‘Clueless’, ‘Wild Tales’, Joshua Oppenheimer and more in this week’s film highlights!
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Indiewire’s Carlos Aguilar and his 7 reasons on Roy Andersson’s latest film is a philosophical wonder:
Candid and irreverent, Andersson’s philosophical contemplations come from mundane situations and daily tragedies. What’s usually humdrum becomes unexpectedly profound under the director’s watch. There are countless moments like these in “A Pigeon,” and in all of Andersson’s works, capture glimpses of pure humanity. As a poignant bonus, the filmmaker includes a nightmarish sequence condemning the horrendous effects of European colonialism – and it’s visually bold in its depiction.
The Guardian’s Luke Holland on the superheroes that should never be allowed on the big screen:
Not every superpower deserves to be given the cinematic treatment. Take Ant-Man. He can make himself small. As far as superpowers go, that is frankly rubbish. For as long as comic-book adaptations keep raking in more cash than film studios know how to spend, a search will always be on for which to adapt next. But there are characters lurking in the murky world of comic books with superpowers even worse than Ant-Man’s. Abilities so soporifically dull that filming them would be practically pointless …
New York Times’ A.O. Scott on saying that Comic-Con is no place for a critic:
In other eras and societies — the Great Depression, the Soviet Union — long lines signify scarcity or oppression. In the Bizarro World that is 21st-century America, it’s the opposite: Long lines are signs of abundance and hedonism. Much can be learned about a civilization from studying its queuing habits, and Comic-Con surpasses even the Disney theme parks in the sophistication of its crowd management and the variety of its arrangements. Which line is the right one? Will I like what I find at the end? Why am I here, anyway? You may come to worship, but you stick around to question and to judge. I started out saying that Comic-Con is no place for a critic, but maybe I was fooled by the costumes, and everyone I saw was really a critic in disguise.
The Telegraph’s Alice Vincent writes on the cultural impact of the teen movie ‘Clueless’:
It went on to become the summer sleeper hit, eventually grossing $55 million during its run in cinemas. But Clueless’ cultural impact was far greater: costume designer Mona May’s outlandish designs dragged America’s teens out of a hangover of Nirvana-tinged grunge, Heckerling’s script provided quips that would be quoted by teenagers worldwide, Brittany Murphy’s untimely death nine years later was felt all the stronger because of her sweet portrayal of Tai, the character who inspired the film’s title.
Collider’s Sheila Roberts interviews ‘The Act of Killing’ helmer Joshua Oppenheimer:
In our exclusive interview, Oppenheimer talked about exploring the present day legacy of the genocide, how the film is not about the killings but the impunity that exists today, the consequences of building your everyday reality on terror and lies and living with that kind of cognitive dissonance for half a century, the dialogue he fostered between a genocide survivor and the perpetrators, his impressions of the survivor and what he learned from him, how the finished film compares to what he envisioned, the contributions of executive producers Errol Morris and Werner Herzog and his anonymously credited co-director and crew, and his next project.
A few more to call it a week:
- Cineuropa highlights why VOD is a risky business
- Wild Tales sweeps in the 2nd Platino Awards
- Universal sets record as fastest to $5B
- Cinemalaya 2015 finalists revealed
- Brillante Mendoza to receive tribute in the Sarajevo Film Festival
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