Recent posts

The Grapevine / Re: Megalopolis
Last post by Scrooby - May 14, 2024, 01:35:49 PM
The Grapevine / Re: The Shrouds (Cronenberg)
Last post by WorldForgot - May 14, 2024, 09:36:51 AM
Cinema is a cemetery

This Year In Film / Re: I Saw The TV Glow (Jane Sc...
Last post by WorldForgot - May 14, 2024, 09:16:49 AM
A vital, powerful film. About feeling trapped - within our own sense of misplaced self, and within the confines of who we are told we are. It toys with nostalgia, revels in genre, and boasts loudly that music and media can allow us to escape personal prisons

I cant wait to rewatch and write more about it and talk about it with others. Every movie has the power to change lives. This one has the power to save some.

From an interview on BW/DR:

QuoteI know I'm not the only one kind of observing what a time it is for three really special trans movies: Stress Positions, The People's Joker, as well as TV Glow. The through line I see is parodying what it's like to be alive. Do you see commonality in these films, if you have seen them? Is there something special about the way trans people see the world?

Um yes, definitely. There is something special about how trans people see the world.

I talk a lot about my love of this very specific genre of "European auteur makes a film about America." Wim Wenders's Paris, Texas (1984) or Antonioni making Zabriskie Point (1970). Or the Baudrillard book America where he's just on a road trip through the desert shit-talking America for what's beautiful and grotesque about it. My gaze is certainly informed by my outsider status as a trans person. I can see the cracks and the simulacra in a way that does have to do with the othering distance of queerness and transness. I think that is reflected in the film. There are books to be written about the trans gaze in cinema that is now just getting to be codified. I have seen both Stress Positions (2024) and The People's Joker (2022) and really dug both films. I especially think Vera [Drew]'s desire to destroy corporate IP, subvert it, transition it, mutate it, and pervert a film very close to my heart is very close to my trans heart.

But also three films by three white trans girls does not a trend make. I'm very skeptical of any narratives that say the moment has arrived, because we're all in danger and representation unto itself is not something to overinvest emotionally in. Trans film has existed for a long, long time before this moment and will continue to exist after this moment. Perhaps at this moment, there is some kind of fledgling, bubbling-up into a commercial space rather than a DIY or art space or a T4T space. But I think that it's quite nascent.

The commodification of transness into an entertainment industrial complex as emotionally and morally and capitalistically bankrupt as our current space is, is not necessarily something to celebrate unequivocally. I think it's something to tread very lightly into as we hopefully continue to do the work as a community of understanding transness as not an identitarian-based apolitical group. But in fact, as a political and ideological movement that is inherently oppositional to the binary, conservative stranglehold that cis straight white supremacist patriarchy has over all of our lives.
The Grapevine / Re: Megalopolis
Last post by WorldForgot - May 12, 2024, 05:48:58 PM
International distribution outside of the States has been locked in:

Francis Ford Coppola's Megalopolis has sold to key independent buyers in Europe's top five territories, we can reveal.[url]

QuoteAhead of its anticipated world premiere at this week's Cannes Film Festival the movie has sold to Constantin Film for Germany and all German-speaking territories, including Switzerland and Austria; Eagle Pictures for Italy; Tripictures for Spain; and Entertainment Film Distributors Limited for the U.K. A deal with Le Pacte for France was announced last week.

The movie debuts on Thursday 16th in Cannes with cast Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Kathryn Hunter, Grace VanderWaal, Chloe Fineman, D.B. Sweeney, and Dustin Hoffman set to tread the red carpet.
News and Theory / Re: Who's Next To Croak?
Last post by WorldForgot - May 11, 2024, 10:07:59 PM
Roger Corman

QuoteCorman died May 9 at his home in Santa Monica, Calif., surrounded by family members, the family confirmed to Variety.

"His films were revolutionary and iconoclastic, and captured the spirit of an age. When asked how he would like to be remembered, he said, 'I was a filmmaker, just that,'" the family said in a statement.

Corman's empire, which existed in several incarnations, including New World Pictures, and Concorde/New Horizons, was as active as any major studio and, he boasted, always profitable. He specialized in fast-paced, low-budget genre movies — horror, action, science fiction, even some family fare — and his company became a work-in-training ground for a wide variety of major talents, from actors like Nicholson ("Little Shop of Horrors") and De Niro ("Boxcar Bertha") to directors like Francis Ford Coppola ("Dementia 13") and Scorsese ("Boxcar Bertha").

When Corman was awarded an Oscar at the AMPAS' first Governors Awards ceremony in November 2009, Ron Howard saluted him for hiring women in key exec and creative jobs, as well as for giving them big roles, and Walter Moseley was quoted as saying Corman offered "one of the few open doors," looking beyond age, race and gender.

Corman hailed film as "the only truly modern art form." But he pointed out that the need of cast and crew payments mean a constant compromise between art and business.

Howard also joked that when he directed his first film, "Eat My Dust," he complained to Corman about the low budget and the sparse extras for a crowd scene only to be told, "If you do a good job on this film, you won't ever have to work for me again!"

Quentin Tarantino toasted him with "the movie lovers of planet Earth thank you." Jonathan Demme praised his acting, saying Corman gave "tremendous value at a really affordable price." In several movies for Demme, Corman wanted the same fee he gave actors in the 50-plus films he'd directed: scale plus 10%.

Over almost half a century, he took over the B-movie market, which had largely disappeared in the wake of television, and kept it alive almost single-handedly (along with Sam Arkoff of American Intl. Pictures, who financed most of Corman's early directing/producing efforts). Well into his nineties, he was producing Bs for $5 million and under and rolling them out for video and television release.

After he left off directing in the late '60s (to return only briefly in the mid-'80s with "Frankenstein Unbound"), he formed New World Pictures, which also imported foreign art films like Ingmar Bergman's "Cries and Whispers" and taught the industry how to effectively market and distribute such rarefied films.

Born in Detroit, Corman moved with his family in 1940 to Los Angeles. He attended Beverly Hills High School and then Stanford U., majoring in engineering. He admitted to being infatuated by movies from the time he came to California. "There was no way I couldn't be interested in movies, growing up where I did," he once said.

Service in WWII and his education (he also attended Oxford for a term, studying English literature) slowed him down. After Stanford he worked for four days at U.S. Electric Motors and then tried to break into the business by working as a messenger at 20th Century Fox. When he returned from Oxford (and a short stay in Paris) he became, in his own words, "a bum." From 1951-53 he did odd jobs and collected unemployment. He briefly worked as a script reader; convinced he could do better, he wrote "Highway Dragnet" and sold it to Allied Artists for $4,000.

With the money he made from the 1954 release and contributions from family and friends, he produced "The Monster From the Ocean Floor" and struck a deal with Arkoff's AIP. In return for cash advances, Corman agreed to make a series of movies.

From 1955-60 Corman produced or directed more than 30 films for AIP, all budgeted at less than $100,000 and produced in two weeks or less. There were Westerns ("Five Guns West," "The Gunslinger"); horror and science fiction ("The Day the World Ended," "The Undead" in 1956 and 1957); as well as teen movies like "Carnival Rock" and "Rock All Night."

Soon he was the hero of the drive-ins.
Paul Thomas Anderson / Re: Untitled Paul Thomas Ander...
Last post by Fitzroy - May 10, 2024, 05:57:41 PM
Can't recall if this was actually confirmed or just assumed, but it's mentioned in this Guardian interview with Jonny that he's scoring the new movie.

"And he's already started work on the next Paul Thomas Anderson film (rumoured to be starring Leonardo DiCaprio, Sean Penn and Alana Haim), which will be their sixth collaboration, as well as another film with a different director. "I'm incredibly lucky that Paul indulges me and gives me so much time to experiment and compose," he says. "That's not usually the case in Hollywood, where the soundtrack writers are often very far down the food chain, and are sometimes given only a couple of days to bash out a complete score."
The Grapevine / Re: The Shrouds (Cronenberg)
Last post by WorldForgot - May 08, 2024, 06:30:52 PM
Real-Life Soundtracks / Re: Now Playing
Last post by Scrooby - May 06, 2024, 04:42:12 AM
The Grapevine / Re: Megalopolis
Last post by RudyBlatnoyd - May 04, 2024, 03:43:16 PM
This looks very intriguing...

Stanley Kubrick / Re: Eyes Wide Shut
Last post by Scrooby - May 02, 2024, 11:24:34 AM
The Doors