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The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

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Big Little Lies

"I am blown away by this miniseries." -Michael R

"Laura Dern's Renata is crazy but she reminds me of several professional women that I know in the San Francisco Bay Area." -Jono

"Loved the jarring editing this week, and the reveal of what Perry did with the toys..." - DJDeeDay

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Melissa Leo (The Most Hated Woman in America)
Ritesh Batra (The Sense of an Ending)
Asghar Farhadi (Salesman)

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Entries in Oscars (11) (332)

Friday
Mar032017

New to Netflix: Spinal Tap, Blazing Saddles, Jurassic Park...

It's that time of month when we get our new streaming options. Here are random new titles on Netflix for March (or that showed up late in February), freeze framed at totally random places, whatever comes up. As we do...

It's part of a musical trilogy I'm doing in D minor, which I find is really the saddest of all keys. I don't know why but it makes people weep instantly.

This is Spinal Tap (1984)
Heh. So funny this movie. Christopher Guest and Rob Reiner's collaboration became a classic. Without it we probably wouldn't have had Waiting for Guffman or Best in Show or whatnot. 

More films after the jump...

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Friday
Dec092016

Interview: Oscar-Winner Asghar Farhadi Returns with "The Salesman"

by Nathaniel R

Two award winners: Asghar Farhadi with his star Shahab Hosseni

Asghar Farhadi's fame is finally catching up to his talent. After his international breakthrough with A Separation (2011) which won the Oscar and the Globe Globe for Best Foreign Language Film and became a significant arthouse hit internationally, the Iranian auteur has had three other movies travel to cinemas abroad. The acclaimed About Elly (2009) found renewed life and finally a US release, and his two follow up pictures The Past (2013) and The Salesman (2016) both took home coveted acting prizes from Cannes.

The Salesman, which will begin its US release in January after an Oscar-qualifying week recently in Los Angeles, is Farhadi's fourth consecutive film to be chosen by Iran to represent the country at the Academy Awards. Like A Separation, it's a stunner which begins simply before a fraught incident sends out large ripples complicating the story and the characterizations. We talked to Farhadi about the pressure of representing Iran, his Oscar night journey, and his creative process. The interview is after the jump...

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Monday
Nov212016

Tree of Life Revisited

This weekend a friend of mine invited me to join him for a screening at BAM of Terence Malick's The Tree of Life with a live orchestra. 'But that's only for silent films,' I thought. I said yes right away more to spend time with my friend than to see the film again which I had very much admired but not quite loved in 2011.

Seeing it again five years later proved unexpectedly rewarding. Perhaps it was the huge screen - the first time I'd seen it was on a tiny arthouse screen in Manhattan. Perhaps it was the live accompaniment of a huge orchestra and choir but it felt newly electric...

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Thursday
Mar032016

If these were offered as doll sets each year...


yes, that's the whole decade* thus far

 

...I would need a bigger apartment.

... Also I would go bankrupt. (Especially when trying to hunt down 1950, 1973, 1961 and 1939)

(On a Related Note: Did you see Jose's Best Dressed List?)

 

* LAST UPDATE MARCH 2ND, 2017
Well, not quite the whole decade. There were two no shows: Judi Dench didn't attend for her nomination for Philomena and Natalie Portman opted out for Jackie due to her pregnancy so that's 68 of the 70 nominees above as they were be-gowned on Oscar night. If you could only afford 1 of these 6 doll sets which year would it be?

Monday
Dec152014

Missi's Oscar Night Memoir

We return you to our celebrity guest-host Missi Pyle... at The Film Exp The Missi Experience. Just one more post after this gorgeously fun memoir. Enjoy - Editor


ME N OSCAR

The 84th Academy Awards. An Oscar Night Memoir
- by Missi Pyle

I just want to take a minute to talk about The Artist. Holy shit. What an incredible experience that was.

Tiny back story. I left LA in 2008. I had married this guy from Montana with a grizzly bear sanctuary. I bought a geodome in the woods in Montana and moved in with said Grizzly man. I truly don't know what I was thinking. I had made some decent money in the previous year and I thought I could act from Montana? (Spoiler! Only Michael Keaton and Jeff Bridges can act from Montana - I wrote a show about it) Anyway, the marriage didn't work out and I ran out of money and came crawling back to LA.

I randomly had auditioned for, gotten the part and shot the film The Artist. It was really an incredible experience. But in my wildest dreams I never imagined the ride it would take me on.

[OSCAR NIGHT AFTER THE JUMP...]

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Friday
Aug222014

Viola Davis. 'Holy s***, that woman can act!'

Here's Matthew Eng on where we are in the career of one of the great screen actresses... 

“Holy shit, I love watching this woman act!” is what I immediately thought during Viola Davis’s doozy of a “big scene” in Get on Up, which nearly every review of Tate Taylor’s surprisingly strong James Brown biopic has been well-inclined to praise. As Brown’s aged, long-estranged mama, Davis—with the aid of terrific star Chadwick Boseman and some pretty expert makeup artists whose numbers Clint Eastwood should find immediately—manages to reinvigorate a set-up familiar from any number of tortured artist-biopics (i.e. absentee parent comes groveling years later to abandoned child-turned-superstar at the peak of his fame) with the same smart, electrifying clarity of character and tender yet tough-minded emotionalism that should be long-recognizable by now to anyone who has seen Doubt or Antwone Fisher or Solaris or Won’t Back Down, or else FencesKing Hedley II, or Seven Guitars on Broadway, or, more likely, witnessed Davis’ extraordinary, one-woman rescue job on Taylor’s The Help.

Holy shit, I love watching this woman act. It’s not the first time the thought’s run through my head.

Davis is, as usual, great in Get on Up, a superior musical drama that’s prone at times, like all entries in this genre, to some patchy plotting and tacky set-pieces, but which sports the affecting ensemble, sobering insights, and stellar, sweat-stained concert sequences that Eastwood and his animatronic Jersey Boys could only dream about. Davis’ role is also, as usual, brief but crucial to the movie at-hand. [More...]

 

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Tuesday
Oct082013

Be Careful What You Wish For: Lubezki's First Oscar?

"Oscar giveth. Oscar taketh away."

I've said it often and each year the phrase reasserts its truthfulness. One might also substitute this with "Be careful what you wish for." Oscar maniacs know this warning well. They beg for a first Oscar for Winslet or a third for Streep, for example, and then those things come true and no one is really satisifed with the way it came to pass. And that's just two recent examples. I don't much believe in "locks" in Oscar races in the way most pundits and Oscar fans do -- especially pre-Christmas locks. Upsets do happen, fates don't align, narratives don't take hold and so on. But if there's one or two Oscars this year that I feel are most probable at this juncture, yea even unto lock-dom, it's not Best Actress Cate Blanchett (though she's in third place for "most likely"), but the visual effects and cinematography of Gravity

Famed DP Emmanuel Lubezki is a true genius not just a "genius" in the overindulgent fandom sense. His work is exquisitely lit and beautifully composed but never in quite the same way, each time his light beautifully enveloping and serving the film at hand.  If you think of it like vocal range he's a Mariah Carey/Cyndi Lauper 4 octave diva while most other DPs, even the really fine ones, are closer to the standard 2 octave pop stars. I've wanted him to win the Oscar so many times and I still consider it insane that he lost for both Children of Men (2006) and The Tree of Life (2011).

Oscar Trivia, Computer Trouble, and more after the jump

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