Venice 2024: "Maria" and "Pooja Sir"

by Elisa Giudici

MARIA © Pablo Larraín

MARIA by Pablo Larrain
In Pablo Larraín’s unofficial trilogy of melancholic 20th-century female icons, Maria finds itself positioned somewhere in the middle. Maria is better than Spencer but falls short of Jackie's excellence...

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Hello, Gorgeous: Best Actress of 2016

A new series by Juan Carlos Ojano

This year’s group of nominees prove to be interesting with regards to their character introductions. One of them has one of the most disturbing, NSFW introductions this category has probably ever seen. Two of these films begin with a closeup of the actresses’ faces that also serve as the very first shots of their respective films. Three of the nominees are in the first scenes of their films (or four, if you count La La Land’s long take). Four of them are introduced with the key male character related to their personal journey.

All five of them are introduced in ways that strongly relate not only to how they identify themselves, but even how the people around them and their environment see them. As a group, all of the nominees’ first moments are filled with details that serve as the character's defining characteristics, even more than any other set of nominees since this series began. Are you ready?

The year is 2016. [NSFW CONTENT WARNING: Sexual violence]...

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Natalie Portman: Queen of Artifice

by Cláudio Alves

Some actors thrive through mimesis, reaching for realism when performing. In cinema, they bring the actuality of everyday life to the screen, psychology and material terms. Or they replicate others like straight mirrors. Since midcentury developments, that approximation of off-screen life has been standardized into what most recognize as "good acting." It's the mainstream, the rule, the de facto way of doing things. But is it the only way? I would think not and have grown to appreciate those who step outside those lines, whether deliberately, through their director's influence, or by mere accident.

When done right, embracing fakery may feel more honest and insightful than the attempt to copy - realer than real, truer than truth. All this to say, I love Natalie Portman at her most artificial and absurd…

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Blueprints: "Jackie"

In this week’s edition of Blueprints, Jorge takes a trip to the brief shining moment known as Camelot to look how a script can transmit mood.

There can sometimes be a common misconception that what a writer contributes to a script is limited to story structure, action description, and dialogue. These are in no way small feats; after all, it’s the creation of an entire world, the people who inhabit it, and what they do. But it is often thought that his or her job stops there, and it is everyone else's job to fill in the blanks with textures.

Many of cinema’s most deep, emotional, and transcendental moments are a marriage of sound, image, and performance; devoid of any substantial plot or dialogue. So much of what makes cinema powerful is about mood. And while there may be the belief that this is the work of the director, cinematographer, actors, and musicians, mood is also born on the page.

 

Let’s take a look at Jackie, a movie that is more a collection of feelings, images and sounds than a straight forward narrative...

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Fences & Elle now on DVD and Blu-Ray

By the end of April nearly all the Oscar's favorite 2016 films will be available on Blu-Ray and DVD (La La Land is the caboose on April 25th) in case you accidentally missed any. And if you purchase them from Amazon, by clicking over from TFE we get a teensy tiny cut as an Amazon affiliate (hint hint). 

Last Week's Fresh Batch
The Eyes of My Mother - Daniel recently paid tribute to this indie horror film's award winning production design film's
Jackie - We've sung its praises plenty and interviewed Pablo Larraín, too
Moana - a favorite among the podcast team

Brand New This Week
Elle - Verhoeven and Huppert's provocative collaboration had long legs at the arthouse and we called that Oscar nomination super early. Yay
Fences - Denzel & Viola reprising their Tony winning roles in this American classic of a black family in the 1950s from August Wilson's Pittsburgh cycle. The other nine will supposedly be filmed, too, albeit for TV rather than as theatrical features. Which is a pity since Fences proved the audience is there
Collateral Beauty - I swear Chris is obsessed with this film's badness. Will it one day be a camp classic?
Passengers -Daniel looked at its Oscar nominated production design. It did look like a million dollars despite its narrative problems.

How do you think these films will age? Will you be adding any to your collection?