Advertisement
Oscar History
Welcome

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.

Powered by Squarespace
Don't Miss This!
What'cha Looking For?
Comment Fun

Comment Du Jour
All That Jazz (new ep."The Furniture")

"Absolutely brilliant and sometimes insane." -David

"Wonderful movie. Bob Fosse was a brilliant dancer, choreographer, stage and cinema director. " -Ingrid

 

 

Interviews

James Ivory (Maurice) 4K Restoraton!
Betty Buckley (Split)

Melissa Leo (Most Hated Woman in America)
Ritesh Batra (Sense of an Ending)

Keep TFE Strong

We're looking for 500 Patron Saints!

IF YOU READ THE SITE DAILY, PLEASE BE ONE BY DONATING. 
Your suscription dimes make an enormous difference to The Film Experience in terms of stability and budget to dream bigger. Consider...

I ♥ The Film Experience

THANKS IN ADVANCE

Subscribe

Entries in Son of Saul (7)

Saturday
Feb132016

Podcast: Top Ten Edition

Nathaniel,  NickKatey, and Joe discuss their individual top ten lists. (There was a lot to cram in so your host apologizes for some ungraceful edits.)

43 minutes 
We discuss a lot of different titles including but not limited to: The Martian, Creed, Mistress America, Room, Diary of a Teenage Girl, Son of Saul, Spotlight, The Look of Silence and In Jackson Heights.

Related Reading:
15 Best of '15 -Nathaniel's Writeup
Carol Podcast 1 & Carol Podcast 2 ICYMI. it's high on our lists but we don't discuss it much this time due to time constraints

You can listen to the podcast here at the bottom of the post or download from iTunes soon

Top Ten Discussion

Tuesday
Jan122016

The DGA Nominees. Other directors still blind to the genius of Todd Haynes

Weep with me now my fellow people of good taste for the continual shunning of Todd Haynes at awards shows. Save one. Haynes will always have the Independent Spirits as loyal cheering squad. They've miraculously nominated him for his direction on every single one of his feature films.

Yes well before even the bulk of cinephiles realized he was going to be a legendary filmmaker. They nominated him for his strange triptych debut (Poison) and his then quite divisive/confounding but now universally admired sophomore effort ([safe]) and they've been true ever since. I bring this up to quench the tears and prepare for the worst on Thursday in case Carol is barely acknowledged which is what usually happens with Todd Haynes films on Oscar nomination morning. Even Far From Heaven (2002), his biggest hit, got a weak 4 nominations despite having the kind of "Spectacular Spectacular!" craftsmanship that at least nets filmmakers Moulin Rouge! honors (nope - Far From Heaven was stiffed in both Art Direction and Costumes. Hilarious to contemplate but true.) 

The Academy's directing branch is much more exclusive in numbers and arguably more sophisticated than the much larger voting body of the directors guild, but it's best to lower expectations; the world is often a mysteriously cruel place! Nevertheless it's frustrating that an auteur as singular and consistently wondrous as Todd Haynes has trouble getting honors from peers. He's in good company at least. Great artists in every field throughout time have had to decades for people to catch up with their greatness. Sometimes it didn't even happen until after they died. Remember that Alfred Hithcock never won a Directing Oscar and Douglas Sirk, one of of Todd Haynes's greatest influences, was never even nominated for one. Curiously Sirk, who specialized in the melodrama (those are often about women and you know how Oscar feels about women's pictures - Ewww!) was nominated by the DGA once, for Imitation of Life but an Oscar nomination did not follow. Generally Oscar will boot one of the DGA nominees for someone else but since they haven't gone 5/5 for awhile we're probably due for another year of exact crossover. 

We should probably talk about the actual nominees not just one of our all time favorite auteurs. So let's do that after the jump...

Click to read more ...

Tuesday
Dec292015

Best of '15: Most Memorable Scares. Boo!

Jason from MNPP here for more Year in Review madness.

Truth be told 2015 was not the best year for horror movies. There were some smaller successes but only a couple of classics born, and out of those only one - David Robert Mitchell's It Follows would classify entirely as a genre exercise. But there were plenty of Scary Scenes, whether inside the horror genre or knock knock knocking on the door, and that's what we're here to celebrate.

The following moments aren't necessarily in hard order, save the top few, because What Scares Us is subjective to not just each individual person but to each individual moment that person is experiencing -- I might feel like "No thank you, Bugs" today but tomorrow it might be all like "I said NO THANK YOU, Cannibals!" instead. Fear's a funny thing like that.

Anyway beware spoilers below, as we'll be discussing in a little bit of detail the money-shots of the year in "Boo!"

The 15 Scariest Scenes of 2015
from all sorts of films after the jump... 

Click to read more ...

Saturday
Dec192015

Interview: Director and Star of 'Son of Saul' on Making Art in a Politically Correct World

Jose here. The evils of the Nazi regime have been documented in myriad ways, and in practically every medium possible. Film in particular, has created a subgenre that consists of harrowing stories about concentration camps, the diabolical genocide of the Jews, and other events that put all the human race under a shameful light. However, perhaps because of Hollywood’s tendency to overpraise the human spirit, and its relentless need to “inspire”, Holocaust films have become a “niche” meant to help actors and directors win awards. Holocaust films in a nutshell always go for the emotional and rarely, if ever, attempt to touch the intellectual.

Enter first time director László Nemes, who caught Cannes by surprise with his unique Son of Saul, which has just opened in US theaters, a film that dispenses of each and every cliché you’ve seen played in every other Holocaust movie. There are no string-filled overwrought scores, no movie stars losing weight, gaining accents or donning beards, and most surprisingly, there are no attempts at oversimplifying the Holocaust as anything other than a series of personal infernos lived in a collective reality. The inner hell in this case, is that of Auschwitz prisoner Saul (Géza Röhrig), a Sonderkommando member, who one day makes a gruesome discovery that drives him to make a decision that might have deadly results.

The interview after the jump...

Click to read more ...

Friday
Oct092015

NYFF: The Oscar Contender "Son of Saul"

Manuel here reporting from the New York Film Festival on Hungary's Oscar submission, a powerful debut film...

The Holocaust film is, as historical subgenres go, perhaps the most well-worn. From John Ford and George Stevens’ documentary footage of the camps liberation all the way through Spielberg’s Schindler’s List and Benigni’s Life is Beautiful, cinema has been irrevocably tied to our cultural remembrance of that most barbaric killing machine. Cinema’s ability to record, to bear witness, has no doubt played a central role in this artistic canon. Of course, at the heart of the cinematic project of the Holocaust lie conflicting and controversial ethical questions. From Theodor Adorno’s “There is no poetry after Auschwitz” dictum to storied arguments about the validity and usefulness of recreating the images of Western civilization’s most gruesome chapter, directors, victims, and historians have asked plenty of hard to answer questions.

Does the depiction not merely replicate the dehumanization on which that enterprise depended? Is there a way to narrativize this barbaric act without simplifying history? Can cinema’s images ever do anything more than ring hollow when compared with the immensity of human life lost?

If all of this sounds heady as an intro to a review of László Nemes’s debut film Son of Saul, you should’ve heard leading man (and poet) Géza Röhrig and his director talk at length about these very issues while quoting Primo Levi at the press conference a few days ago...

Click to read more ...

Monday
Jun012015

Podcast: Two Transatlantic Conversations

This new unconventional episode of the podcast features two guests and two conversations. First Nathaniel calls Australia to check in with Glenn Dunks to see what he's been up to cinematically since leaving NYC. And then a conversation with Guy Lodge in London about his experience at this year's Cannes Film Festival.

Contents

  • 00:01 - 02:30 Intro: Nathaniel (feat. Annie Lennox)
  • 02:26 - 19:15  Glenn From Australia: Mad Max Fury Road, The English Patient, Nicole Kidman in Strangerland, 54 The Director's Cut, Film Preservation
  • 19:16 - Guy from London: Loving Arabian Nights, The Lobster and Todd Haynes' Carol, Cannes Jury Prizes, The AssassinSon of Saul and the Foreign Film race, Maryland, and hating Paolo Sorrentino's Youth

Please to enjoy and continue the conversation in the comments. You can listen at the bottom of this post or download from iTunes tomorrow.  

 

Cannes, London, and Australia

Saturday
May162015

Cannes: Then and (Right) Now

Imperator Furiousa cleans up nice for CannesAs Cannes moves past that opening night international glamour, and into its heavy screenings opening weekend, there's a lot of reminiscing going around as well for those that aren't attending: Keyframe is looking at the 1985 festival -- which was heavily criticized for being too American --  to see what it tells us about the 2015 festival. And, of course, over at Nick's Flick Picks, Nick is looking back at 1995. He has corralled several critics to talk about and rewatch those films too, but that part hasn't been posted yet. Can't wait! But here's a little about what's been happening at the festival if you are, like 99.9% of the world including me, NOT in the South of France right about now, but wish to think about it intermittently. 

Out of Competition
Mad Max Fury Road premiered at Cannes just as it was opening in theaters. That's a good excuse to get celebrities at your premiere and stay in a global conversation but, as good as the movie is -- and whoa it's thrilling (easily the best Mad Max film and the best action film since probably the last time James Cameron made anything) though I think maybe "the sistine chapel of action filmmaking" might be overstating it a little -- why go to a movie that's in theaters when you're at this kind of Best of World Cinema That Will Probably Never Make It to Really Big Screens Near You? Which is not to say that you shouldn't go. You absolutely should if you're not at Cannes. It's INSANE. And that is a high high compliment since most movies with insane premise play things so conservative in their mise en scene, you know? Michael's review will be up shortly and I'm sure I'll talk about it more too.

Woody Allen's PARKER POSEY: THE MOVIE... excuse me, Irrational Man, has also premiered as his movies do, Out of Competition. Our friend Tim Robey offered delicious shade in his review:

The word “murder” arrives in the script the second Kant, and his theories of human reason, pop up at the start. Like the superb Crimes and Misdemeanors, and also like Match Point, this contains a killing...

But honestly, I don't care if it's another mediocre effort from Allen. I'm so excited that Parker Posey got a big part again in a movie that people will actually see. And I love that she totally stole the show at the events with her incognito wacky glamour.

Supposedly Inside Out, another mainstream English-language film premiering there, is also a return to form of sorts for Pixar, but pardon me if I take this Oscar buzz with just a giant lick of salt - I think the days of Pixar (and maybe animation in general) being up for Best Picture are over. Those kinds of runs don't last forever and once people stop thinking of you in that light, it can be hard to return. 

"The Lobster" character posters

Competition Buzz
Gus Van Sant, who has won big at the festival before, won't be repeating. His latest, Sea of Trees, which stars Matthew McConaughey as a suicidal man visiting Japan, was not well received. That's putting it lightly if you just skim the THR or Variety reviews. I'm choosing not to read or even skim reviews on The Lobster, but from what I've heard your guess is as good as mine to what it actually is and if it's great at being whatever that is. Our Little Sister, a Japanese family drama has been warmly received for being touching without being sentimental and Sony Pictures Classics will distribute in the US.  

The buzziest title thus far is the Hungarian Holocaust drama Son of Saul. It's winning very generous reviews and it's also a debut feature which means that even if the competition jury surprises by stiffing it -- every year the press acts like they know what the jury will do and it never works out that way -- it could still win the Camera D'Or (which has a separate jury, just for debut films). Now we have to wonder if those titles will be the Oscar picks for Japan or Hungary.  I'm going to assume yes on the latter so I've updated the Foreign Film wild guesswork on the Prediction Charts.

Finally...
Yes, we will have another fashion lineup soon. But for now please accept our vote for the worst person in Cannes this year: Russian celebrity Elena Lenina. This is a film festival. Imagine sitting behind her at any of these premieres. Her 'do is suddenly your protagonist, whether its a Holocaust tragedy, a Woody Allen dramedy, or an insane action flick. Screw the narrative. 

True confession: Even when I see a person with high hair completely outside of movie scenarios like, say, on the street or in a talking head box on the news or several tables away at a restaurant my first thought is always 'oh god, please don't sit in front of me at the movies!'.

Be considerate of the comfort of your fellow moviegoers, readers -- shave your head!