A Splash of Sexy

 ...Murtada here with a very important question: Is this the sexiest family vacation photo of all time? 

It must be. Matthias Schoenaerts in all his manly glory, Ralph Fiennes giving us foxy intellectual older gentleman, Dakota Johnson lovely as a blond. And of course no words needed for Tilda Swinton (as they never do her justice). In their new film Tilda and Matthias are a famous married couple on vacation in Italy when Ralph and his screen daughter Dakota arrive to visit them unexpectedly. Trouble follows. 

A Bigger Splash is one of our most anticipated 2015 movies, and this newly released photo is a “GIMME NOW”. No wonder it looks so much more enthralling than the usual publicity still -  it was shot by Italian fashion photographer Paolo Roversi. The four pairs of blue eyes staring at us, invoke David Hockney’s same titled 1967 painting, that we assume has inspired the filmmakers.

For a change of pace let's talk about the guys and not the actresses. If you’ve seen Rust and Bone (2012) or Bullhead (2011) you know that Schoenaerts is sexy trouble on screen. However in his English language movies, he hasn’t fired up the screen quite as boldly despite an alluring duet with Carey Mulligan earlier this year in Far From the Madding Crowd. Schoenaerts also gives good quote.

"I’m also an animal. I can also be a beast. I know about sex”.

So the idea of him playing a rock star in a thriller about sexual intrigue has us captivated beyond words.

For a while Fiennes lost his sexy mojo. That glistening beauty in turmoil that made us fall in love when The English Patient (1996) came out had vanished. However with his delectable, funny and oh so sexy M. Gustave last year he got it back. And from the looks of this, he kept it.

This quartet might win awards at Venice, where A Bigger Splash is in competition, but they’ve already won our anticipation and impatience. That red carpet will be on fire.

Can you think of other cinematic quartets this sexy?  

"Sometimes, being a bitch is all a woman has to hang onto"

As we continue celebrating 1995 with the imminent Smackdown, here’s Murtada with a new edition of Great Moments in Screen Bitchery.

Remember the endless jokes last year about that often repeated line in The Imitation Game (We won’t repeat it here - you've heard it enough). Well in Dolores Claiborne a better line is repeated by different characters at different times and yet no one cringes. It's so good you relish it instead. In fact I’d go as far as to say the line is what the movie is all about.  Say it with us after the jump...

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Clouds of Sils Maria. Or, How To Act Like a Star.

With Clouds of Sils Maria on DVD now, here's Kyle Stevens on actors playing actors.

If you’re a reader of The Film Experience, then you’re probably no stranger to Juliette Binoche, who arguably has more masterpieces to her name than any other actor in cinema history. Binoche became a bona fide French star with André Téchiné’s Rendez-vous in 1985, which was written by the now celebrated director Olivier Assayas. Last year, Binoche asked Assayas to write something for her so that they might again collaborate. He came up with the astounding Clouds of Sils Maria.

Their film follows the great star Maria Enders as she struggles to accept playing Helena in Maloja Snake, a play written by her recently departed friend. The difficulty for Maria is that she first became famous playing the ingénue role, Sigrid, decades earlier, and so, the role of Helena forces her to confront her feelings about aging, feelings compounded by the fact that, within the play, Helena desires and resents Sigrid. To make matters even more baroquely complicated, Helena and Sigrid’s relationship mirrors Maria’s interactions with Val, her personal assistant, coolly played by Kristin Stewart. (Eventually, Chloe Grace-Moretz appears as a third bone-faced brunette, younger still, to play Sigrid.)

Given the laurels recently heaped upon flamboyantly reflexive turns in Blue Jasmine and Black Swan, is it too much to hope that Binoche will leave the red carpet well-worn come awards season—even if the early release and critical attention for Kristen Stewart make that seem unlikely now? [More...]

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[SAFE]

[SAFE]
Written and directed by Todd Haynes. Cinematography by Alex Nepomniaschy.
With Julianne Moore, Xander Berkeley, James LeGros, Beth Grant and Peter Friedman.  

Hit Me With Your Best Shot has been running for six years and we've finally braved one of the most fascinating jewels of the 1990s cinema. Todd Haynes's disturbing, sad, confounding, and highly interpretable early masterwork [SAFE]. It's the film that layed the groundwork for the cult of Julianne Moore (on the heels of her well regarded but little-seen performance in Vanya on 42nd Street). Two years later mainstream stardom with frequent eyes on the art house, hit. In 1997, a seismic year, she had her first major role in a blockbuster (Lost World: Jurassic Park), her first instant classic with accompanying Oscar nod (Boogie Nights), and fell in love with her eventual second husband, then freshmen director Bart Freundlich (Myth of Fingerprints). And by then people were starting to discover [SAFE], too. The film's reputation is such now that people forget that not many people knew about it back then. It grossed just $500,000 in theaters and mystified many critics. 

I've never forgotten this line from a Damian Cannon review back in the day

The acting is amazingly flat and inexpressive, the result of a performance by Moore which is either fantastic or abysmal. "

More after the jump including the Best Shot Choices

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HBO’s LGBT History: The Laramie Project (2002)

Manuel is working his way through all the LGBT-themed HBO productions...

Last week we stopped by Fishers & Sons to single out the luminous work of Alan Ball & Michael C. Hall in Six Feet Under in the heartbreaking episode “A Private Life.” Continuing that episode’s “hate crime rocks a community” template, this week we’re looking at Moisés Kaufman’s film adaptation of his own documentary play, The Laramie Project. Intentionally episodic and fragmented, Kaufman’s film remains a fascinating document for the way it presents a community at odds with itself. [More...]

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