Watching "The Man in The High Castle" As Democracy Crumbles

by Deborah Lipp

It’s possible that The Man in the High Castle was born to drive us all insane. It’s possible that Philip K. Dick dropped a lot of acid, looked into the future, saw our current political situation, and sent The Man in the High Castle to try to save us. It’s also possible I have been watching too much cable news. 

The Man in the High Castle is the second-best show on Amazon Prime. Based on the 1962 novel by renowned mind-bender (and acid-dropper) Philip K. Dick (who brought us Blade Runner and Total Recall), the show depicts an alternate history, in which Germany and Japan won World War II, and divided the US between themselves. Our characters take us inside both the Japanese and German regimes, as well as inside the resistance movement operating against each. 

I am watching a TV show about resistance movements. My Facebook feed says “resist”. The “RESIST” sign in Washington Square Park, protesting on behalf of Muslim immigrants, glowed in the dark. Resist...

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EFA ♥︎s Toni Erdmann

The 29th European Film Awards were held in Wroclaw Poland today and they went all in for the very popular German father/daughter comedy Toni Erdmann with five major prizes. It was also a huge night for women with wins in Direction, Screenplay, Cinematography, Costume Design and more! Super high profile titles like Isabelle Huppert & Paul Verhoeven's Elle and Pedro Almodóvar's Julieta went home empty handed, though.

Maren Ade was the belle of the EFA ball

The winners are after the jump...

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NYFF: "Toni Erdmann" is Astonishing

Here's Jason reporting from the NYFF on a Cannes favorite and Oscar hopeful

It's not often you hear an audience of movie critics gasp out loud at something on-screen, but Toni Erdmann, the new comedy of forced familial closeness from German director Maren Ade, has a comic moment so perfectly timed that it got the civilized cinema-set of New York City to jump out of their seats like this was an Evil Dead movie in 3D. You know you've got 'em hooked when you can conjure up such a response - Hitchcock called it playing the audience like a piano. The fact that it comes via a comic-beat here, and not via a cat jumping onto a final girl's shoulder or a shower stabbing, makes it all the more astonishing.

And make no mistake - Toni Erdmann is astonishing...

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More "Best Foreign Language Film" Oscar News

by Nathaniel R

Look at this cute still from Train Driver's Diary. That's Serbia's submission to the Foreign Language Film Oscar race which was announced yesterday. It won the audience prize at the Moscow Film Festival and tells the story of a retiring train driver training his son to take over. The old man holds an infamous record: the most accidental killings on the job. 

Forty-one countries have now made their announcements official including high profile choices like Chile's Neruda which stars Gael García Bernal and could put the auteur Pablo Larraín in contention for yet another nomination to whatever haul his brilliant Jackie picks up.

Spain's submission of Julieta, is even more high profile given Pedro Almodóvar's international statue...

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Best Shot(s): The Bitter Tears of Petra Von Kant (1972)

Hit Me With Your Best Shot
Season 7 Episode 16

The Bitter Tears of Petra Von Kant
Written and Directed by Rainer Werner Fassbinder
Cinematography by Michael Ballhaus 

When you watch a lot of movies you inadvertently end up drawing comparisons between films that you wouldn't have thought to put in conversation previously. It's as if you've accidentally become a guest programmer of a repertory theater or a local festival. Such was the case this week when I (not intentionally) watched Whos Afraid of Virginia Woolf (1966) and The Bitter Tears of Petra Von Kant (1972) nearly back to back and shook my fists to the heavens and cursed the name of anyone who ever regurgitated the lie that you have to "open up" stage plays to make them work on screen. 

Tears. not totally bitter yet but she's getting there.

Sometimes half the power of a text is in its site-specific constriction. So I went from George & Martha's messy drab campus housing with a bar (or at least its contents) in every room, to the stylish studio apartment of fashion designer Petra Von Kant which was paradoxically both over-decorated and minimalist, and both frozen in place and ever-shifting without explanation (Wasn't the bed over there in the last scene? Can these mannequins move around the room at will like the toys in Pixar movies?). I loved every second of both films and especially, perhaps paradoxically for someone who prefers short movies, the foreboding sense that there was no way to exit either film, ever, unless you accepted your fate and drowned in their contagious neuroses.

All it takes to make a play cinematic when it becomes a movie is great filmmakers. That's it. That's the whole formula...

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