Catherine Deneuve didn't start getting kinky with The Hunger -
not after having worked with Luis Buñuel and Roman Polanski. Buñuel guides her
through the exquisitely twisted Belle de jour
(1967), in which she plays a gelid bourgeois housewife who works at a bordello
as a hobby. Polanski shows her the ropes in Repulsion
(1965), perhaps the most horrible and seductive version of Home
The Wendigo (2001)
Every year the Oscars suck, and every year
our advice is the same - if you want to see how this kind of show should be
done, check out the now 17th Annual Chlotrudis Awards. The cinephilic members of the Chlotrudis
Society for Independent Film hand out offbeat prizes and regale their audience
with an astonishingly accomplished song-and-dance revue.
Despite his terse, cinematic style, Ernest Hemingway
never had much luck when his work was adapted for the screen. But there are a
couple of exceptions. Frank Borzage made a stark, atmospheric A Farewell to Arms (1932), with Gary Cooper as the callow WWI ambulance driver and Helen Hayes as
the nurse who loves him.
A Screaming Man (2010)
Just as English
means more than England, French means more than France, as can be seen in the
Museum of Fine Arts' Francophone Film Festival. One such Francophone country is the
African nation of Chad, the setting for A Screaming Man
(2010), Saleh Haroun's tale of a hotel pool attendant struggling for survival
during a civil war.
Correction, in a perfect world, everyone would look like Audrey Hepburn or blonde beauty of the silver screen Catherine Deneuve. Tonight the Brattle is showing two films she made with François Truffaut. In Mississippi Mermaid (1969), she plays a mail-order Madagascar bride who's more than Jean-Paul Belmondo's wealthy tobacco farmer bargained for.
In Danny Boyle's harrowing 127 Hours, you see the protagonist take himself apart. In his spectacular adaptation of Mary Shelley's Frankenstein, which is currently being staged in London, you see him get sewn together. You can watch that idea work itself out in this live broadcast of the production (whose notices are good as, if not better than, those for Boyle's film) at the Coolidge Corner Theatre, 290 Harvard Ave, Brookline | 6:30 pm | $20; $17 seniors | 617.
If the late Maharishi Mahesh Yogi had his way, we'd all be enlightened and floating in the air, our asses six inches off the ground. Looking into the state of Transcendental Meditation is filmmaker David Sieveking, who was drawn to the movement because his idol David Lynch is one of its biggest advocates. As he shows in his documentary David Wants to Fly, everything is not quite blissful in the realm of TM.
In a perfect world, everyone would look like Audrey Hepburn in Breakfast at Tiffany's (1961). Until that happens, we must be content with this sparkling adaptation of the Truman Capote novel, perhaps the late Blake Edwards's most charming movie, in which Hepburn plays Holly Golightly, the kooky waif who beguiles neighbor George Peppard.
Where are the women making film these days?
Where are our local directors? Both questions are answered at the BU
Cinematheque program "Experimenting Women: An Evening with Jodie Mack, Rebecca Meyers, and Alla Kovgan"
a discussion with and screening of films by three of New England's top
independent filmmakers: Dartmouth professor Mack, who'll show her abstract
animations; Meyers, programmer for ArtsEmerson's film series, who'll screen her
idyllic shorts; and the Russian-born Kovgan, who'll screen Nora, an experimental dance biography about a Zimbabwean
Now that Watson the computer has become the new champion
of Jeopardy, the
machine takeover of the world is just a matter of time. To see what we can
expect, check out this twin bill. We're all familiar with HAL 9000 in Stanley
Kubrick's 2001: A Space Odyssey; less well known - and maybe even more
insidious - is Proteus in the ever-twisted Donald Cammell's Demon Seed, since he
gets the hots for his inventor's wife.
Any preconceptions about what constitutes Jewish film,
or film in general, might be shattered by this year's Jewishfilm.2011, one of local cinema's most noteworthy
events. Take the opening-night feature, Avi Mosher's shaggy-dog drama The Matchmaker (Once I Was) (2010). Set in
1968 Haifa, it
depicts the initiation into adulthood of a teenager who learns about life from
the title relationship broker.
A lot of filmmakers these days are being
compared to John Cassavetes, so this look at the real thing from the folks at ArtsEmerson
might be illuminating. Faces
(1968) is typical of his visceral, cinéma-vérité
examinations of all too convincingly tormented relationships, as an older
married couple (John Marley and Gena Rowlands) break up and pursue younger
One of the world's most vital regions for film is showcased in
the Museum of Fine Arts series New Latin American Cinema.
It opens today with Brazilian directors Felipe Braganca and Marina Meliande's The Joy ( 2010 | 5:45 pm)
in which the ghost of a murdered youth seeks refuge with his teenaged cousin.
It screens along with Colombian director Oscar Ruiz Navia's Crab Trap (2009 | 8 pm), a
naturalistically shot story about a man who encounters a young girl in an
environmentally ravaged coastal town and is smitten by her innocence.
The late Yilmaz Güney brought international
attention to Turkish cinema with Yol
(1982), which he wrote and co-directed with Serif Gören. It's a harrowing,
visually striking tale of released prisoners who find living under the then
military dictatorship ruling the country even more dismal and confining than