Dune, review: when a dream comes true

by Elisa Giudici

Dreams are messages from the deep. This line from Denis Villeneuve's adaptation of Frank Herbert's SF novel perfectly describes the seductive dangerous power of dream we've cherished for a very long time begin to come true. Villeneuve is one of many directors of a generation that grew up reading Frank Herbert visionary sci-fi novels about messianic leadership and predestination, colonization and contamination of an alien world and culture, and the dangers of mixing politics and religion (to name only a few of the main themes of the Dune novels).

He was well aware of how insidious it can be to work on something that's long been on the back of your mind and your abmition for decades. "I talked for hours with Hans Zimmer about the possibility (a long time dream for both of us), trying to understand if it wasn't advisable to let our dream remain in our heads"...

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Breakfast with... a repurposed "Birth" Score

September is "Better Breakfast Month" so we're celebrating because we love food and movies

This post has been repurposed from the TFE vault... but for most of you it will be "new"

Seventeen years ago on this very day (September 8th) Jonathan Glazer's Birth premiered at the Venice Film Festival (where Elisa and I are right now!) and began its long journey from misunderstood/reviled oddity to cult-beloved arthouse classic. Far fewer people remember this but ten years ago, its score was repurposed in a Quaker Oats commercial called "Wake up America"! (Remember commercials? They were these interruptions to your binge-watch that you didn't cause with the pause button.) It was one of those commercials that would look right at home during the Olympics: pretty Americana, sunrise, sports, and other daily wholesome capitalistic endeavors like the building of skyscrapers. If I hadn't been looking away from the television when it aired ten years ago, I would probably have never made the connection that the commercial was the opening score to Birth.  Alexandre Desplat is one of movie composers of all time so why shouldn't his scores live on past their movies and earn him yet more coin?

The commercial and its voiceover went like so...

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Complete the sentence(s) and luxuriate in the Isaac/Chastain vibe!

With fall festival season raging, we're curious what you're thinking out there. So let's have a comment party about the Oscar buzz by completing the following three sentences.

1. I know people at (Telluride or Venice) raved about ________  but I'm still doubtful about its awards chances because ___________.

2. I think ___________ is winning an Oscar but for  _________ the nomination will be the reward.

I wish I had words for this but I really do not pic.twitter.com/xJVzOJJCeh

— Christina Newland (@christinalefou) September 4, 2021

interesting choice to award the golden lion to that slow mo getty images clip of oscar isaac kissing jessica chastain's arm but i respect it

— hannah strong (@thethirdhan) September 4, 2021

 3. That already famous video of Jessica Chastain and Oscar Isaac on the red carpet made me _______________ . 

Ready? Go. 

It's Gonna Be May(Day)

by Jason Adams

Heads-up on a movie that should be on your radars if it isn't already -- I saw director Karen Cinorre's debut film Mayday at Sundance back in February, and it's a fascinating feminist spin on the War Film starring a slew of super up-and-comer actresses, including personal beloveds Grace Van Patten (so great on Nine Perfect Strangers right now) and Mia Goth (oh how we love Mia Goth). Oh and Juliette Lewis is there too? Indeed she is! Here's a little of what I said about Mayday in February:

"Mayday... is plenty aware of... the limitations in adopting masculine ideas of violence and revenge. But unlike something like Zack Snyder's Sucker Punch, which Mayday feels like an explicit rebuke of, there's no fetishization of girls play-acting tough guy roles -- their past wounds don't become level-up Barbie-costumes that wrap their sexual assaults in pleather bustier pseudo-feminist bullshit. These women's fuck-ups feel genuine, earned and experienced -- they've left more emotional marks than they have sexy thigh scars or pretty painted bruises -- while their baggy fatigues just make for a practical place to wipe off dude-gore."

Read the rest (which dives into some themes I saw percolating across several female-directed pictures at Sundance) here. Mayday is out on October 1st, and here's the trailer to get you hyped:

Nathaniel in Venice: "Official Competition" and "107 Mothers" surprise

Nathaniel reporting from Venice, a smorgasbord of days 3 through ??? ... I've lost track of days. What is time?

107 Mothers (Péter Kerekes)
A ‘tough' movie doesn’t have to be hard to watch. 107 Mothers isn’t ‘easy’ in its characters or themes, but it’s a surprisingly gripping watch, even entertaining. For a few scenes in the beginning of 107 Mothers, a new film from a Slovakian director Peter Kerekes, it feels like you’ve stumbled into an unfeeling doc about a women’s prison for violent offenders. And, indeed, this narrative feature is based on real stories about a specific prison in Odessa, Ukraine and Kerekes usually does documentaries. The establishing scenes interview several of the inmates, all pregnant, about their crimes which usually involve murdering their boyfriend/husband or his lover. It’s a curiously incongruous feeling that settles in: how could such hard-eyed numb women muster enough passion to commit a “crime of passion"?

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