Doc Corner: S&M Lesbians, Oscar Winners and Queer Theater — classic restorations of 2020

By Glenn Dunks

We tend to focus on new release documentaries around here, covering the gamut of titles premiering in cinemas, on streaming and VOD, and occasionally—as you’ll see over the next few week—festivals. What I rarely have the pleasure of doing is review classic docs, which is probably rather silly since the boom in popularity for the form has meant distributors and exhibitors are getting more confident in not just re-releasing classics documentaries, but restoring them, too.

As I found when researching my top 100 docs of the decade list, even titles from as few as four or five years ago become increasingly hard to find. And if they never received a US release? Even harder. Hopefully that starts to change and all the more reason to celebrate when older works do appear. So, to celebrate the Film Society at Lincoln Centre’s season of films by gay icons Rob Epstein and Jeffrey Friedman (until November 5, so get on it!) I wanted to highlight some of the absolute rippers that have come along lately.

There’s everything from S&M lesbians, American cross-country road trips, nuclear bombs, and one Chantal Akerman masterpiece...

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'Mrs. America' Finale Podcast Recap

by Murtada Elfadl

We have come to the end of what has been a fantastic 9 hours of television. On the latest Sundays With Cate, I break down the last two episodes of Mrs. America with writer and filmmaker Tayler Montague. We also rate the show and performances. Have a listen.

What did you think of the finale?

A long take is a held breath.

by Cláudio Alves

Long takes are a constant subject of fascination for filmmakers and film lovers alike. The technical challenge inherent to them makes many directors salivate at the prospect of showing off their craft. At least, that's what, as an audience member, it sometimes feels like. Though, to characterize the long take as a mere tool of formalistic showmanship would be wrong. Depending on the case, this mechanism can be transformative, capable of bending the audience's perception of time, their attachment to what they're watching and sentimental engagement.

In 1917, Sam Mendes uses the long take as a key to sensorial immersion and ever-tightening tension. Each cut is a blink, a breath, a repositioning of the eye and recalibration of the senses. It's something that's a convention and brings comfort to the viewer. When you take it away, one feels as if the action never stops, like there's no time to breathe or to disengage with the narrative. A long take is a held breath and it can be a gloriously suffocating thing to experience…

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Doc Corner: Chantal Akerman's Finale is 'No Home Movie'

Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we look at Chantal Akerman's final film, 'No Home Movie'.

If No Home Movie is any indication, then Chantal Akerman had a lot of creativity inside of her to offer at the time of her far too premature death at age 65. I have no doubt that this, her final film, will likely confound those who find their way to it out of mere curiosity, but – and this is true of many films by many filmmakers, but especially so here – No Home Movie is a film that will most definitely play as something far deeper and more personal to somebody who is more familiar with her back catalogue than somebody who isn’t.

I know that sometimes it sounds awfully pretentious to say that. Who can be expected to watch a filmmaker’s entire back catalogue? I nonetheless think that it is true that No Home Movie takes on added dimensions and weight if you have seen Akerman’s 1977 masterpiece News from Home, which was the audience’s first introduction to Natalia Akerman, the director’s mother. While she is neither seen nor heard in that earlier film – her first after the groundbreaking breakthrough Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles – her written word is narrated to us over rolling and static images of New York City to help give a sense of the fractured mother-daughter relationship at its core. [More...]

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Miscellania: Flatlining at Fury Road Hotel

• Ellen Page to lead the remake of 1990s film Flatliners [/Film]
• Leonardo DiCaprio walks the walk he talks. He joined a coalition of groups with combined holdings of 2.6 trillion dollars to defund climate change. (At this rate he'll win the Jean Hersholt before an actual Oscar) [New Yorker]
• Any mention of Twin Peaks is still making us tear up, given the Log Lady's recent death, but the 3rd season casting is well underway: Amanda Seyfried and Peter Sarsgaard are joining [Empire]
• Do Dump or Marry...American Horror Story: Hotel edition [MNPP]
• Speaking of... Ryan Murphy has already offered Gaga Season 6 as well [Twitter]

• I don't really watch SNL (way too many DOA skits) but loved this bit with Kate McKinnon as Hillary Clinton opposite Hillary Clinton as bartender "Val". She does a pretty fun Trump impression [YouTube]
• Belgian director Chantal Akerman, whose most famous film was 1975's Jeanne Dielman, 23, Quai du commerce, 1080 Bruxelles and whose new film No Home Movie we just covered for NYFF, has passed away suddenly at only 65 years of age [The Guardian]
• You can learn a lot about filmmaking from George Miller's speech on Mad Max Fury Road [Mentorless]
• Claire Danes finally broke her silence on that whole infamous early Aughts scandal when she took up with Billy Crudup. [Pajiba]  
• What are the best performances and films from the past 5 years? Sati goes all in for Mad Max Fury Road from this year but it's fun to be reminded of a few others [Cinematic Corner]
• Will Smith confirms that Jared Leto was The Joker at all times on The Suicide Squad set. [Complex]
• Rooney Mara is still being asked about the whitewashing of Tiger Lily for Pan. Still has nothing useful to say about it beyond feeling "bad". Than why take the role, Rooney? It's not like you're hurting for offers! [People]
• 50 Cent, who is no longer popular as far as I'm aware, blames the slightly declined popularity of Empire (still mega popular) on its gay content. Charming. [Towleroad]
• Marvel is trusting its in-house writer's program. Black Panther, due in theaters in 33 months, hasn't been written yet, but will likely go to Joe Robert Cole, who is part of the program that Nicole Perlman (interviewed here) was in before Guardians of the Galaxy [Variety]  
• Ashley Judd now sharing with press that a studio mogul offered her an Oscar nomination for sexual favors. Gross. ("If only Oscar nominations were that easy to come by" - Everyone who has never received one.) [Variety]
• Channing Tatum stepping behind the camera for the first time as director for teen with gun murder drama Forgive Me Leonard Peacock [/Film]
• Not everyone is happy about Warner Bros choice of writer/director on their feature film version of The Flash the novelist Seth Grahame-Smith (Abraham Lincoln, Vampire Hunter). (Also why do an unrelated film when the TV show is so good?) [CHUD]
• 15 best films from Fantastic Fest? FSR has a genre-loving list that includes festival titles we l-o-v-e like The Witch, the soon to open Crimson Peak, and even an Oscar submission, Belgium's Brand New Testament [Film School Rejects]
• George Miller claims that two more Mad Max sequels are coming. Don't hold your breath. Remember that Fury Road was in pre-production as early as the late 90s!  [Tracking Board]