an hour early hoping it wouldn’t be sold out but it turns out the box office doesn’t even open until fifteen minutes before the film starts, so it was all right. I think there was a decently-sized audience (not that I really know what that is) and the murmured response I heard from eavesdropping generally referred to the photographic-style of the movie and how it was interesting, et cetera.

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