NYFF: 10 Best Things About "Carol" (First Impressions)

Todd Haynes' highly anticipated Carol screened a week ago for NYFF press and I immediately began marking time P.C. "POST CAROL". It was that impactful. For something that appears so delicate it breaks with immeasurable force. Carol recounts the relationship between a posh 40something society wife (Cate Blanchett), no stranger to lesbian affairs, and a curious 20something photographer/shopgirl (Rooney Mara) who has never been in love. Haynes's sixth feature is one of his best and thus both a marvel and a relief since he had gone AWOL from movie screens for eight years. The film which began the long drought, I'm Not There, is the only one that this longtime Haynes fanatic doesn't cherish.

Herewith 10 favorite things (in no particular order) about Carol right after meeting her. This infatuation is too potent to think clearly at this point for a traditional review. A word of caution: exciting first dates don't always lead to fullblown rewarding relationships but this one appears to be a (celluloid) romance for the long haul. 

1. Gifts & Gift-Wrapping
We like to think of final quarter movies as "gifts" since so much of awards season is centered around the holidays. This one is beautifully wrapped (the production values are breathtaking on literally every level) and even better once you start tearing the careful packaging apart to see what it's gifted you with. Carol also takes place during Christmas just like Tangerine so in one single cinematic year we've received the best Lesbian Christmas movie and the best Trans Christmas movie. How about that? More...

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NYFF: Ingrid Bergman - In Her Own Words

Manuel, adding a belated capper to our Ingrid Bergman centennial coverage. While I’m well-versed on Streep, Davis, Hepburn, and other towering female stars, Bergman has always eluded me. It is my one big actressexual blindspot. Is it because she’s effortlessly aloof, somehow always beyond my grasp?

When I wrote about Cactus Flower and that amazing dance sequence, I realized the only other film of hers I’d watched is (obviously) Casablanca. So, when I saw the New York Film Festival would be screening Ingrid Bergman - In Her Own Words, well, I couldn’t deny myself the pleasure of taking Bergman 101, a general survey of the actress crafted out of Bergman’s own letters and diaries (hence the title) and made up mostly of her own home videos. You get to see a young Isabella Rossellini, a bumbling Hitchcock, and Rossellini playing papa to his young kids, and even Ingrid’s very first “no makeup” screen test; I’m sure they had to add the qualifier because those deep red lips popped even in black and white.

I’m unsure how the film plays for those who know everything about the mythic beginnings of that enigmatic Swedish star, all the gossip surrounding her banishment from Hollywood (and her triumphant return), and who can trace the history of cinema by tracking the star’s own move from small national markets to Hollywood to Europe and back again, all the while gracing the stage in Italy, France, the West End and Broadway. But for those of us uninitiated -- or at the very least, not well-versed -- in Bergman, this was a treat, particularly paired with so many home movies that showcase not only her great eye. As her daughter Ingrid says, while most families have as many home tapes as them, Bergman’s were never boring, and you can see in her obsession with recording her visits with her kids an attempt to capture moments that were always much too short and fleeting. 

Much like Bernstein’s look at his mother Nora Ephron (boy what is it with mothers at this festival!), Stig Björkman’s film is not really interested in hagiography; frank conversations with her children paint a picture of an ambitious woman who did everything and anything she needed (and wanted!) to do what she wanted to do above all: be in front of the camera, in many cases at the expense of her children and her marriages. Pia Lindström, her daughter from her first marriage, is asked at one point whether there’ll one day be a Mommie Dearest book about Bergman. Oh no, she says, I can’t imagine that ever happening. She was always so loving. If anything, we all just wanted more of her.

Ingrid Bergman - In Her Own Words plays Monday October 5th and Tuesday October 6th.

News Bits & Bobs: Steve & Natasha, Jenn & Donald, Taika & Mjölnir

• Asking the important question: Is Captain America a virgin still? [Pajiba]
• Damnit. The Academy of Motion Picture Arts and Sciences have delayed the opening of their new museum. I'm so excited about this but we're talking 2018 now [Variety]
• Queen of Dystopia Jennifer Lawrence (who should thus know) has declared that if Donald Trump becomes President it will be "the end of the world". This may have been the most intelligent thing the verbally uninhibited actress has ever said [AV Club]
•  71's awesome debut director Yann Demange will director a true crime story about a teenage undercover informant - they're looking for a quick start in 2016. Yay! [Deadline] 

• John Waters might finally make another movie. But he won't talk about it yet! [Speakeasy]
• Black Widow is getting a new comic book in 2016. Why can't the movies understand that she deserves her own? [Comics Alliance]
• Harry Potter's voice actor in Brazil (Caio César Ignácio Cardoso de Melo), who also works as a cop, has been killed. Tragic. [The Guardian]
• 10 reveals from Joss Whedon's Avengers: Age of Ultron commentary including why he put them in marble in the end credits (I personally ♥ed that) [Coming Soon]
• What the hell is going on with Xander (Nicholas Brendan) from Buffy? Violence and arrests right after rehab? So sad. Hope he pulls out of this tailspin. [Variety]
• Joseph Gordon-Levitt will likely headline a new thriller In Sight from screenwriter Katie Lovejoy after a bidding war [Tracking Board]
• Handsome* New Zealander hired to lift Mjölnir. Taika Waititi of What We Do in the Shadows fame will direct Thor: Ragnarok [The Wrap]
• An interesting review of Janet Jackson's new album via Rich Juzwiak. I wish the talented Juzwiak didn't have to diss Madonna to complement her but dissing that icon is as natural to humans as breathing. (sigh) [Defamer] 
• Gugu Mbatha-Raw, Tatiana Maslany, Olivia Cooke, and Gina Rodriguez are all in the mix for the two key female roles in Star Wars Episode VIII. That's a formidable shortlist of strong popular diverse and young actresses. Let's hope the two roles are good and not just window dressing. John Boyega will chemistry test with them. [/Film]

*What? I met him one time at a festival for his second directorial feature Boy and to my surprise was struck semi-incoherent. I am only human. 

Southpaw returning to the ring. (And by ring we mean movie theaters.)

someone wants an Oscar... someone wants an Oscar...

We say this in a sing-song teasing way but super-affectionately! For who beyond Jake Gyllenhaal among Hollywood's current leading men has earned more Oscar love than he's received? It's still virtually unthinkable that he missed the shortlist last year for Nightcrawler in which he burrowed into a character that proved far more indelible and challenging and even showy (and AMPAS loves that) than many of the actual nominees. And his work was better than almost all of theirs, too. (At least we gave him a prize right here)

Jake is in theaters right now climbing mountains in Everest but his headlining gig in the summer's modest boxing drama success Southpaw will get another go at theaters (and thus industry attention) this weekend courtesy of The Weinstein Company who just don't mess around when it comes to campaigning for gold. (Although, frankly, if they were going to do this at all, shouldn't they have y'know, announced it with more preliminary fanfare? And maybe not done it during Matt Damon's possibly record-busting weekend?)

Breaking into this year's Best Actor field might still prove difficult since his work in Southpaw isn't as memorable as his work in Nightcrawler and isn't as uniquely inspired as his work in next year's Demolition (he's so terrific in that one - pity about the delay.) On the other hand this year's competition could well thin out if The Revenant is not all that or if AMPAS voters view all the Spotlight guys as supporting, or if Johnny Depp can't reheat that super brief bonfire of Black Mass goodwill or if Matt Damon keeps sticking his foot in his mouth or if...

If if if if if if. You know how this works. Do you think he has a (long) shot? 

NYFF: Microbe & Gasoline

Here's Jason reporting from NYFF on Michel Gondry's latest film.

I've always been fascinated by, in this modern day-and-age of super handy internet pornography (ha ha handy), the cartoonish sort you'll sometimes stumble upon online - with access to the billions upon billions of pixelated private parts available at the click of a mouse just who's getting off to this hand-drawn stuff? Michel Gondry offers up the answer with Microbe & Gasoline, and of course it had to be Michel Gondry. The best known purveyor of cinematic hand-stitched whimsy, who's turned everything from dreams to clouds to memory itself into tactile seeming sensations, would want to get his mitts smudged with the detailing of wank-book pencil lines. 

This isn't as odd an entry point into Microbe & Gasoline as it might seem at first blush. The film, which tells the tale of the bloom and blossom of friendship between two teenage outsider princes, their crowns two matching heads of thick provincial locks, is somewhat obsessed with body functions, as teenage boys are prone to. It's not just getting laid (although that is there too, waving wildly) - it's haircuts and bathroom stops and strangers (putting the strange in stranger danger) wanting to caress your molars.

But then Gondry is our tightrope practitioner of phantasmagorical practicality - when he soars, he soars along a surface of scratches and knicks and splintered wooden beams. Whereas somebody like Christopher Nolan will go out of his way to scrub the surface of his imagination into a flat gleaming cube, inscrutably too scrutable, Gondry's gonna flip that mirror over and get to work on its underbelly, hammer in hand, nails in teeth.

It doesn't always work! It hasn't really worked in awhile, save moments here and there - I liked bits of Mood Indigo but it always felt like somebody else's story, too dour by several degrees. And don't get me started on The We and the I, which felt like being trapped in an echo chamber of humiliation and teenage horror which I hardly made it through - Gondry can almost be too generous a soul, allowing his folks to tip far too far towards screech instead of sing. Microbe & Gasoline though, it works. He keeps himself in check - the whimsy bumps and chugs along the road with precision-crafted engineering, and his two lead actors have an endearingly low-key rapport. It's his best film since Eternal Sunshine.

Microbe & Gasoline is screening at the New York Film Festival on Sunday, October 4 and Monday, October 5.