Link Trip

Decider this Tiffany Haddish Oscar nomination could happen. 'Let's do this!'
Guardian when should cinemas turn their house lights on? During credits? After them?
Movie City News Jodie Foster talks at length about The Silence of the Lambs 
NathanielR... you've maybe already seen my anger about this topic when it comes to Call Me By Your Name, which is absolutely not over when the credits begin no matter what the house lights or your fellow moviegoers think. Stay in your seat. Respect the art. 
IndieWire Paul Thomas Anderson explains why there will be no cinematographer credited on his new film Phantom Thread

 

EW interviews Beanie Feldstein who is so wonderful in Lady Bird
GQ Dacre Montgomery on his shirtless dancing audition tape for Stranger Things 2
Guardian a new exhibit on 100 years of Australian film in pictures from the silent pictures through The Babadook
Variety Critics Choice Awards return to the CW. January 11th. 
Boy Culture reviews the new production of Harvey Feirstein's Torch Song
Coming Soon Jessica Chastain for the It sequel. Sure sounds plausible
TFE... in case you missed it: the full awards calendar for the rest of the season
Awards Daily Kathryn Bigelow's Detroit is getting a rerelease with a new FYC trailer to try to generate awards buzz
Tracking Board in the worst idea we heard this week news, there's a discussion about making The Lord of the Rings into a TV series. make it stop make it stop. Not everything needs to go on eternally. Let some things be. 
Variety Swords and Scepters, a historical epic about an 1857 Indian rebellion led by the Queen of Jhansi, is assembling a great cast including Rupert Everett, Devika Bhise, Derek Jacobi, and Jodhi May. There's also a Bollywood picture coming about the same story

Must Watch Video
Uma Thurman on the recent Hollywood flood of sexual harassment stories.

Uma Thurman's response when asked about the flood of sexual misconduct allegations....wow. pic.twitter.com/Sw5Br1GwFg

— Yashar Ali 🐘 (@yashar) November 4, 2017

If she can channel this rage (it's so audible despite her careful reflective words) into a performance, she'll be Oscar worthy again. Have always loved her. Hoping for another classic role soon to go with Mia Wallace, The Bride, Mrs H, Cecile de Volanges, and June Miller. 

Doc Corner: Tales of the City at DOC NYC

by Glenn Dunks

The massive DOC NYC festival begins this week in – would you believe it – New York City. The festival runs from November 9 - 16 and showcasing over 250 films and events. We’re going to look at some of the films screening there that will hopefully make their way to theatres and VOD over the next year. This edition of our weekly Doc Corner is devoted to three films about cities and the way people interact within and around them.

12th and Clairmont
It is inevitable that Brian Kaufman’s 12^th and Clairmount will be compared with Kathryn Bigelow’s Detroit considering both focus on the 1967 riots of the city. But whereas Bigelow’s production zeroed in on just one incident of the five-day series of violent and destructive action on the streets of the city, Kaufman’s film examines a much larger canvas, covering the time before, during and after the city's people responded to the significently white police force's swarm of brutality.

It’s a tactic that proves essential to beginning to understand the events that one person in this often compelling documentary describes as “the days of madness in July”...

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First Image from "The Post"

Chris here. Luckily this year only has a few late-breaking Oscar hopefuls, with the highest profile being Steven Spielberg's The Post. The film has been another snappy production for the director after beginning production earlier this year, a strategy that worked out just fine for the director with Munich. The rush carries an added weight this time as the film details the release and fallout of the Pentagon Papers, a subject of great topicality in our current administration. Add in the first cinematic pairing of Tom Hanks and Meryl Streep (not to mention an ever expanding cast) and you've got a can't-miss assemblage.

We will hopefully see a trailer any day now since its Christmas Day limited release date is getting closer. For now, we have this first image of the newsroom and its various hairpieces to ponder over. Or in the case of Carrie Coon's beehive, to worship over. So let's do an old-fashioned Tag Yourself - I'm Tony-winning Jessie Mueller peeking out behind some white guy. Tag yourself in the comments!

"Greatest Showman" Posters Say "This Is... We"

Chris here. I have seen a few folks suggesting online that The Greatest Showman could currently be greatly underestimated in the Oscar race. Sure, we're talking about an opulent original musical with one of the biggest movie stars taking center stage, so dismissing it entirely from the conversation is perhaps historically unwise. While the trailer and first two released songs have gotten a decidedly mixed response, let's not underestimate the financial success of recent musicals during the Christmas holiday window - maybe this is a splashy musical with box office gold in its sights ahead of statues.

But its also perhaps wise to note that the film's promotional campaign is just beginning, and we've got some new character posters to ogle! Let's do just that and drum up some Oscar talk while we're at it...

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Honorary Oscars: Agnès Varda's Cléo from 5 to 7

We're revisiting work from this year's Honorary Oscar winners. Here's Salim on Agnès Varda...

What's good?

When most people look back on the French New Wave, it’s unconsciously seen as a boys’ club, especially of the Cahiers du Cinéma clan with Godard and Truffaut. That’s unfortunate when a chapter in film history feels marginalizing and the masculinity in the French New Wave movement can end up nondescript.Much thanks for Agnès Varda then, representing both the literary Left Bank wing of the French New Wave and the feminine voice she brought to the fray.

While her directorial debut La Pointe Courte predates and even informs much of the French New Wave proper, Cléo from 5 to 7 is essentially the work that broke that glass ceiling and introduced a new sort of perspective into the one of the most radical movements in film history.

And the brilliant thing is how unassuming Cléo from 5 to 7 is about these things. Not TOO relaxed, mind you...

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