1. “Quentin Tarantino Scraps Hateful Eight Over Script Leak: ’I Gave It to Six Motherf—ing People’.” As for who saw the Western screenplay, Tarantino named names: including Bruce Dern and Reservoir Dogs stars Tim Roth and Michael Madsen.
“The title for the director’s latest opus was revealed in December, with Deadline reporting that Tarantino was courting two-time Oscar winner Christoph Waltz and Nebraska star Bruce Dern for lead roles. On Tuesday, Tarantino told Deadline that Waltz never received the script (neither did Tarantino favorite Samuel L. Jackson), which he personally handed to Dern and Reservoir Dogs stars Michael Madsen and Tim Roth, as well as Django Unchained producer Reginald Hudlin and two other people.”
2. “Cuomo’s Pre-K Plans Set Up Tax Conflict With de Blasio.” Cuomo and de Blasio square off on pre-K.
“Gov. Andrew M. Cuomo on Tuesday unveiled a budget plan containing a glittering prize for Mayor Bill de Blasio: money for the prekindergarten classes that he had made a centerpiece of his insurgent bid for mayor. Mr. de Blasio sent back a calm, but firm message: Not good enough. It was the latest twist in a battle that has captivated New York politics, with consequences that could reach far beyond the issue of childhood education, and a clear signal that the tension between the state’s two most powerful Democrats is not likely to abate any time soon.”
3. “Don’t Worry About the End of Film.” Richard Brody on at least preverving the idea of watching projected prints.
“I just got word of an international petition campaign supporting a call by the cinematographer Guillermo Navarro for UNESCO to declare film ’a World Heritage’: ’We must fight to keep the experience of watching a film that was made on film projected as film alive and available in at least one cinema in every city in every country. We must act quickly to safeguard the future of the film print by supporting cinemas that choose to continue projecting 35-mm. film prints alongside digital projection.’ I’m not sure about the campaign’s bureaucratic implications, but it certainly is a good idea for movie lovers in the age of digital projection to know what film projection looks like.”
4. “Polish Catholic Church declares war on ’gender theory.’” The church says that the theory undermines the traditional family.
“While many say gender theory promotes tolerance and understanding towards gender equality and homosexuality, the Polish Church has branded it a mortal danger to families, child sexual orientation and humanity. Polish bishops wrote a letter on the topic that was read out in every parish across the country over the Christmas holidays. ’This is a preventative offensive,’ sociologist Edmund Wnuk-Lipinski told AFP.”
5. “The Nolan Effect.” Why the Larger Best Picture Pool Is Actually Shrinking the Number of Oscar Contenders.
“Two other factors only exacerbate the problem. The first is the backloaded release calendar. This year, all nine of the eventual Best Picture nominees opened in the fourth quarter; last year, eight out of nine did. The Wolf of Wall Street didn’t hit theaters until Christmas Day; the screener for Her didn’t reach some voters until days before the deadline. When good movies drift into theaters more gradually—as they did two years ago, when three Best Picture nominees opened before Labor Day—a wider array of films get assessed. But when all the big ones stack up at the finish line, as they did this year, voter viewing tends to happen as an act of triage—save the worthy, kill the rest—right as other awards are being handed out. And those other, heavily repetitive ceremonies tend to reinforce a narrative of inevitability that pushes borderline movies even further to the margins.”
Video of the Day: Sarah Silverman is visited by Jesus Christ:
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Oscar 2019 Winner Predictions: Costume Design
Honestly, we’re so gobsmacked by AMPAS’s skullduggery that we can’t even see what’s right in front of us.
In less than a week, AMPAS has successfully stoked the anger of just about every creative in Hollywood, and perhaps sensing a widespread boycott of the Oscar telecast in response to the banishment of four awards to commercial breaks, the academy has now “clarified” its latest attempt to reboot the Oscars for the TL;DR generation. Yesterday, in a letter signed by the academy’s board of governors—which includes president, director of photography, and hater of cinematography John Bailey—members were assured that the four winning speeches will in fact be included in the broadcast, but with all the walking and talking that it takes to announce the winners edited out. Also, those four categories may or may not be given the short shrift in 2020, as apparently there’s a “rotation” system in place that will, I guess, leave the door open for us to not see Lady Gaga walk on stage next year to accept the best actress award for her performance accepting the Golden Globe this year for “Shallow.”
Honestly, we’re so gobsmacked by AMPAS’s skullduggery that we can’t even see what’s right in front of us. Case in point: When I sat down to write this article, I thought this award was going to be a slam dunk for Bryan Singer’s Bohemian Rhapsody, but as it turns out, the film isn’t even nominated for its costumes. Because sanity prevailed when voters decided they didn’t find any kind of magic in Brian May pulling out his old Queen outfits for the making of Bryan Singer’s film, maybe it will prevail again and AMPAS will take the Oscars off its planned keto diet. And if it doesn’t, we’ll take some solace in three-time Oscar winner Sandy Powell—who for the third time in her career has been nominated twice in the same year—collecting this award for her gloriously ostentatious, stitch-perfect garbs for The Favourite.
Will Win: The Favourite
Could Win: Black Panther
Should Win: The Favourite
Berlinale 2019: Out Stealing Horses, A Tale of Three Sisters, & Öndög
These films suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes.
On the way into Berlin from Tegel Airport, one of the first signs of the city you see is a large tract of land divided into rectangular plots, on each a shed in a variable state of repair. In fact, you can find such areas dispersed throughout the city. Visitors can easily mistake these colonies for third world-style shantytowns, but in fact they’re the bougiest things imaginable: privately owned allotments, known as kleingärten, that aren’t used as primary residences. It’s an institution that allows urban dwellers with enough money to simulate life “on the land,” a slice of rural life plopped down within the city.
As goes Berlin, so goes Berlinale. Several films in this year’s competition suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes. There’s a certain nostalgia in these films’ contemplation of the relationship between people and nature—in an age where our actions have precipitated an ongoing ecological cataclysm, the depiction of natural spaces almost immediately invokes the past.
A particularly wistful note is struck by Hans Petter Moland’s Out Stealing Horses, a film about—stop me if you’ve heard this before—sexual awakening set during a rural Scandinavian summer. The film begins in the dark, cold New Year’s Eve of 1999, as an aged and lonesome Trond Sander (Stellan Skarsgård) hides out in Sweden from his troubled recent past. When the 66-year-old Norwegian meets his closest neighbor, Lars (Bjørn Floberg), the film flashes back to the summer of 1948, which Trond spent at his father’s country house in Norway. In voiceover, Skarsgård’s weathered baritone guides us through his character’s reminiscences concerning the tragedy that befell a neighboring family, and how his relationship with his father (Tobias Santelmann) was altered forever when they both became entangled in it.
Although the bulk of its action takes place in the postwar Norwegian woods, Out Stealing Horses regularly brings us back to 1999, contrasting the gray-and-blue perpetual night of a Swedish winter with the variegated colors of summer. Such blatant romantic symbolism doesn’t initially detract from a film that seems at the outset to promise a thoughtful contemplation of mortality. But as the symbols start to multiply—winter for old age and impending death; summer for youth; flowers, birds, and bees for burgeoning sexuality; thunder for emotional turmoil; water for femininity—and the melodrama becomes conventional and bloated, Moland and co-screenwriter Per Petterson’s subordination of natural objects to human meanings becomes increasingly one-dimensional.
Emin Alper’s A Tale of Three Sisters opens with a car driving into a remote, mountainous area of central Anatolia in Turkey. The car, whose hood takes up the foreground of the frame, belongs to Mr. Necati, a well-to-do city dweller on whom Sevkit (Müfit Kayacan) and his three daughters rely for their livelihood. The four live in a small village nestled in the mountains, and since their mother’s death, each of the three girls has tried and failed to serve as Necati’s family’s maid in the city. Nurhan (Ece Yüksel) and Havva (Helin Kandemir) have just returned from their stint, one that ended because the irascible Nurhan was beating the Necati children, and Reyhan (Cemre Ebuzziya) was returned some years ago when she got pregnant, upon which her father swiftly married her off to Veysel (Kayhan Açikgöz).
Veysel, a reluctant and lazy shepherd by trade, is a hapless fool, the kind of guy who will accidentally piss on a grave, then worriedly pose to his village superiors the question: “Is pissing on graves a sin?” Sevkit and the other men regularly laugh at his expense, and Reyhan and her sisters have little patience for her husband-of-necessity. The village’s mistreatment of the earnest but perpetually outmatched Veysel will have tragic consequences.
Tale of Three Sisters isn’t interested in tidy narrative resolutions. Much of the film consists of evocative scenes set amid the glowing brown-red hues of the area’s mountains and the hearth of Sivket’s family home—one of the most memorable of which is a comic, sexually suggestive sequence involving a huge jug of ayran, a foamy yogurt-based drink popular in Turkey. The film works its way toward a kind of moral resolution, though at times the journey there is a bit of a slog. Sevkit is a domineering father, his words taking over both his home and the film, which occasionally feels as tedious as his daughters find it.
Öndög, by Chinese director Wang Quan’an, is a film that takes an elemental approach to the human condition. A good portion of its running time is made up of long exterior shots of the Mongolian plains held for minutes at a time, the frame cleanly divided between the elements of earth and sky. The action, such that it is, often takes place at dusk, which flattens the silhouettes of the diminutive human figures against the blue-orange twilight sky; at times they look like shadow puppets inching their way across an ersatz, cardboard stage. The film’s aesthetics are grandiose in the same measure that they are playful.
Naturally, Öndög is concerned with life and death, and in a manner that evokes cyclical time. It opens with a pair of deaths—a woman’s body is discovered in a field, and a sheep is slaughtered on camera—and it closes with a pair of births (no spoilers here, but, then again, it’s doubtful spoilers can exist in cyclical time). Landing upon the same symbol of eternal recurrence as Terrence Malick’s Tree of Life, Wang evokes dinosaur life: One character shares with another that the ancient reptiles were first discovered in Mongolia, making Mongolians their descendants, destined in millions of years to be discovered again, by dinosaur scientists.
Though the film opens with police discovering the aforementioned woman’s body and a young officer (Norovsambuu) left alone in the field to guard it until it can be retrieved, it leaves this plot thread unresolved, subsuming itself in the anti-drama of the herdswoman (Dulamjav Enkhtaivan) who’s asked to keep the officer company. Roaming around the plains on her distinctive camel and tending to her livestock with only the occasional help of a neighboring, motorcycle-riding herdsman (Aorigeletu), the herdswoman is a model of autonomy and self-determination. She’s faster and better with a gun than the police, and flat-out ignores the herdsman’s constant suggestions that she needs to find a man.
Quan’an addresses eternal, cosmic themes through a portrait of rural characters living in a desolate setting, but even if his interest is in the primeval, he doesn’t make his characters “primitive.” They live closer to death and to birth, but they still play Elvis songs on their cellphones, call the police when they’re in trouble, and have medical abortions. And Öndög’s portrait of the human condition also isn’t portentous or overly self-serious; for one, this is a film that will give you a new appreciation for the inherent humor of camel sounds. Slow but never tedious, set under sky and stars but not in the least bit sentimental, Öndög is the festival’s most profound story of human life on the land.
Berlinale runs from February 7—17.
Oscar 2019 Winner Predictions: Actor
Throwing questions of artistic merit out the window, opponents of a Rami Malek win have dutifully cast doubt on his ideological purity.
Given how this accursed Oscar season has thrown one obscenity after another at everyone who has any investment whatsoever in the institution of the Academy Awards, it’s as though AMPAS is inviting the world to burn the Dolby Theater down on Oscar Sunday, as Mélanie Laurent’s Shosanna does to the Cinema Le Gamaar at the climax of Inglourious Basterds. And at this point, considering that one of the four awards being banished to commercial breaks is cinematography, and that AMPAS president John Bailey is himself a cinematographer, the presumption of self-sabotage seems credible.
Such are the affronts to progress toward anything other than ABC-Disney’s maniacal bottom line to reverse the show’s declining ratings, and the deadening effect every bad idea has had on our souls, that Rami Malek winning the best actor Oscar for leading with his teeth throughout Bryan Singer’s Bohemian Rhapsody slots toward the bottom of our shit list. Malek, who cemented his frontrunner status with a BAFTA win last weekend, may be taking a page, if not the whole ream, from Eddie Redmayne’s shamelessly charming campaign playbook. But in the category’s absence of Ethan Hawke, who ran the table with critics for his performance in First Reformed, is anyone’s reserve of outrage bottomless enough to howl about the inevitable results here, beyond wounded fans of A Star Is Born? (Though, don’t get us wrong. We’re happy to give Bradley Cooper the award if it keeps him from going behind the camera again.)
Throwing questions of artistic merit out the window, opponents of a Malek win have dutifully cast doubt on his ideological purity. You don’t have to flash back to Casey Affleck to regard this tack as a grisly mistake, even if you don’t happen to believe Malek got Bryan Singer kicked off of Bryan Singer’s Bohemian Rhapsody for preying on underage boys. This is an Academy that nominated Green Book for five awards. Good intentions are still more than enough, and what you say is still as important, if not more so, than what you do. And if portraying Freddie Mercury as a misguided homosexual who just needed to find Britain’s one good gay somebody to love leaves a pretty foul taste in our mouths, at least Malek has managed to avoid letting the N-word slip from his mouth on the promotional circuit.
Will Win: Rami Malek, Bryan Singer’s Bohemian Rhapsody
Could Win: Christian Bale, Vice
Should Win: Any actor willing to publicly stand up in support of airing all 24 categories.