But what matters here is that the love is real. (Perhaps emulating classic 12” house records, a handful of songs—“Where Is the Feeling,” “Where Has the Love Gone,” and “Falling”—all run about two minutes too long.) As a drunk says to Alex (Malcolm McDowell) right before taking a vicious beating: “I don’t want to live anyway! I caught up with Chopra shortly before Smooth Talk began its exclusive virtual engagement at Film at Lincoln Center. The beauty is to be like a…sponge. While the film doesn’t entirely stick its murderous finale, no one who hears those scarifying final lines of dialogue will soon forget them. The sweeping opening track of 2018’s Shiny and Oh So Bright, Vol. He is best known internationally for his performance as the lead villain in the James Bond film Quantum of Solace, his performance in Steven Spielberg's Munich, and for his role in The Diving Bell and the Butterfly, for which he drew critical acclaim. Well, first of all, it [came out] 35 years ago. By expanding Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been,” Chopra and screenwriter Tom Cole grant refreshing dimensionality to Connie’s antagonists—both her conservative mother, Katherine (Mary Kay Place), and an alluring but menacing suitor, Arnold Friend (Treat Williams). Interview: Laurent Cantet on the Making of The Workshop, Interview: Stanley Tucci Talks Final Portrait and Alberto Giacometti, Review: Sound of Metal Is a Tender, Singular Portrait of Addiction, Review: Wes Anderson’s The Grand Budapest Hotel on Criterion Blu-ray, Wes Anderson’s The French Dispatch, a Tribute to Journalists, Gets First Trailer. When you’re directing, do you ever wonder how they’d handle a scene if they were in charge? We also spoke about Canadian soprano Barbara Hannigan, the short film that Amalric made about her, and the athleticism that unites acting and singing. It’s a billet-doux by proxy, ghost-authored, dictated to a machine. Though Jane’s dramatization of rage is haunting and shrewdly comical in its overt and ultimately moving über-manliness. LUDWIG Orchestra. From a point of view that that illuminates the effects of the facts.” Fox is, actually, briefly in Alone. The films have a boldness that we’re not allowed to indulge in real life. The singer’s eighth album, Damita Jo, features a slew of the gooey, structureless sex ballads that had become her staple, including “Warmth,” three-and-a-half minutes dedicated to describing how Ms. Jackson If You’re Nasty gives a blowjob (and yes, she’s a method actress, whispering sweet nothings with her mouth full). Bowen, Spike Jonze’s Her begins with a love letter—a misdirect. Our collaboration is more and more scary, and it’s great for that. I don’t think that’s a rule though. Amalric has three sons, two with his ex-wife Jeanne Balibar, and one with his former … Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors and incarnate our sickest, most socially unpalatable fantasies. Schrodt. Minogue doesn’t have the vocal prowess to carry some of these songs—“Surrender” is a less sultry rendition of a song recorded by Tia Carrere a year earlier—but she admirably pushes her voice to its limits on the string-laden “Dangerous Game” and “Automatic Love.” The cautionary “Confide in Me,” with its hypnotic hook, Middle Eastern strings, and ominous guitar riff, calls for a sensual and understated performance—and Minogue delivers. Ever since audiences ran screaming from the premiere of Auguste and Louis Lumière’s 1895 short black-and-white silent documentary Arrival of a Train at La Ciotat, the histories of filmgoing and horror have been inextricably intertwined. He has also won several César Awards and the Lumières Award. To celebrate, we’ve ranked all 14 of the artist’s non-holiday albums. Ballard may have been right that literary sci-fi has provided all the interesting themes and ideas for which sci-fi in general has become known, but he failed to grasp how cinema has expanded our understanding of sci-fi by pricking at our collective visual consciousness. The track is perhaps the most obvious foreshadowing of the ambitious plans Corgan had for his group: sweeping, unapologetically romantic, and cinematically paced, its verse, bridge, and chorus structured in such a way so that the ultimate catharsis—in this case, a climbing sub-melody full of unbridled optimism—comes bursting through quite dramatically in its final minute. Janet’s infamous wardrobe malfunction is commonly cited for her career’s precipitous decline, but her inability to evolve beyond her sex kitten persona is more judiciously to blame. Schrodt, After a sufficient opening in which moody strings swell over a dark, driving bassline, A-ha’s theme for the first Timothy Dalton Bond film falls victim to an irredeemable ‘80s musical trend: a noodling synthesizer riff that attempts “sleek and sinister” yet comes off as a show-offy try-out for an Emerson, Lake & Palmer cover band. But her piano bar-styled, true-to-brand saccharine vocals are undeniably sweet. The film’s oh-so-1960s psychosexual subtext may be slightly under-baked, but that only serves to heighten the verisimilitude of its supernatural happenings. But Alice Júnior visibly struggles to differentiate itself from a soap opera. But why, at that moment, I can’t say. I think it goes back to this idea of the sort of cinematic challenge of trying to allow things to feel as they do in the real world. John Semley, The zenith of a career phase defined by sneakily subversive genre films, Kathryn Bigelow’s melancholic Near Dark remains a singular milestone in the evolution of the vampire myth. These torrid trysts mostly take place in the woods, on bare soil or parked motorcycles, and involve piss, ass-eating, and face-spitting. Looking back on it with the same sense of from-the-future assurance that informed the movie’s own creation, Back to the Future is a logistically beautiful but almost inhumanly perfect confluence of internal logic and external forces. Ridley Scott’s Blade Runner, for example, simply mines some of the concepts from Phillip K. Dick’s Do Androids Dream of Electric Sheep? Given its twilit suburban adventures and encroaching security forces, the story exudes a superficially classical sensibility, recalling Starman and Close Encounters of the Third Kind. For the longest time, I didn’t hear anything, and then suddenly this year they got very active. Hannigan was previously married to Dutch theatre director Gijs de Lange [ nl]. to sound like an old Human League record, but I’ll readily admit that the evidence on display suggests he was the only one with the foresight to come up with some new old ideas, even if none of them work to Janet’s advantage. Abandon hope all ye who watch here. How did you conceive the film’s coda? What I can say is it was, to my knowledge, the last day of shooting. [6], Amalric has three sons, two with his ex-wife Jeanne Balibar, and one with his former partner, a writer. Minogue’s first album not to spawn a U.K. Top 10 hit since 1997’s Impossible Princess, Kiss Me Once lacks a distinct sonic point of view, incorporating pop-rock, disco, dubstep, and R&B in equal measure. Zu ihren Künstler-Kollegen zählen Regisseur*innen und Dirigent*innen wie Christoph Marthaler, Simon Rattle, Sasha Waltz, Kent Nagano, Wladimir Jurowski, John Zorn, Andreas Kriegenburg, Andris … There are many points on their 1991 debut, Gish, where the Pumpkins seem caught between their early metal influences (Black Sabbath, Judas Priest) and the art-rock band they ultimately aspired to be, but “Snail” isn’t one of them. I spoke with Amalric over the phone after he had just landed in New York City to promote Ismael’s Ghosts at last year’s New York Film Festival. [11] Eine langjährige Zusammenarbeit verbindet sie mit dem irischen Komponisten Gerald Barry, der 2007 die einaktige Oper La plus forte (nach Strindbergs Den starkare) eigens für sie schrieb. Returning to the rambling house where he and Eden once lived for the first time since the death of their son, Will finds himself inundated anew by his heartache, and the film, which otherwise hews to crisp, clean realism, is run through with these painful stabs of memory. That was me really having questions about classic American cinema and race relations between women. I have to try to allow myself to be changed by what these actresses are doing in front of me. He loved the film. It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro. I try to get rid of all the tricks that actors develop. Smooth Talk director Joyce Chopra cites the review as a favorite interpretation of her work, namely for the way that Canby properly contextualizes the measured realism of the film as swimming upstream against the sugary pop fantasies of so much Reagan-era youth cinema. 1922 informs Stephen King’s pulp feminism with primordial, biblically ugly force. I wish I could say something more profound than that, but it was just pure instinct. 08 May 2021. Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial. He was selected to play the James Bond villain Dominic Greene alongside Daniel Craig (with whom he had previously starred in Munich) in the 2008 film Quantum of Solace.[4]. Mathieu Amalric, actor Barbara Hannigan, conductor & soprano. Sadly, the writing was on the wall as soon as Sam Smith turned in this narcoleptic take on a Bond song, from 2015’s Spectre. Strip away the Art Deco glory of its towering cityscapes and factories and the synchronized movements of those who move through those environments and what’s even left? 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Hannigan war mit dem niederländischen Theaterregisseur Gijs de Lange verheiratet und lebte in Amsterdam. Having shot Ismael’s Ghosts just before Barbara…I don’t know. How do you convey such a radical notion without coming across naïve? It’s jarring to see a film from the ‘80s that adequately recognizes the thin line between male seduction and coercion. Fritz Lang’s Metropolis, a visionary depiction of a near-future dystopia, is almost impossible to imagine as a work of prose fiction. Your prior film as director, The Blue Room, is strikingly beautiful. Ibáñez Serrador methodically draws out the waiting game, and as the kids gather their sinister forces and close in on our unsuspecting couple, a moral conflict arises. And the carnage, when it arrives, is staged with an aura of guttural bitterness that refuses to give gore-hounds their jollies, elaborating, instead, on the desolation of the characters committing the acts. Der Komponist schrieb eigens für sie eine Neufassung des Schlussstückes, das auch in der Aufnahme der Deutschen Grammophon zu hören ist. Different universes completely. Through metaphors, Amalric analyzes his art while engulfing it in a preservative mystery. (The police are shown to be restorers of order, though they serve that function almost inadvertently.) The plots, which are nearly irrelevant, are always similarly primitive even by the standards of low-budget genre films: In a bombed-out future version of the outback, a vicious gang pisses off a brilliant highway daredevil, Max (Mel Gibson), and stunning vehicular mayhem ensues. Eric Henderson, If on its own terms Janet’s self-titled debut has nothing on what was to follow, it’s nonetheless a pretty solid snapshot of the post-disco boogie sound. Through the decades—and subsequent crazes for color and sound, stereoscopy and anamorphosis—since that train threatened to barrel into the front row, there’s never been a time when audiences didn’t clamor for the palpating fingers of fear. Released just over a year after the singer’s debut, Enjoy Yourself repeats the first album’s sonic template almost verbatim, including a cover of a classic pop song (in this case, the 1958 doo-wop hit “Tears on My Pillow”). The film is a characteristic Desplechin romp: an alternately insane, astonishing, and exhausting blend of genres that, in this case, include missing-person mystery, artist’s morality tale, and spy thriller. In one timeline, he’s an earthbound schmuck; in the far less likely one, he’s a hero who must save an oppressed people on a faraway planet. Mathieu Amalric war mit der Schauspielerin Jeanne Balibar verheiratet. In everything from the title of your works to the images contained within them, you maintain such a focus on redefining the way we think about giant structures and institutions in our lives. At least, that is, for the duration of side one, where singer-songwriters René & Angela (best known for their steamy funk workout “I’ll Be Good”) serve Janet with three equally perky-cute dance-pop ditties, and one halfway decent ballad. That was shocking. He makes for quite the presence, but his hungers ultimately lead him to oblivion. Barbara Hannigan (geboren am 8. The film’s singular ambition is to immerse the viewer in the thick of a frenzied drive toward the promise of a lover’s touch and a few more minutes of life. Mathieu Amalric (French pronunciation: [ma.tjø a.mal.ʁik] (listen); born 25 October 1965)[1] is a French actor and filmmaker. Laugier’s film is grueling because there’s no real way to easily get off on images of simulated violence. It just felt right. That was the most extreme form of it. Garrett Bradley’s films assume grand proportions through their sweeping titles: America, Alone, Like, and, now, Time. Though the second film, most commonly known in America as The Road Warrior, is often cited as the masterpiece of the series, the original Mad Max is still the most ferocious and subversive. To your last point, in so many ‘80s teen movies, the parents are such stock characters who really exist only to further their children’s journeys or to represent some sort of ideology or authority that they rebel against. Rowin, Synth-heavy and melodramatic, “A View to Kill” is the most deliciously ‘80s Bond theme. As a result, their ice-cold beats melted into a lugubrious, lukewarm pudding (at under an hour, it still feels almost twice as long as janet. Throughout the album, she talks to and interacts with a rather compassionate computer DJ named Kyoko, and her voice is robotic and synthetic on tracks like “Feedback” and the Daft Punk-sampling “So Much Betta”—not necessarily such a bad thing for an artist whose vocals often consist of unintelligible murmuring. [4] Darunter waren. By the film’s end, Ducournau has hauntingly outlined only a few possibilities for Justine: that she’ll get with the program and regulate her hunger properly, or be killed or institutionalized. On her final album for PWL Records, Minogue continued to peel herself away from the SAW hit factory that helped make her a star. Corgan’s mother inspired plenty of animus throughout the Pumpkins’ catalogue, but none quite as conflicted and harrowing as the kind that fills the song sharing her name. and The Velvet Rope). They gave chances to first-time film directors, you could have been a writer, an actor, making documentaries. Though the film begins as something of a lecture on the topic of women’s bodies as a threat, it morphs into an array of sketches, images, and dramatizations of mankind’s fundamental inability to conceive itself outside of power and difference. Jake Cole, Introverted nice guy Joel (Jim Carrey) hears of an experimental procedure to erase troubling memories, and dives right in when his impulsive girlfriend, Clementine (Kate Winslet), washes her brain clean of their love-shattered relationship. This idea of universality becomes coded language for who we’re actually speaking to if a majority of the people in the country are, in one way or another, affected by this issue. From 1977’s thoroughly dull The Spy Who Loved Me, Carly Simon’s “Nobody Does It Better” slots firmly into the latter category, as the low-key singer shows no interest in delivering the jolts or theatrics of the franchise, and a perfunctory mention of a spy in the lyrics comes off as a contractual obligation. If Ballard’s view of science-fiction cinema was highly uncharitable and, as demonstrated by some of the imaginative and mind-expanding films below, essentially off-base, he nevertheless touched on a significant point: that literary and cinematic sci-fi are two fundamentally different art forms. It was a real testament to her to her trust. Our discussion covered how she and Cole built upon Oates’ slender source text, the joys of rediscovery and reappraisal, and why she doubts John Hughes could believe in the universes he created on screen. All raging id, the Gremlins want nothing more than to indulge in every vice that our increasingly corporatized culture has to offer. It was just a dream to do that. The film reaches for pathos only to find tinsel instead. The resulting anarchy unleashed by the Gremlins during the yuletide season is appropriate, considering they were created when Zach Galligan’s Billy, like an official advocating free-market deregulation, ignored foreboding warnings that terror would occur if he had just stuck to the three simple rules of caring for Gizmo, the cutest of all Gremlins.