Minneapolis-St. Paul International Film Festival
Made in Minnesota with the reported assistance of Minnesota military organizations, Memorial Day is indeed a reverent piece of filmmaking, one which uses the same vocabulary as any number of other, more skeptical war movies.
Besides daggers, mirrors and labyrinths, the Argentinian poet Borges felt an intense connection to tigers, and while reading Kipling’s Jungle Book as a kid, he was upset that Shere Khan was a villain and not the protagonist’s friend.
I remember watching a documentary about the angst of middle-aged men. One guy in his late 50s laments the fact that he can’t get the attention of anyone at the bars or clubs he frequents, despite all the time he continues to put into maintaining his own visage.
Fred Schepisi isn’t particularly high on the list of most cinephile’s lists of great working auteurs, but for a small, fiercely devoted group. The small, devoted group have a solid case, though.
For a man whose work is as timeless as photographer Bert Stern’s, the title of his documentary kowtows almost disappointingly to current concerns … but for understandable reasons.
Hey, the weather’s been nice for a while now. There’s no reason why you should spend your April basking in the sunlight we’ve already enjoyed for weeks. Especially since the Film Society of Minneapolis St. Paul just announced the list of movies playing during this year’s three-week-long Minneapolis-St. Paul International Film Festival.
Remember back when the 2011 Minneapolis-St. Paul International Film Festival began? Remember how much colder it was that April 14th? The high temperature struggling to just barely edge into the 60s? Man, that seems like so long ago now. Oh wait …
The second to last night of MSPIFF bites … in a post-apocalyptic vampire kinda way.
The Minneapolis-St. Paul International Film Festival is winding down, but some of the biggest titles are still in play, at least so far as exposure on the international festival circuit goes. For instance, “My Joy.”
To be blunt, I’m not sure Catherine Breillat cares what I think about her movies. In fact, I’m sure she cares about what I don’t think about her movies. Actually, I suspect she thinks I don’t think at all.
Free Radicals: A History of Experimental Film plays like a hip-hop collaboration in which a rapper or producer features the rhymes or rhythms of his rapper and producer friends.
The WWII pictorial drama is probably going to forever be a staple of European cinema. Instead of the Cinema Paradiso school, call it Cinema Inferno.
According to the MSPIFF website, the top-rated movie (as measured by audience vote) still set to have another screening is “Bill Cunningham New York.”
Russian Lessons is a structurally strange and intense documentary on the 2008 war between Russia and Georgia.
No shortage of what the MSPIFF Facebook page just termed “post-Easter brunch options” today. And some of them are, I hate to tell those of you already nursing a chocolate egg hangover, just about essential viewing.
Norman Mailer is revealed as a family man, and Japanese punk auteur Takashi Miike settles down and kills 200 men.
“Journey of a Dream” is a fantastic exploration of the Tibetan diaspora and the movement to free Tibet from Chinese occupation. “A Useful Life” is droning, relentless, somewhat boring.
With buttery panoramic imagery and free range cinematography, the Australian drama “Mad Bastards” is a raw but frequently poetic look at the lives, in a matter of speaking, of the Aboriginal actors who portray them.
“Aftershock,” China’s submission for Academy Award consideration in the best foreign film category, could be taken as the “Titanic” of the People’s Republic.
International Narrative Shorts serves up four films between ten and thirty minutes in length, with genres ranging from family drama to supernatural horror.
Part of me wants to sum up “Small Town Murder Songs” as “Fargo” without the funny or the quirky, but that would be harsh.
The atmosphere of scandal permeates nearly every frame of the polished but lurid “Cracks.”
Imagine life at the New York Times media desk during the death throes of the newspaper publishing industry and you’ll only have an idea about Page One – a documentary by Andrew Rossi that kicks off the Minneapolis-St. Paul Film Festival.
The snow is melting, the birds are chirping, and once again, thousands of film fans are preparing to spend more time indoors than out.