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Tuesday, Sep 11, 2012
Day two of our TIFF coverage features a take on the Salman Rushdie novel Midnight's Children, Ken Burns' doc about the Central Park Five, and the sex-positive The Sessions.

Midnight’s Children
Canada/UK—Dir. Deepa Mehta


I read Salman Rushdie’s much-admired, multi-award-winning masterpiece Midnight’s Children about 12 years ago while on a trip through Laos. I recall being stunned into a kind of page-turning reverie. This was a book that managed to overlay elements of political satire, magical realism, cultural history, religious parable, and human drama into a hugely entertaining (if enormous and complicated) mosaic. It is an experience you remember, reading that book. Such a shame that one cannot say the same for the film adaptation.


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Monday, Sep 10, 2012
PopMatters begins daily coverage of the 2012 Toronto International Film Festival, this last major festival before awards season.

Amour
France—Michael Haneke


A cheery octogenarian couple (Emmanuelle Riva and Jean-Louis Trintignant) return home from a night at the symphony. They chat, they laugh, they bicker. It’s adorable. And then, despite making what should have been the mood-shattering discovery that someone has tried (and failed) to break in while they were out, the husband gently tells his wife not to let it “spoil your good mood”. These are not the kind of people who let obstacles prevent them from moving forward.


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Monday, Jul 2, 2012
by Austin Dale
P-Town a fairly isolated village on the very tip of Cape Cod, making it the home of America's easternmost film festival. It's the happiest place on Earth.

Provincetown changes something in you! Ask anyone who has spent a day or two there. It might be the salty air. It may just be the Planter’s Punch, the town’s longtime unofficial drink. Perhaps it was just the fact that the Provincetown International Film Festival, now in its 14th year, is a well-curated, intimate, and refreshing respite from everything else on the festival circuit. P-Town a fairly isolated village on the very tip of Cape Cod, making it the home of America’s easternmost film festival. It’s people are friendly—honestly, I can’t say I met anyone who wasn’t a saint—and respectful of the town’s queer legacy. It’s the happiest place on Earth.


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Tuesday, Jun 12, 2012
by Austin Dale
The festival's line-up is a smattering of this year's most notable queer films, Sundance films, and some classics. Here are some films you should be looking forward to.

I’ll have to take a train, a bus, and a ferry, but I’m very excited to be attending at the Provincetown International Film Festival this year beginning tomorrow.


Secluded at the tip of Cape Cod, Provincetown is home to perhaps the easternmost film festival in America. It’s also a major event for the small resort town, which has been a major hub of American gay culture since the Provincetown Players set up there at the beginning of the 20th century. It’s the home of one of America’s oldest gay bars. Tennessee Williams and Eugene O’Neill wrote some of their best work in P-Town. And John Waters has a home in there. All the queerness begs the question: Why haven’t I ever been to this film festival?


The festival’s line-up is a smattering of this year’s most notable queer films, Sundance films, and some classics. Here are some films you should be looking forward to.


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Wednesday, May 30, 2012
Cannes finishes with up-and-comer Jeff Nichols' Mud and Romanian Cristian Mungiu's Beyond the Hills and we rank the best of Cannes 2012.

The Cannes Competition line-up is traditionally an exclusive gathering of established auteurs or rising young filmmakers who have paid their dues competing in other strands of the fest’s vast official selection. It can therefore take someone like Hong Sang-soo multiple Un Certain Regard selections before he finally gets invited to main competition (as he finally did this year with his very fine In Another Country). Meanwhile, there are directors like Ken Loach, who, once having breached the Competition, get a seemingly free pass to future births, no matter the quality of the submitted work. By these standards, then, one of the more unexpected inclusions in this year’s line-up was Jeff Nichols, a young American director who’s previous CV includes only two films, the under-seen Shotgun Stories and last year’s Critic’s Week winner, Take Shelter. But I certainly don’t begrudge Nichols or his new film, Mud, this opportunity: Based on the excellent Take Shelter alone, a fighting chance at some legitimate Cannes hardware is more than appropriate, even without working his way up the proverbial totem, cutting his teeth multiple times over in less visible line-ups.


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