The Daddy of all queer film festivals is celebrating the big three-nine this year. Frameline39: The San Francisco International LGBTQ Film Festival (which started off back in 1977 with one evening of short Super8 films projected on a bedsheet) run...
Rick Powell's insight:
Interesting list and written by someone who knows a thing or two for a change.
One of There were a couple of seconds in this prepubescently earnest dystopian sci-fi fantasy that I thought maybe the director had the formal discipline to show what he was thinking instead off beating us over the head with it. I enjoyed the initial gradual shifts from b&w to color, despite the obviousness of the metaphor, and despite the allusions to Pleasantville, a much better movie, and to even the Wizard of Oz. There were also a handful of unintentionally humorous bits, the funniest of these bein
"In effect, Bresson is anti-modernist, which is why it is so surprising to find him being praised most highly by critics who wear their politics (always Leftist, of course) on their sleeves. Would someone so profoundly neo-Catholic be comfortable in the company of critics whose political philosophy begins with a denial of most of his ideas? Critics who have probably never prayed profess that they find Bresson’s late films profoundly moving. Are they closet æsthetes? When J. Hoberman writes that “Bluntly put, to not get Bresson is to not get the idea of motion pictures”, he is clearly speaking – quite snobbishly – to a large number of critics who don’t “get” Bresson. When he then adds that “it’s to have missed that train the Lumière brothers filmed arriving at Lyon station 110 years ago”, he is being silly. "
Rick Powell's insight:
For my part, I've really been getting into Bresson lately, as an antidote to the fake sincerity and sentimentality of so much film product.
Rosenbaum: I can understand why the creators of this movie didn’t want to spoil our fun by reminding us of what drove us into the theater in the first place. The fact that they can transport us with fantasy while making full use of the iconic residue left by Jesus, Hitler and the Nazis, and a few other “entertainment” standbys from the real world is what I find so creepy. A genuine if troubled believer like Martin Scorsese gets the religious world in an uproar for daring to express himself in The Last Temptation of Christ, but a work of cynical expediency like Indiana Jones and the Last Crusade, which uses Christianity the way Russ Meyer uses large breasts, is all set to be received like a secular sacrament.
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