"Sing Sing" Is a Moving Showcase For One of 2024's Best Ensembles

by Nick Taylor

Sing Sing, the sophomore feature by Greg Kwedar, is beginning its theatrical run in the US almost a year after it debuted at TIFF 2023. This weekend it begins a limited release rollout, culminating in a wide release on August 2nd. Based on a 2005 Esquire article by John H. Richardson entitled "The Sing Sing Follies", the film follows a group of men incarcerated in Sing Sing Correctional Facility who are members of the Rehabilitation Through the Arts program, also known as the RTA. The development of their latest production comes with the usual stresses of putting a show together along with new disruptions to their membership, their hierarchies, and their routines. If the summaries and trailers and evangelizing reviews haven’t already convinced you this is the real deal, let me add my two cents. Sing Sing is a moving, heartfelt, sometimes despairing film, one you should see with a packed theater if you get the chance . . . .

Click to read more ...

Nathaniel in Venice: "Official Competition" and "107 Mothers" surprise

Nathaniel reporting from Venice, a smorgasbord of days 3 through ??? ... I've lost track of days. What is time?

107 Mothers (Péter Kerekes)
A ‘tough' movie doesn’t have to be hard to watch. 107 Mothers isn’t ‘easy’ in its characters or themes, but it’s a surprisingly gripping watch, even entertaining. For a few scenes in the beginning of 107 Mothers, a new film from a Slovakian director Peter Kerekes, it feels like you’ve stumbled into an unfeeling doc about a women’s prison for violent offenders. And, indeed, this narrative feature is based on real stories about a specific prison in Odessa, Ukraine and Kerekes usually does documentaries. The establishing scenes interview several of the inmates, all pregnant, about their crimes which usually involve murdering their boyfriend/husband or his lover. It’s a curiously incongruous feeling that settles in: how could such hard-eyed numb women muster enough passion to commit a “crime of passion"?

Click to read more ...

Gay Best Friend: Erich in "Midnight Express"

 a series by Christopher James looking at the 'Gay Best Friend' trope

Norbert Weisser co-stars as Erich in Alan Pakula's 1978 hit "Midnight Express."Our journeys into classic cinema has allowed us to explore the beginnings of the gay best friend trope and coding during the Hayes Code. Once the code was abolished, the late 60s and 70s were able to go wild. While sex, swearing and violence began to populate films, the depiction of gay people stayed relatively the same. Movies were able to actually define characters as LGBTQ+, but they were often villains or would meet a tragic fate. Sympathetic LGBTQ+ characters were tough to come by.

At first glance, the brutal prison drama Midnight Express would not seem like the place to find a nice gay best friend. But Erich (Norbert Weisser) stands out as a light among the considerable darkness. Erich acts as the confidant and guide for our protagonist, Bill Hayes (Brad Davis in a BAFTA & Globe nominated debut), who was sent to this Turkish prison for smuggling hashish from Turkey. His kindness is a wonderful tonic for the grim realities of the Turkish prison. 

However, once Erich acts on his desires, he is immediately removed from the narrative...

Click to read more ...

The Furniture: "À Nous la Liberté" and Freedom from Industrial Design

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

Once upon a time, the Oscars were in November! Well, thrice upon a time. The 3rd, 4th and 5th Academy Awards were held in the fall - the last of them on November 18th, 1932. Nathaniel covreed the biggest piece of trivia from that night earlier this morning. But there were also a few firsts, including the debut of the short film categories and the first-ever foreign-language nominee. René Clair’s À nous la liberté was nominated for Best Art Direction, an award it lost to a cruise ship comedy called Transatlantic.

But it’s Clair and art director Lazare Meerson who have the last laugh, as their losing film is now largely regarded as a classic and Transatlantic barely has a Wikipedia page. A nous la liberte is a charming little oddity, a musical comedy about the alienation inherent in modern industry. It opens in a prison, where cellmates Émile (Henri Marchand) and Louis (Raymond Cordy) are at work hand-carving toy horses. The cavernous space evokes the ominous architecture of the modern prison, its high balconies a reminder of constant surveillance...

Click to read more ...

NYFF: "Night of Kings"

Our coverage of the New York Film Festival -- you can buy virtual tickets to most of these films -- continues.

by Nathaniel R

The prison movie is its own specific subgenre, holding close to its own tropes, structural familiarity, and character types. Though we've never been imprisoned, we imagined these are culled from reality as much as imagined from collective nightmare. As a general rule, we long for escape from well worn genres, but in some cases it's useful shorthand. Such it is with Philippe LaCôte's Night of Kings, the buzzy Ivory Coast Oscar submission which we suspect might have been too confusing to resonate for Western audiences, were if not for these familiar, even universal, elements...

Click to read more ...