I had intended to post a transcript of a fascinating (if I do say myself) interview I conducted with the three directors of “The Signal,”
which is a thriller about a mysterious signal broadcast over every media that
drives people into a murderous frenzy. Frankly, the same thing happens to me
when I see a Head-On or Bob’s Furniture commercial.
I think we can safely say, after watching last night’s Oscars,
that Barack Obama will defeat Hillary Clinton for the Democratic Presidential
nomination. Otherwise, how else account for my incorrect prediction in the Best
Supporting Actress category? And there are other reasons as well.
But let’s not get ahead of ourselves.
Alain Robbe-Grillet has passed away. Or has he? Given the fluid nature of reality in
his books and films, the permeability of all times with eternity, the
interconnection of every consciousness and fate with one each other and with
none in particular, he may just have moved on to another scene or narrative
line or another movie.
Before George Romero, (with a nod towards Richard Matheson’s 1954 sci-fi novel “I Am Legend”) zombies were
just bit (no pun intended) players in the horror genre, inert, usually
voodooized automatons that with few exceptions (i.e, Jaques Tourneur’s “I Walked
With a Zombie”(1943), scheduled for a 2009 remake left little impression.
Friends and family said farewell to Heath Ledger in a
private memorial and funeral service in his hometown of Perth, Australia,
over the weekend. Most of us will remember him for his consummate performance
as the repressed ranchhand suffering an unfulfiiled lifelong love affair with a fellow cowpoke
in Ang Lee’s "Brokeback
Much like a Mungiu movie, my conversation last time ended in
the middle of something unfinished. We
were discussing a dinner scene in “4
Months 3 Weeks and 2 Days” in which the protagonist, Otilia, is stuck at a
torturous dinner party with her boyfriend’s crass bourgeois parents at a time
when she would much prefer to be somewhere else, however awful.
through the Ceacescu dictatorship, Cristian Mungiu probably finds the stupidity
of the Motion Picture Academy’s Foreign Language committee a minor nuisance. Nominated
by Romania as its candidate for the Best Foreign Language film, his “4 Months,
3 Weeks and 2 Days,” a stark, subtle and devastating depiction of
the travails of two young women seeking a solution in a society in which
abortion has been criminalized, was totally ignored by whoever the clowns are
that make that determination.