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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Enough with the Music Biopics!

by Cláudio Alves

What has BOHEMIAN RHAPSODY wrought?!

Over the past five years and across nearly a thousand write-ups for The Film Experiences, you might have denoted my slight distaste for biopics. To be fair, "slight" might be an understatement. I bring this up to admit my bias against these projects, often conventional to a fault and dripping with mercenary intent. But even if you're a fan of them, you must admit there's been a disproportionate influx of these productions in the past few years, especially in the context of dramas about musicians. It's likely a consequence of Bohemian Rhapsody's immense success at the box office and with awards groups, generating a thousand copycats that may not reach the depths of its ignobility but still plateau at a level of miserable mediocrity.

As Timothée Chalamet is hounded by paparazzi on the set of his Bob Dylan biopic, the Bohemian Rhapsody editor announces his directorial debut, and Back to Black spits on the memory of Amy Winehouse in theaters, let's discuss…

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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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Venice 2023: Three terrific films that could be formidable Oscar players

by Elisa Giudici

Venice's 80th edition feels weaker (in terms of competition films) than the previous editions I've covered for The Film Experience. That said there are some strong contenders for the Golden Lion, and a few exceptional pieces of filmmaking. Here are three movies that stand out from the crowd. What's more they each have the potential to be strong Oscar contenders after Venice. 

I'll present them in order of their excellence, from the very good to the simply superb...

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Oscar Volley: Those DGA Nominees (and more) in Best Director

Our Oscar Volleys series is down to our last two categories. Here are Tim Brayton and Eric Blume to talk Best Director. (This volley was recorded before the BAFTA announcement but since those nominations are juried they probably won't have much bearing on Oscar outcomes.)

Eric Blume:  Tim, I'm thrilled to talk shop about the Best Director category. Let's start with Jane Campion, Denis Villeneuve, and Kenneth Branagh who all seem unlikely to miss.  I'm personally thrilled that Campion might ride her crest all the way to a win. Nobody else could have made The Power of the Dog work so layered and subtle, or told that story without it seeming heavy-handed, obvious, or silly. The film gives Campion the chance to do her specialty: embroiling us in a narrative and in character motivations so intensely strange yet fully human that we're transported by our own confusion and curiosity.  She has that special ability to deliver a rare grounded sense of whatthefuckery in her movies. There are moments where so much is happening psychologically, where so many meanings are transpiring simultaneously, that you can't even fully process it until it's passed you by.

I'm also a huge fan of Villeneuve, a natural-born filmmaker if there ever was one...

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