Think assigned seating and table service are the future of the movie theater? Think bigger. Andrei Severny argues that what we now call "movie theaters" will soon be theme parks of the mind - but storytelling is here to stay.
Every year, right before Labor Day, 50,000 people travel to Black Rock City, Nevada to take part in Burning Man — an experimental community dedicated to radical self reliance, radical self-expression and art.
I’m not an expert on horror movies, but I know when my heart rate has doubled. “World War Z” is the most gratifying action spectacle in years, and one reason for its success is that Brad Pitt doesn’t play a superhero.
Reactions to Neill Blomkamp's first film after his sleeper hit District 9 have been mixed, to say the least. Elysium is a movie with a lot of aspirations to greatness, but it fails miserably to live up to its promise.
With the advent of the Internet, media delivery has become so easy and so convenient for us. It started with music but quickly moved to include TV shows and feature-length films, and in the wake of Napster illegal piracy has skyrocketed.
I recently saw Hannah Arendt, a rare movie whose protagonist is a philosopher. And an exceedingly well done movie, it is. I was lucky enough to go to the US premier of it, held at Film Forum in New York, and which was attended by the director, Margarethe von Trotta, the leading actress, Barbara Sukowa, the screenwriter, Pamela Katz, and the main supporting actress, Janet McTeer. This sort of thing is a major reason I love living in New York.
The movie centers around a crucial period of Arendt’s career, when she covered the trial of former nazi officer Adolph Eichmann in Jerusalem, on behalf of the New Yorker magazine. The result was a series of five articles that were then collected in a highly influential book, Eichmann in Jerusalem: A Report on the Banality of Evil. Yes, you’ve heard the phrase before, and that’s where it comes from.
Arendt was already famous at the time, a leading faculty member at the New School in New York, and the author of The Origins of Totalitarianism, which is why the notoriously picky New Yorker immediately accepted her offer to cover the Eichmann trial. Little did they know about the fury and heated controversy that Arendt’s writing would soon generate, a controversy that alienated her from some of her closest friends and family members, though it also made her the talk of the town and the idol of her students.
As I said, the movie is well worth watching because of the superb screenwriting, directing and acting, and von Trotta stressed — during the q&a following the first screening — that it is based on a painstaking analysis of the available documents, including letters from Arendt to her friends and family. Indeed, Arendt doesn’t come across as an unquestionable hero in the film. She was a complex woman and superb intellectual, embodying plenty of contradictions (she was the lover of famous philosopher, and nazi sympathizer, Martin Heidegger), and who had suffered personally at the hands of the nazis (she fled Germany, was interned in a camp in France, escaped and moved to the US).
There’s a certain irony to Polish animator Piotr Dumala’s innovative style, a stop-motion technique in which he scratches an image into painted plaster, then paints it over again immediately and scratches the next.
It all started when filmmaker Spike Jonze (Being John Malkovich, Where the Wild Things Are) met handbag designer Olympia Le-Tan and asked her to create a Catcher in the Rye embroidery for his wall. She asked him to collaborate on a film in return.