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Archive for the ‘Foreign Films’ Category

William Brown’s En attendant Godard (2010) – Zero Budget Feature Filmmaking

Monday, September 29th, 2014

No money? No problem! William Brown’s brilliant feature film was shot digitally on almost nothing at all.

Even in the era of lightweight digital cinema, I constantly hear the complaint that “I’d just make a movie if I had the money,” or “you can’t make a movie without any money” or words to that effect, but in fact, you really can. All it requires is a decent quality digital camera, some friends as actors, and an intelligent scenario shot on location, and – providing you know what you’re doing, can come up with an original concept, and that everyone involved knows that there’s going be no money for anything – very 1960s underground filmmaking – then you’ll be OK. Think of Ron Rice’s The Flower Thief, one of my favorite films, or Jack Smith’s Flaming Creatures, both shot in the early 1960s on non-existent budgets on 16mm film. Now, with digital video, you don’t even need that. You do, however, need a vision, and once you have that, you have it all.

When En attendant Godard was screened at the CPH PIX film festival in Copenhagen in 2010, the program notes commented that “one has to pay close attention if one hopes to capture the many references to the new wave icon Jean-Luc Godard in William Brown’s humorous tribute to the French film director, who already in 1967 declared that film was dead – and who has since continued undauntedly to revolutionize its formal language from the margins. And even if some knowledge about the French director would not be a disadvantage, it is far from obligatory.

Like a tour de force through the French director’s collected works, Brown has created a story, which is as hard-boiled as it is unrestrained, about the loners Alex and Annie, who set out to find Godard, and suddenly have a double homicide and a ménage à trois on their conscience. En attendant Godard is a funny tribute to one of the biggest geniuses of film history, and it also shows how one can make use film as film criticism – without in any way needing to be hyper-intellectual. ‘All you need is a girl and a gun’, Godard famously said about making films. With his impressive zero budget debut William Brown both pays tribute to and corrects his master – and subtly underlines what we perhaps already knew from the beginning, that all we really need is a girl and Godard.”

Critic Jonathan Rosenbaum agreed, citing En attendant Godard as one of the Top Five Films of 2009 in Sight and Sound magazine – alongside films by Abbas Kiarostami and Alain Resnais. Pretty impressive for a film made for practically nothing at all — just raw talent, determination, and the desire to make a feature film that isn’t a genre film, or another horror film, but rather something that’s both intellectually stimulating and adventurous – something that moves outside the boundaries of the known into a realm of endless possibilities.

Best of all, you can see the film right here, right now, by clicking here, or on the image above.

Atom Egoyan’s Chloe

Friday, September 26th, 2014

Atom Egoyan’s Chloe is a remake of a film by Anne Fontaine; in many ways, it’s much better than the original.

As Egoyan notes of the overall theme of the film, “First and foremost, Chloe deals with the nature of intimacy. But I think the film is ultimately about what we look for in a relationship – to see someone else as we would like ourselves to be seen, and the idea of protecting someone else’s right to be alone, or to protect solitude. As Rilke wrote, it is one’s role as a partner to protect the other’s solitude, and yet there’s this balance between doing that and losing someone. That to me is what the film is about – how to be allowed to imagine ourselves and integrate that into a relationship.

In any love relationship, you have to protect yourself, but it you’re not aware of the explicit agenda of the other person, the skew can become really dangerous, even explosive. This is the terrain the film deals with – how to be allowed to imagine ourselves and integrate that in a relationship. And in some ways, the film is about the necessity and danger of creative interpretation of the self. Ultimately, we all need to believe in certain stories or narratives about ourselves. We all need to feel we have some control over how that narrative evolves. However, we have no control over the variables we can’t anticipate – all of the other emotional factors that come into play.

There’s always a variable when dealing with human beings. We are incredibly complex sensitive souls, and no matter how you think a relationship is defined by parameters, those can always evolve, so we need to be invested in other people. We need to fall in love and we need to go to those places, but we also need to equip ourselves in understanding how fragile other people are. If we don’t, there’s bound to be consequences.”

You can read more about this interesting, often unsettling film by clicking here.

Netflix and National Cinemas

Monday, August 25th, 2014

I have a new article in Film International, on the effects of Netflix on national cinemas.

As I write, in part, “People would much rather watch from the comfort and safety of their living rooms than trek out to the theater for anything other than the most immersive spectacle; the clearest evidence of this is the complete collapse of video rental stores, even in such major cities as New York, a metropolis of eight million people, which seemingly can’t sustain more than few revival houses, and only one or two video rental locations, even though they offer the kinds of films you’re not likely to find on Netflix.

Why go out when you can have the images delivered with a touch of a button? Why bother to seek out anything new when there’s seemingly so much product – all of it pretty much the same, even the supposed ‘indies’ – available on demand? You don’t need to do any exploring. We’ll do it for you, and not only that – we’ll put the films in nice little slots like ‘foreign’ or ‘indie,’ thus ensuring a miniscule audience. Along these lines, the Amazon ’suggestion’ feature on their website continues to amaze me, because of its utter lack of discrimination.

If you order one DVD of a French film, suddenly they recommend nothing but French films for you; order one Barbara Stanwyck film, and they think you’re only interested in films in which she stars; order a gothic thriller, and you’re inundated with offers for like material. Erase all of these possible options, and the suggestion engine comes up blank – it can’t figure you out. How come you like so many different kinds of films? Where’s the thread here that they can track? Why won’t you stick to a predictable pattern? And why do you want a DVD anyway, when there are these great films to stream, so easily, at the touch of a button?”

You can read the entire article by clicking here, or on the image above.

Great Advice from Great Directors

Tuesday, July 15th, 2014

Here are some excellent tips from directors past and present; above, director Claire Denis.

As Alison Nastasi, who compiled these quotes, writes in Flavorwire, “artistic expression is an assertion of individuality, and all artists compose their work differently. In the case of filmmaking, there are numerous approaches to translating a story to celluloid. Inspired by director Wim Wenders’ recent advertising short, Wim Wenders’ Rules for Cinema Perfection, we’ve collected the golden rules of filmmaking employed by 100 famous directors. These tips and tricks are a wonderful source of advice and inspiration — even for the most seasoned professionals. The rules also serve as a fascinating snapshot of each directors’ filmography, capturing the spirit of their work.”

Click here, on the image above, to see the entire collection of quotes; interesting reading.

Frame by Frame Videos on Film History, Theory, and Criticism

Tuesday, June 24th, 2014

Here’s a carousel of more than sixty videos in my Frame by Frame series; click here, or above, to play!

Frame by Frame is a series of short videos I made with Curt Bright on film theory, history, and criticism — each is about 3 minutes long or so. Episodes of Frame by Frame cover The Hollywood Blacklist, Ridley Scott, Commercials in Movie Theaters, Inception, 3-D, Film Critics, War Movies, Film Composers, Buster Keaton, Charlie Chaplin, Subtitles vs. Dubbing, The Aura, John Ford, Remakes, Special Effects, John Huston, Ridley Scott, Fritz Lang, Howard Hawks, Alice Guy Blaché, Oscar Micheaux, Horror Movies, Deep Focus, Pan and Scan, Jean-Luc Godard, Camera Movement, Metropolis, Psycho, Movie Trailers, Laurel and Hardy, The Three Stooges, Minorities in American Film, The King’s Speech, Alfred Hitchcock, The Great Gatsby in 3-D, Digital Cinema, Special Effects, John Huston, Manoel de Oliveira, Orson Welles, Martin Scorsese, Westerns, Nicholas Ray, Busby Berkeley, Claire Denis, Woody Allen, Film Archives, George Cukor, Roger Corman, Billy Wilder, trailers, the Hollywood Ratings System, and many other topics.

Check it out! Useful for your classes; feel free to download as you see fit; use as you wish.

Juan Orol, Phantom of the Mexican Cinema

Monday, June 23rd, 2014

I have a new article out today in Film International on the prolific Mexican filmmaker Juan Orol.

As I write, in part, “Juan Orol’s “first directorial credit was on the 1927 silent film El sendero gris (1927, co-directed with Jesús Cárdenas), but his first big hit was the 1935 maternal tearjerker Madre querida (Beloved Mother), which he produced, directed, and introduced on screen, with a seemingly heartfelt paean to all the mothers in the audience, in addition to providing the story for the film. This was followed by the equally sudsy Honrarás a tus padres (Honor Thy Mother and Father, 1937), which Orol produced, directed, and starred in – this last function serving as the beginning of a long string of performances in his films, despite his somewhat unprepossessing appeal as a matinee idol.

After exhausting the public’s appetite for melodrama and musicals, Orol turned to gangster films, and soon became the foremost exponent of the ‘Cine Negro Mexicano,’ also known as the ‘Cine de Gangsters.’ It was here that Orol truly found his métier. Orol idolized the Warner Bros. gangster films of the early 1930s, and imagined himself as a worthy competitor of the likes of James Cagney, Humphrey Bogart and Edward G. Robinson. Soon, he invented a recurring character that he would play for most of the rest of his life – Johnny Carmenta, a supposedly suave denizen of the underworld who would eventually become Orol’s almost real-life alter ego.

This gave rise to the best-known film of Orol’s long career, the genre bending Gángsters contra charros (Gangsters Against Cowboys, 1948), in which Orol, as gangster Johnny Carmenta, battles cowboy Pancho Domínguez (José Pulido) in a Mexico City turf war, further complicated by the presence of cabaret dancer Rosa (Rosa Carmina, who was also Orol’s third wife at the time), who deftly plays one man off against the other. As with the majority of Orol’s films, most of the 79 minute running time of Gángsters contra charros is comprised of long dialogue scenes, in which Orol and Pulido threaten each other with a singular lack of conviction, interspersed with equally interminable series of dance numbers, making the film in effect a gangster/cowboy/musical. Despite its shoddy production values, audiences flocked to the film, and Orol seemed utterly unstoppable.

Demonstrating the truth of Jack Warner’s oft repeated mantra, ’successful films aren’t made; they’re remade,’ Orol created an updated version of Madre querida (Beloved Mother) in 1951, and then continued on for the next two decades with such offerings as El sindicato del crimen (The Crime Syndicate, 1954), Zonga, el ángel diabólico (Zonga, the Diabolical Angel, 1958), Antesala de la silla eléctrica (Prelude to the Electric Chair, 1968, which was actually shot in Miami, Florida) and Historia de un gangster (Story of a Gangster, 1969) [. . .]

Dubbed the creator of ‘accidental surrealism,’ the world that Orol’s films depict is at once alluring and evanescent, existing in a twilight zone of cheap sets, shabby nightclub acts, and the seemingly eternal presence of Orol’s gangster alter ego. Like [Roger] Corman in his best films, his early black and white work from the 1950s, Orol presented his viewers with a world of pervasive corruption, yet infused with his own sense of indomitable optimism.

Pop culture reflects the needs and desires of the time in which it is created; at Orol’s retrospective, only a few patrons showed up, while during his heyday, his films packed movie houses throughout the country, earning record grosses, but were never really allowed to find an audience outside Mexico. In short, he knew precisely what his audiences wanted to see.

Hotwiring existing genres into a mind-bending meld all his own, Orol created a cinema that is absolutely unique, and utterly without precedent. [Directors] Emilio Fernández and Luis Buñuel, who both knew him, would agree; whatever his faults, Juan Orol was doing precisely what he wanted to, answering to no one but himself, and yet at the same time creating films that the public clamored to see, cloaking his own vision in the venerable disguise of a genre filmmaker – which he was, and yet he wasn’t.  This, perhaps, is his most significant accomplishment, one any cineaste would envy.”

You can read the entire article by clicking here, or on the image above.

Two UNL Film Studies Students Have Work Screened at Cannes

Tuesday, May 27th, 2014

Aliza Brugger and Collin Baker, both UNL Film Studies students, recently had their films screened at Cannes.

As this story by Leslie Reed of the UNL News Service notes, “Brugger’s first work as a director, a seven-minute film called ‘The Pursuit of Happiness,’ was among those screened at the international film festival. It was one of two films directed by UNL film studies students at the annual film festival. Collin Baker’s eight-minute film, ‘Over Forgotten Roads,’ also screened. Brugger and Baker are the first two UNL students to have a film screened at Cannes. Several thousands of short films are submitted each year for consideration by the festival; Brugger’s was one of 31 selected for screening through the American Pavilion, the center of activity for the American film community at Cannes. UNL’s Wheeler Winston Dixon, professor of film studies and English, described the Cannes selection of Brugger’s film as a ‘distinct honor.’”

On her way back to the States, Aliza filed this report – “coming from Lincoln, Nebraska and having never been in Europe, let alone Southern France, entering the city of Cannes was quite a shock. It is a beautiful city. Much like Southern California, it’s engulfed by palm trees, aqua blue water and gorgeous weather. Also much like Southern California, Cannes is engulfed by the film business.

Plastered all over the shops and walls of Cannes were advertisements for the festival and the films showing. Needless to say, as a Film Studies student, I was elated. Not only was I going to get to watch a plethora of films, but my first short film as a director was also going to be screening at the festival. I was certain it was going to be an amazing two weeks.

There were so many things I learned, and so many people I met. I met many filmmakers who were genuinely passionate about the art of film, like myself. I was able to make real and probably much longer lasting connections with my own peers. Throughout the program our mentors repeatedly told us that these are the connections that matter, and by the end of the festival I realized it to be true.

I was able to meet several young filmmakers who are also pursuing their dreams, which has given me a real sense of community. I also met many of the other interns’ mentors who were familiar with jobs and internships where I would fit in quite well, so now I have whole set of new connections. The doors are now wide open!

Some really beautiful films that I watched during the festival included Timbuktu, Lost River, Goodbye to Language, Charlie’s Country, and Finding Eleanor Rigby. The screening of my own film, The Pursuit of Happiness, really went quite well. Almost 50 people saw it, and I received a really great response from the audience, who thought it was an interesting and innovative way to tell a story, which obviously made me quite proud.

I can’t express enough how glad I am that I attended this festival. I learned so much about the business, and about how it works. More than anything, it has given me a lot to think about regarding where I want to be in the world of film, and I look forward to making new contacts, and creating new projects.”

Congratulations Aliza and Collin, and much success in the future!

UNL Film Studies Students at The Cannes Film Festival

Sunday, May 25th, 2014

The Cannes Film Festival has just wrapped up; here’s Marcello Mastroianni in the festival poster.

And the winners are: Palme d’Or – Winter Sleep, dir: Nuri Bilge Ceylan; Grand Prize - Le Meraviglie (The Wonders), dir: Alice Rohrwacher; Best Director – Bennett Miller, Foxcatcher; Jury Prize – Tie - Mommy, dir: Xavier Dolan and Goodbye To Language, dir: Jean-Luc Godard; Best Screenplay – Andrey Zvyagintsev, Oleg Negin, Leviathan; Best Actress – Julianne Moore, Maps To The Stars; Best Actor – Timothy Spall, Mr Turner; Camera d’Or - Party Girl, dirs: Marie Amachoukeli, Claire Burger, Samuel Theis; Short Film - Leidi, dir: Simón Mesa Soto.

I agree with the awards, for what it’s worth – this seems to have been a lively and exciting festival, though how these films will do in the rapidly shrinking commercial marketplace is another question altogether – but we can hope. It’s nice to see Godard win something at last; nice also to see Bennett Miller, Julianne Moore and Timothy Spall emerge as victors; this year’s festival seemed to look both to the past – with Godard – and to the future, with Nuri Bilge Ceylan’s Winter Sleep and Xavier Dolan’s Mommy.

The Film Studies Program at UNL had a connection to the festival, as four of our students in the Film Studies Program – Aliza Brugger, Collin Baker, Thomas Peterson and Alannah Kennedy. – were working as interns in the American Pavilion at the festival, and two students, Aliza Brugger and Collin Baker, actually had short films screened at the festival.

We’re also going to be represented at Cannes next year, as the American Pavilion was very happy with the work of our students, and they’ve already contacted us again for the next edition of the festival. Needless to say, for our students in Film Studies, this was a real opportunity, and one which we hope will continue. Thanks to Kelly Payne, our chief adviser in Film Studies, for setting this up – much appreciated. It’s one more step towards international visibility.

So now we’ll see what next year brings; congratulations to all the winners and participants!

Godard Directs Breathless

Saturday, May 24th, 2014

This astonishing shot of Jean-Luc Godard directing his first feature, Breathless (1960), has just surfaced.

What’s so amazing about it? This is the sequence in which Patricia Franchini (Jean Seberg) interviews the writer Parvulesco (in real life, director Jean-Pierre Melville) at the airport; what’s impressive and inspirational here is the simplicity of the working crew, stripped down to the bare essentials. Other than Godard, seated, gesturing towards the off-screen actors, the only other person directly involved in the shooting is camera operator Claude Beausoleil (Raoul Coutard was the director of cinematography, but Beausoleil did much of the actual shooting) – one cameraman, one director, to shoot the scene – that’s all.

The sound was all post-synchronized, so there’s no need for a Nagra and a boom mike. Natural sunlight provides all the illumination Godard needs. The resulting film reinvented the cinema, and established Godard as a director of the first rank. Filmmaking should be this simple; there’s no need for thirty people to supervise a simple scene such as this. If film is to reinvent itself again, it must return to the basics; a camera, some actors, a director, and the power of the direct image – above all else.

Click here, or on the image above, to see the trailer for Breathless.

Goodbye to Language, or, Godard in 3-D

Friday, May 23rd, 2014

Jean-Luc Godard’s new 70 minute experimental feature has just premiered at Cannes.

Jean-Luc Godard’s latest feature, Goodbye to Language, shot in 3-D (see the image above, with Godard seated at the right of the frame) has just been screened at Cannes. Writing in The New York Times, Manohla Dargis filed a rave review, which reads in part “on Wednesday afternoon, the 83-year-old rock star Jean-Luc Godard shook up the Cannes Film Festival with his latest, a 70-minute 3-D extravaganza, Goodbye to Language. Finally, the competition lineup had something it has desperately needed all week: a thrilling cinematic experience that nearly levitated the packed 2,300-seat Lumière theater here, turning just another screening into a real happening. You could feel the electric charge — the collective effervescence — that can come when individuals transform into a group. ‘Godard forever!’ a voice boomed out to laughter and applause, as the congregated viewers waited for their brains to light up with the screen.

Goodbye to Language is, like much of the director’s work, deeply, excitingly challenging. The thickly layered movie offers up generous, easy pleasures with jolts of visual beauty, bursts of humor, swells of song and many shots of a dog, Roxy, but it will provide other satisfactions with repeat viewings. Divided into alternating sections (nature and metaphor), the movie is a churn of sights and sounds that opens with nods to Aleksandr Solzhenitsyn, a discussion of Hitler and the words ‘usine à gaz’ (French for ‘gas plant,’ as well as an idiom for something overly complicated). A man flips through a book on the artist Nicolas de Staël; someone else blurts out, ‘I am here to tell you no’; Gregory Peck and Ava Gardner smolder in The Snows of Kilimanjaro.”

That’s just the beginning of this enthusiastic review; you can read the entire piece by clicking here, or on the image above.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/