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Chris Knipp
02-16-2011, 12:51 PM
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INDEX OF LINKS TO ALL FILMLEAF ND/NF 2011 REVIEWS:


At Ellen's Age (Pia Marais 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25886#post25886)
Attenberg (Athina Rachel Tsangari 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25951#post25951)
Belle Épine (Rebecca Zlotowski 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25917#post25917)
Black Power Mixtape: 1967-1975, The (Göran Hugo Olsson: 2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25892#post25892)
Cairo 678 (Mohamed Diab 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25886#post25886)
Curling (Denis Côté 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25907#post25907)
Destiny of Lower Animals, The (Deron Albright 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25945#post25945)
Gromozeka (Vladimir Kott 2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25936#post25936)
Happy, Happy (Anne Sewitsky 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25885#post25885)
Hit So Hard (P. David Ebersole 2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25916#post25916)
Hospitalité (Koji Fukada 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25927#post25927)
Incendies (Denis Villeneuve 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25880#post25880)
Majority (Seren Yüche 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25881#post25881)
Man Without a Cell Phone (Sameh Zoabi 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25926#post25926)
Margin Call (J.C. Chandor 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011#post25870)
Memory Lane (Mikaël Hers 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25876#post25876)
Microphone (Ahmad Abdalla 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25922#post25922)
Octubre (Daniel, Diego Vega 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25939#post25939)
Outbound (Bogdan George Apetri 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25877#post25877)
Pariah (Dee Rees 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25908#post25908)
Tyrannosaur (Paddy Considine 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25923#post25923)
Winter Vacation (Hongqi Li 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25873#post25873)


Feb. 16, 2011. The Film Society of Lincoln Center has announced the full program of New Directors/New Films (http://www.filmlinc.com/ndnf/ndnf.html)today. The series runs March 23-April 3. I will be attending and reviewing films in earlier press screenings. Also hope to catch some of Film Comment Selects (http://www.filmlinc.com/wrt/showing/fcselects06.htm)(Feb. 15-28).

NEW DIRECTORS/NEW FILMS 2011

The 40th New Directors/New Films selections include the following 28 films:


6,7,8 (2010, 100min)
Director: Mohamed Diab
Country: Egypt
Diab's "6,7,8" intersects the stories of three women of very different social and economic status in Cairo as they converge in their collective desire to combat sexual harassment. A wealthy, secular young woman who is molested at football match is revealed to be just as vulnerable as the devout Muslim wife of limited means who must ride the bus with marauding men. Given the cultural and religious implications of family life and gender division, the women look to collective action, the media and even violence as routes to freedom.

AT ELLEN’S AGE (IM ALTER VON ELLEN) (2010, 95min)
Director: Pia Marais
Country: Germany
Marais’ AT ELLEN’S AGE catches a woman at a crossroads following her husband’s confession of having an affair and the loss of her job due to a subsequent panic attack. The film follows the woman’s awakening after she joins forces with a group of animal activists.

ATTENBERG (2010, 95min)
Director: Athina Rachel Tsangari
Country: Greece
Tsangari’s ATTENBERG is a fun melding of (new) Nouvelle Vague, musical, melodrama, and nature documentary, symbolically visualizing a change of generation and perspective as a father and daughter gently negotiate their individual rites of passage. The film follows a visionary architect who has come home to die in the vanishing industrial town that is his legacy to his daughter. Meanwhile, his daughter (played by Ariane Labed, in a performance that garnered her the Best Actress award at The Venice Film Festival) is exploring the mysteries of kissing with her girlfriend and the beyond with a visiting engineer.

BELLE EPINE (2010, 80min)
Director: Rebecca Zlotowski
Country: France
Zlotowski’s BELLE EPINE is a coming of age story about a teenage girl dealing with the death of her mother and absentee father. The girl loses herself in antisocial behavior, turning away from her Jewish heritage personified by her supportive aunt and uncle, and drawn into the orbit of a wrong-side-of-the-tracks classmate and her biker friends, who gather for chaotic, sometimes lethal night-time motorcycle meets on the edge of town.

THE BLACK POWER MIX TAPE 1967-1975 (2011, 100min)
Director: Göran Hugo Olsson
Country: Sweden
Olsson’s documentary utilizes never before seen interviews (with Stokely Carmichael and Angela Davis among others) filmed by a group of Swedish filmmakers from the late sixties to mid-seventies to chronicle the growth of the black power movement. Thirty years later this lush collection of 16mm footage was found in a basement - and combined with additional commentary by artists and activists who were influenced by the struggle – from Harry Belafonte to Erykah Badu - becomes a powerful chronicle of the birth and life of a movement. THE BLACK POWER MIX TAPE 1967-1975 is a Sundance Selects release.

CIRCUMSTANCE (2011, 107min)
Director: Maryam Keshavarz
Country: France/USA/Iran
Keshavarz’s searing feature debut CIRCUMSTANCE follows two young Iranian women as they live life in the shadow of the regime, going to parties and listening to forbidden music while starting to explore their true feelings for each other. CIRCUMSTANCE recently won the Audience Award at the Sundance film festival. CIRCUMSTANCE is a Participant Media and Roadside Attractions release.

COPACABANA (2010, 107min)
Director: Marc Fitoussi
Country: France
Fitoussi’s second film, COPACABANA is a gentle French comedy about the relationship between a daughter and her single mother, starring real-life mother and daughter Isabelle Huppert and Lotlia Chammah. Embarrassed by her mother, the daughter wants a ‘settled’ life, something she believes her mother is not capable (nor desiring) of achieving. So her mother sets out to prove her daughter wrong, and win her respect by selling time-shares in a seaside resort town.

CURLING (2010, 96min)
Director: Denis Côté
Country: Canada
Set in the dead of winter, Côté’s CURLING is a tense and darkly comic portrait of a family in a rural Quebec village. The film follows a single father as he seeks to isolate his adolescent daughter from the outside world for fear that it will scar her as much as it has him. CURLING earned Côté the Silver Leopard for Best Director and Emmanuel Bilodeau the Leopard for Best Actor at the 2010 Locarno Film Festival.

THE DESTINY OF LESSER ANIMALS (2010, 90min)
Director: Deron Albright
Country: Ghana/USA
Albright’s drama THE DESTINY OF LESSER ANIMALS follows a Ghanian Police Inspector as he embarks on a dangerous journey through modern Ghana to retrieve his stolen counterfeit passport. Finding his own search linked to a series of violent crimes, he joins forces with a seasoned police veteran who is still optimistic about his country to solve the mystery.

GROMOZEKA (2010, 104min)
Director: Vladimir Kott
Country: Russia
Kott’s GROMOZEKA is his follow-up to THE FLY, which was a selection at New Directors/New Films in 2009. The drama follows three men who played in a pop-music trio during their high-school days, and are now three middle-aged men in different walks of life—surgeon, police officer, taxi driver,living at different levels in Moscow’s socio-economic structure. Aside from their annual reunions, which book-end the film, their lives intersect only glancingly and unknowingly as their respective personal discontents and professional troubles reach crisis points and presents the contrasting ways in which each of them tries to cope.

HAPPY, HAPPY (SYKT LYKKELIG) (2010, 85min)
Director: Anne Sewitsky
Country: Norway
Switsky's directorial debut, HAPPY HAPPY is a comedy about a thirty-something couple with a young son, living a rather dull life in the Norwegian countryside. Then new neighbors move in next door, and while at first glance they seem to be their mirror image and perfect friend material, the differences that do exist (the new couple's son is an adopted African, the husband is full of sexual energy, and the wife is...Danish!) manifest in increasingly disturbing ways. The film was the winner of the Grand Jury Prize for World Cinema at the 2011 Sundance Film Festival.

HIT SO HARD (2011, 101min)
Director: P. David Ebersole
Country: USA
Ebersole’s rockumentary HIT SO HARD is a pull-no-punches portrait of the hell-and-back life of Patty Schemel, drummer for Courtney Love’s band Hole during its peak years. The result is an unprecedented inside look at the one of the Nineties most crucial and controversial groups. Notwithstanding its amazingly candid interviews (Love included), its unflinching accounts of the personal tragedies that plagued the band in its heyday, and a rare look at hardball music-industry politics gives the viewer the lowdown on the recording of Hole’s 1997 record Celebrity Skin.

HOSPITALITÉ (2010, 96min)
Director: Koji Fukada
Country: Japan
Set in the confines of downtown Tokyo, Fukada’s comedy HOSPITALITÉ is about a man living a mundane life, running a small printing factory and living a quiet life upstairs with his wife and children. Then a man arrives claiming to be the son of a wealthy financier who once helped his business. Soon the stranger has moved in with HIS wife, is running the business, and soon invites guests of his own – a large, eclectic and exotic group – into the apartment, destroying the once orderly and comfortable life of his host.

INCENDIES (2010, 130min)
Director: Denis Villeneuve
Country: Canada/France
Villeneuve’s film, INCENDIES focuses on twins grieving their mother’s death who have their world shaken further when the reading of her will reveals that their father, presumed to be deceased, is actually still alive and that they also have a brother. The film follows the twins as they seek to fulfill their mother’s final wish – for them to find their father and brother and deliver to each of them a sealed letter. A Sony Pictures Classics release.

THE MAJORITY (ÇOGUNLUK) (2010, 111min)
Director: Seren Yüce
Country: Turkey
Yüce’s THE MAJORITY features Barta Küçükçaglayan as a man that manages to slide through each day working as an office assistant for his father's construction company when not gobbling burgers at the mall with his buddies. That is until he meets a shy but charming Kurdish girl, and suddenly his entire approach and outlook to life begin to change. However, he now must face a new conflict with his parents...upon whom he is completely dependent, and who won't even consider their son settling down with a Kurd.

MAN WITHOUT A CELL PHONE (BIDOUN MOBILE) (2010, 83min)
Director: Sameh Zoabi
Country: Israel
Zoabi’s feature debut, MAN WITHOUT A CELL PHONE, is a comedy about a young Israeli construction worker with little ambition other than to have fun with his friends and meet girls which is directly at odds with his father’s ambitions to bring down a cell phone tower he is sure is poisoning their Arab neighbors with radiation.

MARGIN CALL (2010, 109min)
Director: J.C. Chandor
Country: USA
Chandor's timely and terrifying dramatic expose, MARGIN CALL tackles twenty-four hours on an investment bank trading floor; a day that brings layer upon layer of human and professional wrongdoing that jeopardizes the entire fabric of the banking system. An all-star ensemble cast, led by Kevin Spacey, Paul Bettany, Zachary Quinto, Demi Moore, Stanley Tucci and Jeremy Irons, propel this ominous day toward the abyss, preserving just enough pathos to allow us to ultimately recognize these bankers' humanity.

MEMORY LANE (2010, 98min)
Director: Mikhaël Hers
Country: France
Hers’ MEMORY LANE is a film about characters caught "in between"-between city and country, friendship and love, life and death, and youthful dreams and the impending realities of growing up. Setting in motion several story lines, Hers allows action to develop and characters to emerge through subtle gestures, quick looks and offhand remarks via a splendid ensemble of actors that truly create a sense of closeness, a kind of familiarity that need not be emphasized as it's always so present.

MICROPHONE (2010, 120min)
Director: Amhad Abdalla
Country: Egypt
Abdalla’s MICROPHONE stars (and is co-produced by) Egyptian heart-throb Khaled Abol Naga as a man who returns to his hometown Alexandria unmoored and restlessly searching for purpose beyond his ex-girlfriend who’s no longer interested and his aging father from whom he feels terminally alienated. Wandering the streets he happens upon a music and art making group of younger people that he stubbornly pursues and eventually becomes part of as his self-involvement changes into a real connection with this new world.

OCTUBRE (2010, 93min)
Directors: Daniel and Diego Vega
Country: Peru
Co-directed by brothers Daniel and Diego Vega, OCTUBRE follows a small-time money-lender living in a Lima barrio who one day discovers a baby left on his doorstep. To care for the child--the product of one of his frequent liaisons with prostitutes--the man engages a female neighbor for help, and soon a new, unexpected family is formed. The film won the Jury Prize of the "Un Certain Regard" section of Cannes 2010. OCTUBRE is a New Yorker Films release.

OUTBOUND (PERIFERIC) (2010, 87min)
Director: Bogdan George Apetri
Country: Romania
Apetri’s OUTBOUND is a tense race against time as a young woman, serving a five-year prison sentence for a crime she didn’t commit, attempts to right the wrongs done to her, collect on debts and cleanse herself from her past life after she receives a day pass so that she can attend her mother’s funeral.

PARIAH (2011, 86min)
Director: Dee Rees
Country: USA
Executive produced by Spike Lee, Rees’ debut feature PARIAH, is a character study of a seventeen year-old New Yorker (played by Adepero Oduye) whose efforts to explore her lesbian desires are squarely at odd with her middle-class Brooklyn family – and more specifically, her church-going mother (played by Kim Wayans). The film draws an affectionate portrait of a community, one so close everyone knows everyone else’s ‘business’, and dramatizes the longings, disappointments and achievements of a teenager whose ideas of femininity are less traditional than most. A Focus Features release.

SHUT UP LITTLE MAN! AN AUDIO MISADVENTURE (2011, 85min)
Director: Matthew Bate
Country: Australia
Bate’s documentary SHUT UP LITTLE MAN! AN AUDIO MISADVENTURE tells the story of two men who, upon discovering they had rented an apartment next to two men who drank and verbally abused each other every night, decided to record the nightly fights and play them back through their neighbors’ front door. It didn’t quiet the noisy roommates, but somehow the recordings became part of an underground culture that still inspire musicians, poets, graphic artists and disc jockeys.

SOME DAYS ARE BETTER THAN OTHERS (2010, 93min)
Director: Matt McCormick
Country: USA
McCormick’s debut feature SOME DAYS ARE BETTER THAN OTHERS is a poetic character-driven film that asks why the good times slip by so fast while the difficult times seem so sticky. The film follows a trio of stranded characters that seem to be competing for first prize in a Saddest Job in the World contest as McCormick insists on the reality of work, distinctly rebutting the popular image of Portland as a paradise for under-achieving hipsters and the slacker ethos of “the unemployed, blissful lifestyle.”

SUMMER OF GOLIATH (VERANO DE GOLIAT) (2010, 76min)
Director: Nicolás Pereda
Country: Mexico/Canada/Netherlands
Pereda’s SUMMER OF GOLIATH combines documentary and fiction as it intertwines the stories of people living in a small town in rural Mexico. Those people include: a woman who believes her husband has left her for another woman; her soldier son, who hopes that one day he and his soldier partner will be issued machine guns so that they may intimidate passing motorists; and three brothers whose father left them many years ago in the care of their mother, who can barely support them.

TYRANNOSAUR (2010, 91min)
Director: Paddy Considine
Country: United Kingdom
Actor Considine makes his directorial debut with TYRANNOSAUR, an intense drama about a lonely man with a violent temper and a knack for getting into situations, particularly at pubs, that leave him and others bloody. However, he has a soft spot for a young boy who lives across the street with his feckless mother and her punk boyfriend. Beyond that, he knows better than to seek anyone else’s company until he meets a clerk in a church thrift shop who has some problems of her own. TYRANNOSAUR is a Strand Releasing film.

EL VELADOR (2011, 72min)
Director: Natalia Almada
Country: Mexico
Almada’s documentary EL VELADOR displays the world of "El Jardin,", a cemetery in the drug heartland of Mexico. Since the war on drugs began in 2007, the cemetery has doubled in size and some of its mausoleums have been built to resemble gaudy cathedrals, creating a skyline that looks like a fantastical surrealist city more than a resting place for the deceased. The film introduces us to both the lives of the cemetery workers and families of the victims - in the shadow of an increasingly bloody conflict that has claimed nearly 35,000 lives.

WINTER VACATION (HAN JIA) (2010, 91min)
Director: Hongqi Li
Country: China
Hongqi’s WINTER VACATION is a deadpan comedy about four teenagers during the last day of their winter vacation as they face the prospects of having to return to school and their studies. The kids argue, debate and fight as the clock ticks away on their holiday and they deal with their love lives and question school's value and relevance to real life. WINTER VACATION won the Golden Leopard for Best Film at the 2010 Locarno Film Festival.

Chris Knipp
02-19-2011, 05:29 PM
Isild Le Besco: Bas-Fonds (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25787#post25787)--FILM COMMENT SELECTS

I was actually sorry I'd gone back to see this appalling and depressing film. However it is powerful and fits in with a line of French cinema that includes Noé, Dumont, Bresson, Pialat, and others. It makes Harmony Korine's Trash Humpers seem like Singing in the Rain.

One of the first screenings of Film Comment Selects (http://filmlinc.com/films/series/film-comment-selects) at Lincoln Center. The series tuns from Feb. 18 to March 4, 2011.

http://img219.imageshack.us/img219/4894/mx115.jpg

Chris Knipp
02-19-2011, 05:44 PM
I doubt I'll go out of my way to watch the FCS series after this experience. The editor of Film Comment, Gavin Smith, admitted the selections are very "dark" this year. They are largely horror films and some are revivals and I have enough to do watching New Directors/New Films shortly and finishing the Rendez-Vous with French Cinema. Sometimes FCS comes up with a gem but often it works more in the cult category. I would however like to have seen Herzog's new 3D caves movie, showing tomorrow, but it's sold out. It will be available elsewhere and most reviewers have already seen it. It was acquired by IFC at Toronto and will be released some time later this year. March 25 is the UK release date.

Cave of Forgotten Dreams (http://www.imdb.com/title/tt1664894/)

Film Comment Selects 2011 lineup (http://filmlinc.com/films/series/film-comment-selects)

oscar jubis
02-19-2011, 06:56 PM
I have a colleague, Trae, who specializes in "Extreme" cinema, particularly the French strain. I am looking forward to reading his dissertation in a couple of months. I remain very ambivalent about these films, generally speaking. Bas-Fonds does not seem, based on your review, like something I would like.
I have to note that your inclusion of Bresson in that list of directors strikes a false chord with me.

Chris Knipp
02-19-2011, 07:00 PM
I am not claiming this is in any way worthy even of comparison with Noé, let alone Bresson. But I think the spirtualizing of the lowliest of humans is meant to be Bressonian.

Chris Knipp
02-19-2011, 07:01 PM
I have slightly revised my review to make it clearer and more succinct.

oscar jubis
02-19-2011, 08:23 PM
You make sense. Thanks.

Chris Knipp
02-19-2011, 09:41 PM
Thank you. It is she who is asking that her film be linked with Bresson, not I.

Chris Knipp
03-07-2011, 08:20 PM
C.J. Chandor: Margin Call (2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011#post25870)

A first feature about the beginning of the economic crash of 2008 with Kevin Spacey, Jeremy Irons, Zachary Quinto, Stanley Tucci, Simon Baker, Demi Moore. A very important subject and some excellent acting and realistic scenes, but not the great story you might be waiting for. Lacks the pizazz of Boiler Room or Wall Street.

Opening night film of the New Directors/New Films series, presented by the Film Society of Lincoln Center and MoMA March 23-April 3, 2011.

Click on the title for the review.

Chris Knipp
03-08-2011, 06:10 AM
Hongqi Li: Winter Vacation (2010)--ND/NF (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25873#post25873)

A very dry, sour little comedy about teenagers in a deliberately nondescript, remote area at the end of winter break and beginning of school bored out of their minds. The minimalist style has something in common with early Jarmusch, Roy Andersson, or Kaurismäkii, but with fewer rewards. A very tough watch. But it won a prize at Locarno.

Chris Knipp
03-08-2011, 05:29 PM
Mikaël Hers: Memory Lane (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25876#post25876)

A rather aimless but amiable French film about seven 25-year-olds who find themselves reunited off and on in the middle class suburb of Paris where they grew up for the past few days of the summer. There is music by a band. Two of its members finally make love. Two sisters are preoccupied about their father's recent diagnosis with a fatal condition. One guy is anxious and depressed. It's a bit like Éric Rohmer without the amorous dilemmas and intelligent conversation. Feature debut by Hers, a 2004 graduate of the prestigious Paris film school La Fémis.

Chris Knipp
03-08-2011, 05:35 PM
Bogdan George Apetri: Outbound (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25877#post25877)

Some heavy hitters of the new Romanian cinema contributed to the writing of this powerful debut about a woman just out of jail, which, at least in its haunting downbeat finale, evokes some of the tragic intensity of Rossellini's Bicycle Thief or René Clément's Forbidden Games.

Chris Knipp
03-09-2011, 09:26 PM
Denis Villeneuve: Incendies (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25880#post25880)

A film by a French Canadian director about the ravages of war and the mysteries of parenthood. Shot mostly in Jordan, in French and Arabic. A powerfully cinematic rendering of a talky play by a Canadian-Lebanese dramatist of much repute.

Chris Knipp
03-09-2011, 09:29 PM
Seren Yüce: Majority (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25881#post25881)


A young schlub with a rich, tyrannical father gets involved with a Kurdish girl. That's a no-no in this man's Istanbul. This first film won the Lion of the Future prize at Venice.

Chris Knipp
03-10-2011, 07:39 PM
Anne Sewitsky: Happy, Happy (2010) (http://img23.imageshack.us/img23/9373/jpegfz.jpg)

A Norwegian couples comedy with musical interludes gets laughs on the edge of squirmy.

Chris Knipp
03-10-2011, 07:43 PM
Pia Marais: At Ellen's Age (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25886#post25886)

A woman runs off the rails. We're seen that before, but Jeanne Balibar does it with style. Pia Marais, in her sophomore effort, gives good atmosphere in a German animal rights commune and in Africa, where a leopard walks onto the runway and a boy who rolls cigarettes shoots poachers in the game preserves.

Chris Knipp
03-11-2011, 06:27 PM
Mohamed Diab: Cairo 678 (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25891#post25891)

Three Cairo women of different backgrounds and life situations deal with sexual harassment in the streets and on the bus (#678) in this first feature by five-time screenwriter Mohamed Diab. An issue movie that's also quite engaging to watch. In Egyptian Arabic.

Screening times and dates for ND/NF:
2011-03-26 | 3:30 PM | MoMA
2011-03-28 | 9:00 PM | FSLC

The title was originally listed as 6,7,8, but in the film it's 678. For the series it's now been revised to Cairo 678.

Chris Knipp
03-11-2011, 06:33 PM
Göran Hugo Olsson: The Black Power Mixtape: 1967-1975 (2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25892#post25892)

Recdntly unearthed Swedish footage from the period includes Stokeley Carmichael interviewing his mother, Emile De Antonio lambasting TV Guide, a jail interview with Kathleen Cleaver, Luis Farrakhan just before he rose to power, and lovely color 16mm footage of Harlem and other locations. These are commented on periodically by a handful of black artists today who were there back then. The result may be some new perspective, and anyway a chance to revisit and reassess for ourselves this crucial time and movement in 20th century American history.

ND/NF screening schedule:

2011-03-26 | 9:00 PM | MoMA
2011-03-28 | 6:00 PM | FSL

Chris Knipp
03-13-2011, 09:35 PM
http://img863.imageshack.us/img863/2140/img0929.jpg
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Subway ad for the New Directors/New Films series 2011.

Chris Knipp
03-15-2011, 07:07 AM
Denis Côté: Curling (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25907#post25907)

A shy handyman in rural Quebec keeps his teenage daughter isolated from the world to protect her. Côté is intentionally careless in spinning his miserabilist yarn.

Shown at Locarno in compettion, the film won the Best Director prize there. Seen and reviewed as part of New Directors/New Films presented March 23-April 4, 2011 by the Film Society of Lincoln Center and MoMA, New York. In French-Canadian dialect. 92min. In 35mm.

ND/NF screening times:
Sat Mar 26: 6:15 pm - MoMA
Sun Mar 27: 3:30 pm - FSLC |

Chris Knipp
03-15-2011, 07:12 AM
Dee Rees: Pariah (2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25908#post25908)

Dee Rees' Sundance-Workshop-developed first film is a brightly colored black gay lesbian coming-of-age story with good acting work from the young cast members, especially star Adepero Oduye.

Debuted at Sundance January 2011, Pariah has been picked up by Focus Features. Seen and reviewed as part of the New Directors/New Films series presented from March 23 through April 4, 2011 by MoMA and the Film Society of Lincoln Center, New York.

ND/NF showtimes and locations:
Sat Mar 26: 8:00 pm FSLC
Mon Mar 28: 9:00 pm - MoMA

Chris Knipp
03-15-2011, 08:15 PM
P. David Ebersole: Hit So Hard (2011) (gether Bell Épine s)

A rocumentary about the second, and perhaps best, drummer of Courtney Love's band Hole, Patty Schemel, who was a close friend of Kurt Cobain, and went under to drugs after an ego-crushing experience in the recording studio. Rare unseen footage of Hole on tour and tender moments shortly before Cobain's death in 1994. Narrative by Patty Schemel herself recounts how she came back from life on the street in LA as a crack addict to six years clean and a happy and productive life, married to the woman she loves, raising her child, running her own dog day care business, and instructing girls to become rock star drummers. The film won't appeal to everybody, but covers Grunge, the generation of the Nineties, drugs and rock, coming out as a gay woman, and women drummers.

The film was also shown March 15 and 18 at the SXSW festival, Austin, Texas.

ND/NF screening times:

2011-03-28 | 6:00 PM | MoMA
2011-03-30 | 9:00 PM | FSLC

Chris Knipp
03-15-2011, 08:31 PM
Rebecca Zlowtowski: Belle Épine (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25917#post25917)

In this coming-of-age film and its director's debut, featured at Critics' Week at Cannes last year, Prudence, 17, a nice Jewish girl, has just lost her mother 16 days earlier and her father is away. She escapes from grieving into misbehavior and risk-taking, getting another girl to take her to illegal motorcycle races. Not an unqualified success (the screenplay is too unfocused), this is nonetheless a promising and original effort. The bright young cast features Léa Seydoux (as Prudence), with Agathe Schlenker, Anaïs Demoustier, and Johan Libéreau.

ND/NF sceenings:

2011-03-24 | 6:00 PM | FSLC
2011-03-26 | 1:00 PM | MoMA

Chris Knipp
03-16-2011, 08:54 PM
Ahmad Abdalla: Microphone (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25922#post25922)

An exploration of lively alternative forms of music in Alexandria.

Egypt, 120 min. In Egyptian Arabic. Hisham Saqr won a well-deserved best editing prize at Dubai for this film, which was also shown at Toronto, London, and other festivals. Seen and reviewed as part of the New Directors/New Films series presented March 23-April 4, 2011 by MoMA and the Film Society of Lincoln Center, NYC.

ND/NF screenings:
2011-03-29 | 8:30 PM | MoMA
2011-03-31 | 6:00 PM | FSLC

Chris Knipp
03-16-2011, 09:01 PM
Paddy Considine: Tyrannosaur (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25923#post25923)

Well-established English actor Considine has produced a searing, harsh, powerful first film (which he also wrote) about a violent, alcoholic widower and the abused thrift shop clerk he befriends. Peter Mullan and Olivia Colman won acting prizes and Considine won a directing prize at Sundance.

A Strand Films US theatrical release is scheduled for October 11, 2011. Seen and reviewed as part of the New Directors/New Films series presented from March 23 to April 4, 2011 by the Film Society of Lincoln Center and MoMA, NYC.

Click on the title in blue for the Filmleaf Festival Coverage review

ND/NF screenings:

2011-03-30 | 6:00 PM | MoMA
2011-03-31 | 9:00 PM | FSLC

Chris Knipp
03-17-2011, 07:44 PM
Sameh Zoabi: Man Without a Cell Phone (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25926#post25926)

A gentle, rueful comedy about the depredations suffered by Palestinians living in an Arab town that is part of Israel.

Clidk on the title for the Filmleaf Festival Coverage review.

83 minutes. In Palestinian Arabic. Cinematography by Hichame Alaouie, editing by Simon Jacquet; music by Krishna Levy. Bidoun mobile was featured at the Doha Festival. Seen and reviewed as part of New Directors/New Films, presented from March 23 through April 4, 2011 by the Film Society of Lincoln Center and MoMA, New York.

ND/NF screenings:
2011-04-01 | 6:00 PM | FSLC
2011-04-03 | 1:30 PM | MoMA

Chris Knipp
03-17-2011, 07:51 PM
Koji Fukada: Hospitalité (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25927#post25927)

In working-class Tokyo, a man like Serji Lopez in Dominik Moll's With a Friend Like Harry, who pretends to be an old friend and invades a house, bringing in strange people and taking over. A deliberate perversion of Ozu and a droll, chilly, and surreal satire on Japanese xenophobia.

Click on the title for the Filmleaf Festival Coverage review.

Koji Fukada, who is 31, and who wrote, directed, and edited, is a member of Seinendan Theatre Company. This is his fourth film. It debuted at the Tokyo Film Festival in October 2010 and is coming to Hong Kong's. Seen and reviewed as part of New Directors/New Films March 23-April 4, 2011, presented by the Film Society of Lincoln Center and MoMA, New York.

ND/NF screenings:
2011-04-02 | 5:15 PM | MoMA
2011-04-03 | 1:00 PM | FSLC

Howard Schumann
03-18-2011, 12:04 AM
Rebecca Zlowtowski: Belle Épine (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25917#post25917)

In this coming-of-age film and its director's debut, featured at Critics' Week at Cannes last year, Prudence, 17, a nice Jewish girl, has just lost her mother 16 days earlier and her father is away. She escapes from grieving into misbehavior and risk-taking, getting another girl to take her to illegal motorcycle races. Not an unqualified success (the screenplay is too unfocused), this is nonetheless a promising and original effort. The bright young cast features Léa Seydoux (as Prudence), with Agathe Schlenker, Anaïs Demoustier, and Johan Libéreau.

I’m sorry that you didn’t feel engaged with this film and thought the main characters seemed unengaged. I had a different experience. I could definitely feel the pain of Prudence’s loneliness and felt very involved with the story. I have someone in my family whose mother died recently and she has never cried and is unwilling to even discuss it, so what Prudence was going through was very real for me.

I’m not exactly clear what you mean by saying the screenplay needed more shape. It was a bit non-structured I agree, but I didn’t find it rambling or lacking in clarity. I thought its lack of shape exemplified the turmoil that Prudence was experiencing.

For me, the importance of the Rosh Hashonah dinner where she appears uninterested in the Jewish traditions to me says that she is not turning away from her religion as such, but only in so far as it reminds her of her mother and her unwillingness to emotionally confront her death.

You say that the death of the biker jolts her back to an awareness of her own loss. This is a true statement but it is more than awareness in my view. It allows her repressed feelings of grief to finally surface. Likewise the scene at the end, for me, was more than just a “nice” scene. It was an epiphany. For her (and me), this was no “phantom.” She is able to come to terms with her own feelings by experiencing real communication with her dead mother.

In this regard, I disagree that the film “never finds itself.” Prudence has repressed her grief over her mother’s loss and goes through many spaces before she is able to confront her loss. That seems like finding itself.

I thought that Lea Seydoux’s performance was amazing and that, as you also say, for a first effort, it suggests a very promising future for this director.

Chris Knipp
03-18-2011, 06:09 AM
You're right, I failed to engage with the film to the degree that you did.

Prudence's failure to feel her grief over her mother's death didn't come through to me as it did to you. How are we supposed to know that she is resisting the grief and just didn't care much about her mother? Her feelings for her mother while her mother was alive are not established. The movie begins with the scene of Prudence being a bad girl. It wasn't completely clear to me what her family situation was. Was she a rich girl who had a whole Paris flat all to herself, or was her dad only away temporarily? It wasn't completely clear. The girl she was searched with in the store for shoplifting: was she a classmate, an outside acquaintance, or somebody she'd never met before? I wasn't quite clear on that either. Her interest in the illegal bike racing and the exciting motorcyclists at Rungis: where did that come from? Anther thing that slipped by me. when she went to the dinner at her relatives, I was not clear at first that they were relatives or that she was Jewish. Why should she have to have the meaning of basic Jewish holidays explained to her if she was Jewish? You see, a lot was not clear to me. Why doesn't she have any more proper bourgeois friends who are contemporaries, instead of inviting the bad boys and their girlfriends to come and semi-trash her apartment? Where are her usual friends and associates and activities?

You say the movie "was a bit non-structured I agree." When I say the biker's death jolts her back to an awareness of her loss, I of course meant that it led her back to her grief. I did not understand what the phantom of her mother meant at first either. Then I realized it meant awareness of her mother's absence was finally coming through to her. At first I thought it might mean she had only been pretending that her mother was dead and that her mother had been away like her father. Yes, you could say that a whole lot of this movie was not clear to me, and the elliptical, jerky presentation augmented that confusion for me. However I liked the dark Pialat-esque mise-en-scene. I was not put off by, rather attracted by, the whole thing. It just didn't wholly work.

Prudence goes to Rungis in the middle of the night. This is meant to be shocking and dark, and the excitement of her adventure comes through nicely. But it's also disorienting. The way the movie goes back and forth from Prudence's home to the edgy locales she seeks out is part of the confusion. In this sense the screenplay is "rambling" and since I did not follow some key points, it is also "lacking in clarity" Actually several things you say about the plot toward the end seem possibly incorrect, so you may not have followed the action as well as you think. I refer to Franck's sex with Prudence and Prudence's encounter with Franck's mother.

Here's an excerpt from Alissa Simon's Variety review:
An uneasy mix of subject matter that avoids introspection, the screenplay by Zlotowski and Gaelle Mace has the prickly feeling of unprocessed material brought out in therapy. This sensation of a past nightmare recalled is furthered by the production design's lack of specific historic or geographic references, as well as pic's many nighttime scenes.

On the plus side, however, Seydoux (appearing in three Cannes official selection titles) shows the goods that make her among France's most sought-after young actresses, and strong craft credits exert an almost hypnotic spell. . .

Of the people I talked to at the screening, one woman who is very perceptive said she understood exactly what Prudence was going through. Several men did not and thought the film unsuccessful. On Allociné the spectator rating is quite a bit lower than the critics' and this fits with what the Variety reviewer said, that the public would not like this movie as well as the reviewers. The critics' rating is 3.5, which is good (4.0 is a top rating) but the viewers' is 2.7. I'll see if I can talk to other people at the screening and see what they thought.

Howard Schumann
03-18-2011, 10:58 AM
You're right, I failed to engage with the film to the degree that you did.

Prudence's failure to feel her grief over her mother's death didn't come through to me as it did to you. How are we supposed to know that she is resisting the grief and just didn't care much about her mother? Her feelings for her mother while her mother was alive are not established. The movie begins with the scene of Prudence being a bad girl. It wasn't completely clear to me what her family situation was. Was she a rich girl who had a whole Paris flat all to herself, or was her dad only away temporarily? It wasn't completely clear. The girl she was searched with in the store for shoplifting: was she a classmate, an outside acquaintance, or somebody she'd never met before? I wasn't quite clear on that either. From my point of view, all of these questions do not really matter in the big scheme of things. Her economic status was not relevant. As for her relationship with her mother, the final scene of the film indicated clearly to me that she had had a good relationship with her mother but had been unable to come to terms with her loss. It doesn’t matter why her father wasn’t around. Presumably he was away on business. The only thing that was germane was that she felt lost and lonely.


Her interest in the illegal bike racing and the exciting motorcyclists at Rungis: where did that come from? Like many adolescents who are angry, she acted out her rebellion by seeking an escape through the bike racing scene. In this case, it appeared that she was angry at her mother for dying but could not confront that, so she internalized it by turning the anger inward against herself. She apparently did not have any close friends that she could turn to.


Another thing that slipped by me. when she went to the dinner at her relatives, I was not clear at first that they were relatives or that she was Jewish. Why should she have to have the meaning of basic Jewish holidays explained to her if she was Jewish? You see, a lot was not clear to me. Why doesn't she have any more proper bourgeois friends who are contemporaries, instead of inviting the bad boys and their girlfriends to come and semi-trash her apartment? Where are her usual friends and associates and activities?
Not every Jew is familiar with the reasons and purposes of the holidays especially if they do not come from a particularly religious upbringing. In my case, we did celebrate the high holy days by going to temple, but it never had much meaning to me and I never understood the reasons behind the holidays until I was an adult.


You say the movie "was a bit non-structured I agree." When I say the biker's death jolts her back to an awareness of her loss, I of course meant that it led her back to her grief. I did not understand what the phantom of her mother meant at first either. Then I realized it meant awareness of her mother's absence was finally coming through to her. At first I thought it might mean she had only been pretending that her mother was dead and that her mother had been away like her father. Yes, you could say that a whole lot of this movie was not clear to me, and the elliptical, jerky presentation augmented that confusion for me. However I liked the dark Pialat-esque mise-en-scene. I was not put off by, rather attracted by, the whole thing. It just didn't wholly work. I understand that it didn’t work for you.


Prudence goes to Rungis in the middle of the night. This is meant to be shocking and dark, and the excitement of her adventure comes through nicely. But it's also disorienting. The way the movie goes back and forth from Prudence's home to the edgy locales she seeks out is part of the confusion. In this sense the screenplay is "rambling" and since I did not follow some key points, it is also "lacking in clarity" Actually several things you say about the plot toward the end seem possibly incorrect, so you may not have followed the action as well as you think. I refer to Franck's sex with Prudence and Prudence's encounter with Franck's mother. I think the confusion and the disoriented nature of the presentation was meant to mirror the state of Prudence’s mind as she goes through a process of rebellion and discovery. What was it that I said about the plot toward the end seemed incorrect?


Of the people I talked to at the screening, one woman who is very perceptive said she understood exactly what Prudence was going through. Several men did not and thought the film unsuccessful. On Allociné the spectator rating is quite a bit lower than the critics' and this fits with what the Variety reviewer said, that the public would not like this movie as well as the reviewers. The critics' rating is 3.5, which is good (4.0 is a top rating) but the viewers' is 2.7. I'll see if I can talk to other people at the screening and see what they thought.

With all due respect, while I am interested in what others say about a film, everyone's in a different space and reacts differently. In the final analysis, like viewing a painting, I always go with my experience and what it means to me on a personal level.

Chris Knipp
03-18-2011, 05:08 PM
Thanks for taking the time to reply in such detail. I was merely explaining why my response was different from yours.

"With all due respect," you comment, "while I am interested in what others say about a film, everyone's in a different space and reacts differently. In the final analysis, like viewing a painting, I always go with my experience and what it means to me on a personal level."

Indeed. But I was consulting with other people on what actually happened in the film. One can get that wrong. Especially in this case. There were a number of places where I was not sure. And I consulted further this morning with people who had seen the film with me last week. As I said, a couple bits in your own summary of the action of BELLE ÉPINE seemed to me to be almost certainly slightly off: "Franck (Johan Libereau), [who] takes advantage of her for his sexual pleasure. When she walks out of a movie leaving Franck feeling angry and deserted, she goes to his house to try and talk to his mother."

By my own impression and by consulting with others the other day and today, I found we all felt this was not accurate. Of course I may still be wrong about all this. I may have misunderstood the film, and the lady who loved the film and seemed to have observed and understood it best, and you. That is my point. The film is hard to follow. And so I don't know what it means, and I don't find it ultimately satisfying. I know it is meant to reflect the confusion of feeling of its young protagonist. But there is such a thing as too much of an objective correlative.

Another discerning and very well informed person whom I often talk to waved all these questions aside and said they didn't matter and said, "It's just a little film, but it's promising."

Can we leave it at that?

Howard Schumann
03-18-2011, 05:35 PM
A couple bits in your own summary of the action of BELLE ÉPINE seemed to me to be almost certainly slightly off: "Franck (Johan Libereau), [who] takes advantage of her for his sexual pleasure. When she walks out of a movie leaving Franck feeling angry and deserted, she goes to his house to try and talk to his mother." If you think this is certainly slightly off, please explain to me why it is incorrect and what you think actually happened. I'm sorry that you think you still don't understand the film.

Chris Knipp
03-18-2011, 05:47 PM
Mainly just this part:

Franck (Johan Libereau), who takes advantage of her for his sexual pleasure. When she walks out of a movie leaving Franck feeling angry and deserted, she goes to his house to try and talk to his mother. . .

...that it's misleading to say that about Franck, because she wants it. He may seem aggressive, but that doesn't mean she didn't seek the sex just as much herself. And as I recall she was at the hotel for the sex, and then went downstairs and talked to his mother the next morning. The way you tell it seems a bit off in the nature of the event and the sequence. But I may be wrong. However Marcia L, a lady I have talked to at the screenings who loved this film and obviously "got" it much better than I did, did not think "takes advantage of her for his sexual pleasure" gave the correct impression. She said Prudence wanted to go to the hotel to talk to Franck's mother, so the sex may have been partly an excuse, but she didn't feel Prudence was taken advantage of.

She was at the hotel

Howard Schumann
03-18-2011, 06:56 PM
Mainly just this part:

Franck (Johan Libereau), who takes advantage of her for his sexual pleasure. When she walks out of a movie leaving Franck feeling angry and deserted, she goes to his house to try and talk to his mother. . .

...that it's misleading to say that about Franck, because she wants it. He may seem aggressive, but that doesn't mean she didn't seek the sex just as much herself. And as I recall she was at the hotel for the sex, and then went downstairs and talked to his mother the next morning. The way you tell it seems a bit off in the nature of the event and the sequence. But I may be wrong. However Marcia L, a lady I have talked to at the screenings who loved this film and obviously "got" it much better than I did, did not think "takes advantage of her for his sexual pleasure" gave the correct impression. She said Prudence wanted to go to the hotel to talk to Franck's mother, so the sex may have been partly an excuse, but she didn't feel Prudence was taken advantage of.

She was at the hotel

Yes, I can see the way I put it leads to a misunderstanding. What I meant was that she was seeking a relationship and not just sex but he wasn't interested in a long term relationship, so in that sense, he was using her for his immediate pleasure. I will have to edit my review so it communicates my intent better.

By the way, I'm not sure if you've seen this review, but I think it may help to make the issues clearer for you:

http://www.quietearth.us/articles/2010/10/08/VIFF-2010-Review-of-Rebecca-Zlotowskis-teen-drama-DEAR-PRUDENCE-BELLE-PINE

Chris Knipp
03-18-2011, 07:21 PM
Okay, we're straight on that. I read that review, but I think yours is just as good. I would like to see much more detail. I have scanned a number of the French reviews but not taken the trouble to read through all of any of them. I think I've seen enough, but I am certainly willing to see the director's next film.

Howard Schumann
03-18-2011, 07:59 PM
Okay, we're straight on that. I read that review, but I think yours is just as good. I would like to see much more detail. I have scanned a number of the French reviews but not taken the trouble to read through all of any of them. I think I've seen enough, but I am certainly willing to see the director's next film.

Thanks fir the complement. My only problem now is whether or not he really wanted her for a sexual relationship or that was just her perception.

Clarification of that will have to wait until it comes out on DVD, if it ever does. I will also look forward to her next film.

Chris Knipp
03-18-2011, 08:01 PM
Well he obviously was hurt when she walked out on him in the cinema.

Howard Schumann
03-18-2011, 08:58 PM
Well he obviously was hurt when she walked out on him in the cinema.

True enough.

Chris Knipp
03-21-2011, 05:42 PM
Vladimir Kott: Gromozeka (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25936#post25936)

This Russian film follows three men who were fellow band members thirty years earlier, now facing mid-life crises. Their lives partly coincide.

Shown in competition at the Rotterdam Film Festival. In Russian. 103min. Seen and reviewed as part of New Directions/New Films, presented March 23-April 4, 2011 by MoMA and the Film Society of Lincoln Center, New York.

ND/NF screenings:
2011-04-01 | 6:00 PM | MoMA
2011-04-02 | 3:45 PM | FSLC

Chris Knipp
03-21-2011, 05:47 PM
Daniel and Diego Vega: Octubre (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25939#post25939)

In a dry style consciously indebted to Kaurismäki and Jarmusch the Vega brothers, of Peru, depict the slight thaw of a Lima moneylender's stony heart when he's saddled with a baby that is probably his, and hires a local spinster to care for the child, all of which happens in October, locally celebrated as the month of miracles.

Whether the Vega brothers themselves will emerge as distinctive stylists still remains to be seen, but their work as anointed by Cannes is guaranteed a place on the festival circuit. The film has a limited US theatrical release coming May 6, 2011. Seen and reviewed as part of the New Directors/New Films series, presented by MoMA and Lincoln Center from March 23 through April 4, 2011.

ND/NF screenings:
2011-04-02 | 9:00 PM | FSLC
2011-04-03 | 4:00 PM | MoMA

Chris Knipp
03-21-2011, 05:51 PM
Deron Albright: The Destiny of Lesser Animals (2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25945#post25945)

A Ghana policeman gives up his plan to return to America after a futile search for a stolen counterfeit passport. Yao B. Nunoo, who wrote the screenplay also stars. He may have had a little more than he could handle. This film is the fruit of a year that director Albright spent in Ghana recently on a Fulbright research grant. Albright is an associate professor of film/media at St. Joseph's University in Philadelphia. His 2006 short film, The Legend of Black Tom, has played at festivals and won awards. He has also worked in television.

87 min. In Fante, English, Pidgin, Twi, and Ga with English subtitles. The HDCAM cinematography is serviceable and the film provides views of the Ghanan urban landscape.

ND/NF screenings:
2011-04-01 | 9:00 PM | MoMA
2011-04-02 | 6:30 PM | FSLC

Chris Knipp
03-21-2011, 07:50 PM
Athina Rachel Tsangari: Attenberg (2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25951&posted=1#post25951)

This "certainly works as a wacky, decidedly arthouse coming-of-age narrative," says Variety. It is a study of "Eros" and "Thanatos," being a Nouvelle Vague-influenced study of an adult daughter belatedly discovering sex while attending her dying architect father in a Greek seaside town. It may not work for you so well if you balk at its constant inserts of symmetrical travelling shots of two young women walking arm and arm up and down a crunchy stone pathway kicking their feet in the same direction. The director produced last year's similarly provocative and much praised Dogtooth.

Click on the title above for the Festival Coverage review.

ND/NF screenings:
2011-03-31 | 6:00 PM | MoMA
2011-04-02 | 1:00 PM | FSLC

This was the final press screening of New Directors/New Films 2011.

ND/NF selections I did not see or did not review:
Circumstance (Maryam Keshavarz 2010, Iran)
El Velador (Natalia Almada 2010, USA/Mexico)
Shut Up Little Man! An Audio Misadventure (Matthew Bate 2010, USA)
Some Days Are Better Than Others (Matt McCormick 2010, USA)
Summer of Goliath (Verano de Goliat Nicholás Pereda 2010, Mexico)
For details see the FSLC webpage (http://newdirectors.org/films/).

Chris Knipp
03-23-2011, 09:25 PM
http://img831.imageshack.us/img831/1951/maryamkeshavarzcircumst.jpg
STILL FROM MARYAM KESHAVARZ'S CIRCUMSTANCE (NOT COVERED IN MY REPORTS)

NEW DIRECTORS/NEW FILMS 2011

There are a few outstanding films this year, and a number of ones that show the directors have talent and should be watched. Then there are some uncertain cases. And some strong differences of opinion at screenings. I also missed some.*

Bogdan George Apetri's OUTBOUND
An intense, non-stop Romanian story about a young woman released from jail for one day. Its powerful ending evokes the great Italian neorealists. This is a pretty nearly flawless film, which follows the current Romanian style of focusing on a minute-to-minute saga.

J.C. Charndar's MARGIN CALL
A fresh, elegant look at the beginning of the Wall Street financial meltdown by a new American director, featuring Kevin Spacey and Jeremy Irons. It all happens in a dark steel-and-glass box but it's quite cinematic nonetheless.

Denis Villeneuve's INCENDIES
A powerful, visually rich look at a personal family heritage of Middle Eastern confict. The director is a French Canadian, whose films have four times been nominated for the Best Foreign Oscar. From a stage play but the realization is thoroughly cinematic.

Paddy Considine's TYRANOSAUR
A brilliant, harrowing portrait of English violence and alcoholism with all the focus on the superb acting. Peter Mullan is the star, with Olivia Colman. You may want to look away but you cannot.

These are the standouts. They have some flaws. Margin Call could be more engaging; it's a little too dry at times. Incendies is far-fetched; its mashup of nationalities and history may seem absurd to some from the region and its surprise final revelation strains the credulity of anyone. Tyranosaur's ugliness and violence are over the top and so it can't be recommended to the faint of heart. Outbound seems best overall precisely because it doesn't have any single notable flaw.

Notable or promising
At another level are some movies that showed a high level of competence or promise. Dee Rees' Pariah, a young black lesbian coming-of-age story, has some beginner's flaws but is warm and colorful, one of the most enjoyable of the series. Ahmad Abdalla's Micorphone, the musical mélange about Alexandria, Egypt, is also enjoyable, if rambling. Fukada's Hospitalité is very clever; this Japanese writer-director has it all together, but his film degenerated into silliness; one hopes his brilliant films come to have a bit more warmth and depth. Anne Sewitsky's Happy, Happy is an adultery comedy (from Norway) that's quite funny but a bit too condescending toward its characters. Göran Hugo Olsson's Black Power Mixtape has a wealth of new footage about the Sixties and Seventies. It may add little that's new to our basic fund of knowledge of the period, but it may yet be new for and fresh for a younger audience. The Vega brothers from Peru, whose Octubre was shown, seem already well established on the festival circuit, with a slightly derivative dry stylishness to which they have added a tiny dab of uplift. They have a style; time will tell if it's their own.

I was not enthusiastic about the French films. Copacabana, with Isabelle Huppert and her daughter, which I reviewed last year, seems lackluster, Huppert doing an "eccentric" shtick that ill-suits her. Mikhael Hers's Memory Lane, a generational reunion, is unfocused and slight. People differed on Rebecca Zlotowski's Belle Épine. I can grant that this dark girl's coming-of-ager shows promise and originality, not that the film makes any sense. People also differed on whether the searing Tyrannosaur can be recommended. I'd warn people about its ugliness and violence, but it's far too masterful not to be warmly endorsed.

Arabic language films were well represented, with four if you count Incendies, which has a lot of Arabic dialogue though it's French Canadian. Besides Microphone, there was another engaging Egyptian film, Mohamed Diab's Cairo 678, and Sameh Zoabi's mild-mannered Palestinian entry, Man Without a Cell Phone. Cairo 678 was the best received, but I found Microphone enjoyable and it was a prize-winner in the Arab world.

I will draw a veil over a few entries that were lackluster or seemed mere stylistic exercises. One can still see why they might have been included because they had previous festival champions, not totally deluded, or they fill some niche. Other films in the series didn't quite come together, but the filmmakers are worth watching.

I missed the new Iranian director Maryam Keshavarz's Circumstance, which is highlighted as the closing night film. It depicts two young women going to parties and listening to outlawed music and beginning to "explore their true feelings for each other." Several people told me this was one of the best, so I wish I'd seen it. My world was rocked anyway a couple of times, I enjoyed myself, and I became acquainted with the work of a lot of interesting new directors and several, like Denis Villeneuve, whom I ought to have known about already.

*ND/NF selections I did not see or did not review:
Circumstance (Maryam Keshavarz 2010, Iran)
El Velador (Natalia Almada 2010, USA/Mexico)
Shut Up Little Man! An Audio Misadventure (Matthew Bate 2010, USA)
Some Days Are Better Than Others (Matt McCormick 2010, USA)
Summer of Goliath (Verano de Goliat Nicholás Pereda 2010, Mexico)

http://img863.imageshack.us/img863/2140/img0929.jpg
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[Subway ad for the New Directors/New Films series 2011].

A.O. Scott's introduction to the series (http://www.nytimes.com/2011/03/23/movies/new-directorsnew-films-at-lincoln-center-and-museum-of-modern-art.html?_r=1&ref=todayspaper), "Modest Methods, Big Ambitions," appeared in the NY Times today (March 23, 2011) as the series begins public screenings at MoMA and the Walter Reade Theater at Lincoln Center.

Howard Schumann
03-23-2011, 09:38 PM
"not that the film makes any sense" I can't believe you said that. Are you still insisting that the film does not make any sense after the review I sent you, and all the discussion we had? Some people thought it made perfect sense, but hell, what do they know?

Chris Knipp
03-23-2011, 11:05 PM
You should not take my reviews personally. They only express my own views.

Howard Schumann
03-24-2011, 09:27 AM
You should not take my reviews personally. They only express my own views. I'm sure you must have known that statement would draw a reaction.

Chris Knipp
03-24-2011, 09:33 AM
No, I didn't.

Chris Knipp
03-24-2011, 12:34 PM
I'm working on a revised and slightly expanded version of this somewhat hasty summary (prepared to be out before I left the city and before the series public screenings began) for Cinescene and I will take into consideration your objection to how I described Belle Épine, but I still have to be true to my own response.

Chris Knipp
03-24-2011, 05:20 PM
INDEX OF LINKS TO ALL FILMLEAF ND/NF 2011 REVIEWS:

At Ellen's Age (Pia Marais 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25886#post25886)
Attenberg (Athina Rachel Tsangari 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25951#post25951)
Belle Épine (Rebecca Zlotowski 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25917#post25917)
Black Power Mixtape: 1967-1975, The (Göran Hugo Olsson: 2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25892#post25892)
Cairo 678 (Mohamed Diab 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25886#post25886)
Curling (Denis Côté 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25907#post25907)
Destiny of Lower Animals, The (Deron Albright 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25945#post25945)
Gromozeka (Vladimir Kott 2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25936#post25936)
Happy, Happy (Anne Sewitsky 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25885#post25885)
Hit So Hard (P. David Ebersole 2011) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25916#post25916)
Hospitalité (Koji Fukada 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25927#post25927)
Incendies (Denis Villeneuve 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25880#post25880)
Majority (Seren Yüche 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25881#post25881)
Man Without a Cell Phone (Sameh Zoabi 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25926#post25926)
Margin Call (J.C. Chandor 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011#post25870)
Memory Lane (Mikaël Hers 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25876#post25876)
Microphone (Ahmad Abdalla 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25922#post25922)
Octubre (Daniel, Diego Vega 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25939#post25939)
Outbound (Bogdan George Apetri 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25877#post25877)
Pariah (Dee Rees 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25908#post25908)
Tyrannosaur (Paddy Considine 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25923#post25923)
Winter Vacation (Hongqi Li 2010) (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25873#post25873)

Chris Knipp
03-24-2011, 06:00 PM
http://img3.imageshack.us/img3/6384/holecourtneylove1014913.jpg

March 24, 2011 New Directors/New Films press release:

New York, NY, March 24, 2011-The Museum of Modern Art and Film Society of Lincoln Center announced today that the members of Hole will reunite to celebrate the first of two New Directors/New Films screenings of P. David Ebersole’s documentary, HIT SO HARD at MoMA on Monday, March 28 at 6:00PM.

The reunion will mark the first time Love, Erlandson, der Maur and Schemel have been together at a public event in 13 years.

Courtney Love, Eric Erlandson and Melissa auf der Maur will join former bandmate Patty Schemel for the New York debut of Ebersole’s rockumentary.

Screenings:
Monday, March 28th 2011 | 6:00 PM | MoMA
Wednesday, March 30th 2011 | 9:00 PM | FSL

Filmleaf review. (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25916#post25916)

Chris Knipp
03-26-2011, 01:37 PM
Highly recommended. Last chance for ND/NF screening:

Bogdan George Apetri: Outbound (Periferic) 2010 (http://www.filmleaf.net/showthread.php?3032-New-Directors-New-Films-and-Film-Comment-Selects-2011&p=25880#post25880)

ND/NF screenings:

Thursday, March 24th 2011 | 9:00 PM | MoMA
Saturday, March 26th 2011 | 5:30 PM | FSLC

Chris Knipp
04-08-2011, 12:57 PM
http://img88.imageshack.us/img88/5663/fslclogo.jpg

The Film Society of Lincoln Center is mounting a series, THE FAR SIDE OF PARADISE: NEW FILMS FROM NORWAY. Since this is somewhat unusual I want to provide info on it, but I will not be attending. I'm in California and expect to do coverage of the SFIFF as announced. There is not link for this schedule yet so I'm just inserting it here for now.

PRESS RELEASE

FILM SOCIETY OF LINCOLN CENTER announces
THE FAR SIDE OF PARADISE: NEW FILMS FROM NORWAY
April 27 - May 4

Screening Venue:
The Film Society of Lincoln Center – Walter Reade Theater
165 West 65 Street, between Broadway & Amsterdam (upper level)


Wednesday, April 27
2:00PM THE LIVERPOOL GOALIE (85min)
4:00PM LIMBO (105min)
6:15PM THE KING OF DEVIL’S ISLAND (120min)

Thursday, April 28
2:00PM TOGETHER (100min)
4:00PM THE MAN WHO LOVED YNGVE (99min)
9:00PM LIMBO (105min)

Friday, April 29
12:45PM DEATH IS A CARESS
2:40PM THE ANGEL (97min)
4:40PM DAMAGE SHOT (94min)
6:45PM DEATH IS A CARESS (92min)
(Followed by Film Discussion)
9:15PM THE MAN WHO LOVED YNGVE (99min)

Saturday, April 30
4:40PM THE ANGEL (97min)
8:30PM THE KING OF DEVIL’S ISLAND (120min)

Sunday, May 1
2:00PM DAMAGE SHOT (94min)
4:00PM THE LIVERPOOL GOALIE (85min)
6:00PM HOME FOR CHRISTMAS (85min)
8:15PM Experimental Film Program (100min)

Monday, May 2
6:15PM Short Film Program (87min)
8:10PM TOGETHER (100min)

Tuesday, May 3
2:30PM THE WAYWARD GIRL (95min)
4:30PM Experimental Film Program (100min)
6:20PM HOME FOR CHRISTMAS (90min)
8:40PM THE WAYWARD GIRL (95min)

Wednesday, May 4
1:00PM Short Film Program (87min)
3:00PM LEND ME YOUR WIFE (80min)


FILM DESCRIPTIONS FOR THE FAR SIDE OF PARADISE: NEW FILMS FROM NORWAY

THE ANGEL (2009) 97min
Director: Margreth Olin
Winner of the National People’s Choice film award and Norway’s Oscar candidate this year, Olin’s deeply felt drama follows a woman trying to get her life on track after years of struggling. Growing up, Lea has a fragile mother who is attached to a cruel alcoholic; as an adult, she herself faces the heartbreaking challenges of drug abuse. Showcasing a wrenching Maria Bonnevie as the adult Lea, The Angel moves from a lyrical treatment of Lea’s childhood years to the hard truths of adult responsibility, in a story drawn from the experiences of one of Olin’s friends.

HOME FOR CHRISTMAS (2010) 85min
Director: Bent Hamer
Norwegian all-star Bent Hamer has a knack for striking and holding the deadpan tone that eludes most would-be conjurers of life’s many absurdities. With his latest, Hamer (who directed the superb Charles Bukowski adaptation Factotum)beads together the darkly comic travails and passions in a small town on Christmas Eve. Building on the humor, mood of solitude, and warm visuals of his past films, the ensemble story displays Hamer’s wry take on yuletide sentiment.

KING OF DEVIL’S ISLAND (2010) 120min
Director: Marius Holst
Based on a notorious uprising at a boys’ reform school in 1915 that required military intervention, Marius Holst’s island-bound epic is a grim study in adolescent rebellion and the rigors of regimentation. At the prison-like institution, the boys endure the rough-handed abuse of the school’s staff, who run the risk of pushing their charges over the edge. Starring Stellan Skarsgård as the school governor and a rugged young cast drawn heavily from nonprofessionals.

LIMBO (2010) 105min
Director: Maria Sødahl
A coming-of-age drama for adults unfolds in the sunny climes of Trinidad in Maria Sødahl’s Seventies-set feature debut. Sonia and her two children arrive to join her husband, who manages off shore oil rigs, in a verdant expat paradise replete with cocktails, sun dresses and casual infidelity. The radiant Line Verndal turns in a moving performance as Sonia, who must reconsider the boundaries of trust in a home that is not her own.

THE LIVERPOOL GOALIE (2010) 85min
Director: Arild Andresen
A school-daze crowd-pleaser and award-winner at this year’s Berlin Festival, The Liverpool Goalie takes us to the suburban world of the shy, studious 13-year-old Jo (Ask van der Hagen), who treads a careful path through the disaster-prone world of middle school, until he falls into step with The New Girl, a spitfire named Mari. Director Arild Andresen sends wide-eyed Jo through increasingly madcap adventures that show growing pains in full force.

THE MAN WHO LOVED YNGVE (2008) 99min
Director: Stian Kristiansen
Set in 1989 with vintage soundtrack, a young man's rough and tumble search for identity and a sense of belonging animate Stian Kristiansen’s high school sex comedy. Amateur rocker Jarle, his girlfriend Katrine, and best friend Helge are a tight-knit bunch, until handsome Yngve arrives at school to send an unexpected charge through Jarle. Based on a best-selling novel, the popular adaptation by Kristiansen captures the surging, sometimes crude, and sometimes beautiful energy of adolescence.

TOGETHER (2009) 100min
Director: Matias Armand Jordal
What’s fascinating about Matias Armand Jordal’s stirring father-son portrait is the emotional strength displayed on the younger side of the equation. After a sudden, catastrophic accident, twelve-year-old Pal (Odin Waage) and father Roger (Fridtjov Saheim) find themselves without the one radiant person who anchored their lives – wife and mother Kristine. Jordal takes us through a world of grief that brings out the best and the worst in those left behind.



EDITH CARLMAR TRIBUTE
Norway’s first female director, Edith Carlmar (1911-2003) blazed a ten-year trail across the Norwegian cinema with work that was also profitable at the box office, working together with her husband Otto, in their independent production company.

DAMAGE SHOT (Skadeskutt)(1951) 94min
Director: Edith Carlmar
Carlmar helped rejuvenate a national industry with successful melodramatically tinged works, and Damage Shot reflects her willingness to confront fraught issues of social concern. An intriguing moment in her career came with this look at a troubled husband whose melancholia tips over the edge into a dark depression as problems at home hit a crisis point. While the treatment he receives may be an artifact of the time, the way people around him respond reflect Carlmar’s interest in the tensions and fears that can arise when a life grounds to a halt.

DEATH IS A CARESS (Døden er et kjærtegn) (1949) 92min
Director: Edith Carlmar
In this offbeat, finely-detailed melodrama wealthy socialite Sonja chooses handsome, muscular mechanic Erik when she drops off her car for repairs. He comes to accept her attention. She divorces and he breaks off his engagement to marry her. Few films have more effectively conveyed a kind of “male hysteria,” as Erik comes to regard his wife as a deepening enigma whom he can’t control or understand.

LEND ME YOUR WIFE (Lån meg din kone)(1958) 80min
Director: Edith Carlmar
Carlmar Film, the independent production company the filmmaker ran with her husband Otto, also put out comedies, including this adaptation from a witty novel by Erik Pouplier. The director’s second-to-last movie is a comedy of the sexes about a man looking to get ahead in his career but lacking one key component of the successful executive profile: a wife. When a helpful married friend makes an unusual offer, shenanigans follow, with Carlmar clearly keeping one winking eye on the polite-society backdrop.

THE WAYWARD GIRL (Ung flukt)(1959) 95min
Director: Edith Carlmar
The final film by the remarkable Edith Carlmar turned out to be the work that introduced the world to one of cinema’s most magnificent actresses — Liv Ullmann. A ravishing 20-year-old here, Ullmann radiates a sensuality that alternates between innocence and a dark seductive power. The illegitimate daughter of a bitter mother, Gerd (Ullmann) attracts the attention of Anders, a student from a good middle-class family. Defying his parents, who strongly disapprove of Gerd, Anders takes her on a trip to a cottage deep in woods. There, their relationship flowers; Carlmar includes provocative scenes of the two young people together that must have been shocking for contemporary audiences. The isolated world they create at the cottage seems too good to be true, and it turns out it is, as their idyll is interrupted by a passing vagrant and the concern of their parents.

Chris Knipp
06-12-2011, 02:03 PM
Tweet from the Film Society of Lincoln Center:

FilmLinc The Film Society
WSJ - Lincoln Center Hits Its Mark. Renovated Film Society Gets a New Description: Multiplex http://ow.ly/5fauU (http://online.wsj.com/article/SB10001424052702304392704576375941711605566.html)

This is big news for the FSLC. They have opened a new theater complex on the other side of the street from the Walter Reade Theater where New Directors/New Films, The Rendez-Vous with French Cinema, Film Comment Selects, and the Press&Industry screenings of the NYFF are all shown. This is part of the general renovation of Lincoln Center that has gone on for several years and includes the sharp-looking re-do of Alice Tully Hall. That building also houses the Jullianrd School. I'll see the new Film Society cineplex this fall when I am there for the New York Film Festival.

http://img19.imageshack.us/img19/671/nylincoln.jpg
Natalie Keyssar for The Wall Street Journal
The new Elinor Bunin Munroe Film Center includes an 87-seat amphitheater, above, with a 152-inch plasma screen, the largest in the world.