Nine remaining contenders for Best Foreign Language Film revealed

Source: RopeofSilicon.net

• Argentina, El Secreto de Sus Ojos, Juan Jose Campanella, director
• Australia, Samson & Delilah, Warwick Thornton, director
• Bulgaria, The World Is Big and Salvation Lurks around the Corner, Stephan Komandarev, director
• France, Un Prophète, Jacques Audiard, director
• Germany, The White Ribbon, Michael Haneke, director
• Israel, Ajami, Scandar Copti and Yaron Shani, directors;
• Kazakhstan, Kelin, Ermek Tursunov, director
• The Netherlands, Winter in Wartime, Martin Koolhoven, director
• Peru, The Milk of Sorrow, Claudia Llosa, director.

I'm pretty surprised that the likes of The Maid (Chile) and Broken Embraces (Spain) aren't still in contention, though they may have had eligibility issues. Right now The White Ribbon is still poised to take the award, but I've heard nothing but good things about A Prophet, which I'm dying to see.

A Single Man's White Ribbon: REVIEW(s)

This weekend I had the pleasure of going to visit New York City for my birthday, and in addition to attending four of the New York Times' Arts and Leisure weekend interviews (which were fantastic; Natalie Portman answered my question!), and striking out on Broadway ("Rock of Ages" and the overpraised "God of Carnage"), I had the good fortune to see two films which have yet to arrive in Houston (even though it's the fourth largest city in the USA): Tom Ford's A Single Man and Michael Haneke's Cannes champion The White Ribbon (Das Weisse Band). After seeing both, I realize that I should have stayed away the B'way stage, and stuck with the dim movie theaters (by the way, the next time you're in NYC, try and catch a film at the Paris Theater; it's lovely).

I saw A Single Man first, and after being unsure of what to expect, despite generally positive reviews, I left quite satisfied. Despite its narrative limitations, Ford's film, which he co-wrote, never lets those limitations become visible. You'll want to know what comes next, even though no real "action" ever occurs. Set in October 1962, professor George Falconer (Colin Firth, hopefully on his way to his first Oscar nomination) is still coping with the loss of his lover (Matthew Goode). Ford's film, adapted from the novel by Christopher Isherwood, follows George throughout a single day, with a few flashbacks spliced in every now and then. The result is a sensitive, gorgeous exploration of life, aging, love, and loss. Ford, something of a superstar in the fashion world (which I, erm, don't really care about...at all) has made a ridiculously beautiful film without getting lost in the visuals. The way the strength or weakness of color is used as a representation of George's happiness is a lovely little touch, with my favorite usage being early in the film: George talks to his secretary, and tells her that she looks beautiful, and as she breaks into a surprised smile, the camera cuts to a close-up of her mouth. As her smile finally dawns, the screen bursts with color, most notably in the secretary's deep red lips. The moment, without being superfluous, is so beautifully wrought and surprisingly purposeful, that it's enough to almost make one catch one's breath in cinematic ecstasy. Such ecstasy is only aided by the impeccable production design (courtesy of the team behind TV's "Mad Men") and Abel Korzeniowski's unbelievable gorgeous, string-laden score, so beautifully complimenting Ford's images and emotions it seems to flow off of the screen and slide across you like a sheet of velvet. But let's not forget the performances, or at least, THE performance, since this is basically the Colin Firth show. Quiet but never dull, Firth is solemnly magnificent in the role, with each shift between feigned exuberance/liveliness and hidden pain done so gently as to appear effortless. In the supporting cast, the closest to a standout is Julianne Moore as George's boozing friend Charlotte. Moore is good in the role, and the laugh she uses is absolutely delightful to listen to, but given the character's own limitations as far as screen time, there's not too much for her to do, physically or emotionally. Matthew Goode does his job as George's lover, and Lee Pace is well, wasted as a co-worker (was he on screen for more than 20 seconds?). Then there's Nicholas Hoult, as a student who may or may not be romantically interested in George (maybe just intellectually?). Here's the one part of the equation I'm not sure of. The role is certainly an interesting one, and the way the character is written leaves a lot up for debate regarding his intentions/interests, but there's something about Hoult that leaves me unaffected. I'm still having trouble pinning it down; I didn't strongly dislike him, but every so often I couldn't help wish he would vanish so George could go talk to Charlotte again. That said, the film is a marvelous little debut, with nice direction, a wonderful lead performance, and stunning artistic aspects; the phrase "less is more" has never felt so applicable.

Grade: B+



Next is Michael Haneke's Palme D'Or winner The White Ribbon. I didn't know too much about the film except that it has some ties to "the generation who would grow up to commit the Holocaust". Set in a small Protestant (Lutheran? not that it matters...) village in Germany in 1913, strange (and not terribly good) things begin to occur, and no one can quite figure out why. Despite its length (2 hrs 20 min), Haneke's direction and screenplay keep one on edge, never certain as to what little detail in this pious-on-the-surface village is going to be revealed next, or what it will mean in the grand scheme of things. The stark black and white photography, as well as the near total absence of music carefully add to the quiet mystery and tension, as well as establish the no-nonsense demeanor of the town and its citizens. The only thing really unsatisfying about Haneke's effort is that after all of the build up, there's still quite a bit left unanswered. Now, I have no problems with films that don't spell out everything, quite the opposite, but there's a limit, and the by the time Haneke's film ends, he's straddling a frustrating line between leaving one with a sense of artistic bewilderment, and withholding too much. That said, it's hard to fault just about everything else in the film, which is so sparsely done yet so richly affecting, often in eerie ways, made eerier by Haneke's ability to stage the film like a straight drama/mystery, instead of a psychological horror film. Complex, daring, and almost guaranteed to leave you talking (albeit about almost too much), Haneke's film stands as an unsettling portrait of a generation that would grow up to commit one of the worst crimes in human history, as well as the people who raised them. It's also one of the best damn films of the year (well...last year), foreign or otherwise.

Grade: A-

Trailer for Michael Haneke's acclaimed "The White Ribbon"

39th Annual Telluride Film Festival Lineup announced

Screw the movies, I'd go just to catch a glimpse of those Federico Fellini dream world drawings. On a similar note, I wonder if it's any coincidence that Anouk Aimee, who starred in what I consider Fellini's two best films (8 1/2 and La Dolce Vita) is receiving an honorary award of sorts...?

Source: Slashfilm.com

The neat thing about the Telluride Film Festival is that the films in play are kept unannounced until just as the fest is beginning. Even as the festival runs, more secret screenings are announced as the weekend rolls on. Peter is on his way up there right now, so it’s fitting that the lineup has just been announced. There’s a lot here that steals some thunder from TIFF, as Cannes notables like An Education, A Prophet and The White Ribbon are all in the lineup, alongside newer pics like Werner Herzog’s Bad Lieutenant: Port of Call New Orleans. The full list, from the festival’s press release, is after the jump.

THE ‘SHOW’

36th Telluride Film Festival is pleased to present the following new feature films to play in the ‘SHOW’:

· A PROPHET (d. Jacques Audiard, Germany/Austria/France, 2009)

· AN EDUCATION (d. Lone Sherfig, U.K., 2009)

· BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (d. Werner Herzog, U.S., 2009)

· BRIGHT STAR (d. Jane Campion, U.K./Australia/France, 2009)

· COCO BEFORE CHANEL (d. Anne Fontaine, France, 2009)

· FAREWELL (d. Christian Carion, France, 2009)

· FISH TANK (d. Andrea Arnold, U.K., 2009)

· GIGANTE (d. Adrián Biniez, Uruguay, 2009)

· HENRI-GEORGES CLOUZOUT’S INFERNO (d. Serge Bromberg and Ruxandra Medrea, France, 2009)

· LIFE DURING WARTIME (d. Todd Solondz, U.S., 2009)

· LONDON RIVER (d. Rachid Bouchareb, U.K./France/Algeria, 2009)

· RED RIDING – three-part series: 1974 (d. Julian Jarrold, U.K., 2009); 1980 (d. James Marsh, U.K., 2009); 1983 (d. Anand Tucker, U.K., 2009)

· ROOM AND A HALF (d. Andrey Khrzhanovsky, Russia, 2009)

· SAMSON & DELILAH (d. Warwick Thornton, Australia, 2009)

· SLEEP FURIOUSLY (d. Gideon Koppel, U.K., 2007)

· TERRA MADRE (d. Ermanno Olmi, Italy, 2009)

· THE JAZZ BARONESS (d. Hannah Rothschild, U.K. 2009)

· THE LAST STATION (d. Michael Hoffman, U.K., 2009)

· THE MISCREANTS OF TALIWOOD (d. George Gittoes, Australia/Pakistan, 2009)

· THE ROAD (d. John Hillcoat, U.S., 2009)

· THE WHITE RIBBON (d. Michael Haneke, Germany/Australia/France, 2009)

· VINCERE (d. Marco Bellocchio, Italy, 2009)

· VISION (d. Margarethe von Trotta, Germany, 2009)

· WINDOW (d. Buddhadeb Dasgupta, India, 2009)

In keeping with Festival tradition, additional “Sneak Previews” are expected to surprise attendees over the weekend. Sneaks will be announced on the Telluride Film Festival webpage throughout the weekend at www.telluridefilmfestival.org.

MEDALLION AWARDS

The 2009 Silver Medallion awards, given to recognize an artist’s significant contribution to the world of cinema, go to:

· ANOUK AIMÉE - French film star Anouk Aimée will receive the Silver Medallion followed by an onstage interview conducted by Scott Foundas (Friday) and Davia Nelson (Saturday). The program will include a screening of Jacques Demy’s 1961 film, LOLA, starring Aimée in her iconic role as the lovelorn burlesque dancer.

· VIGGO MORTENSEN – Telluride audiences will be the first to see American actor Viggo Mortensen’s performance in John Hillcoat’s THE ROAD. The film will be preceded by the presentation of the Silver Medallion and an onstage interview with Ken Burns (Sunday) and Davia Nelson (Monday).

· MARGARETHE VON TROTTA – Historical filmmaker, actress and a key member of New German Cinema, von Trotta will be presented with the Silver Medallion by Barbara Sukowa, followed by an onstage interview conducted by Annette Insdorf (Friday) and Gary Giddens (Saturday). A screening of Von Trotta’s latest film, VISION, will follow the program.

Lobster Films’ Serge Bromberg will receive this year’s Special Medallion award, which honors a “hero” of cinema, at the program “Retour de Flamme,” Bromberg’s famed live cinema show. Bromberg’s new film, HENRI-GEORGES CLOUZOUT’S INFERNO plays in main program. Bromberg will also sign Flicker Alley DVD sets featuring works discovered and restored by Lobster Films.

GUEST DIRECTOR PROGRAMS

Previously announced Guest Director Alexander Payne presents six forgotten film treasures from the past:

· EL VERDUGO (d. Luís García Berlanga, Spain, 1963)

· DAISAN NO KAGEMUSHA: THE THIRD SHADOW WARRIOR (d. Inoue Umetsugu, Japan, 1963)

· LE RAGAZZE DI PIAZZA DI SPAGNA (d. Luciano Emmer, Italy 1952)

· DAY OF THE OUTLAW (d. André De Tothe, U.S., 1959)

· THE BREAKING POINT (d. Michael Curtiz, U.S., 1950)

· MAKE WAY FOR TOMORROW (d. Leo McCarey, U.S., 1937)

FILM REVIVALS

· LES NOUVEAUX MESSIEUR (d. Jacques Feyder, France, 1929) - With live music by Stephen Horne, performing his original score

· L’ARGENT (d. Marcel L’Herier, France, 1928) – Featuring the world premiere of a new score written and performed by the Mont Alto Motion Picture Orchestra

· LOLA (d. Jacques Demy, France, 1961)

· MIRACLE OF MALACHIAS (d. Bernhard Wicki, Germany, 1961)

· TONI (d. Jean Renoir, France, 1934)

BACKLOT

Backlot, Telluride’s intimate screening room with behind-the-scenes films and biographies of musicians and filmmakers, will screen the following documentaries:

· 14-18: THE NOISE AND THE FURY (d. Jean-Francois Delassus, France/Belgium, 2009)

· 1959: THE YEAR THAT CHANGED JAZZ FOREVER (d. Paul Bernays, U.K., 2009)

· AGAINST THE GRAIN: THE FILM LEGEND OF BERNHARD WICKI (d. Elisabeth Endriss-Wicki, Germany, 2007)

· CHARLIE HADEN: RAMBLING BOY (d. Reto Caduff, U.K., 2009)

· COOL (d. Anthony Wall, U.K., 2009)

· DISCO AND ATOMIC WAR (d. Jaak Kilmi, Estonia/Finland, 2009)

· IT CAME FROM KUCHAR (d. Jennifer Kroot, U.S., 2009)

· THE MAKING OF SAMSON & DELILAH (d. Beck Cole, Australia, 2009)

· VIET HARLAN: IN THE SHAD OF JUD SUSS (d. Felix Moeller, Germany, 2009)

· WAKING SLEEPING BEAUTY (d. Don Hahn, U.S., 2009)

· WE WHO LIVED “LA DOLCE VITA” (d. Gianfranco Mingozzi, Italy, 2009)

SHORT FILMS

SHOWcase for Shorts features nine short films chosen to precede select feature films. Filmmakers of Tomorrow includes two shorts programs, Great Expectations and Student Prints, from fourteen emerging filmmakers and a special nonfiction program, In the Realms of the Real, screens six short and medium length documentaries.

EDUCATION PROGRAMS

The Student Symposium provides 50 graduate and undergraduate college students a weekend-long immersion in cinema; the City Lights Project brings fifteen high school students and five teachers from three divergent schools the opportunity to participate in a concentrated program of screenings and discussions.

CELEBRATING MANNY FARBER

The previously announced Celebration of Manny Farber includes a screening of one of Farber’s favorite films, TONI, followed by a panel discussion exploring Farber’s work with Greil Marcus, Jean-Pierre Gorin, Kent Jones, Robert Polito, Robert Walsh and Patricia Patterson. Following the panel, editor Robert Polito will sign copies of Farber On Film: The Complete Writings of Manny Farber.

POSTER ARTIST WILLIAM WEGMAN

Previously announced Poster Artist William Wegman will present a selection of his short films followed by a conversation with art curator David Ross and the audience. Poster signing to follow. An exhibit of the posters with which Wegman experimented before selecting the final version will be on display at the Wegman Gallery, along with a series of original paintings created for Telluride and the unveiling of a second, limited edition poster. Gallery only open throughout the four-day Festival.

TALKING HEADS

Features six Conversations between Festival guests and the audience about film and culture, and three outdoor Seminars with a panel of Festival guests. These programs are free and open to the public.

ADDITIONAL FESTIVITIES

· Fellini’s Book of Dreams – The Academy of Motion Picture Arts and Sciences’ exhibition includes reproductions of the 12-time Oscar nominee Federico Fellini’s dream-world sketches.

· Russian Master: Animation by Khrzhanovsky – A rare screening of Andrey Khrzhanovsky’s animated films. His debut feature ROOM AND A HALF plays in the main program.

· Alice Waters Book signing – Following the screening and intro of TERRA MADRE, Waters, vice president of Slow Foods International, will sign her classic Art of Simple Foods

Poster for Michael Haneke's "The White Ribbon"

The film won the Palme D'Or (as well as raves) at Cannes in May, and was recently selected as Germany's entry for the Foreign Language Film Oscar. EDIT: US release date is set for December 30th. Thanks to anonymous for the info.