"45 Years," Ten Years Later...

by Cláudio Alves

The past is never gone. You think it is, fall into the comfort of believing it dormant, but one day, it awakens and rocks the foundations of the now. This is true of historical cycles, of political waves and culture and vales. It's true of love affairs, too. Of marriage and cinema. 45 Years is a rumination on such ideas, having premiered at the Berlinale a decade ago today, where it signaled the maturation of Andrew Haigh into one of Britain's most essential filmmakers after his promising beginnings in the realm of queer cinema - Greek Pete and Weekend. It also brought Charlotte Rampling out of the rarefied, vaguely alienated, auteurist plane she existed within for many decades, turning her into someone less adventurous cinephiles came to know and cherish.

She also became a first-time Oscar nominee thanks to Haigh's creation. 45 Years remains the crowning achievement of her career, and the same could be said of Tom Courtenay. The Berlinale Jury was right when it gave them both Silver Bears for their performances…

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Hello, Gorgeous: Best Actress of 2015

A new series by Juan Carlos Ojano

In this year’s group of nominees - more than any other year I have covered so far - the given space during their introductory moments is incredibly important in establishing the character and their place within the story. Whether it is set in the past or the present, the stories where these characters are situated are framed through the visual juxtaposition of the character and their location a few shots into the film. While that is the unifying theme among these women, they also dabble into different variations of perspective, filmmaking styles, and acting registers. This makes for a dynamic comparison of their first impressions.

Are you ready? The year is 2015...

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Venice at Home – Day 4: Politics & Portraiture

by Cláudio Alves

With the fourth day of festivities, conversations about who's a contender for the Golden Lion start to blossom here and there. While the critical response hasn't been unanimous, Laura Poitras' All the Beauty and the Bloodshed could be a future prizewinner. Speaking of Venetian trophies, the last time Andrea Pallaoro competed, Charlotte Rampling won the Volpi Cup for Best Actress. His new film, Monica, has elicited muted responses, but hope is everlasting for its impressive cast led by Trace Lysette and Patricia Clarkson. Finally, Argentina, 1985 reunites director Santiago Mitre with actor Ricardo Darín for a prestigious historical drama that will get its streaming premiere on Amazon Prime Video this October.

For this project's purpose, let's remember when Poitras met Snowden, when Pallaoro led Rampling to Venice gold, and Mitre's first time directing Darín… 

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NYFF: Sisters are doing it for themselves in Paul Verhoeven's blaspheme-licious "Benedetta"

by Jason Adams

Never let it be said that writer, director, and everlasting gob-dropping provocateur Paul Verhoeven doesn't know how to entertain. In what other director's hands would a dramatic film about a 17th century Tuscan nun having visions and tackling both the patriarchy and the plague involve a Virgin Mary statue whittled down for her pleasure? (Okay definitely Almodovar too). But Benedetta, Verhoeven's latest outrageous act of delicious cinematic provocation, is nevertheless All Paul, from the hem of its habit to the tip of its nips. And that's just the poster! Just wait until you peel that part down and see what sexy bits are bouncing about underneath...

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Cannes Diary #2: New Ozon and old Japanese sensations

by Elisa Giudici

At the premiere of "Everything Went Fine"

The Festival has really begun and I finally discovered where the press room is inside the enormous Palais. Free coffees and soft drinks for journalists are a treat I never experienced at other festivals (so I'm feeling spoiled). The room is lovely with its wooden tables and cream colored seats with a view on the blue sea. The day after Annette, it's still the first question everyone asks: do you like it or not? I've already had interesting discussion about the movie with a couple of colleagues. I am really curious to see how it will be received by broader audience after the "festival bubble" ends.

But on to the day two screenings...

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