In Spain there is a tradition called “la hora del vermut” (the vermouth hour) which refers to a little stretch of time before lunch when you sip vermouth to prepare your stomach for the meal to come. Spanish director Jonás Trueba’s “You Have to Come and See It,” one of the late-breaking joys of the Karlovy Vary competition, only just crosses la hora mark, but it is as sociable and swiggable as a draught or ten of sweetly fortified wine. In fact, it’s an aperitif that proves so satisfying, so simple and sunny and sage, that you might find yourself filling up on its drowsily erudite, oddly nourishing pleasures and forgetting about lunch altogether.
Even the opening titles are a zippy, witty delight, popping up onscreen in time to a skittery uptempo piano piece which, as we learn by the burst of applause that cutely occurs just as Trueba’s writer-director credit appears,...
Even the opening titles are a zippy, witty delight, popping up onscreen in time to a skittery uptempo piano piece which, as we learn by the burst of applause that cutely occurs just as Trueba’s writer-director credit appears,...
- 7/8/2022
- by Jessica Kiang
- Variety Film + TV
Becoming Anita EkbergThe Film Society of Lincoln Center’s "Art of the Real" series, which recently unspooled its second season, has become New York’s annual showcase for the “hybrid” film, experimental works that, despite a more than tenuous relationship with the documentary tradition, oscillate between fiction and nonfiction. Now that documentary has become unmistakably fashionable (a banal subplot in Noah Baumbach’s dreary comedy, While We’re Young, is even spawned by cartoonish version of a debate over “documentary ethics”) the schism between films such as The Hunting Ground and Merchants of Doubt, which resemble feature-length 60 Minutes stories, and the sort of documentaries programmed at film festivals like Doclisboa and Cph: Dox has grown even wider. Art of the Real, laden with an amalgam of festival favorites and classic precursors of cinematic hybridity (this year’s Agnés Varda retrospective is a case in point) is certainly a cheerleader for...
- 4/25/2015
- by Richard Porton
- MUBI
The International Film Festival Rotterdam (Iffr) has used film to reflect on European culture, politics and identity.
The State Of Europe programme at this year’s Iffr was the brainchild of artistic director Rutger Wolfson.
In advance of the European elections, he wanted the festival to reflect on European culture, politics and identity.
As he wrote: ‘The historical project of the European unification has lost much of its lustre. Peace and prosperity, the two main forces that have driven Europe, are still relevant today but feel worn out.
“Politicians seem unable to convey a convincing alternative future perspective and many citizens are angry, disillusioned or have lost interest completely.”
Rising debt, the spectre of nationalism, the colonial legacy and the tension between EU Member states are all factors in the modern Europe.
For his programmers, this huge subject initially seemed daunting – a project for historians and politicians from the EU’s 28 member states, perhaps, but not...
The State Of Europe programme at this year’s Iffr was the brainchild of artistic director Rutger Wolfson.
In advance of the European elections, he wanted the festival to reflect on European culture, politics and identity.
As he wrote: ‘The historical project of the European unification has lost much of its lustre. Peace and prosperity, the two main forces that have driven Europe, are still relevant today but feel worn out.
“Politicians seem unable to convey a convincing alternative future perspective and many citizens are angry, disillusioned or have lost interest completely.”
Rising debt, the spectre of nationalism, the colonial legacy and the tension between EU Member states are all factors in the modern Europe.
For his programmers, this huge subject initially seemed daunting – a project for historians and politicians from the EU’s 28 member states, perhaps, but not...
- 1/29/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
The crows knew it from Day One: Berlin 2011 would be a—slightly—happier experience. Normally, when night began to fall, the crows descended upon the frost-bleak trees around Potsdamer Platz and cawcawed for hours, filling the silence of bad cinema, crushed hopes and now-for-real lost illusions with their woe-cum sorrowful sounding songs. Hundreds, maybe thousands of them. The trees were black for birds. Every evening, starting around 5pm or 6pm, reliably—you could set your watch to them (if you take things easy, that is...). Yet, this time around, the crows were nowhere to be seen. Maybe it's true what a friend of TO1..., comrade Möller suggested: It looks as if the crows were trying to make Berlin their permanent home, become true city slickers, which necessitates certain changes of behavior; rings scientifically solid. Still, we couldn't shake off the feeling that they somehow sensed a thing or two,...
- 8/2/2011
- MUBI
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