Doc Corner: 'American Factory' has Oscar in its sight

By Glenn Dunks

Because not everybody can be in Toronto or Venice, there are still plenty of great movies to watch!

American Factory is a film that hovers over the precipice of tragedy for its entire runtime. Its subjects exist in a state of perpetual uncertainty, never sure about whether they have a future or if the rug is going to be pulled out from under them yet - again. They are all workers from the Moraine Assembly Plant, once owned by General Motors, in Dayton, Ohio, that closed down during the recession, but which has since been purchased by Chinese company Fuyao to begin operation producing glass for (cars that America no longer seems to make).

Directors Steve Bognar and Julie Reichert return to the location of their Oscar-nominated short documentary The Last Truck: Closing of a GM Plant. That film, which charted the factory’s production of its final automobile, filmed its subjects predominantly from inside cars as they arrive at work or in bars as they mulled over their futures. American Factory, then, is a major step up from a production stand-point, but offers just as humane a portrait of people struggling to find their place in a changing world. A world that is rapidly moving away from the old ideas of the “American Dream”.

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Get Yourself Chained For Life

by Jason Adams

There is a fascinating film opening in New York today and in L.A. on Friday which I feel the need to give y'all some heads-up on if you're unawares -- Chained For Life stars Teeth (and It: Chapter 2!) actress Jess Weixler and Under the Skin actor Adam Pearson as a pair of actors who meet each other on the strange set of a surreal sorta horror film. She's the lovely leading lady, while he's the disfigured man in the shadows that's there to add that distinct touch of surreality that film-makers have been othering others with as long as there's been film.

From there in the grand tradition of movies-set-within-movies -- you could very much call this film Day For Night meets Freaks -- writer-director Aaron Schimberg dissolves the barriers between the two, tackling the heady subject of what we as an audience want to look at, why we're conditioned in that way, and ways around to something better.

If that sounds didactic it's not -- it's also a hypnotic mystery full of spell-binding imagery and suprising sweetness. I reviewed the film in more depth last year when it screened at the Fantasia Fest last July, you can read it here, but here's a choice bit:

"This is one-of-a-kind mad scientist movie-making stuff, riveting in ways I hardly expected going in - it unfolds itself, paper cranes and finger puppets, nesting dolls dissolving from one to the under to the under. It is, quite frankly, a lovely thing to behold."

If you're in New York Schimberg will be doing Q&As at screenings of the film tonight and tomorrow at the IFC Center -- then it hits the Nuart in L.A. Friday and they're promising a national roll-out after that, so stay tuned. I very much recommend checking this one out.

TIFF: "The Two Popes" is a Gentle Giant

by Chris Feil

Late in Fernando Meirelles’ The Two Popes, Jonathan Pryce’s Cardinal Bergoglio (who would eventually become the current Pope Francis) throws up his arms in befuddlement and spouts “Two popes?!” That kind of winning self-aware wit flows throughout the film, an unexpectedly comedic chamber piece that thrusts Pryce opposite Anthony Hopkins as Pope Benedict XVI. Theirs is a gentle battle of minds as the film plays out mostly through several meetings between the two, with Bergoglio the somewhat progressive mind pushing for change in the Catholic church and Benedict adhering to stasis and tradition.

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Soundtracking: Coyote Ugly

by Chris Feil

Few modern soundtracks distill the essence of a film as wonderfully as Coyote Ugly. In the vein of Flashdance and its ilk, the film follows a creative young woman as she navigates a world of male objectification. It takes its name from the famous bar featuring hot chicks serving booze to cheering men and plops Piper Perabo’s heroine Violet in that environment as she chases her songwriting dreams. But instead of the Hooters brand of male-defined sexuality that immediately comes to mind, this bar finds the women in power of their male audience. The musical world of Coyote Ugly revels as much in the girl power as it operates around (and subverts) male gaze, thanks especially to a few great originals by LeAnn Rimes.

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What will win Outstanding Drama Series at the Emmys?

by Abe Fried-Tanzer

There are many factors that go into the way Emmy voters choose the winner of their top awards, and we’re taking a look today at where the Outstanding Drama Series contenders stand from a statistical and recent history perspective.

Better Call Saul (Season 4 – 9 nominations)
AMC’s prequel to the acclaimed Breaking Bad, is back for the fourth time after the show missed last season’s eligibility window. It matched its nomination total from season three, but has yet to win an Emmy in any category. Consider the inclusion of supporting actor Giancarlo Esposito and the exclusion of supporting actress Rhea Seehorn a draw. Star Bob Odenkirk may finally break through and win a lead acting trophy this year, but this show has so little buzz that it would be a shock to see it triumph.

Bodyguard (Season 1 – 2 nominations)
This six-episode freshman thriller scored a major breakthrough with a bid in this race. But it managed only one other nomination, for writing, and, puzzlingly, missed out on a nomination for lead actor Richard Madden, who took home the Golden Globe...

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