Facing mortality with "Toy Story 3"

by Cláudio Alves

Have you ever thought to yourself "my time has come to an end, I'm going to die"? I have, in at least three instances.

The first was in 2011, in Tokyo when the Tōhoku earthquake happened, making me stare in horror as skyscrapers swiveled around me, looking like they could fall at any moment. The second time was considerably less spectacular, caused by gallbladder stones and some incredible bouts of bad luck. From the most searing pain I've ever felt to internal bleeding after surgery, it all seemed like it was going to end. Thankfully, it didn't. The third moment where I contemplated my death in a very immediate way is, weirdly enough, the one that still scares me the most. It was late at night, I was eating something and a piece of food got stuck in my throat. I couldn't breathe, I was alone and started to lose consciousness from lack of oxygen, gasping for air while the world around me was going dark. I lived, but I'll always remember the feeling of thinking I was going to die, the fear, and the resigned acceptance of it.

Anyway, let's talk about Toy Story 3 on its 10th anniversary…

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Hara by Ozu

by Cláudio Alves

100 years ago in 1920, Setsuko Hara was born in the city of Yokohama, Japan. Thanks to the powers of nepotism and the influence of her brother-in-law, she got a job at the Nikkatsu Studios at the age of 15. In the next few years, she rose to prominence. By the 1940s, Hara became somewhat of a symbol of new Japanese womanhood. Curiously enough, that's not how she's best remembered today, in part thanks to her most famous directors being ones that cast her in roles typifying the conservative values of a traditional Japan. Despite multiple collaborations with such legendary filmmakers as the master of melodrama Mikio Naruse and Japan's superstar director Akira Kurosawa, it's her work in the films of Yasujiro Ozu that now most define her legacy… 

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Silence vs Silence

by Cláudio Alves

At times Martin Scorsese's filmography looks like a string of projects that took decades before they saw the light of day. These monstrous productions include films like the bloody epic Gangs of New York and last year's mob drama The Irishman, and the 17th century set religious historical drama Silence (2016). 

Silence is near the top of my own list of favourite Scorsese films. There are many reasons for that, not least of which is the fact the original novel, by Japanese author Shûsaku Endô,  is one of my favorite books and it focuses on Portuguese characters. Consider also the empathy Scorsese shows towards every character, along with the willingness to pursuit complex ideas and murky morality when a straightforward approach would have been easier to follow. These qualities are especially evident in Silence (2016) because we can compare Scorsese's adaptation to that of another world-renowned director…

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A Star is Born... in the Ozarks

by Cláudio Alves

Ten years ago this weekend, the public met a new Hollywood star in the making. The movie that brought the world a new silver screen goddess wasn't the sort of big studio production that in the old golden days would've been the logic harbinger of stardom. Quite the contrary, the film in question was a modest indie. Director Debra Granik's Sundance prize-winning critical hit would go on to become a sleeper hit in arthouse release. We're talking, of course, about Winter's Bone and the performer bound for stardom's was future Academy Award-winner Jennifer Lawrence…

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"The Landlord" at 50

by Mark Brinkerhoff

50 years ago today the one and only Hal Ashby, then an Oscar-winning film editor (In the Heat of the Night, The Russians Are Coming! The Russians Are Coming!) made his directorial debut with the release of The Landlord. Based on a 1966 novel and starring an almost inconceivably baby-faced Beau Bridges, its plot is fairly run-of-the-mill today but must’ve seemed quite daring for the time: A young man named Elgar (?!), who comes from wealth and lives with his parents at their Long Island estate, decides to buy a “rundown” tenement house in the dicey, gentrifying neighborhood of Park Slope. (Imagine!)

The tenants are black, he’s white, and his scheme is to evict them all so he can convert the property into something posh—a vanity project, if there ever was one. 

Things do not go according to (his) plan...

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