The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
What a heady way to start your breakthrough year. Here's what she had to say about Madonna.
The first song I always think of is "Like a Virgin" [Laughs] I remember being a little girl and watching that music video. My aunt was obsessed with Madonna. I remember learning to dance and it being so inappropriate. I didn't even know what it meant "like a virgin" but I remember the dance moves and "touched for the very first time", all of that stuff!
There's something about Madonna. I look at her now and her whole career and all of the incarnations she's had and forms of self expression and it's so empowering, especially for a woman. I look at her and think if I could have a smidgeon, a small percentage of the power she has within herself, the strength and desire to tell a story through song, through film? That's what i aspire to.
Meeting Madonna.
Meeting everyone.
Working with Brad Pitt...
How is she handling being thrown into this world of superstar celebrity?
I geek out on people all the time. I've embarrassed myself in front of Meryl Streep! I've embarrassed myself in front of Zach Galifanakis! I stutter a lot when I first meet people. When i first met Helen Mirren I think I only said 'Hi. Nice to meet you' and three hours later 'Goodbye.' I am not the most comfortable in the beginning!"
She tells me she has to push herself through the uncomfortable shyness. Push away, Jessica, push away. Given the year you've had and the career that's likely to follow, this will clearly need to change.
Earlier today the 68th Venice Film Festival came to an end. Awards were given out to what seem to be some strange choices (gotta love when quriky jury members choose the most obscure people, no?) with the Golden Lion (Best Picture) going to Alexander Sokurov's Faust.
Just yesterday, our awesome correspondent from Venice mentioned how people expected this one to win and yet it doesn't even show up in the critical consensus. That must've been a dark horse if there ever was one. Apologies to the actual Dark Horse which came out empty handed.
The complete list of winners:
Golden Lion - Faust (Alexander Sokurov, Russia) Silver Lion for Best Director - Shangjun Cai for Ren shan ren hai/People Mountain People Sea (China) Special jury Prize - Terraferma (Emanuele Crialese, Italy) Volpi Cup for Best Actor - Michael Fassbender for Shame (Steve McQueen, UK) Volpi Cup for Best Actress -Deannie Yip for Tae jie (A simple life) (Ann Hui, China, Hong Kong) Osella Award for Best Screenplay - Yorgos Lanthimos and Efthimis Filippou for Alps (Greece) Osella Award for Best Technical Contribution - Robbie Ryan's Cinematogrpahy from Wuthering Heights (Andrea Arnold, UK) Marcello Mastroianni Award for Best Acting Newcomer - Shôta Sometani in Himizu (Sion Sono, Japan)
Perhaps the most significant thing about this festival, besides having given Fassy his first big acting award (he's just been around in the maninstream for a couple of years but it feels like decades, no?) might be that it probably won't line up in any way with Oscar. After all, when's the last time the little golden guy paid any attention to a two and a half hour long reimagining of Faust with Russian subtitles? In the festival's long history only two Golden Lion winners got into the Oscars' Best Picture lineup - Brokeback Mountain and Atlantic City - both of them lost. The most "influential" awards here might be the Volpi Cups; in the past decade we've seen the likes of Julianne Moore (Far From Heaven), Helen Mirren (The Queen), Imelda Staunton (Vera Drake) and Colin Firth (A Single Man) repeat their nominations during the long awards season.
Dear readers across the ocean, should we be on the lookout for any of these movies when they are released here? How did you like our Venice coverage this year? How many acting awards did you think Fassy had won by now?
[Editor's Note: Manolis has been reporting for The Film Experience and the Greek site Cinema News. We thank him for that. You can read all the Venice reports here. - Nathaniel R]
Emile Hirsch worshipping at Venice's red carpet
This is my last report from Venice which I'm writing from Athens. During my last two festival days I caught five films ranging from great surprises to total mediocrities.
Quando La Notte This little Italian romantic drama about a troubled young mother and a mountaineer would have benefited immensely by trimming 15 minutes from its running time. The last reel or so of the film is totally unnecessary and unfortunately shows of Cristina Comencini’s weaknesses as both screenwriter and director. The two stars, Filippo Timi and Claudia Pandolfi give very good performances, but they weren't enough to save the film from the Italian critics who just massacred it. Interesting subject matter, mediocre film.
The Exchange The Israeli film within the Competition section started off nicely. Eran Kolirin's follow up to the much praised The Band's Visit watches an everyman watching his life from the outside; he can't figure how he ended up living the life he lives. He starts to view his life from a different perspective. What begins as a somewhat original premise soon becomes repetitive and by the film's end the story seems to have gone nowhere. But for the most part it's entertaining and Rotem Keinan gives a nice turn in the lead role.
Faust This was much anticipated in Venice and many thought that it would turn up to be the eventual winner. I am not so sure. Faust is clearly the work of a master director and I adored Aleksandr Sokurov's previous efforts like Mother and Son, Russian Ark and Elegy but this 140 minute film felt closer to 280. Great imagery and cinematography do not guarantee a great film. There is too much dialogue in “Faust” about difficult and philosophical matters but not enough time to “digest” all that's being said. The actors were not impressive or to be fair, I was not impressed by the way Sokurov directed them. The movie split the audience with several walkouts and others loving it. Faust is not an easy film and though it is difficult to deny its artistic merits, this is not Sokurov's finest hour.
Killer Joe The best late surprise of the festival. William Friedkin (The Exorcist, The French Connection) is back on form with a film that reminded me somewhat of movies from Tarantino and the Coen brothers. Nobody expected this to do as well as it did, but the press reactions were very encouraging. This black comedy based on the play by the acclaimed Tracy Letts (August Osage County, Bug) has several fine performances: Juno Temple is superb, Thomas Hayden Church and Gina Gershon are hilariously pathetic and Matthew McConnaughey gets what may well be his finest screen role. I would add the phrase “Best Supporting Acting category contenders”, but the film is clearly not the Academy’s regular cup of tea. I can imagine the voters walking out of the screenings at a particularly campy moment (which involves a chicken leg) but I would be very surprised (and delighted) if it does win Oscar traction.
Eva Another nice surprise. This Spanish sci-fi film from director Kike Maíllo has great production values and a screenplay about a shy man designing robot software which manages to hold the audience’s attention consistently. One of its great successes is that, despite its genre, we never think “imagine what they could do if they had a Hollywood style budget”.
The visual effects may not be many and spectacular, but they are exactly of the quality and quantity that such a film needs. Eva stars the always watchable German/Spanish star Daniel Brühl and the 12 year old Claudia Vega who is a revelation.
Critical Consensus During the Festival, a special version of Variety magazine is published in Venice (half of it in English and half in Italian). In a special chart critics from major publications (Times, Screen, Le Monde, Indiewire, Herald Tribune, La Republica and others) provide their star ratings. It is interesting to see the critical consensus about the In Competition films; English language films dominate with both Roman Polanski's Carnage and Todd Solondz Dark Horse faring much better than expected. Please note that the films competing in the last 2 days of the Festival are not yet included in this chart and this chart will not necessarily reflect the opinions of Darren Aronofsky's festival jury.
PEOPLE MOUNTAIN, PEOPLE SEE -2.52 (two 5 star reviews)
HIMIZU -2.34 (two 5 star reviews)
UN ETE BRULANT -1.80
SAIDEKE BALAI -1.68
QUANDO LA NOTTE -1.58
I personally support SHAME, ALPS, and CARNAGE.
Closing my series of reports from Venice, I would like to thank Nathaniel for the hospitality as well as the Greek site Cinema News, and you, the Film Experience readers. I hope you've enjoyed the brief reports. Ciao,
[Editor's Note: Manolis, our correspondent from Greece, is wrapping up his time in Venice. But hopefully he'll go out on a higher note that this day, which disappointed him. -Nathaniel R]
The last two days were bad days for me at the festival. Films I had high hopes for proved to be less that satisfying and smaller films that I hoped would surprise me didn't.
People Mountain, People Sea This was the ‘surprise film’ of the Competition section of the festival announced just a few minutes before its first press screening. But this was not the only surprise for the press attending. Halfway through the film smoke started coming out of a headlight in the screening room and many journalists started running towards the exits panicked. The screening was interrupted, the firemen came and fixed the problem that could have resulted in a fire. After 25 minutes the screening resumed and the remaining critics watched the rest of the story. The movie is about a man Lao Tie in a small province of China who realizes that the local police force are unable to catch his younger brother’s killer, so he decides to do it himself. He embarks a journey that not only brings him face to face with the killer but also brings out all the fears and anger hiding inside him for many years. Unfortunately the fire incident was far more interesting than the film. I would say that this was the worst film I saw in the festival thus far, if it wasn’t for...
4:44 Last Day on Earth In a large New York penthouse a couple of lovers (William Dafoe & Shanyn Leigh) are spending their last night talking and making love. Tomorrow at 4:44 pm the world will come to an end. Director Abel Ferarra's (Bad Lieutenant, Dangerous Game, Mary) new film, which describes the way this couple faces the impending collapse of the world it thematically interesting (Don McKellar made a fine film on the topic with “Last Night” in 1998) but the potential is never fulfilled. What Ferrara has to offer is ideological deliriums and a cheap morality lessons.
[SPOILERS] The movie goes like this: the couple make love, they watch an Al Gore interview about global warming, they make love, they meditate, they make love, they watch a Dalai Lama speech about human nature, they quarrel, the clock shows 4:44 and they die. The audience should only hope that the world ends at 3:20 so that they won't have to endure the 84 minutes of this movie. A few of the reporters left during the screening and some of those who chose to remain till the end, did not hesitate to boo.
And More... Both Dark Horse by Todd Solondz and Himizu from Sono Sion were also nothing to write home about. The former started off promising but soon fell into the same category as nearly all of Todd Solondz's films: not exactly a failure but nowhere near the quality of his masterful Happiness (1998). The latter film, from Japan, was advertised here in Venice as one of the first films to deal with the Fukushima catastrophy but its use of the shots of the tsunami's aftermath played more like a marketing device than an essential or important part of the story. The average acting didn’t help either.
Wuthering Heights The biggest disappointment for me was Andrea Arnold's newest film. I've been a fan since Red Road and especially loved Fish Tank so I expected that her new film would be absolute festival highlight, rather than just a good film with intriguing elements. She gambled on unknown and teenage actors in the leading roles which was gutsy but doesn't always pay off. The story is told from Heathcliff’s point of view, but unfortunately we never understand his very complicated relationship with Catherine. Worse Catherine comes off as a very unlikable and it's hard to understand how two men both become so obsessed with her. The cinematography is the standout element in the film, with Robbie Ryan (who lensed both Red Road and Fish Tank) delivering truly exceptional work. Arnold reveals a strange obsession with mud and with hanged puppies and though her angry filmmaking is fascinating it doesn’t suit this kind of film. It’s not that her black teenage ex-slave Heathcliff is the problem but it feels rather strange when he says, in the true Bronte fashion, “F*ck you, you c*nt”. It’s an original approach for sure but, for me, an experiment that could lead to future greatness but doesn't do so here.
They also have to deal with obnoxious people walking backwards or stopping suddenly when everyone else is moving forwards!
This post is brought to you by Nathaniel's hatred of tourists in Times Square where he unfortunately found himself once this weekend. Tourists can magically transform a breezy 8 minute walk to a subway to a 35 minute nightmarish ordeal of erratic human movement. Turning 8 minutes to 35 is a feat as miraculous as feeding thousands with five loaves of bread ...only way less altruistic.
P.S. This amusing gif comes to us via my friend Matt's blog where he runs to Madonna's defense (as he do) about the gleeful takedowns of W.E. in Venice. Matt also shared an incredible video of previously unseen "Vogue" video footage. Lots of blooper-like stuff after the two minute mark. It's always so fun (though rarer than it used to be) to see Madonna laugh at herself / her surroundings.
Wednesday, December 21, 2011 at 7:51AM 
Jessica in Morocco earlier this month!
