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Human Rights Watch International Film Festival 2007

This year’s Human Rights Watch International Film Festival features one of the strongest lineups in the program’s history.

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Human Rights Watch International Film Festival 2007
Photo: Zeitgeist Films

This year’s Human Rights Watch International Film Festival, a co-presentation between the Film Society of Lincoln Center and Human Rights Watch, features one of the strongest lineups in the program’s history. Twenty films and three shorts, in addition to a special New Visions screening of two works-in-progress (A Jihad for Love and Project Kashmir), decorate this 18th edition of the festival. Among the New York premieres: the Algerian War drama Mon Colonel, co-written by Costa-Gavras; Carla’s List, about prosecutor Carla Del Ponte’s daunting journey to pursue criminals who perpetuated crimes against humanity in the former Yugoslavia; Election Day, which charts incidents of voter fraud, disenfranchisement and general ineptitude during our 2004 presidential election; and Manufactured Landscapes (pictured above), which ruminates, according to the program, on “the aesthetics and social and spiritual dimensions of globalization around the world today” in a manner evocative of Michael Glawogger’s Workingman’s Death and Nikolaus Geyrhalter’s Our Daily Bread. For a full schedule of films and ticket information please see the festival’s main program. Ed Gonzalez


Banished (Marco Williams, 2005)

We were unable to preview Banished before the publication of this feature, but the subject of Marco Williams’s documentary, a nominee for the Grand Jury Prize at the last Sundance Film Festival, is thought-provoking. The film allows the director to explore the legacy of slavery in small towns in Georgia, Missouri, and Arkansas, where African-American families were violently thrown out of their homes by their white neighbors in the years between the Civil War and the Great Depression. Banished will play once on Thursday, June 21 at the Human Rights Watch International Film Festival before returning to New York City on October 10 at Film Forum. Gonzalez


Carla’s List (While Marcel Schüpbach, 2006)

Carla’s List observes the 2005 efforts of International Criminal Tribunal for the Former Yugoslavia (ICTY) prosecutor Carla Del Ponte to locate and bring to trial the outstanding seven fugitive war criminals under arrest. “I stay out of politics,” claims Del Ponte, but the film’s behind-the-scenes access to her day-to-day work at The Hague reveals otherwise, as politics proves a constant hindrance to her work’s completion. The hypocrisy of countries pledging support for the detainment of Ratko Mladic, Radovan Karadzic, and Ante Gotovina (Del Ponte’s prime targets), yet simultaneous refusing to productively aid in their capture, underscores the prosecutor’s quest, which must, by mandate, be concluded by late 2007. While Marcel Schüpbach effectively uses his up-close-and-personal footage to reveal the barriers to Del Ponte’s success, his non-admittance into various closed-door conferences and secret meetings—and consequent use of narration to fill in the gaps—weakens the fly-on-the-wall film’s you-are-there dramatic urgency. Nonetheless, the director pinpoints his subject’s tireless pursuit of justice as a force besieged by diplomatic convenience and selfishness, and one that remains steadfast even in the face of continuing setbacks as well as criticisms from the media and the Mothers of Srebrenica, who question whether justice is possible 10 years after the loss of their relatives. Their anger and frustration are entirely justified, though as the film illustrates, the target of their disappointment and disgust shouldn’t be the indefatigable Del Ponte, but rather an international community too slow to stop genocide, and then too self-interested to apprehend its perpetrators. Nick Schager


City of Photographers (Sebastián Moreno, 2006)

Cameras serve as instruments (if not outright weapons) of social protest and retaliation in Sebastián Moreno’s City of Photographers, a nonfiction account of the Chilean photographers who took to the streets to document demonstrations and military brutality during Pinochet’s reign of terror in the 1980s. As Moreno’s father was one of those brave guerrilla photojournalists, his film is not only a historical record but also a personal tribute to those who risked life and limb to expose the crimes against humanity perpetrated by the country’s ruthless dictator. Interviews with the camera-wielding rebels in question intermingle with their stark black-and-white snapshots and television footage of the era’s urban turmoil. Complementing the notion that photographs were agents of change is Moreno’s representation of these pictures—via mothers wearing portraits of their murdered children on their lapels—as acts of remembrance and revitalization defiantly opposed to Pinochet’s methodical process of murderous erasure. The documentary ably captures resistance to tyranny at its most courageous (and self-sacrificial). Equally impressively, however, is that the film manages to remain reverential while tackling both the confliction and guilt felt by some of its self-critical subjects, as well as the corrupting seductiveness of lethal conflict, the latter point via admissions that the addictive rush of facing and overcoming one’s fear of death led some to question whether they were, in one candid photographer’s words, “becoming some kind of blood creep with no values. Was I picturing pain for my own glory?” Schager


Cocalero (Alejandro Landes, 2006)

Coca is currency in Bolivia, so one concrete (and unintended) consequence of our country’s War on Drugs, with its brutal eradication program in the 1990s which sent marines and local military to uproot and napalm coca farms, was to unify popular resistance into a mass movement. Organizing themselves into unions, Bolivian peasant coca farmers finally succeeded in electing one of their own, Aymara Indian Evo Morales, as the country’s first socialist and indigenous president. In the vivid and fluently shot Cocalero, a finalist for the Grand Jury Prize at Sundance, Brazilian-born documentarian Alejandro Landes and Venezuelan-Spanish cameraman Jorge Manrique Behrens tag along as the dynamic yet accessible populist wages his 2006 electoral campaign from the storm-clouded mountains of Cochabamba to the steamy forests of El Chapare. While the burly candidate shrewdly watches for signs of yankee-instigated coups d’état and fields trick questions from right-wing TV personalities (“If you are elected, will we be invaded by Cubans?”), local unions conduct voting rehearsals for the unlettered. Top quality visuals convey his supporters’ energy and the movement’s optimism, right up to a crossroads moment as Evo locks arms with Fidel and an especially exuberant Hugo Chávez. Robert Keser


The Devil Came on Horseback (Ricki Stern and Annie Sundberg, 2007)

Jangaweed is Arabic for “devil on a horse.” Do not forget that name—or its translation. In the Darfur region of Sudan, the Jangaweed, a militia group sponsored by the government, has been largely responsible for the genocide that has left hundreds of thousands dead and millions displaced from their homes. Directed by Annie Sundberg and Ricki Stern, whose documentary The Trials of Darryl Hunt is currently in theatrical release, The Devil Came on Horseback explores the tragedy in Darfur through the eyes of a marine captain, Brian Steidle, who took a job with the African Union, armed only with “a camera, pen, and paper.” After the area exploded in violence, a heroic Steidle shunned his role as an impartial observer in order to shed new light on the genocide, photographing the horrors committed against Darfur’s black Africans and interviewing members of the Jangaweed who readily admit to being funded by officials in Khartoum. Sundberg and Stern’s aesthetic is seemingly indebted to Tony Scott (sketchy uses of speculative sound effects, fancy camera angles and whip flashes, and an over-reliance on maps and typewritten fonts), but their insult is not so grand as that of the international community’s inaction in the region. Devil Came on Horseback both explains the rationale for the chaos in Darfur in terms we can all understand and asks us to follow Steidle’s lead by demanding our leaders to act now in order to save the helpless people of Darfur. God help us if we don’t. Gonzalez


Election Day (Katy Chevigny, 2007)

On November 2, 2004, the day of the Bush-Kerry showdown, filmmaker Katy Chevigny deployed a dozen-plus film crews across a great swath of the country, from Wisconsin to Florida, to track a cross-section of the American citizenry exercising their franchise. The result is the masterful verité documentary Election Day, which cuts across race, class, and ethnicity to give us a snapshot of a politically-informed and galvanized America. Included in this dense fabric: a bulldog-like Chicago poll-watcher; American-Indian activists struggling to turn the tide of their community’s traditionally low turnout; a Muslim woman urging her family to vote; lower-class black voters weary and frustrated by polling discrepancies; an ex-felon casting his ballot for the first time; working-class parents struggling to make ends meet, cynical of America’s widening economic gap; and an Australian election observer, clearly concerned about the intolerably long voter wait-times, and inadequately equipped polling stations. Underscoring all these stories is their subjects’ enduring and passionate belief in democracy. For her open-hearted yet gently caustic style, Chevigny proves herself a worthy inheritor of Frederick Wiseman and his Direct Cinema compatriots. The verité sights and sounds give us a charming, engrossing glimpse of everyday America, and, in the shrewdness with which they’re cut together, offer an unmistakable critique of the voting system, and—seen three years since the Bush reelection—of the tragic path we’ve been led down since. Jay Antani


Enemies of Happiness (Eva Mulvad and Anja Al-Erhayem, 2006)

Eva Mulvad and Anja Al-Erhayem’s hour-long documentary Enemies of Happiness details the final stages of Malalai Joya’s 2005 campaign (in the first democratic election held in 35 years) for a seat on the Afghanistan parliament. Joya lives in what can only be described as a constant, ever-mutating state of threat. The curtains on the windows of her apartment are always drawn, blocking out both the sun and the prying eyes of anyone who might wish her harm. She has staunchly and publicly decried the identity-obliterating nature of the burka, but wears one, nonetheless, as a protective measure during her occasional journeys into the outside world. A consummate politician, Joya campaigns publicly in the safest towns and privately via television and Hal Phillip Walker-like audio recordings. She is also a tireless confidant to and arbiter for various Afghan citizens, intervening in one couple’s vicious divorce proceedings and counseling a young girl who is to be married against her will. A 100-year-old woman walks two hours from her village to pay homage to Joya, offering herbal medicine and recollecting her days as a planter of land mines. She speaks of Joya’s democratic ideals with a gleam in her eyes. No mere hagiography, Enemies of Happiness is more an anecdotal collection of personal incident and action that culminates in a series of harshly realized truths. Even in victory, Joya recognizes the things that have been sacrificed and lost in her pursuit of the moral high ground, and as she takes her seat among the 200-plus members of the Wolesi Jirga, an all new threat emerges: the prospect of anonymity amid the myriad voices of a damaged nation. All that has come before is mere prelude. It is here, to paraphrase Western playwright Tony Kushner, that the great work begins. Keith Uhlich


Everything’s Cool (Daniel B. Gold and Judith Helfand, 2007)

Everything’s not cool. That’s the message of Daniel B. Gold and Judith Helfand’s ironically titled doc, which hopes to further close the gap that separates what scientists know about our global warming and what the general public does not. Gold and Helfand’s aesthetic largely subscribes to the Michael Moore School of Filmmaking, with peppy graphics and subject-appropriate pop songs like “She Blinded Me With Science” used to reinforce points that really don’t need much reinforcement—at least not for anyone who’s beyond sold on the issue that our environment is fucked. Still, Everything’s Cool understands that a pretty face like Jake Gyllenhaal’s in The Day After Tomorrow is sometimes necessary to sell an important story, and the documentary is notable for continuing where An Inconvenient Truth left off, delving into the political censorship that has kept global warming a non-issue in the United States for so long, and doing so through a uniquely character-driven method that shows how foot soldiers like Pulitzer Prize-winning reporter Ross Gelbspan and Weather Channel climate expert Heidi Cullen continue to fight the good fight against ghouls whose hands are in the pockets of the country’s gas and oil companies. Gonzalez


Hot House (Shimon Dotan, 2006)

In Hot House, Romanian-Israeli documentarian Shimon Dotan takes a hard-nosed look at the social and political culture of Palestinians doing time in a high-security Israeli prison. It’s an intense experience, not only for its content, but its breathless approach as Dotan explores as many angles to the Israeli-Palestinian issue as he can pack into each moment. Particularly striking is the astonishing level of access Dotan seems to have had. He interviews a wide canvas of prisoners (many of whom are serving multiple life terms) who speak openly of the reason for their incarceration (most commonly, their collaboration in suicide bombings), the inner workings of prison life, and the general state of the Palestinian struggle. As a polemical backdrop, Dotan uses the 2006 Palestinian elections—a contest that saw the radical policies of Hamas gaining ground over the more moderate Fatah party. Brilliantly shot, edited, and executed, Dotan’s documentary accomplishes a portrait of two sides locked in a cycle of vicious, violent futility, in which the children and wives of the imprisoned suffer the most (a visitation scene is particularly wrenching to watch). For a full review click here. Antani


A Jihad for Love (Parvez Sharma, 2007)

The Human Rights Watch International Film Festival collaborates for the first time with the Sundance Institute Documentary Film Program to showcase scenes “from two much-anticipated films supported by the DFP that explore the question of faith and the Muslim experience today.” The first is Jihad for Love, directed by Parvez Sharma and produced by Sandi Simcha DuBowksi (Trembling Before G-d). Filmed in 12 different countries and in nine languages, the documentary is described as exploring the “complex global intersections of Islam and homosexuality.” For more information on the film, click here. The second film in this New Visions “work-in-progress” program (screening only once on June 16) is Senain Kheshgi and Geeta V. Patel’s Project Kashmir. Gonzalez


A Lesson of Belarusian (Miroslaw Dembinski, 2006)

A Lesson of Belarusian is first and foremost a rousing little testimonial to the activist chutzpah of a group of Belarusian students trying to promote opposition to the dictatorship of President Alexander Lukashenko. It is also—unintentionally and somewhat distractingly—a substantiation of Borat’s outrageous aesthetic. At least during sections culled from the guerilla work of its student subjects, it becomes necessary to erase the Sacha Baron Cohen comic vehicle from the mind to truly appreciate Miroslaw Dembinski’s documentary. A Lesson of Belarusian lacks for focus, and though foreigners may cry out for background into Belarus’s political nightmare, it is nonetheless successful at capturing a country gripped in terror by the “ambitious sticks” of Lukashenko’s militia, promoting a brand of fearless opposition that we can all understand. A Lesson of Belarusian will have its New York premiere at the Human Rights Watch International Film Festival, preceded by the shorts Pizza Surveillance Feature and Virtual Freedom. Gonzalez


Lumo (Bent-Jorgen Perlmutt and Nelson Walker III, 2007)

Bent-Jorgen Perlmutt and Nelson Walker III’s powerful Lumo brings attention to the women, all victims of rape, in war-torn eastern Congo, undergoing treatment at HEAL Africa, an NGO dedicated to helping those brutalized by sexual violence. For the physical and psychological damage it inflicts, rape is a diabolical—and relatively little discussed—instrument of war. Perlmutt’s documentary bravely sheds light on the war’s silent sufferers. In particular, he singles out the eponymous Lumo, a shy young village woman, who endures one operation after another in hopes of repairing the catastrophic tearing in her vaginal lining. Lumo is a window through which we get to know a clinic full of scarred but courageous women, and the activists determined to heal body, soul, and society at large. For her vulnerability, her innocence, her sense of hope, Lumo becomes both a symbol of the peace that is still possible, and a target for everything the war wants to destroy. This is, by nature, difficult material, and the tone, perhaps unavoidably, has an ennobled heft about it. That, in no way, takes away from the perseverance of these women to reclaim their lives, their dignity, and the compassion that informs Perlmutt’s project. Antani


Manufactured Landscapes (Jennifer Baichwal, 2006)

The lengthy tracking shot that opens Jennifer Baichwal’s documentary Manufactured Landscapes is a thing of beauty. Mesmeric and mysterious, it takes in the seeming totality of a cavernous Chinese factory, and attains, by its close, a subtle and lasting sense of horror. It infects the senses and the mind in ways that recall the work of David Cronenberg, specifically his interrogative short film Camera. Like Cronenberg’s mini-masterpiece, Manufactured Landscapes is a film very much aware of its own existence, of the mechanisms that brought it about, yet it never again reaches the transcendental heights of this pre-credits prelude. The work of still-photographer Edward Burtynsky is the film’s ostensible subject, but Baichwal is more concerned with macro-meditating on the quickly deteriorating state of planet Earth. (The press notes, no surprise, lead off with enthused praise from Al Gore.) Baichwal’s technique is scattershot, at worst recalling the trance-doc pretensions of John & Jane Toll-Free, with which it shares a similarly problematic nightclub sequence (a cliché that should be retired post-haste: the discotheque as numbing seventh circle of hell). But there is plenty here to recommend, particularly Baichwal’s understated yet damning examination of Burtynsky, who is several times seen manipulating his subjects, via cash payoffs or god-like directives, for maximum effect. It reveals the great divide that quite often separates a globally conscious work of art from the anything-goes processes of its creator, a necessary observation and insight that Baichwal ultimately fails to direct at herself. Uhlich


Mon Colonel (Laurent Herbiet, 2006)

Applying his customary formula of exposing a controversial political injustice within a slick thriller framework, Costa-Gavras sets his script for Mon Colonel during the Algerian struggle for independence, notorious for France’s clandestine torture of suspected terrorists. Starting in the present with an uninvolving whodunit about the assassination of an authoritarian colonel, the film moves to extensive and more compelling flashbacks that etch out the escalating horror in 1956 as the imperious colonel bends a young adjutant to his will, forcing him to devise legal angles to justify his methods of fighting “the world war against communism and terrorism.” Olivier Gourmet, longtime collaborator of Belgium’s Dardenne brothers (who co-produced here), lost over 50 pounds to play this complex but volatile warrior who puts the command in commanding officer, while the tightly clenched Robinson Stévenin suffers as his conflicted protégé and the eightysomething Charles Aznavour springs an effective 11th-hour surprise. Handsomely shot in the Atlas mountains near Constantine, this directorial debut of Laurent Herbiet (assistant on Resnais’s last two films) looks elegant and certainly provokes plentiful parallels to today’s post-Abu Ghraib world, including an indictment of craven politicians who authorize emergency anti-terrorist laws in a purported mission to “civilize” the Arab world, though arguably America’s quagmire stems as much from its inexorable juggernaut of a war machine. Keser


Pizza Surveillance Feature (Micah Laaker, 2004)

Micah Laaker, a design manager for Yahoo! Developer Network, supplied the visual elements for this biting little commentary on privacy infringement scripted by Phil Gutis, Director of Legislative Communications at the American Civil Liberties Union. The short runs just a little over two minutes and traces how a man’s personal privacy is invaded while trying to order delivery. “If the Patriot Act continues to grow in scope, you may get more than mushrooms with your next pizza,” warns the program notes. Pizza Surveillance Feature, which can be viewed on AtomFilms, has been making the rounds since its completion in 2004 and was recently featured in Aaron Russo’s America: Freedom to Fascism. Gonzalez


Project Kashmir (Senain Kheshgi and Geeta V. Patel, 2008)

The Human Rights Watch International Film Festival collaborates for the first time with the Sundance Institute Documentary Film Program to showcase scenes “from two much-anticipated films supported by the DFP that explore the question of faith and the Muslim experience today.” The first is Parvez Sharma’s Jihad for Love and the second is Senain Kheshgi and Geeta V. Patel’s Project Kashmir, which Human Rights Watch heralds for exploring the “war between countries and war within oneself by delving into the fraught lives of young people caught in the social/political conflict of one of the most beautiful, and most deadly, places on earth—Kashmir.” For more information on Project Kashmir, click here. Both films will screen one time only (on June 16) as part of the festival’s “work-in-progress” program called New Visions. Gonzalez


The Railroad All-Stars (Chema Rodriguez, 2006)

Filmmaker Chema Rodriguez has a soft spot for the prostitutes plying their trade in La Línea, Guatemala. Angered by the injustices committed against them on an almost daily basis, these prostitutes form their own soccer team and make it all the way onto the evening news, if not into the hearts of the nation’s people. Rodriguez doesn’t illuminate the horrors these women suffer at the hands of customers, lovers, and police, or elaborate on the hypocrisy that has Las Estrellas eliminated from one soccer league, but she evinces great compassion for her subjects by allowing them to reminisce about the cruel pasts that clearly motivated their decisions to sell their bodies. These women are terrible soccer players, but their persistence is something remarkable. Take their team captain, for example, a gay man who, after being thrown out of his house by his parents, managed to finish high school by prostituting himself. He says, “I graduated with pure force between sodomies.” It may not be the most appropriate catch phrase for people wanting to let their freak flag fly, but it gets to the essence of these underdogs’ fierce persistence. Gonzalez


Sari’s Mother (James Longley, 2006)

Stuart Klawans writes of James Longley’s Iraq in Fragments: “No truth about the war can be found in [the film]. Longley discovers only truths—in individuals, in masses of people, in landscapes—that fit together provisionally, if at all. That is the heartbreaking lesson of Iraq in Fragments, and its indispensable art.” Sari’s Mother, a short work Longley culled from unused footage captured during the Iraq in Fragments shoot, follows a similar tack, though where Klawans might intuit profound heartbreak, I sense a vague and problematic reliance on aural/visual poetics. Taken on its own, Sari’s Mother is impressive only in its technical abstraction, in the way, for example, that Longley (working as his own cameraman and sound recordist) uses the audio tracks of his interview footage as voiceover counterpoint to sequences of young Sari (infected with AIDS due to a botched blood transfusion) and his stalwart mother negotiating the Iraqi medical system’s trickle-down bureaucracy, its highly selective ministrations made further tenuous by the ongoing sectarian war. I can’t fault Longley for bringing us closer to these individuals, but something is missing here, an intangible, non-aestheticized context that I suspect could only be provided by voluminous annotations and footnotes. Uhlich


Strange Culture (Lynn Hershman Leeson, 2007)

The “society of fear” of post-9/11 America is the subject of Strange Culture, San Francisco native Lynn Hershman Leeson’s account of the Kafkaesque spiral experienced by college professor and conceptual artist Steve Kurtz after his wife died in her sleep in 2004 and his scientific studies were used to bring bio-terrorist charges against him. A mix of news footage and reenactment (with Thomas Jay Ryan and Leeson axiom Tilda Swinton appearing both as the real-life married couple and as themselves), with Kurtz himself commenting on his ordeal, the film is as much of a multimedia project as its subject’s exhibits (the man was prepping an interactive project for the Massachusetts Museum of Contemporary Art at the time of his wife’s demise), with its engaged outrage tempered with a lightness of touch that rescues the film from being a picture of slogans. Fernando F. Croce


Suffering and Smiling (Dan Ollman, 2006)

In Suffering and Smiling, Nigerian playwright Osagiee Osaziee likens the state of political affairs in Africa to a story about mice who plan to outsmart a predatory cat by placing a bell around its neck; everyone knows what has to be done, but nobody has the guts to do it. This look at third world corruption refreshingly focuses on its material from an insider’s perspective (no Constant Gardener condescension here), painting a poignant image of a diverse populace well aware of their greedy leaders’ willingness to do the bidding of Western governments and corporations; the only thing that differentiates these embittered citizens is to what extent these injustices have eroded their spirits. Taking center stage is Femi Anikulapo Kuti, a political activist following in his father’s footsteps as he attempts to enlighten and empower his fellow Africans through the power of song. Bring the noise! Rob Humanick


The Unforeseen (Laura Dunn, 2007)

The Unforeseen evokes the point-of-view of a divine being observing our species’ modern history and mourning what they’ve borne witness to. The development of Barton Springs in Austin, Texas is an undertaking of great economic potential, but it is one quickly impeded upon when Mother Earth responds to the tumorous presence of these entrepreneurs. Employing a dreamlike tone and lush, organic textures, the film suggests An Inconvenient Truth meets The New World (Terrence Malick serves as executive producer here and his presence is tangibly felt), and it is through this hypnotic interweaving of sight and sound that the film’s warnings against the excessive pillaging of our natural world take on a profound, spiritual resonance. Humanick


The Violin (Francisco Vargas Quevedo, 2005)

Humanity gets a fairer share in The Violin than in Bruno Dumont’s Flanders, and the wider variety of emotions on display makes the violence endured by the characters more affecting. Set during an unnamed Latin American country’s civil war, Francisco Vargas Quevedo’s film pits guerrilla rebels against oppressive military forces, with an elderly violinist (a wonderful Ángel Tavira) traveling between the two groups in an effort to help out his son, one of the rebels. The story’s penchant for peasant nobility and aged sagacity is kept in check by Vargas’s unsentimental admiration for the characters’ revolt, and by a sensitivity to the complex emotional connections of music that brings to mind Ichikawa’s The Burmese Harp. Croce


Virtual Freedom (Gef Senz and Maung Maung Aye, 2006)

Virtual Freeom, by Australian filmmakers Gef Senz and Maung Maung Aye, is described by Human Rights Watch as “animation, exile and the internet—a Burmese love story online.” The five-minute video short, along with Micah Laaker’s Pizza Surveillance Feature, precedes Miroslaw Dembinski’s A Lesson of Belarusian, which screens on four different occasions during the Human Rights Watch International Film Festival. Gonzalez


We’ll Never Meet Childhood Again (Sam Lawlor and Lindsay Pollack, 2007)

The struggle for equal rights—particularly the modest desire to live with a hope for tomorrow—is given a heartbreaking voice in We’ll Never Meet Childhood Again. International support aided Romania in combating the effects of HIV during the 1990s, yet the country continues to struggle in caring for the ill and neglected. Through the NGO Health Aid Romania, willing couples adopt HIV-positive children—often four or more at a time—in an effort to give them the care, nourishment, medical attention, and love they need if they’re to have any hope of living through adulthood. A young death at the hands of the virus is an ever-present threat, making such altruistic actions and uninhibited love even more admirable. By deliberately interweaving specially recorded interview footage with archived home movies of these makeshift families, the filmmakers paint a moving portrayal of one society’s forgotten souls. Humanick


White Light/Black Rain (Steven Okazaki, 2007)

White Light/Black Rain opens with modern Hiroshima teens claiming ignorance about August 6, 1945, their cluelessness about the date of America’s atomic bombing providing context for the existence of Steven Okazaki’s documentary about the survivors (most of them kids at the time) of WWII’s Hiroshima and Nagasaki attacks. The film’s bedrock is first-hand recollections, all heartrending accounts of human anguish and endurance reinforced by archival photos and film footage. Eschewing any overt discussion of the decision to drop the nukes, the director nonetheless lets slip his own sympathies during a juxtaposition of devastated Hiroshima and celebratory Times Square which spuriously implies that American euphoria was over Japanese suffering rather than their loved ones’ escape from combat duty. However, aside from this misstep and cursory interviews with relevant American pilots and scientists, White Light/Black Rain is wrenching in its glimpses of past disaster and present sorrow, its subjects’ scars evident on their bodies as well as in their tremulous, morose voices. Okazaki’s doc is a project of commemoration, gracefully capturing the diverse sentiments felt about those momentous August days, from anger toward the U.S., to bitterness toward Japan’s leaders, to a feeling that death and destruction (even on such a massive scale) are an unavoidable facet of war. While the final, overarching attitude is one of warning, a This Is Your Life clip of a Japanese man uneasily reunited with an atom-bombing American pilot encapsulates the film’s more lingering impression: of surviving and healing as an ongoing (and, to some extent, impossible) process. Schager

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Interview: Angela Schanelec on I Was at Home, But…, the Berlin School, & More

The filmmaker discusses her elliptical approach to filmmaking and how she compels our active spectatorship.

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Angela Schanelec
Photo: Joaquim Gem

One year ago at the Berlin International Film Festival, the Silver Bear for best director went to Angela Schanelec for I Was at Home, But…. The film stars Maren Eggert as Astrid, a Berlin woman recently bereaved of her husband and coping with the subsequent weeklong disappearance and reemergence of her son, Philip (Jakob Lassalle). Astrid’s life in the wake of these dual traumas unfolds episodically, as her emotional duress manifests itself as displaced obstinacy and heightened passion in social interactions.

Astrid’s emotional struggle is also intercut with dispersed scenes of Philip’s class neutrally reciting lines from Hamlet, of a romantic crisis in the life of one of his instructors (the omnipresent Franz Rogowski), and of a donkey and a dog living together in an abandoned schoolhouse. With this film, Schanelec crafts a portrait of grief that can be at once alienating and deeply moving, its fragmentary nature both reflecting the way Astrid and Philip’s worlds have been shattered and compelling our active spectatorship.

That latter aspect is typical of Schanelec’s body of work, as well as the film movement it has been grouped with. The so-called Berlin School—originally consisting of Schanelec and Thomas Arslan and Christian Petzold, her fellow graduates from the Deutsche Film-und Fernsehakademie Berlin—wasn’t the filmmakers’ intentional creation, but rather a label often applied to the slow-paced, formalist, and critically engaged art films they made. French critics and the German film magazine Revolver were the first to propagate the coming of a nouvelle vague allemande in the late ‘90s and early 2000s, and, as Schanelec emphasizes in our interview, particularly in the early days of the “School,” the grouping helped the trio’s small collection of completed works find places in film festivals.

Now, 25 years into her filmmaking career, Schanelec has an oeuvre that stands on its own—as evidenced by the career retrospectives that have begun to crop up around the world. Last fall, the Vienna International Film Festival organized a comprehensive one. And from February 7 to 13, Film at the Lincoln Center in New York will be showing her films under the program “Dreamed Paths: The Films of Angela Schanelec,” which in addition to her shorts and features also includes a program of three films by other filmmakers selected by Schanelec.

Has this retrospective given you reason to revisit earlier work that you haven’t in a while, or to revisit your work as a whole? If so, what kinds of insights have stood out to you as you have considered your career up to this point?

I have to say that it’s quite exhausting to be confronted with the work of my whole life. There were other retrospectives, earlier retrospectives, and for me it’s quite hard. I mean, I’m very happy that there’s this interest in my work, there’ no question. But it’s also quite hard for me.

What’s so difficult about it?

Because, I mean, it’s not such a big body of work. I started in the ‘90s, and the first long film was in 1995, so it’s 25 years. But between my films is two or three years, so I spend a lot of time with them. And when they are finished, they are finished. And then I have the deep wish to continue with something new. And I think I know my films.

Do you see, then, each film as something new you’re exploring? Or do you leave a film with an idea you want to continue working on in the next film?

It’s not a new start. It’s not a new beginning at all. It’s rather a need that emerges from the work on a film, and I follow up on this need in the next film. And this is also not an intellectual or conceptual decision, and often it’s very primitive. So, when, for example, I’ve worked a lot with language, there’s a certain fatigue, or there emerges the need to work with images again. If you look at the way my films alternate, there’s always, I don’t know—in Plätze in Städten [Schanelec’s first feature] there’s hardly any talking, in Passing Summer lots of talking, then in Marseille, again, hardly any. So, certain needs develop, and they come from exhaustion.

In fact, I noticed that The Dreamed Path has no subtitles on Amazon Prime, and perhaps it doesn’t need them because as you said it’s one of your films that’s so visual.

This is only one point how one film comes from another. Ah, there are lots, but it happens, as I said, not rationally, but instead it emerges from certain needs.

To what degree do you feel an affinity with something called the Berlin School? And if you did, do you feel like it’s so-last-decade, do you feel it’s over now?

To start at the beginning, it was only Thomas Arsland, Christian Petzold, and I. And Thomas and I had become friends already at the Filmhochschule. And via this concept, “Berlin School,” it was much easier to make the films visible, because we hadn’t made so many films. But then under the concept “Berlin School,” one could show the whole set. Then the films were also shown abroad very often, and naturally that was good, and we were happy with that. But the concept didn’t result from collaborative work, but only from a look at the finished films. And we—Thomas and I—never, though we were friends, we never worked together even at the Filmhochschule. There was no cooperation, and correspondingly, the films developed completely differently over the course of these 15 years—or I don’t really know how long this concept has existed. If you look at the films only of the three of us, you’ll see they’re very different from one another. And mine are somewhere different entirely. In my eyes, anyway.

I agree.

And therefore the concept is not relevant for me. What’s also positive, though, is this next generation came up—Christoph Hochhäuser, Nicolas Wackerbarth—and the two of them are from Revolver, and are very practiced at communicating. And that was also positive, because for Thomas and I that was unaccustomed. We had much more worked each for ourselves.

Turning to I Was at Home, But …, there’s a lot of Hamlet in the film. You translated a volume of Shakespeare plays a couple of years ago, so it’s clear why Hamlet appears in it to a certain extent, but I’m wondering what has drawn you to Shakespeare recently, and whether your work translating him served as a kind of germ for the film.

What I can say is that I translated, between the year 2000 and five years ago, six or seven Shakespeare pieces, and Hamlet was quite long ago, but it was the one that impressed me to a very extreme point. It’s a very intense work to translate dialogues, because in a way I try to find out how I can say something. It’s not a text, it’s words which are spoken. And so there’s a confrontation, an intense confrontation that belongs to me, that remains present to me. When I began to write the script, I didn’t write it with Hamlet in mind. But when I considered, how will one see the students, and I thought, I want to see the students without the teacher. What could they do? They could perform. What could they perform? Hamlet. It came back to me. My confrontation as someone who’s staging something with actors—the confrontation with staging—is to be found in the Hamlet scene. That is, what does the spoken word mean in front of a camera, and in comparison to the stage, and all these questions, I could think through them. That’s actually it. In a moment in which language is so expressive, like in Shakespeare, that has consequences for the performance, for the expression of the play, because the children simply say the sentences, but they don’t really play it. But it’s important to understand that just saying it doesn’t mean emptiness, it just means to let the body work, I mean to let the body express itself without will, without position.

One thing that I was picking up on in how you use Shakespeare is that when you’re going through the kind of grief that Astrid and Philip are going through—especially if you’ve lost a parent—that’s an almost universal experience, and you feel like it’s something that has been played through so many times. You feel that grief intensely, but you also feel that you aren’t unique—it’s in Hamlet, everybody goes through this.

You’re completely right. I don’t feel unique at all [laughs]. It’s interesting that you say it. I never talk about it. It’s just sometimes I try to describe that. But what I’m interested in isn’t what is special about the individual person. I speak much more about what unites us, about [what is] basically human, than about the individual. So, yeah, to that extent, you’re right. That’s somehow interesting, somehow very important, because it’s important to me that the characters you see can be anyone.

You’ve spoken of the importance of space in your films—of the emplacement of the characters, so to speak. I Was at Home, But… clearly takes place in Berlin. But to what extent do you see it as a “Berlin film”? Could this story take place somewhere else?

Yeah, for sure it could take place somewhere else. But Germany isn’t so big [laughs]. Of course, this film was shot in Berlin because I live there. But there’s also a reason why I live in Berlin. There aren’t so many alternatives if you want to live in a big city. What’s special about Berlin is that many people live there who aren’t from the city, and that shapes it. And the streets are very broad in Berlin. One notices this in particular when one wants to shoot a “big city” shot showing a lot of people—that’s very hard to find in Berlin. One has to go to Friedrichstraße, or these days Alexanderplatz. But even there, it’s simply so wide. And because, before as now, the city is so varied, the tourists aren’t totally concentrated. There aren’t so many alternatives when one wants to aim at explaining the big city, and a city where there are foreigners. The young man, for example, in the long dialogue scene in the middle, he’s applying to be a professor. That’s already complicated. So obviously it’s a city in which foreigners work at colleges and apply for professorships. There aren’t many alternatives to this.

I think that audiences, when watching your films, realize how much work the standards of conventional narrative do for us. Yours have a kind of different infrastructure. They call on us to fill in more of the gaps, especially when it comes to relationships between the characters, which are established largely through implication. How conscious of structure are you when you’re writing or conceptualizing your films?

I think I’m very aware of classic storytelling. I’m very aware of it as everyone, as someone who sees films, also as someone who worked a long time in the theater. I’m very aware of it, but I use it in a different way, because my interest is on the moment. For me, every moment is essential as it für sich [“for itself”], as one says in German. So, every moment I see für sich. I don’t tell any moment in order that this moment makes me able to tell another moment. So, this is a very different way to narrate. And, yes, maybe this describes it already, that also this classical narration is a narration of storytelling and not how life moves on.

I Was at Home, But… conveys a clear sense of structure. It has these bookends, the scenes with the donkey and the dog. There’s a sense of self-parody there: We see the donkey looking out the window, ignoring the dog, and then, soon thereafter, we see Philip’s school director doing the same thing with him. I know you’re probably sick of being asked “what’s with the animals,” but is self-parody part of what’s going on here?

No, I mean, I didn’t reflect on that, what you’ve said. I had this character of this boy, and he came from nature, and I had this wish to show nature, but I didn’t want to show him, so I noticed that I wanted to show animals instead, because they live in nature, more natural than a child can. They aren’t missed, you understand what I mean? We were looking on location, scouting for a stable for the animals, and a stable normally doesn’t have windows, so we saw many stables where we shot it in Croatia. And then we saw an abandoned schoolhouse, abandoned for 20 years, had a window and a small stage. I saw it and I thought immediately I want to shoot the animals here, not in a stable but in this abandoned house. So, I had the opportunity to let the donkey look out of the window, and I felt that this is good. But I didn’t think, “Ah, okay, then it will be a great parody of the school director, who also will look out of the window.” He looks out of the window because he’s waiting for the mother because he’s in a situation where he cannot talk to that child. So, it’s easier to look out of the window. Also, the donkey cannot talk to the dog [laughs]. So, for me it doesn’t make sense to reflect on that. I just follow and trust my relation to what I want to see and tell.

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Features

Every Oscar Best Picture Winner, Ranked

Consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.

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Every Oscar Best Picture Winner, Ranked
Photo: Neon

It’s a rare type of cinephile who wasn’t introduced to the idea of film as more than just idle entertainment by the ritual of the Academy Awards. And it’s an even rarer type of cinephile who didn’t soon thereafter vehemently reject the Oscar as the ultimate barometer of a film’s artistic worth. Those of us who started off with The Godfather, Schindler’s List, All About Eve, or Casablanca all eventually got around to Out of Africa, Around the World in 80 Days, The Greatest Show on Earth, Cimarron, and Cavalcade. First loves being first loves, we still find ourselves regressing if for only one night a year, succumbing to the allure of instant canonization even as it comes in the form of repeated slap-in-the-face reminders of Oscar’s bracing wrongness: Gladiator, Braveheart, Chicago, Crash. In that sense, consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives. If we had to sit through every one of these movies, the least you can allow us is the chance to show you our scars. Eric Henderson

Editor’s Note: This article was originally published on February 26, 2018.


Crash

92. Crash (2005)

Crash is set in Archie Bunker’s world, a nostalgic land where race is at the forefront of every consciousness during every minute of every day, where elaborately worded slurs are loaded into everyone’s speech centers like bullets in a gun, ready to be fired at the instant that disrespect is given. The characters are anachronistic cartoons posing as symbols of contemporary distress. “I can’t talk to you right now, Ma,” says Don Cheadle’s cop, pausing mid-coitus to take a phone call. “I’m fucking a white woman.” “Holy shit,” another character exclaims. “We ran over a Chinaman!” “I can’t look at you,” Matt Dillon’s cop tells a black female paper-pusher, making like Peter Boyle’s character from the 1970 white-man-on-a-rampage melodrama Joe, “without thinking of the five or six qualified white men who could have had your job.” Dyno-miiiiiiite! Paul Haggis’s depiction of a world where everyone’s thoughts and words are filtered through a kind of racist translator chip—like a Spike Lee slur montage padded out to feature length—and then spat into casual conversation is ungenerous, because it depicts every character as an actual or potential acid-spitting bigot, and it’s untrue to life, because it ignores the American impulse to at least pretend one isn’t a racist for fear of being ostracized by one’s peers. Matt Zoller Seitz

What Should Have Won: Munich


Cimarron

91. Cimarron (1931)

As pre-code spectacles go, Cimarron is something of a big-budget exercise in experimentation, though not in the sense that it actually produces anything innovative. Director Wesley Ruggles helms a script spanning 40 years to create what’s meant to be eye-catching spectacle; the film’s story, which spans 1889 to 1929 in Oklahoma, begins with a restaging of the Oklahoma Land Run of 1889, a sequence that uses 47 cameras to cover some 40 acres of land. From there, heavily theatrical acting styles and overwritten dialogue define most scenes, as Yancey (Richard Dix) and his family try to turn Osage County, Oklahoma into a tenable place to live. Certainly, if only for the fact that it was an early sound western, Cimarron would have been a new audio-visual experience for audiences at the time. Today, and not least because of its racist characterizations, it’s little more than an eye and ear sore. Clayton Dillard

What Should Have Won: The Front Page


Out of Africa

90. Out of Africa (1985)

Out of Africa is the worst of the bloated, self-important best picture-winning pseudo-epics. It attempts to merge the sweeping visuals of Lawrence of Arabia with a Gone with the Wind-style story. But director Sydney Pollack is neither David Lean nor David O. Selznick, with the interminable result shellacked to the highest of glosses by John Barry’s syrupy score. Out of Africa depicts Danish writer Isak Dinesen’s (Meryl Streep) time growing coffee in Kenya. “I had a fahhhhhrm in Ahhh-frica,” says Dinesen seven times in the first scene, highlighting the aural act of violence that is Streep’s accent. This is one of the actress’s busiest performances, a full-tilt deployment of her entire arsenal of tics; a scene where Dinesen fends off a hungry lion with a whip sees the actress chewing as much scenery as the animal. Meanwhile, Robert Redford coasts by on his looks and Klaus Maria Brandauer smirks like a syphilitic Cheshire Cat. Whenever Pollack gets visually stuck, he cuts to a sea of dark brown African faces staring at the screen in confusion—an overused, racially suspect punchline. Out of Africa’s biggest sin is that it immediately evaporates from memory, as if one’s brain were committing a mercy killing. Odie Henderson

What Should Have Won: The Color Purple


A Beautiful Mind

89. A Beautiful Mind (2001)

If the cartoonists at Hanna-Barbera wanted to quickly convey the extent of a cartoon character’s world travels, they might cut from a shot of, say, Huckleberry Hound walking before the Eiffel Tower to a shot of the pooch prancing before Big Ben. In A Beautiful Mind, a film that doesn’t lack for the laziest of short cuts, a young John Nash (Russell Crowe) sits at his desk while special effects morph the exterior of a Princeton dormitory to accentuate the changing seasons: leaves drop, snow gathers and melt, birds chirp. Throughout the film, such hacky artistry is in service not for bringing us closer to the reality of the mathematician’s life, but for implicating us in a circus act. Imagine, for a second, the fascinating possibilities of having simply shown Nash talking to dead air for the duration of the film. Doesn’t quite sound like a potential Oscar winner, and so Ron Howard and screenwriter Akiva Goldsman decided to articulate schizophrenia’s grip on the mind with a bunch of swirling digital numbers and cutesy imaginary encounters. The film is, through and through, quintessentially cornball. If it’s impossible in retrospect to believe that A Beautiful Mind’s first half is supposed to depict the world as hallucinated by a master mathematician, that’s because the film’s comprehension of mental duress is fundamentally jejune, the stuff of shock tactics as imagined by connoisseurs of Dead Poet’s Society, or the most earnest believers in a cliché I always wished had made it into Roger Ebert’s Bigger Little Movie Glossary: Crying While Sliding One’s Back Against a Door. Ed Gonzalez

What Should Have Won: Gosford Park


Braveheart

88. Braveheart (1995)

Braveheart substitutes polished aesthetics, quotable speeches, and superficially bravura camerawork for a genuine examination of historical legend, while its would-be woozy romance remains trapped beneath the weight of both its unmerited running time and overly orchestrated sense of tragedy. Never have the Dark Ages appeared so plasticine and manicured as they do through Mel Gibson’s panoramic lens, nor has any single image of the director’s career been more encapsulating than that of William Wallace, the 13th-century warrior who led the Scots in the First War of Scottish Independence against King Edward I of England, his limbs outstretched in a Christ pose just before his final gutting. In this final moment of masochistic glory, Gibson and Wallace become one, a man of fire and passion ready to kick your ass into complacency. Rob Humanick

What Should Have Won: Babe


The Broadway Melody

87. The Broadway Melody (1930)

Philosophically speaking, Sunrise was the first film to win the award associated with the qualities we now associate with the best picture category, in a year in which the industry tossed The Jazz Singer an honorary award rather than make the field of silents compete against it. In its second year, Oscar embraced the future with both hands, and thanks to The Broadway Melody’s win we have a case study for how technical innovations are occasionally anathema to artistic expression. Exactly the sort of clunky apparatus that Singin’ in the Rain decades later gently mocked, the film’s every shot announces itself as the result of a compromise made to sync image with sound, with neither of them being done any particular justice. A deluge of movie musicals would soon flourish thanks to the advent of sound: Gold Diggers of 1933, Love Me Tonight, Hallelujah, I’m a Bum, all of them as dizzyingly innovative and effortlessly entertaining as the shallow, melodramatic The Broadway Melody is frozen. Eric Henderson

What Should Have Won: In Old Arizona


Around the World in 80 Days

86. Around the World in 80 Days (1956)

Oscar has awarded expansive tedium more often than not, but even by those pitiful standards, Around the World in 80 Days is a specialized case. Adapting a Jules Verne novel but framing the entire proceedings as a reactionary pre-Space Age paean to days gone by, producer-impresario Mike Todd’s dick-swinging epic is regressive in every conceivable way. From David Nivens’s entitled superciliousness as Phileas Fogg to Cantinflas’s shameless mugging as Fogg’s lackey manservant, Passepartout, from their rescue of Shirley MacLaine’s Indian princess (admittedly less cringeworthy than, say, Katharine Hepburn in Dragon Seed but still rough to watch) to a William S. Hart-era Wild West shootout between white folks and whooping Native Americans, the entire enterprise distills the world’s entire history of cultural appropriation into an endless amusement-park ride. And even that would have some contemporary worth as an eye-popping reminder of shifting attitudes if it were at least watchable. But no, it’s three-plus hours of vacation slides you found in your grandparents’ attic. Eric Henderson

What Should Have Won: Friendly Persuasion


Shakespeare in Love

85. Shakespeare in Love (1998)

As is true of a great deal of the films that have been adorned with the best picture Oscar in the past two decades, John Madden’s Shakespeare in Love is a thunderous mediocrity, a beautifully costumed and designed mess, as ultimately amiable as it is nonsensical. The greatest voice the theater has ever seen, the author of an unequaled canon that serves as inspiration for nearly all narrative works in the modern age, William Shakespeare is here portrayed by Joseph Fiennes as an egotistical cad—a loathsome, unrepentant scoundrel and bum who’s capable of uttering “Damn, I’m good!” after finishing the first act of a play he’s weeks late on. Indeed, the screen’s contempt for its chief architects remains as potent and unyielding as it is largely thoughtless and despicable. Hollywood has never been very comfortable, or perhaps capable of, depicting great writers successfully—or, for that matter, taking their struggles seriously and their triumphs sincerely. As Shakespeare in Love unfolds, the penning of Romeo and Juliet is seen as near-accidental, spurred by the Bard’s misguided lust for a costume girl. And yet, as the film proceeds through its weedy narrative, focused mainly on the romance between Shakespeare and Viola de Lesseps (Gwyneth Paltrow) and the first production of Romeo and Juliet, the unenviable task of believing that Shakespeare was a genius of tremendous insight and imagination, despite the production’s eager insistence that he was simply a jealous coward stricken with luck, becomes an exhausting exercise of imagination. Chris Cabin

What Should Have Won: The Thin Red Line


Gladiator

84. Gladiator (2000)

The ‘80s and ‘90s saw a string of duds almost inexplicably become critical and awards darlings, suggesting that mainstream cinema culture was undergoing some kind of intellectual regression. And with the release of Gladiator at the start of the millennium, it didn’t appear as if such deterioration was going to slow down any time soon. Directed by Sir Ridley Scott on depressing autopilot, the film displays none of the technically nimble artistry of such classics as Alien and Blade Runner. The overstuffed production meanders through knotty character dilemmas and rote attempts at Shaekepearean esoterica in as bland a manner possible. All the better to elevate Russell Crowe’s Maximus to the level of the grandiose, and in the most suspect and laughable of ways. The man is a walking vacuum of personality who the film believes to contain multitudes, and the kicker is how Gladiator, with Maximus taking a moral stand against the brutal culture of ancient Rome and his befriending of an African slave, is viewed through the lens of modern political correctness. In the film’s key scene, a gruesome gladiator battle, Maximus righteously screams, “Are you not entertained?!” But the presentation of the scene is as unironic as a crowd-pleasing ESPN highlight reel, or a pep rally pretending at moral conviction. Wes Greene

What Should Have Won: Traffic


The Greatest Shot on Earth

83. The Greatest Show on Earth (1952)

As far as tributes to vagrancy and animal abuse go, mid-century American cinema has done worse. But even taking into account Hollywood’s then-emerging neo-gigantism, it’s shocking how much effort The Greatest Show on Earth goes into missing the forest for the trees. Cecil B. DeMille, then regarded as Hollywood’s undisputedly great showman, setting his sights on the big top spectacle of P.T. Barnum ought to have been the ultimate “best of both worlds” proposition. But the allowances modern audiences still grant to DeMille’s products of their time—crediting his ability to sustain momentum through grandiose running times, or his balanced eye for scope—lay down and die in the face of this monstrosity, alternately leaden and corny and neither in the right moment. In the same sense that James Stewart’s mysterious clown never removes his makeup, anyone exposed to this film today will spend 152 minutes with Emmett Kelly’s expression frozen on their own face. Eric Henderson

What Should Have Won: The Quiet Man


American Beauty

82. American Beauty (1999)

A black comedy with a curious opinion of its characters’ repellent behaviors, Sam Mendes’s American Beauty is also tone-deaf in its belief that the struggle is real for white, wealthy suburbanites. The Burnham clan and their neighbors aren’t so much people as they are often offensive caricatures that exist only to service screenwriter Alan Ball’s anti-conformist message-mongering. American Beauty’s most famous scene, in which Ricky Fitts (Wes Bentley) explains to Jane Burnham (Thora Birch) that a plastic bag floating in the wind is the most beautiful thing in the world, is emblematic of the jejune self-aggrandizement that, like Ball’s litany of leaden ironies, abounds throughout the film and works to dubiously sentimentalize the characters’ pathologies. Indeed, this is a film that sees only beauty and nobility in transgression, as in Kevin Spacey’s Lester Burnham, after yearning to bed his teenage daughter’s friend (Mena Suvari), retreating to his corner upon learning that the girl is a virgin. One walks away from American Beauty believing that if its makers could blow themselves, they would. Greene

What Should Have Won: The Insider


Argo

81. Argo (2012)

There seems to be a general, taken-for-granted assumption in criticism—or film culture more broadly—that the most unassuming films manage to index complex political and social truths if only by virtue of their unpretentiousness and eagerness to entertain. So it seems fair enough to assume that such cheery popcorn flicks could prove equally insidious in their inconspicuousness. Argo feels like such a film: well-acted, competently directed, and sufficiently entertaining, yet all the more troubling as a result of its breezy pleasures. The problems emerge early, with the history of Iran in the 20th century and especially the events leading to the hostage crisis of 1979 laid out in detailed storyboards. In doing so, Argo effectively—and, perhaps, self-consciously—passes the buck of fealty to the operations of cinema. But regardless of whether or not Ben Affleck’s tone-setting meta-gesture—which winkingly acknowledges that this is the film version of a “declassified true story” (as the film was obnoxiously marketed)—is intentional, it’s undoubtedly irresponsible, even cowardly—a cheap escape hatch for Argo and Affleck to tuck-roll through any time questions of the film’s veracity come to bear. The film is a wet dream of buccaneering American foreign-policy intervention, attempting to absolve its responsibilities for accuracy (or even decency) in its slight, simple story of Affleck’s all-American hero whose pluck and gallantry would be for naught were he not also a repentant dad, eager to return home to his half-estranged son. John Semley

What Should Have Won: Zero Dark Thirty

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Awards

Oscar 2020 Winner Predictions: Picture

How could the essentially non-political 1917 not arrive as sweet solace in our cultural moment?

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1917
Photo: Universal Pictures

We now have roughly a decade’s worth of data to postulate how ranked-choice ballots have altered the outcome of the top Oscar prize, and we’ve come to understand what the notion of a “most broadly liked” contender actually entails. And in the wake of wins for The Artist, Argo, 12 Years a Slave, Spotlight, The Shape of Water, and most especially Green Book last year, we’re left with the impression that the biggest change in what defines a best picture is no change whatsoever. In fact, what appears to have happened is that it’s acted as a bulwark, preserving the AMPAS’s “tradition of quality” in the top prize during a decade in which the concept of a run-the-table Oscar juggernaut has shifted from the postcard pictorials of Out of Africa to immersive epics like Gravity and Mad Max: Fury Road, both of which won two to three times as many awards as the films they lost out to for the top prize.

We’re far from the only ones who’ve noticed that—Moonlight eternally excepted—the contours of best picture winners seem to be drifting in the opposite direction of where Academy representatives have indicated they want to go. Wesley Morris recently concluded that, despite his fondness, if not downright love, for the majority of this year’s top contenders, the slate still just doesn’t jibe with a purportedly forward-thinking, brand-spanking-new academy: “Couldn’t these nine movies just be evidence of taste? Good taste? They certainly could. They are. And yet … the assembly of these movies feels like a body’s allergic reaction to its own efforts at rehabilitation.” Melissa Villaseñor’s jovial refrain of “white male rage” two weeks ago knowingly reduced this awards cycle down to absurdly black-or-white terms, but if the YouTube comments on that SNL bit are any indication, raging white males aren’t in the mood to have a sense of humor about themselves, much less welcome serious introspection.

Neither is that demographic alone in its disgruntlement. What was yesteryear’s “brutally honest Oscar voter” has become today’s “blithely, incuriously sexist, racist, and xenophobic Oscar voter.” As the saying goes, this is what democracy looks like, and given sentiments like “I don’t think foreign films should be nominated with the regular films” and “they should have gotten an American actress to play Harriet,” it looks a lot like the second coming of Hollywood’s Golden Age gorgons of gossip, Hedda Hopper and Louella Parsons.

It might be a stretch but we can imagine that, to many voters, the presumptive frontrunner, Sam Mendes’s 1917, comes off a lot less like a first-person video game mission and a lot more representative of what it feels like to navigate our landmine-strewn cultural landscape as your average politically neoliberal, artistically reactionary academy member circa 2020. Especially one forced to make snap decisions in the midst of an accelerated Oscar calendar. And even if that is, rhetorically speaking, a bridge too far, there’s no denying the backdrop of representational fatigue and socio-political retreat liberal America is living through.

How could the stiff-lipped, single-minded, technically flawless, quietly heroic, and, most importantly, essentially non-political 1917 not arrive as sweet solace in this moment? It’s the same reason why we suspect, despite ranked-choice ballots pushing Bong Joon-ho’s insanely and broadly liked Parasite in major contention for the prize, it’s actually Taika Waititi’s Jojo Rabbit we most strongly fear pulling off an upset. After all, how many Oscar voters are still more concerned about Nazis than they are global income inequality? Or, if you’d rather, how many of their homes look more like the Parks’ than like the Kims’?

Will Win: 1917

Could Win: Jojo Rabbit

Might Win: Parasite

Should Win: The Irishman, Once Upon a Time…in Hollywood, or Parasite

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Every DC Extended Universe Movie Ranked from Worst to Best

On the occasion of the release of Birds of Prey, we ranked the seven titles in the DC Extended Universe from worst to best.

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Every DC Extended Universe Movie Ranked from Worst to Best
Photo: Warner Bros.

This week marks the release of the eighth film in the DC Extended Universe, Birds of Prey, which Slant’s Chris Basanti dinged for its “rote crimeland plot, over-eager and unsuccessful stabs at subversive humor, and failure to bring its ensemble together until far too late in the film.” Still, it effectively claps back at Suicide Squad at one point, and resists falling under the spell of the Joker. On the occasion of the release of Birds of Prey, we ranked the eight titles in the DC Extended Universe from worst to best. Alexa Camp


Suicide Squad

8. Suicide Squad (David Ayer, 2016)

Jared Leto’s hollow character work matches the empty style of David Ayer’s visual rendition of the Joker, all silly tattoos and teeth grills. Ayer’s direction aspires to the kind of frenetic pop-trash redolent of Oliver Stone’s most outré work, and coincidentally, the film’s best moments depict the romance between Harley Quinn (Margot Robbie) and the Joker similarly to the relationship at the heart of Natural Born Killers. In one of Suicide Squad’s few mesmerizing moments, the pair leap into a vat of the same acid that disfigured the Joker and share a passionate kiss as their clothes melt off, sending streams of red and blue dye into the dirty yellow liquid. Elsewhere, however, the film adopts the functional shot patterns and desaturated palettes common to contemporary superhero cinema. The hyperactivity that propelled films like End of Watch and Fury is ideally suited to this material, but Suicide Squad never gets to be a manic, freewheeling alternative to the genre’s propensity toward dour severity and increasingly uniform aesthetics. Like the recruited criminals themselves, the film longs to be bad, yet its forced by outside pressures to follow narrow, preset rules. Jake Cole


Justice League

7. Justice League (Zack Snyder, 2017)

Beyond the substitution of one intellectual property for another, practically nothing about Justice League distinguishes itself from what the Marvel Cinematic Universe was doing five years ago. The film’s style, though, is very much Zack Snyder’s own. The filmmaker continues to fixate on fitting his characters into a political framework, with material gloomily rooted in economic malaise. Images of the Kent family farm being foreclosed in Superman’s (Henry Cavill) absence speak to a kind of banal, mortal villainy more subtly at work on people than the cataclysmic horror visited upon them by super-powered beings. But Snyder again leans on his propensity for desaturated images, so much so that even scenes full of sunlight appear faded. Such dreariness is consistent with his past DC films, but it’s still difficult to square how much Justice League wants us to look up to its superheroes with the way the film underlines how little they enliven the world they protect. Cole


Aquaman

6. Aquaman (James Wan, 2018)

“Call me Ocean Master!” King Orm (Patrick Wilson), the villain in James Wan’s Aquaman, portentously shouts at the outset of the film’s climactic scene. Warner Bros.’s latest attempt to shift its DC brand away from the dour masochism that marked (and marred) such films as Man of Steel embraces high fantasy, but for Wan and screenwriters David Leslie Johnson-McGoldrick and Will Beall, this turns out to mostly mean having characters proclaim their silly comic book names as assertively as possible. At its best, the film’s underwater action, with its traveling shots that zoom through crowds of fantastical marine species and past moss-encrusted classical ruins, are vibrant, aesthetically engrossing spectacle. At its weakest moments, though, the film offers a parade of ocean-floor vistas that evoke the substanceless world-building of George Lucas’s second Star Wars trilogy, a supersaturated digital landscape of smooth surfaces and expensive-looking designs. The weightlessness of fights rendered with CG is compounded by that of fights between people suspended in water, and the sexlessness of superhero movies is only emphasized by the perfunctory romance between two leads who seem to have been cast largely because they look good dripping wet. Pat Brown


Birds of Prey

5. Birds of Prey (Cathy Yan, 2020)

The self-consciously ornate subtitle for Cathy Yan’s Birds of PreyAnd the Fantabulous Emancipation of One Harley Quinn—lays out the reason for this film’s existence far better than the first 45 minutes or so of jumbled exposition that follow. In theory, the self-consciously goofy story of a traumatized but ultimately triumphant “badass broad” who breaks free from being pole-dancing eye candy for her scenery-chewing villain boyfriend to carve out a name and a life for herself would be a welcome addition to a canon of films still in thrall to hyper-buff and hyper-serious dudes. Also in theory, surrounding her with a squad of equally fierce and sarcastic female ass-kickers has the potential for the launch of a great franchise: Think Guardians of the Galaxy by way of Barb Wire. But since the film can never figure out how seriously to take its heroine, or gin up a halfway engaging caper for her to lead us through, what could have been an emancipation ends up feeling more like a trap for her. Chris Barsanti


Batman v Superman: Dawn of Justice

4. Batman v Superman: Dawn of Justice (Zack Snyder, 2016)

Zack Snyder’s Batman v Superman: Dawn of Justice is an overstuffed sketchbook of ideas for a half-dozen potentially striking superhero adventures. One can feel Snyder aiming for an obsessive masterpiece while attempting to please investors with the expository generality that’s required of global blockbusters. The film wants to be a treatise on How We Live, dabbling in incredible religious iconography and glancing infrastructural signifiers, yet it can’t commit to any specific view for fear of alienating consumers. It comprises self-contained moments and gestures, some of which are impressive in their own right, but which fail to cumulatively breathe. It offers an apologia for the massive collateral damage that marked Man of Steel’s climax while reveling in more damage, resulting in more of the thematic hemming and hawing that belabored Christopher Nolan’s comparatively elegant Batman films. Every few minutes a character utters a bon mot that’s meant to impress on us the film’s depth and relevance to a culture racked by terrorism and a dangerous distrust and resentment of the populace toward governmental authority. After nearly two hours of this busy-ness, one wonders why we still haven’t gotten to see Batman fight Superman. Chuck Bowen


Wonder Woman

3. Wonder Woman (Patty Jenkins, 2017)

Wonder Woman is, particularly in the first hour, a remarkably buoyant and even laidback film, allowing a long conversation between Diana (Gal Gadot) and Steve Trevor (Chris Pine) to play out uninterrupted, simply basking in the atmosphere of thick sexual tension between them. Gently edited and genuinely funny, it’s the kind of scene that would be hacked to pieces and laden with ominous portent in a film like Batman v Superman: Dawn of Justice. At its core, the film is about watching a badass female kick some ass. And on this score, the film delivers, offering up lithe, supple fight sequences featuring Diana gliding through the air, punctuated by painterly smears of light and fire. And it creates at least one indelible image: Diana calmly but determinedly striding across a no man’s land as German artillery fire whizzes around her. However, as in so many superhero films, the final battle is an overcomplicated jumble of CGI explosions and ubiquitous blue lightning, waged against a seemingly arbitrary villain—in this case an armor-suited giant who looks like he stepped off the cover of a Molly Hatchet album. This gets to the film’s fundamental weakness: that the genre in which it’s operating has ossified. The central character and lightly kinky undertones may distinguish Wonder Woman from its predecessors in the superhero universe, but the film still falls victim to familiar pitfalls: a glut of underdeveloped side characters and unintimidating villains, an overcomplicated mythology, and a reduction of its characters’ interior lives to bland pronouncements about Truth, Duty, and Love. Keith Watson


Shazam!

2. Shazam! (David F. Sandberg, 2019)

The movies don’t lack for superhero stories that deal with the angst and isolation of young people who’re radically different from those around them. But few of them are quite like David F. Sandberg’s Shazam!, which foregrounds the rush of bafflement and elation that grips a down-and-out child who’s suddenly given the power of a god, potentially allowing him to bypass all of the pitfalls and anxieties of adolescence. Billy Batson (Asher Angel) is a prickly 14-year-old foster kid who’s transformed by a wizard (Djimon Hounsou) into the adult Shazam (Zachary Levi) and tasked with defending the world against the Seven Deadly Sins. To the film’s credit, it smartly treats this premise as inherently absurd, embodied right away in Billy’s inability to stop cracking up when he’s first presented with this quest. Shazam! sees DC combining the golden-age optimism espoused by Wonder Woman and the jubilant, self-aware silliness of Aquaman into a satisfying whole, even if the narrow scope of Billy and Sivana’s conflict does lead to stretches of downtime where thematic and narrative points are rehashed to the detriment of the film’s otherwise brisk pace. In stark contrast to the politically nihilistic and aesthetically grim Batman vs. Superman, Shazam! offers a charming, even moving throwback to the aspirational sense of belonging that marks so many comics. Cole


Man of Steel

1. Man of Steel (Zack Snyder, 2013)

Zack Snyder’s Man of Steel is a surprisingly thoughtful work in its examination of political and personal responsibility, and ultimately a call to arms against warfare of both the physical and ideological sort. Its militaristic without being fascistic, patriotic without being nationalistic—a bizarre amalgamation of hard science fiction and overt religious allegory. It’s also very much a historically present-tense film, giving us a Superman for a post-9/11 world—not unlike Superman Returns, albeit more explicitly. Opening with the destruction of Krypton as a result of an overused, fracking-like method of resource-extraction, the film is quick to contrast that planet’s demise—spewing geysers of fire before chillingly collapsing into a miniature star—with the political and environmental tumult of our own world: burning oil rigs, melting fields of ice, corporations run amuck. Much more has been made of the film’s third-act mass destruction, in which Superman (Henry Cavill) and General Zod (Michael Shannon, delectably batshit) wage war of Godzilla-sized proportions in a still-populated city. Your mileage will vary based largely on your investment in/adherence to the Superman canon, but to these eyes, the titular hero’s lone instance of lapsed judgment—namely, taking the escalating fight straight to the heart of Smallville, where innocent bystanders abound—is easily forgivable, if for, admittedly, inextricably personal reasons: Only someone looking for a blind-rage ass-kicking would be foolish enough to threaten Superman’s mother. Rob Humanick

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Awards

Oscar 2020 Winner Predictions: Director

Given the academy’s long history and resurgent embrace of technical triumphs, we’re not holding our breath for an upset here.

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Sam Mendes
Photo: Universal Pictures

Last week, when Eric brought to my attention the New York Times article that exposed the myth of Hollywood being in the tank for movies about the industry, I used the piece as a jumping-off point for why Quentin Tarantino was vulnerable in the original screenplay category. At the time, I thought I was stepping on Eric’s toes by referencing his intel, believing him to be charged with giving our readers the lowdown in this category. Turns out he was tasked with whipping up our take on the film editing contest, meaning that I had stepped on my own toes. Which is to say, almost everything I already said about why QT was likely to come up short in original screenplay applies here, and then some.

Indeed, just as math tells us that the academy’s adulation for navel-gazing portraitures of Hollywood has been exaggerated by the media, it also tells us that this award is Sam Mendes’s to lose after the 1917 director won the DGA award, the most accurate of all Oscar precursors, having predicted the winner here 64 times in 71 years. A win for the pin-prick precision of Bong Joon-ho’s direction of Parasite would be a welcome jaw-dropper, as it would throw several stats out the window and, in turn, get us a little more excited about predicting the Oscars next year. But given the academy’s long history and resurgent embrace of technical triumphs—trust us, the math checks out—we’re not holding our breath.

Will Win: Sam Mendes, 1917

Could Win: Bong Joon-ho, Parasite

Should Win: Martin Scorsese, The Irishman

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Awards

Oscar 2020 Winner Predictions: Film Editing

The only thing louder than the vroom-vroom of James Mangold’s dad epic is the deafening chorus of “Best. Movie. Ever.”

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Parasite
Photo: Neon

This past Monday, while the nation waited hour after embarrassing hour for the Iowa caucus results to start rolling in, Film Twitter puzzled over an AMPAS tweet that seemed to leak this year’s Oscar winners—before the voting window had even closed. It didn’t help matters that the slate of “predictions” tweeted by the academy seemed plausible enough to be real, right down to Bong Joon-ho’s Parasite for best picture.

As it turned out, the academy’s problems weren’t so unlike the DNC app gumming up the works in, as the New York Post shadily dubbed it, “Duh Moines.” And sure enough, AMPAS fessed up to a quality-control gremlin (sorry, “issue”) that resulted in someone’s personal predictions going out on the main account. As Iowa’s snafu reaffirmed that Occam’s razor isn’t just something you need to keep out of Arthur Fleck’s hands, we’re 100% certain that the intern who posted that ballot on the academy’s account meant to post it on their personal one.

Speaking of Joker, if you would’ve asked us even just a few days ago whether we thought Ford v Ferrari was any more likely than Todd Phillips’s dank meme to take the Oscar in the category that has frequently been characterized as the strongest bellwether for a film’s overall best picture chances, we’d have probably collapsed in a fit of incontrollable giggles. And yet, with a BAFTA film editing win in Ford v Ferrari’s favor, we’re not the only ones wondering if the least-nominated best picture nominee actually has more in its tank than meets the eye.

The only thing louder than the vroom-vroom of James Mangold’s dad epic, however, is the deafening chorus of “Best. Movie. Ever.” being sung on Parasite’s behalf, and indeed, it was selected as the academy’s unofficial, accidental prediction in this category. As Ed noted yesterday, momentum is in its favor like no other film this year. Well, maybe one other, and it was mere providence that the one-shot gestalt kept Sam Mendes’s 1917 off the ballot here, or else one of the tougher calls of the night could’ve been that much tougher.

Will Win: Parasite

Could Win: Ford v Ferrari

Should Win: Parasite

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Features

Every BoJack Horseman Episode, Ranked

As the series comes to a conclusion, we take a look back and rank all 77 episodes.

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Every BoJack Horseman Episode Ranked
Photo: Netflix

Netflix’s BoJack Horseman is about many things. How we make sense of a senseless world. How we find happiness amid constant crisis. How we assert and give others power. That’s a lot for any show, let alone the animated misadventures of a famous horseman, one whose life stands on the razor’s edge of celebrity privilege and deeply internalized emotional self-abuse. Contending with BoJack Horseman, now as it comes to its conclusion, has meant contending with my own life these past six years, which have been made markedly better by this series. This exercise would have been much more difficult had the final episodes failed to deliver. (Spoiler alert: They don’t.)



Bojack Horseman

77. “BoJack Hates the Troops,” Season 1, Episode 2

First, let me be clear: I love this episode, which feels like an early performance by a beloved artist who went on to greater and more daring things. Maybe there’s a note or two out of place. Maybe they aren’t stretching their talent as much as you think they can. BoJack’s (Will Arnett) profound pettiness makes him an asshole to many—here, it’s the contested dibs over a box of muffins at the grocery store that lands our remorseful horse in the national spotlight—and it’s admirable how this episode leads the charge in painting that fact unambiguously. In a way, it feels like a foundation stone of sorts (one of several), featuring as it does BoJack’s decision to open up to Diane (Alison Brie) for his memoir. Full truth: From here, mountains are made.



Bojack Horseman

76. “Sabrina’s Christmas Wish”

The mere existence of this holiday episode made it unambiguous that BoJack Horseman was created out of love. Further enriching the world so thoughtfully laid out in the first season, this metatextual holiday episode, in which BoJack and Todd (Aaron Paul) watch one of the Christmas episodes from Horsin’ Around, came as an unannounced Christmas gift in 2014. It also, hopefully, satisfies those who will inevitably be curious about what a proper episode of the show-within-the-show looks like, and Todd’s four-word refutation (“I can’t, can’t I?”) of BoJack’s faulty logic stands with the funniest moments of the series.



Bojack Horseman

75. “The BoJack Horseman Show,” Season 3, Episode 2

A novel exposition dump, this episode goes back to 2007, when BoJack and Princess Carolyn (Amy Sedaris), a cat, first slept together. Its title refers to the name of BoJack’s sophomore TV series, a vulgar satire that tanked and was promptly canceled. This episode also lays general groundwork for episodes and seasons to come. Lots of obvious references abound—e.g., Princess Carolyn pitches scripts for No Country for Old Men and There Will Be Blood, though films actually being shopped around at that time instead of those just arriving in theaters might’ve been a better touch—not unlike a Trojan horse for the ongoing world building. The highlight herein is an updated version of the show’s end credits song, adapted to underscore BoJack’s much less successful follow-up to Horsin’ Around.



Bojack Horseman

74. “The BoJack Horseman Story, Chapter One,” Season 1, Episode 1

This first episode doesn’t get its due. Brilliantly juxtaposing scenes from BoJack’s interview on The Charlie Rose Show with a gotcha shot from this world’s version of Maury, this first look at BoJack’s anxiety-ridden existence had the difficult task of establishing the show’s very particular tone (think Chuck Jones meets Don Hertzfeldt meets Albert Brooks) while also making blatant the sadness beneath it. The serious and silly rub shoulders here, like travelers on a crowded bus trip. It’s subversive, too, in warning against the dangers of over-binging; BoJack re-watches his old show obsessively, including the finale in which his character dies, at the expense of almost everything else in his life. This episode features Patton Oswalt in three parts, a Sellers-esque stunt that will prove to be one of the show’s regular hat tricks, while the closing gag exhibits the raw confidence required to deploy both guffaws and sobs with such simultaneous precision. In hindsight, it’s no surprise.



Bojack Horseman

73. “Zoës and Zeldas,” Season 1, Episode 4

It was a small stroke of genius to introduce early in the series a pop-cultural dichotomy specific to this world. Leonard Cohen sang of a bird on a wire, and here the either/or stems from characters on Mister Peanutbutter’s House, a knockoff of BoJack’s sitcom in which the eponymous canine raised two little girls: Zelda, a fun extrovert, and Zoë, a cynical introvert. This episode features some of BoJack’s funniest quips and nastiest deeds. As for Todd’s rock opera, I’d be lying if I suggested that I didn’t want to see it brought to greater fruition. This episode does a lot of prep work for the season and the series, and does it well, while Wyatt Cenac’s performance as one of Diane’s exes provides a weary vantage point, effectively underscoring what makes this world feel so emotionally real in the first place.



Bojack Horseman

72. “BoJack Kills,” Season 3, Episode 3

Plot-wise, this is a lowkey key episode in the series, establishing the source of the heroin that ultimately causes Sarah Lynn’s death. That would be Richie Osborne (Fred Savage), former Horsin’ Around cast member and current proprietor of Whale World, a family-friendly strip club that doubles as a drug front. BoJack and Diane get to catch up and establish a greater understanding of themselves (“I can’t keep asking myself if I’m happy, it just makes me more miserable,” says Diane, summarizing my 30s so far in 14 words), but my favorite moment is probably the chef’s-kiss perfection of Mister Peanutbutter’s LL Cool J reference (a close second is Angela Bassett’s line delivery on “you betcha”).



Bojack Horseman

71. “Our A-Story Is a ‘D’ Story,” Season 1, Episode 6

If BoJack Horseman’s flair for wordplay wasn’t already clear, this episode is tantamount to a flag planted on the moon for all to see. Hollywood becomes Hollywoo when BoJack steals the “D” from the Hollywood sign in a drunken stupor, all in the hopes of impressing Diane after squaring off with Mister Peanutbutter—and buying the restaurant Elefante in the process. Todd, having found himself in prison at the end of the previous episode, navigates the various gangs courting him in sublimely naïve fashion, while BoJack’s backup plan to fix the “D” situation results in a tragedy befalling Beyoncé and, relatedly, one of the very best verbal gags in the entire series.

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Awards

Oscar 2020 Winner Predictions: Original Screenplay

One of the realities of the Oscar race is that you never want to peak too early.

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Parasite
Photo: Neon

So much has happened across the home stretch of this perversely shortened awards season that it’s almost difficult to process it all. Believe it or not, at the start of our rolling Oscar prediction coverage, just after the Golden Globes and a few days before the Producers Guild of America Awards announced its top prize, I was still confident in my belief that we were heading toward another picture/director split, with Jojo Rabbit taking the former and Quentin Tarantino the latter. But flash forward two weeks and we’re now looking at an Oscar ceremony that will be in lockstep with the final wave of guilds and awards groups, leaving frontrunners in various categories up to this point in the dust.

Case in point: Once Upon a Time…in Hollywood in original screenplay. Even after a recent New York Times article used old-fashioned math to expose the myth being propagated by awards pundits—even us!—that Hollywood is in love with seeing its image reflected back at itself, we figured that the film, even if it isn’t our stealth best picture frontrunner, and even if it isn’t Tarantino’s swan song, couldn’t lose here. After all, the category is practically synonymous with QT, who only needs one more win to tie Woody Allen for most Oscars here.

And then—tell us if you’ve heard this one before—Parasite happened. Here’s a category in which Oscar voters aren’t reluctant to award genre fare, or re-imaginations of that fare. That’s Tarantino’s stock in trade…as well as Bong Joon-hoo’s. Parasite’s screenplay, co-written by Bong and Han Jin-won, found favor with the WGA last weekend, and while we weren’t ready to call this race for the film at that time—Tarantino isn’t a WGA member, and as such can’t be nominated for the guild’s awards—we’re doing so in the wake of the South Korean satire winning the BAFTA against Once Upon a Time…in Hollywood. That victory proves, among other things, that one of the realities of the Oscar race is that you never want to peak too early.

Will Win: Parasite

Could Win: Once Upon a Time…in Hollywood

Should Win: Once Upon a Time…in Hollywood

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Awards

Oscar 2020 Winner Predictions: Adapted Screenplay

Oscar has a long-standing history of using the screenplay awards for token gestures, especially toward writer-directors.

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Jojo Rabbit

As soon as the Oscar nominations were announced and the headlines were dominated by the academy’s cold shoulder toward female directors, it sure felt like the balance of this race was tipped in Greta Gerwig’s favor. After all, Oscar has a long-standing history of using the screenplay awards for token gestures, especially toward writer-directors; they’re where filmmakers like Spike Lee, Sofia Coppola, Pedro Almodóvar, Jordan Peele, Spike Jonze, and, to date, Quentin Tarantino have won their only Oscars.

Gerwig’s status as the most conspicuous best director castaway in this category might not in itself have been enough to push her through, but virtually all the press on her exceptionally good Little Women has focused specifically on how successfully she remixed the novel vis-a-vis jaunting back and forth between different periods in the chronology. Her framing device allows the novel and its modern fans to have their cake and eat it too, to be told a story overly familiar to them in a way that makes the emotional arcs feel fresh and new, to be enraptured by the period details that have always fascinated them but then also come away from it feeling fully reconciled with Jo’s “marriage” to Professor Bhaer. Within the world of pop filmmaking, if that doesn’t constitute excellence in screenwriting adaption, what indeed does?

Alas, as was confirmed at this weekend’s BAFTA and WGA awards, the token gesture this year looks to be spent not on Gerwig, but the category’s other writer-director who missed out in the latter category. We’re no fans of Taika Waititi’s Jojo Rabbit, and we aren’t alone, as it boasts the lowest score of any best picture nominee this year on Metacritic. Still, we admit that it must touch a nerve somewhere in the average academy voter who not only finds the Holocaust so irresistible a subject that they’re willing to back a film that this year’s crop of “honest Oscar posters” memorably dubbed Lolocaust, but who also, while continuing to feel increasingly persecuted about the online catcalls over their questionable taste, would right about now love to drop kick Film Twitter out a window like Jojo does Waititi’s positively puckish Hitler.

Will Win: Jojo Rabbit

Could Win: Little Women

Should Win: Little Women

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Awards

Oscar 2020 Winner Predictions: Production Design

Oscar voters are suckers for scale, throwbacks, ostentation, and, above all, a sense of prestige.

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Once Upon a Time…in Hollywood
Photo: Columbia Pictures

Oscar voters are suckers for scale, throwbacks, ostentation, and, above all, a sense of prestige. No film nominated in this category checks off all those boxes, but two come close: The Irishman and Once Upon a Time…in Hollywood. While the former never caught fire the way it needed to in order to vie for even the major prizes, the latter has been cruising toward more than just a win in this category from the second people laid eyes on it out of Cannes last year. Regardless of what you think of Once Upon a Time…in Hollywood, it’s difficult to imagine the scope of Quentin Tarantino’s sense of regard for a bygone Hollywood being possible without Barbara Ling’s production design and Nancy Haigh’s set decoration.

Still, this one is going to be a squeaker. First, there’s the matter of 1917’s late-in-the-game surge and whether or not the film can run the table in the technical categories, even in this particular one where war films almost never prevail. And then there’s Parasite. Near the start of our rolling Oscar coverage, I mentioned how almost every day is bringing us some article praising the perfectly lit and designed architectural purgatory that is that film’s main setting. Now there’s a black-and-white version of the film making the rounds that will certainly allow people to think anew on the dimensions of the film’s thematic and aesthetic surfaces. Because winning in most of Oscar’s tech categories isn’t about restraint, but “more is more,” Parasite’s concentrated sense of texture is more likely the spoiler to the vividly haunted past-ness that clings to every surface across Once Upon a Time…in Hollywood’s plethora of settings.

Will Win: Once Upon a Time…in Hollywood

Could Win: Parasite

Should Win: Once Upon a Time…in Hollywood

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