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This is what my dreams look like … Game of Thrones Theme (Electric Harp Duet) Camille and Kennerly, Harp Twins … no wait … what? #fb
Sound on Sight Podcast #321: ‘Laurence Anyways’ / ‘The Dreamers’
Quebec’s most divisive new director of the last few years, as well as one of its most prominent, Xavier Dolan has already produced three features, each of which have played at Cannes. His latest, Laurence Anyways, is a hugely ambitious undertaking, spanning a decade and running well past two and a half hours. Ricky, Justine and Simon try to suss out whether or not his efforts paid off. Then, we kick off a new marathon, in which every week we’ll tackle a film set in or around May ’68 in France, inspired by the social unrest currently brewing in SOS’s home province. This week, the subject is Bernardo Bertolucci’s incestastic The Dreamers.
cute #fb
(via moldywatermelon)
Bill Murray photographed by Sofia Coppola for Vanity Fair, March 2004
(via oldfilmsflicker)
http://www.thebestdegrees.org/9-worst-cinematic-portrayals-of-college-life/
‘Two Years at Sea’ has enigmatic appeal, but only for so long
wo Years at Sea
Directed by Ben Rivers
UK, 2011
The most appealing aspect of video artist Ben Rivers’ debut feature is its intentionally grainy, monochrome 16mm cinematography, providing a dreamy quality to a curiously beautiful visual aesthetic. Two Years at Sea immerses the viewer in the gentle rhythms of the life of hermit Jake Williams, who lives a life of solitude in a remote forest in the north of Scotland. Free of words bar Williams’ occasional mutterings and lyrics in recorded music he plays, the film slowly showcases the man’s activity and creates a unique portrait of a lifestyle of extreme solitude; we follow his daily routines, his chores in his derelict home, his wandering about the local land, his fishing aboard an inflatable raft and even his slow drifting off to sleep.
(Source: lostintheglare, via lifeonmars70s)
Game of Thrones, Ep. 2.09: “Blackwater” mostly lives up to the hype
Game of Thrones, Season 2, Episode 9: “Blackwater”
Written by George R. R. Martin
Directed by Neil Marshall
Airs Sundays at 9pm ET on HBO
The Battle of the Blackwater. From book proponents to HBO itself, there’s been a steady stream of hype coming in about the event, and it’s “Blackwater”‘s job to work as a stunning lynchpin to hold the back half of the season together. (You’ll remember that “Baelor,” the penultimate episode of the first season, featured Ned Stark’s execution.) And so George R. R. Martin himself pens the episode, Neil Marsall (Centurion, The Descent) directs; big guns for a big battle. The whole season has been designed around this event. So the question is: does “Blackwater” do the trick? Mostly, yes, it does.
“Blackwater” sticks exclusively to King’s Landing and its surrounding waters over the course of a couple of fateful hours, eschewing the “grand tour” mode the show’s been operating in for quite some time, and it’s all the stronger for it; it’s an approach that more closely resembles the way the books are laid out, wirh one character’s perspective per chapter. The hour mostly oscillates between two types of scenes: key moments from the battle itself, and quiet scenes of dialogue that help to flesh out the suffocating atmosphere in the city as everyone waits for their fates to be decided.
While taking in a steady stream of wine, Cersei drops all pretenses with Sansa this week, describing in detail just what sort of awful things will befall them should the city fall – and what awful things she can continue to expect in her shared life with Joffrey if it does not. Lena Headey’s hardly the show’s subtlest performer, but she’s well-suited to drunken tears. As for Sansa, she pairs up with the hour’s most unexpectedly important figure, the Hound, who quite possibly spirits her out from the city. (Maybe. The shot of her dropping the doll makes it seem like she’s made the choice to trust him and take off, but let’s save definitive answers for next week.)
Holy Motors photo gallery
Red-Band Trailer for ‘Maniac’ Shows Elijah Wood’s Dark Side
Elijah Wood as a serial killer sounds a bit far fetched. But, when you consider his turn as a silent, smiling cannibal in Sin City, you know he can get creepy when he has to. And don’t let the fact that this is a remake of a cult classic turn you off; the trailer presents enough disturbing POV shots to tell you that the production chose creativity over mediocrity. And, in the horror remake genre, that’s a triumph.
Trailer for Cannes most talked about film, ‘Holy Motors’
- From dawn to dusk, a few hours in the life of Monsieur Oscar, a shadowy character who journeys from one life to the next. He is, in turn, captain of industry, assassin, beggar, monster, family man… He seems to be playing roles, plunging headlong into each part – but where are the cameras? Monsieur Oscar is alone, accompanied only by Céline, the slender blonde woman behind the wheel of the vast engine that transports him through and around Paris. He’s like a conscientious assassin moving from hit to hit. In pursuit of the beautiful gesture, the mysterious driving force, the women and the ghosts of past lives. But where is his true home, his family, his rest?
Hungarian director Béla Tarr to close production company
The United States Postal Service gives four filmmakers its stamp of approval.
“Breaking Gifs” is a Breaking Bad Art Project and it is pretty awesome. Check it out!
‘High School’ succeeds in doing for pot what Superbad did for booze
High School
Directed by John Stahlberg
Screenplay by Erik Linthorst and John Stalberg
2010, USA
The words “stoner comedy” give rise to odious associations, making one expect a haphazard, loosely plotted, and unfunny mess – and, in almost all cases, rightfully so. John Stahlberg’s riotous and very funny High School elides such easy dismissal through a combination of inspired casting, tireless comic energy and an irresistibly simple narrative hook.
Valedictorian candidate and all-around overachiever Henry (Matt Bush, best known as the fellow who tirelessly attacked Jesse Eisenberg’s balls in Adventureland) is only days away from securing his academic future when a chance encounter with childhood-friend-turned-stranger and general stoned layabout Travis (Sean Marquette) leads him to smoke pot for the first time in his life. Immediately following this brief indiscretion, his school’s relentlessly ordered principal (a bewigged Michael Chikis) announces that the entire school will be subject to a drug test, and anyone who fails will be expelled. Henry and Travis decide to join forces in an unlikely scheme to get the entire school to fail the test – a scheme that also involves a deeply unhinged local pot magnate (Adrien Brody).
