New York Film Festival 2019 (forum)

[Chris Knipp]

A preview of MARRIAGE STORY for Bay Area residents

(SF FILM SOCIETY PRESS RELEASE)

Revisiting some of the themes that made his Oscar-nominated TIFF 2005 selection The Squid and the Whale so resonant, writer-director Noah Baumbach digs deep into divorce with Marriage Story. Adam Driver and Scarlett Johansson deliver some of their richest work as a couple whose once enviable union crumbles under the weight of mounting resentments and divergent needs. Charlie (Driver) is a playwright who wants to stay in New York. Nicole (Johansson) is an actor who's landed a coveted television role that requires her to relocate to Los Angeles. Their geographical dispute tests an already strained relationship. As Marriage Story begins, the couple's divorce is already underway, with each enlisting legal squads deploying various tactics. Yet Baumbach's elegant narrative goes back and forth through time, showing how Charlie and Nicole fell in love and built a life together alongside a detailed, blow-by-blow chronicle of their marital dismantling. Baumbach's wise script goes from Bergmanesque drama, to dark comedy, to surges of suspense, and is complemented by the intimate 35mm camerawork of Robbie Ryan (who also shot Baumbach's The Meyerowitz Stories (New and Selected)), and by the precise, lived-in performances not only of Driver and Johansson, but also of Laura Dern, Alan Alda, and Ray Liotta. Marriage Story may have an ironic title, but its divorce proceedings double as a moving post-mortem. Sometimes our most profound life choices begin to cohere only in retrospect. —Toronto International Film Festival.

Tickets to this screening of Marriage Story are $20 for SFFILM members, $25 for the general public. Box office is open to SFFILM members now online at sffilm.org and opens for the general public 10:00 am Friday, October 11.

This is my favorite film of the festival. Don't miss it!

[Chris Knipp]

ATLANTICS/ATLANTIQUE (Mati Diop 2019)

37-year-old Senegalese-French filmmaker Mati Diop was the first African woman to have a film in Competition at Cannes in its 72-year-history, and she won the Grand Prix with this film about young laboring men of Dakar and their women. The men have not been paid for four months, so without saying goodbye they take to sea in a small open boat hoping to go to Spain. When they are lost, their ghosts enter their women and send them to demand their back pay. Ada, who loved Soleiman, has a different fate.

One may argue about details of the plot (and I would), but as a portrait of youthful African energy this film has a powerful emotional and aesthetic validity. A stunningly exotic and beautiful first feature, for sure.

Festival director Kent Jones interviewed Mati Diop in the Q&A before one of the most enthusiastic crowds I saw at the festival.

[Chris Knipp]

Big final day for Filmleaf coverage:

PARASITE (Bong Joon-ho 2019)

Heralded as a masterpiece and Bong's best work, this is a high-and-low thriller with social overtones. A destitute, morally blank family infiltrates a very rich one's household one member after another, concealing their connection to each other. Will the truth come out? Brilliantly accomplished mise-en-scène and direction of actors, but marred by an overcomplicated plot that goes on much too long. Given all the raves, I was disappointed. But still a must-see. Winner of the top prize at Cannes.

MOTHERLESS BROOKLYN (Edward Norton 2019)

You may find this novel adaptation hard to relate to or just blah. There is something endearing about Nortoh's dedication to this passion project that took him at least nine hears to get made. He took the 1999 Jonathan Lethem novel about an orphan detective with Tourette syndrome, added many elements from a non-fiction book about ruthless NYC developer Robert Moses, and recast the action in the 1950's, with sits and hats and lots of big old cars.

[Chris Knipp]

Big portrait photo of Edward Lachman and Vittorio Storaro, cinematographers.

Many photo portraits have been made with the legendary Polaroid 20×24, the large-format instant camera, framed, and displayed at the Elinor Bunin Center and Walter Reade Theater of Film at Lincoln Center. This recent one brings together two legendary film photographers. I snapped a photo of the photo with my RX100. Ed Lachman has often been at screenings over the years.


[CK photo of the photo]

[Chris Knipp]

BACURAU (Kleber Mendonça Filho, Juliano Dornelles 2019)

Humans hunting humans for sport in a rural northern Brazilian town stands for the brutality of the current right wing regime, American imperialism, and other unsavory aspects of Brazilian politics and history. A surprising genre-blurring mix (Wikipedia calls it "a Brazilian Weird Western") that would benefit from more dramatic tension and tighter structure, but good enough to include in 31 international festivals and be co-winner of the 2019 Cannes Jury Prize. Coming later to US theaters.

[Chris Knipp]

Marco Bellocchio’s THE TRAITOR,
History-Making True Story of the Man Who Betrayed the Sicilian Mafia;
Movie Has US Theatrical Premiere Friday, January 31 [2020] at Film Forum
- press release.

Filmleaf NYFF review of THE TRAITOR HERE. I may have been hard on it but the film is a one-of-a-kind Italian epic tragicomedy of the country's struggle with that alien cancer, La Camorra, Cosa Nostra.

THE TRAITOR played at the 2019 Cannes, Toronto, New York and AFI Film Festivals and was Italy’s official submission to the 2020 Academy Awards® for Best International Film. It was nominated for four 2019 European Film Awards: Best Film, Best Director, Best Actor, and Best Screenplay.

THE TRAITOR will open Friday, January 31 for an ongoing engagement at Film Forum, 209 West Houston Street (west of 6th Avenue), with screenings daily at 12:45, 3:35, 6:30 & 9:20. Release in selected US theaters will follow.

[Chris Knipp]

Bellocchio's The Traitor holds up.

Just rewatched THE TRAITOR/IL TRADITORE (Marco Bellocchio 2019) at home, on a screener. More and more it seems to mea film that's epic in many aspects. The "maxi-trial" sequences are its most unique, and they too are grand and impressive in scope even in their uniquely Italian jaw-dropping chaos and raucous name-calling. But all the sequences have sweep - and great variety. If I were making an annual "Better-Than" list like Armand White, a big line would definitely be: THE TRAITOR > [BETTER THAN] THE IRISHMAN. It's more rich, varied, authentic and interesting by a mile than Scorsese's overlong and monotonous latest gangster chronicle.

IL TRADITORE AKA "LE TRAÎTRE" opened in France October 31, and it got an AlloCiné press rating of 4.3. This is equivalent to a numerical 86%. The Metascore of 57% is incomprehensible for such a well-made and relevant film.

Coming to the US after Jan. 31, 2020.

Note: White has two "better than's" for The Irishman:

Dragged across Concrete > The Irishman

Richard Jewell > The Irishman

He accuses The Irishman of "decadent commercialism" and "baroque dishonesty."

A friend just referred me to a podcast of
featuring intimate conversation with Leonardo DiCaprio and Brad Pitt. Very revealing, informal chat, great interview with both, and Brad speaks of his great admiration for Richard Jewell and its lead performance by Paul Walter Hauser.

Check out that podcast (NB: the conversation really starts at 14 mins.).
https://open.spotify.com/episode/0wS...R2eFgRgOE0zN_w