Middleburg Festival 2017: James Ivory, Dee Rees, Greta Gerwig and More...

by Nathaniel R

Awards season is really heating up now that release dates (or lack thereof) are firming up, and various pre-Oscar honors are being announced. Last year, you may recall, The Film Experience was invited to attend the Middleburg Film Festival and we're invited for a second round next month.

The fest, now in its fifth year and closer to something like Telluride than Toronto or Cannes considering its Oscar focus and brevity, is growing each year and all takes place at one well-heeled resort. Last year they had big events for La La Land and Lion as well as very crowded talks with Cheryl Boone Isaacs on the Academy's diversity efforts as well as a fascinating discussion of US presidents and cinematic depictions with Janet Maslin and David Gergen where the danger of Trump was discussed at length (before the election - sigh). At that event they spent a lot of time on Nixon's disproportionately large place in cinema as presidents go. (Unfortunately since we're in Nixon Round Two only much more vile and, well, stupider... we can safely expect there to be many many films on Trump and Trump's corrosive effect on the nation for decades to come! "Wheeee," he squealed with much sarcasm)

More info about this year's festivities to come but for now we know this...

Special Honorees:
The legendary James Ivory (Call Me By Your Name's screenplay, Howard's End, Maurice, Room With a View etcetera)
Director Dee Rees (Mudbound)
Composer Nicholas Britell (Battle of the Sexes, Moonlight) with an orchestral concert of his work!

Opening Night: DARKEST HOUR (Ben Mendelsohn in attendance)

Saturday Centerpiece  LADY BIRD (Greta Gerwig in attendance)

Sunday Centerpiece  THREE BILLBOARDS OUTSIDE EBBING, MISSOURI 

Other Screenings:  CALL ME BY YOUR NAME, MUDBOUND, and I, TONYA 

Blade Runner 2049's Three Prequel Shorts. Excited Yet?

What’s good? My name is Salim Garami. You may have read my stuff at Movie Motorbreath under my initials, STinG, where I sometimes participated in Nathaniel's "Best Shot" series. I’m happy to be here writing my very first post for The Film Experience.

What better way to introduce myself than to explore one of my favorite movies of all time Blade Runner and its imminent follow-up Blade Runner 2049. This week has been filled with whoppers of new revelations on the sequel - from director Denis Villeneuve saying the theatrical 163-minute version is his final cut to the late great David Bowie being the original choice for apparent antagonist Niander Wallace or the initial responses from advance screenings, some even suggesting it surpasses the original. 

All of these stories - as well as my recent positive turnaround on Villeneuve in consideration of his last three films - are more than enough to keep me anticipating rather than dreading the science fiction extravaganza...

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Looking back at St. Elmo's Fire (1985)

by Eric Blume

Director Joel Schumacher’s St. Elmo’s Fire captures 1985 perfectly:  the word “yuppie” had just come into vogue, and this film follows seven Georgetown students finding themselves lost after graduation.  They’re all white, attractive, fairly affluent, and awfully boring, and nothing much happens in the movie.  So why is it so damn watchable?

St. Elmo’s Fire is a curio from this era, because while it wasn’t a huge box office success, it’s an instantly-recognizable title after 22 years.  This of course is due to the film’s actors: Rob Lowe, Demi Moore, Emilio Estevez, Mare Winningham, Judd Nelson, and Andrew McCarthy.  Schumacher did manage lightning-in-a-bottle with that casting, and while very little about the film is objectively good, watching these actors near the start of their careers provides a kicky joy...

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Glenn Close as "The Wife" - Now a 2018 Release

Dearest Glenn Close Maniacs and Film Experience Readers (two groups which seem to have much crossover), this just in: Sony Pictures Classic has acquired The Wife for release. After a quick check in with SPC from yours truly they have officially confirmed that they're planning a 2018 release with no qualifying run for this season's Oscar race. 

This is either great news or terrible news depending on how you look at it. On the bright side, Sony Pictures Classics has several Best Actress candidates already (Annette Bening, Daniela Vega, etcetera) so why risk diluting their campaigns with another? What's more Best Actress is already a bloodbath (see the charts -- just updated to remove the Glenn Close equation) with more contenders than can possibly be happy with their fate come Oscar nomination. On the downside, sometimes you can lose heat if you wait a year for release and there's no guarantee that next year will be any less competitive. But if you're worried there's no chance for Glenn next year, do not. Blue Sky with Jessica Lange sat on the shelf forever and still ended up getting her an Oscar. Crash and The Hurt Locker both won Best Picture after waiting it out for the next calendar year after their festival debuts. Losing "buzz" or heat is a danger but not an inevitability.

But in the end, whatever happens, great performances are their own reward and Glenn Close nailed this one - see our TIFF review if you missed it. 

Soundtracking: "The Breakfast Club"

The 1985 Smackdown is coming, so Chris looks at that year's iconic track from The Breakfast Club...

Is there a better era for films defined by a single song (and vice versa) than the 80s, particularly those from John Hughes? Hughes was more than a master of understanding the teenage disposition, and music was always a part of his equation. But the pillar of this kind of definitive relationship of song and subject in his films is The Breakfast Club and “Don’t You (Forget About Me)” by Simple Minds. You can’t separate one from the other: hear the song and suddenly you’re monologuing an “athlete, basket case, princess, etc.” piece; see its iconic poster and you’ll hear a “hey hey hey HEY” in your head.

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