Yes, No, Maybe So: "Extremely Loud..."

A full disclosure before we begin with this one, Extremely Loud and Incredibly Close. It's the supposedly Oscar Baity story of a precocious young boy in the wake of the 9/11 tragedy, reeling from the loss of his father and roaming the streets of New York City. I have not read the novel that it's based on so the only story I know is what the trailer gives me. In fact, I've never read anything by Jonathan Safron Foer though I really meant to read Everything is Illuminated back when it was the only book I ever saw people reading on the subway. (I miss the days where you had eyeball proof what books were hot; everyone just reads Kindles or IPads on the subway now so the visual hive mind is no longer illuminated. Sigh). 

Introducing... Thomas Horn

Finally, I am generally emotionally resistant to 9/11 narratives because most of them cheapen the actual memories of that day or 'reduce them to anecdotes' as Ouisa Kittredge might say.  To me ... I should add, even though it's implicit in all opinion-pieces, because I get that we all respond to button-pushing shared histories differently.

So take the following for what it's worthy as we break down the trailer in our usual "do we want a ticket?" way:

YES -reasons the trailer illuminates for wanting to see it right now.
NO - things the trailer makes us nervous about.
MAYBE SO - things that leave us uncertain or seem like they could go either way.

HERE WE GO...

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Distant Relatives: Psycho and Contagion

Robert here with my series Distant Relatives, which explores the connections between one classic and one contemporary film. A brief warning this week. If you don't know the identity of the killer in the film Psycho, this week's entry includes SPOILERS for you.

 What is Horror?

When Steven Soderbergh described his movie Contagion as a "horror film" it seemed like one of those things that directors say to generate a good sound bite in the hope that writers will run with it, which they have. After all, the prospect of a major virus wiping out a good portion of the world's population is nothing if not horrifying. But how much does it really have in common with classics of that genre? The answer probably depends on how you define "horror film." For most people, a horror movie must have some element of either the supernatural or mentally deranged from which the danger eminates. If this is your definition, then Contagion doesn't qualify. But semantics aside, one can still find plentiful similarities between Soderbergh's film and a classic, defining film of the horror genre like Alfred Hitchcock's Psycho.

Psycho is about a killer and the people who come in contact with him. The film starts with a bit of misdirection as Janet Leigh runs off with an envelope full of cash. Soon she meets hotel proprietor Norman Bates, a soft spoken, well meaning, boy next door type, who turns out to be not so well meaning. Then, a surprise death sets the real plot into motion. Over the course of the film we'll spend time with the victim's relatives, investigators and experts. Contagion is about a killer and the peopel who come into contact with it. It too starts with a bit of misdirection involving suburban wife and mother Gwyneth Paltrow and a possible extramarital liason. But this is dispensed with soon, and a surprise death sets the real plot into motion. Over the course of the film we spend time with the victim's relatives, investigators and experts. Of course, in Contagion, the killer isn't a mad man, it's a virus.

...the harmless killer after the jump

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Oscar Submission Curio: "The Silent House"

Chalk this one up in the Most Curious Foreign Film Oscar Submission News column, should you have such a thing. Uruguay has submitted The Silent House for Oscar consideration. "Why that's just boring only regular news!" you say? Oh, but it's not skim-reader, it's not! 

The Silent House is a horror movie, based on a famous "true" story from Uruguay in the 40s. A father and daughter settle into a cottage for the night where horrible murders once took place and... well, you know how things go down in haunted houses. Here's the teaser.

I've followed this category closely for ten years (this was the first website to make it a total cause/habit... now everyone notes each submission) and horror films are a total rarity, not just in terms of nominations but in terms of the annual 60+ film list, too. But the "my how unusual" feeling doesn't end there. The movie is also filmed in one continuous shot (always good for novelty factor) and there's already an American remake! The American remake starring Elizabeth Olsen (currently Oscar buzzing for Martha Marcy May Marlene) debuted at Sundance. So between May 2010 (when the original debuted at Cannes) and January 2011 (Sundance) it was remade.

Elizabeth Olsen in Silent House (2011)

Is the rapidity of cultural appropriation the true horror tale here?

THE OSCAR FOREIGN FILM CHARTS

Complete the Sentence

The last movie I saw was  ___________________ and I admit that during it my mind wandered to __________________ because _________________.

NYFF: "Tahrir" You Are There

Michael C reporting from the New York Film Festival. 

In years to come there will no doubt be countless documentaries made attempting to make sense of the world changing events in the Middle East in the first half of 2011. Yet for all the context and analysis they bring to bear on the complexities of the Arab Spring I doubt any will have the immediacy of Stefano Savona’s Tahrir.

When the people of Egypy took to the streets, filling Tahrir Square, Savona grabbed his camera and marched out with them. When assembling his film he afforded himself no additional perspective. No talking heads. No title cards. No voiceover narration. If the protesters don’t have the information neither does the audience.

Without those crutches to lean on Savona goes in the opposite direction, building a picture of those days through collage - the musical repetition of chanting, the urgent, unsure spread of information, the confrontations with government enforcers. One such battle devolves horrifyingly into endless hours of rock throwing as protesters fashion makeshift helmets out of cardboard, scarves or whatever they can tie to their heads. The Egyptians we meet are a great antidote to the mainstream media’s usual representation of a sea of indistinguishable screaming foreigners. They debate the next course of action, speculate about events outside their control, and worry if it will all be worth it if in the end one tyrant is traded for another. 

Those unfamiliar with the events in Egypt last February will be more than a bit lost, even a news junkie like myself longed for a little added perspective, but with Tahrir that is beside the point. When historians set about to reconstruct what it was like to be in that square at that time, Savona's film will be essential viewing. 

✩

Previously... A Dangerous Method, The Loneliest Planet, Melancholia