Manuel Gives Thanks

Manuel here. Has it really been a year since the last time I gave thanks (not coincidentally with another pic of Ms Blanchett)? I feel as though I should be giving thanks in front of some sort of food, so imagine I’ve come with a full dozen donuts from Donut Time.

I’m thankful…

- For unabashedly queer Christmas flicks featuring fab ladies.
- For having had the chance to see over twenty-four films at the New York Film Festival (and having been in the same room as Kate Winslet!!)
- For Wiig, in all and every incarnation. 
- For Joy and Joy (and consequently, Amy Poehler and Brie Larson).

- For all the delicious food on Please Like Me, a show you should all be watching!
- For Mad Men’s beautiful and perfect ending.
- For Twelve Angry Men Inside Amy Schumer, one of the greatest TV episodes this year.
- For Ben Whishaw, in all and every incarnation. (What a year he's had: Spectre, Suffragette, The Lobster, etcetera)
- For Sutton Foster, National Treasure, who was luminous in The Wild Party.
- For Adele’s laughter (and music).
- For Anna Kendrick, whose “Still Hurting” is still making me ache.

- For TV’s funny ladies. And really, that image doesn't do justice to the amazing talent on display this year (Gina! Constance! Tracee! Ellie! Amy! Ilana! Abbi! The entire Orange is the New Black cast!)

And lastly...

 - For all of you who comment and indulge me as I gab about gay things on HBO. Can you believe it's been a full six months since I started this cultural history? It definitely wouldn't be the same without the engaging and generous TFE community, so thank you all for following along!

Manuel Betancourt (News / HBO LGBT) 
An avid moviegoer, this academically minded Colombian wrote an entire dissertation on queer film fandom as, perhaps, a way of reconciling his inner critic and inner fan. Both thankfully, are given plenty of room to play here at TFE & at Manuel's own blog where he puts his queer theory training to work. His favorite film genre is "soul-crushingly depressing if beautifully lensed relationship dramas with juicy parts for actresses." Follow him on Twitter!

NYFF: The wonderful absurdities of "The Lobster"

About five disorienting minutes into The Lobster, all pretense of disorientation for disorientation's sake is stripped flatly away as the headmistress of the hotel (a terrific Olivia Colman) where Colin Farrell's character has found himself lays out the movie's premise. And oh how small the word "premise" seems in relation to what The Lobster has up its sleeve: Singletons will be turned into an animal (meaning a literal non-human creature) if they cannot find a mate in an ordained amount of time! 

It's a moment as surprising as it is funny (her notion of what is and what isn't absurd is the definition of absurd itself). While director Yorgos Lanthimos' previous films Dogtooth and Alps both reveled in their inscrutable rules, forcing the audience to pick up the fragments of what's offered and chase behind the film, trying to cram them together, everybody in The Lobster instead can't stop telling us exactly how this insane world works ("Didn't you read the guidebook?" is asked multiple times), and the more they lay it out the funnier and funnier it all gets.

And The Lobster is a very very funny film, seemingly finding all new ways to be funny that have never been found funny before - I wouldn't want to spoil its dark surprises but let's just say some of its punchlines got several audience members at my screening up on their feet and right out the door with madcap quickness. 

But for all of its laugh-out-loud cynicism about the way our own world works, refracted through the not-so-fun-house mirrors of how its own world works, Lanthimos' film has a heart, maybe black but beating hard, under its strange shape. He manages to make the old-fashioned obstacles of another sad love story hum with newness, scraping the gunk off romance and holding this bright shiny new thing high and proud. It's a marvel, like nothing else, singular from every single stupefying angle.

Alchemy will distribute The Lobster in the US. No date has been announced. For previous posts on the Lobster click here. Follow Jason on Twitter and read his blog MNPP

Visual Index ~ Bright Star's 'Best Shots'

We're almost to the mid season finale of Hit Me With Your Best Shot. This week's episode looks at Jane Campion's sorely underseen Bright Star (2009). The romantic drama about the poet John Keats and his unconsummated love with the headstrong Fanny Brawne was lost in the 2009 shuffle, but is a true beauty and a worthy entry in Jane Campion's tremendous filmography. It introduced the film world to the then 34 year old DP Greig Frasier, who had previously made shorts and obscure features, before Campion's film provided his breakthrough. He went on to plum assignments like Foxcatcher, Zero Dark Thirty and Snow White and the Huntsman. Frasier has yet to be Oscar-nominated but he's already one of the best DPs in the business.

Even more impressive, given that Bright Star is such a successfully intimate portrait of new love, is that the movie introduced its star Ben Whishaw to its film composer Mark Bradshaw; they were married just three years later. 

Bright Star's Best Shots
11 images chosen by 13 participants
(in the order the articles came in this time)
Click on the pictures for their corresponding articles 

One of the prettiest things I've ever seen.
-Zitzelfilm

Bright Star is all about the subtle touches of skin..."
-A Fistful of Films 

...so many beautiful images that also happen to be encapsulations of the universal aspects of falling in love"
-Coco Hits NY

What is it that she spies beyond the boundaries of her domesticity, fenced off by windows and hidden behind opaque curtains?"
-Lam Chop Chop 

In a film with mostly subdued feelings, this particular scene is electric with emotions..."
-Sorta That Guy

The years have been kind to the film..."
-Film Actually

This is the first time i’ve done a HMWYBS where I was absolutely disinterested with a film..."
- I Want to Believe

Fanny, trapped and bleached of color, but already pushing against her confines with a creative act."
-Anne Marie, The Film Experience 

a film about four things: romance, Romanticism, being outside, and costuming..."
-Antagony & Ecstasy 

What is young love if not...
-Evan Stewart

I truly and deeply hope that more people will seek this film out."
-Movie Nut

 Unrequited love...
-Hey Norge

Campion has rightfully earned a reputation as a fiercely feminist filmmaker..."
-The Entertainment Junkie 

NEXT WEDNESDAY NIGHT IS THE MID-SEASON FINALE. YOU HAVE A CHOICE OF ONE OF THREE MOVIES FOR THE ORSON WELLES CENTENNIAL:  CITIZEN KANE, THE MAGNIFICENT AMBERSONS or THE LADY FROM SHANGHAI. See something you've always meant to see and pick a shot. You won't regret it. 

We Can't Wait #5: The Lobster

Team Experience is counting down our 15 most anticipated for 2015. Here's Teo Bugbee...

Who & What: The Lobster is the latest from Yorgos Lanthimos, writer-director of Dogtooth. It's his first film in English, and his cast is an exciting hodgepodge of both art house and multiplex stars, including Rachel Weisz, Colin Farrell, Léa Seydoux, John C. Reilly, Ben Whishaw, Olivia Colman, Ariane Labed, and Angeliki Papoulia.
As for what they'll be doing, it's all very hush hush, but what we know is that The Lobster is set in a dystopian future where all the single people are rounded up and brought to a hotel, where they are given 45 days to find their mate, or else they are turned into animals and released into the woods.

Why We're Excited About it: Lanthimos' Dogtooth is one of the best movies of the last decade. It's so weird and it's so fun and it's so specific about the kind of cinema that it wants to be—no matter what, we should be excited for what else he has up his sleeve. But that cast! That amazing tease of a plot description! The fact that all the characters have crazy names like Loner Leader and Limping Man and Biscuit Woman! And to be honest, it's more than a little encouraging that Sony has stepped onboard so soon as the film's international distributor, even if US rights are still up in the air. Rare for an art film to be afforded that kind of confidence before a premiere, and it's only making the anticipation greater.

What if it all Goes Wrong? Well, what if indeed? Does it matter if this movie is good or bad at all so long as it fuels the artistic energy of its collaborators? Lanthimos's last film Alps was not particularly well received, but it's always nice to know that there are artists in this industry who are still able to get their films made. It's not hard to imagine The Lobster being bad—if it is, it'll probably be because there are too many elements and too many ideas that aren't being corralled together. But even if it isn't the great film we're hoping for, it's almost impossible to imagine a version of this movie that wouldn't be worth seeing, and that's exciting in its own right.

When: No word on this yet, as the film has yet to premiere or pick up a US distributor. But considering it finished production last year, and considering Lanthimos's friendly relationship with the Cannes Film Festival, it seems likely it will appear there this May.

previously...

Interview: Director Hong Khaou on "Lilting"

Director Hong Khaou on the set of "Lilting"

Jose here. Director Hong Khaou’s touching drama Lilting centers on the ways in which we deal with grief, filtered through two characters who are in pain over the loss of the same person but who can’t share this pain, because they don’t speak the same language. The death of Kai (Andrew Leung) leaves his Cambodian-Chinese mother Junn (Cheng Pei-pei) completely devastated, but little does she know that Kai’s boyfriend Richard (Ben Whishaw) is going through the same. As he tries to fulfill the protecting-role Kai would expect of him, he finds Junn to be reluctant to his attention.

Tenderly directed by Khaou, who with this makes his feature length directorial debut, Lilting is a quiet, yet poignant, chamber piece anchored by the subdued, beautiful performances of Cheng and Whishaw. Exploring themes of cultural shock, intolerance and rediscovering life’s worth, the film is one of the most unique portraits of love to be put on the screen this year. I spoke to director Khaou, who eloquently elaborated on the film’s origins, the process of making his first film and how his own upbringing shaped this project.

How did you decide that this would be your first feature film? Did you conceive it as a short originally?

Click to read more ...