40. Night Moves
Since 2006, Kelly Reichardt has found a way to reach inside of the hearts of her audiences, plucking out strings one by one with desolate re-imaginations of the American Pacific Northwest, seen through the eyes of people not so different than ourselves. With Meek’s Cutoff, she departed from her typical genre and moved in to the Old West, but you could still see her stark realism, perfectly imagined on-screen. Now, Reichardt has shifted gears again, this time to present day (still in the Pacific Northwest), following three environmental activists as they plan to blow up a dam. But this time Reichardt has eschewed all sense of dry, dirty characterization for a much more flowing story where the characters emerge from their settings more fully. It’s still methodical, but somewhere in between the planning and heist itself, Reichardt’s star Jesse Eisenberg finds notes we haven’t seen...
Since 2006, Kelly Reichardt has found a way to reach inside of the hearts of her audiences, plucking out strings one by one with desolate re-imaginations of the American Pacific Northwest, seen through the eyes of people not so different than ourselves. With Meek’s Cutoff, she departed from her typical genre and moved in to the Old West, but you could still see her stark realism, perfectly imagined on-screen. Now, Reichardt has shifted gears again, this time to present day (still in the Pacific Northwest), following three environmental activists as they plan to blow up a dam. But this time Reichardt has eschewed all sense of dry, dirty characterization for a much more flowing story where the characters emerge from their settings more fully. It’s still methodical, but somewhere in between the planning and heist itself, Reichardt’s star Jesse Eisenberg finds notes we haven’t seen...
- 12/28/2014
- by Staff
- SoundOnSight
Disclaimer: I saw Interstellar on one of the smallest screens possible.
Alright, I better revoke that statement. It’s not like I pirated Chris Nolan’s just-released brainy blockbuster and uploaded it to my iPhone to watch in bits and pieces as a way to pass the time during my daily commute. I’m just rather positive I didn’t see it in the way it was intended to be seen. I have a job at a small, older-fashioned cinema that existed long before monopoly-grasping multiplexes with an expensiver-by-the-dozen amount of screens started popping up all over. Standing my theater’s screens next to the gargantuan IMAXs of our time would be something like those photo simulations of the Rms Titanic paling in comparison to the size of the largest cruise ships on the seas nowadays. I’m not sure the term ‘70mm’ has ever even been uttered in my workplace.
Alright, I better revoke that statement. It’s not like I pirated Chris Nolan’s just-released brainy blockbuster and uploaded it to my iPhone to watch in bits and pieces as a way to pass the time during my daily commute. I’m just rather positive I didn’t see it in the way it was intended to be seen. I have a job at a small, older-fashioned cinema that existed long before monopoly-grasping multiplexes with an expensiver-by-the-dozen amount of screens started popping up all over. Standing my theater’s screens next to the gargantuan IMAXs of our time would be something like those photo simulations of the Rms Titanic paling in comparison to the size of the largest cruise ships on the seas nowadays. I’m not sure the term ‘70mm’ has ever even been uttered in my workplace.
- 11/13/2014
- by Oliver Skinner
- SoundOnSight
Ingmar Bergman bowed down to his peer, Andrei Tarkovsky, for having given life to the language of cinema as dream: “Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film, as it captures life as reflection, life as a dream.” This praise from one master to another was more than warranted, for the two auteurs’ bodies of work are arguably the most distinguishable in the canon of film history for their use of moving imagery, intricate mise-en-scène, and meaning that arises not only once in the frame or from an actor’s mouth but that ripples throughout the remainder of the world of the movie. Hey now, this is what dreams are made of.
In the pond’s crystal clear reflection of our reality that is the cinema, there are also the murky patches. Both Bergman and Tarkovsky oftentimes forayed down...
In the pond’s crystal clear reflection of our reality that is the cinema, there are also the murky patches. Both Bergman and Tarkovsky oftentimes forayed down...
- 11/2/2014
- by Oliver Skinner
- SoundOnSight
Indiewire is more than happy to welcome a new addition to the blog network, /bent, which is now officially the queerest blog around these parts -- we'd like to think -- the most fabulous. The blog is the brainchild of longtime Indiewire Senior Writer Peter Knegt, who brings with him Matthew Hammett Knott (of Indiewire's "Heroines of Cinema" and Oscar Bitchfest fame), Berlin-based Toby Ashraf, London-based Sophie Smith and Toronto-based Oliver Skinner. And what exactly will they be doing? Well, here's a mission statement of sorts: Who needs a queer blog? Possibly not you, in which case, feel free to avoid. But for those even mildly intrigued, allow us to explain what we are offering. /bent is an irreverent look at how queer culture is represented on film and in other media. Whether we’re talking the heights of lesbian cinema, the lows of TV stereotypes or the latest politician’s homophobic outburst,...
- 1/22/2014
- by /bent
- Indiewire
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