…is always the most difficult. How do you begin? Welcome to my blog, hope you like what I have to say, grab a coffee, take a sip and peruse through? I don’t know. I barely even know my name at the end of a long day and it’s still Monday evening in New York. Winter seems to be thawing prematurely but as is its wont, December holdovers are all over the place. Even films that have no nominations in any award show are still going strong (I’m talking to you, Lady in the Van. I loved your wit and that thing you did with Alex Jennings playing playwright Alan Bennett, twice, as if he had an invisible twin, or the voice of his own conscience. I thought that there was room in the Best Actress category for Dame Maggie Smith but the academy, it seems, disagreed.)
Youth is still playing. One theater, a few showings, which tells me it will probably exit come Thursday. If the Quad Cinema were open that is where it would go for a second run among tinier indies. However, I’m afraid this is the last NYC will see of it. Next stop: Netflix, Amazon, et. al.
In a way, all these holdovers aren’t a bad thing: many movie goers don’t want until they know a film is “Oscar Nominated” to go see it and be the judge for themselves if it deserved its accolades or not. They also want and need to be fresh in people’s minds so that cancels any significant new entry. I personally long outgrew that phase. I can’t recall when was the last time I saw a movie for awards it received. Now, its participation in certain film festivals can’t hurt–quite the contrary, the sole mention of Cannes (in its main or tangential lineups), Venice, Locarno, SXSW, Tribeca, Sundance, Berlinale, New York Film Festival, or New Directors/New Films is more than enough to spark an interest.
Even so, I totally get it. The vast majority seeks out only what has been recognized. That’s where they measure a movie’s quality, an actor’s performance, a director’s choice in light, shadow, and camera movement (or lack thereof). And that’s perfectly fine.
For me, it goes much deeper than that. Year after year I see tiny movies that go completely unnoticed or play under the radar of “what’s hot” in arthouse theaters for months on end. Those are the pictures that I like. Those are the pictures that move me. Sometimes I will be disgusted, or left somewhat perplexed, but seeing an indie or a foreign or a documentary is akin to venturing into another man’s skin. Another time and place. Yes the story may be archetypal, or it might not possess the flair that a 300 million dollar budget would allow, but for me, it’s the journey. Seeing a story told in a smaller scale, reaching the same emotional impact a larger enterprise can give with enough retouching.
January saw a couple of good releases –nothing mind-blowing–but smaller events that still carry a big punch. Both IFC and Lincoln Center played two New York Film Festival selections: Philippe Garrel’s In the Shadow of Women, and Romanian director Corneliu Porumboiu’s The Treasure. Both films couldn’t be more different: the former is a story about a couple in trouble, the latter about a man who gets an offer he can ‘t refuse. While I could see both of them in one sitting (combined, both movies total about 165 minutes), the stories proper are told with so much restraint and deadpan humor i found them somewhat heavy to endure, even when the end result leaned towards a positive outcome. Perhaps a second view on DVD will bring the scale closer to home. That of, course, remains to be seen. Both directors have a rather droll visual style, but exert a certain pull for the fabric that composes their stories and I enjoy that very much.
At the moment, I’m looking forward to this lull, then catching up with last week’s premiere of Aferim! (Romania’s entry to the 88th Academy Award for Best Foreign Picture), and upcoming releases like Peter Greenaway’s Eisenstein in Guanajuato, Pablo Larrain’s El Club (Chile), and Atom Egoyan’s Remember, followed by the February festival Film Comment Selects which runs February17 – 24 at the Lincoln Center.