Dan and Kailey are joined by Steve Austin on the line from Auckland to talk about “Straight to Video”, his blog reviewing the increasing number of films that don’t get a theatrical release in New Zealand (including James Gray’s The Immigrant). He sticks around to help the team review Clint Eastwood’s American Sniper which stars Bradley Cooper as an all-American hero traumatised by the Iraq war.
Plus, Kailey interviews Tess and Jamie from the Circa Theatre production of Seed.
It’s no disgrace to come second at Cannes to Michael Haneke’s Amour, especially so when your film is Rust and Bone. Writer-director Jacques Audiard has a track record of unsettling and confronting dramas, starting (for New Zealand audiences) with Read My Lips in 2001 and — most recently — prison drama A Prophet in 2009. Rust and Bone is equally rugged but with some beauty to balance the violence and despair.
Acadamy Award-winner Marion Cotillard is the big name on the marquee but the film really belongs to Matthias Schoenaerts who lays down a portrait of wounded masculinity as riveting as any of De Niro’s classic performances. He’s Alain, a drifter and waster who lands in picturesque Antibes with his young son. He’s useful in a scrap but useless as a parent and some of the most difficult scenes in the film are of him failing to look after the boy.
Firstly, I should add a vital — totally Telluride — detail to yesterday’s post. By choosing to watch Rust & Bone and the Marion Cotillard Tribute I missed the first indoor screening of Hyde Park on Hudson and therefore a rare live appearance by Bill Murray at the Q&A. Regret is an emotion reserved for those who only look backwards but — damn!
Legend Leonard Maltin waiting to gain entry to At Any Cost.
Back to the show. Sunday was always likely to be a very full day and — with my new found confidence in the “system” I was determined to take full advantage. I once begged the New Zealand Film Festival to let me watch a screener of Ramin Bahrani’s Man Push Cart, even though they had chosen not to programme it because I loved the idea so much and because Roger Ebert has been championing the talented young director for years. In fact, they have only screened one of his three films to date: Goodbye Solo in 2009.
Saturday dawned early and I was grateful that the first screening of the morning was at the Chuck Jones’ in Mountain Village, barely a fifteen minute shuttle from my accommodation. Time to grab a coffee and then wait in line for an 8.30am repeat of the Roger Corman Tribute from the night before. This time the host and interrogator would be Leonard Maltin (familiar to all New Zealanders of a certain age, I think) instead of Todd McCarthy.
A fairly representative picture of Mountain Village architecture.
Before Mr Corman was invited on stage, we got to see an excellent documentary on his life and work, Corman’s World: Exploits of a Hollywood Rebel. After that, Corman entered the stage to a standing ovation and we were treated to insights and stories from an exceedingly well-educated and thoughtful entrepreneur and artist for almost an hour. The surprise for me was hearing about Corman’s liberal politics and how he might have steered his filmmaking in that direction if it hadn’t been for the commercial failure of The Intruder (1962, starring William Shatner as a white supremacist).
I don’t know what the French did to be so roundly insulted at the movies this week but I’d advise them to steer clear of Wellington cinemas for a while — perhaps until their film festival gets under way again next year. Firstly, crass action auteur Paul W.S. Anderson (Resident Evil) attempts to reboot a franchise from one of France’s most cherished pieces of literature but then makes The Three Musketeers without a single French person appearing on screen.