TIFF: Viggo Mortensen’s ‘The Dead Don’t Hurt’

By Abe Friedtanzer 

Courtesy of TIFF

Western films tend to deal with violence in some capacity, presenting a world either defined by lawlessness or exploring what it means to set up a system of law and order to ensure that it isn't. When everyone has a gun and collecting bounties is a popular pastime, it can be difficult to instill a sense of moral consequences in a society that may not be interested in it. The Dead Don’t Hurt weaves a love story into a portrait of a town on the edge of becoming modern. A bleak view of humanity emerges... 

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International Feature Race - Part 3: A Dozen Movie Stars

by Nathaniel R

Voting on the finalist list for the Oscar categories that use that system (including Best International Feature Film) concluded last week with the finalist lists to be announced on December 21st. As a final part of our general trivia overview (pt 1 stats & genres / pt 2 directors) we thought we'd look at the famous faces gracing the international contenders this year. Here are eleven of the most familiar movie stars in the mix that Academy voters (and you) might recognize from their own history of awardage not to mention previous classics. We'll take these famous actors alphabetically starting with a multilingual Spanish-German star and ending with a Chinese beauty, both of whom came to fame in the Aughts when they were fresh-faced twentysomethings...

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TIFF: Austria’s Oscar entry ‘Corsage’ starring Vicky Krieps

By Abe Friedtanzer

Actress Vicky Krieps, who was introduced to American audiences in a big way in a performance that should have earned her an Oscar nomination for Phantom Thread, is getting a lot of work lately. She had a prominent role in M. Night Shyamalan’s Old and stars in Mathieu Amalric’s Hold Me Tight, which is now playing in theaters. Most notably, she tied for the best performance prize in the 'Un Certain Regard' section at Cannes this summer for Corsage. It's a movie she both conceived of and executive produced, and now it's become Austria’s official Oscar entry.

Krieps plays Elisabeth, the Empress of Austria in 1878. The popular royal figurehead is turning forty, and she’s also watching her life slip away as her husband, Emperor Franz Joseph (Florian Teichtmeister), relegates her to uninteresting duties that don’t serve any true purpose...

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Cannes Diary #4: Narcissism at its finest and worst

by Elisa Giudici

Today is the day in which we explore collateral selections, not that willingly. As mentioned in Cannes Diary #1, this year the Festival organization changed the ticketing system. This ended the long lines (a win) but the downside is that the more hyped movies are harder to get into. Nevertheless, I'm happy to report my experimentation went very well! Truth be told, the Un Certain Regard section can be barely considered a “collateral” section, since it famously offers high-quality selections from soon-to-be major auteurs. The major letdown of the day, was ironically, the only title from the Main Competition I was able to get a ticket to on day four...

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Review: The Last Vermeer

By Abe Friedtanzer

I know that 2020 has felt like an eternity for a number of reasons, but how is it possible that this never-ending year has given us not one but two lackluster movies about art starring Claes Bang?

The Burnt Orange Heresy, about an art critic and a reclusive painter, was released in theaters by Sony Pictures Classics right before the pandemic hit and then rereleased in August since it barely had any time to make an impression (not that the experience of seeing it does that either). Now, Bang is back as a Dutch Jew investigating the actions of an eccentric artist accused of collaborating with the Nazis in the immediate aftermath of World War II in The Last Vermeer…

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