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tilbageidanmark · 1 year

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Movies I watched this Week #134 (Year 3/Week 30):

The Consequences Of Love, my 6th rewarding film by Paolo Sorrentino, an exceptional mature director. His usual collaborator Toni Servillo plays here a mysterious businessman, who's been staying alone for 8 years at a luxurious Lugano hotel. Rich, stylish and evocative. 8/10.

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4 more by Buñuel:

🍿 The Milky Way, the first of his loose "Search for truth" trilogy, (together with the much better 'The Discreet Charm of the Bourgeoisie' and 'The Phantom of Liberty'). Some intricate heretic and blasphemous polemics against the church - and all believers. Clear inspiration to Jodorowsky. “Thank God I’m an atheist.” 5/10.

🍿 Re-watch: Tristana, a complex tragedy about the patriarchy, innocence, sexuality, obsessiveness and cruelty, offered as a simple soap opera. Fernando Rey is the decadent aristocrat who seduces his young niece, the deceitful Catherine Deneuve, who perversely rebels against this father-husband. That Mustache guard! The artificial leg laying on bed! The Don Lope Bell clapper! 8/10.

🍿 Robinson Crusoe, his first color film, and the first made in English, was a traditional re-telling of the famous story, with (few) subversive elements.

🍿 "...See you at the top, gumdrop..."

The young one (1960) was Buñuel's second film in English, an uncomfortable, disturbing drama, now considered to be one of his forgotten masterpieces. A tense and very disturbing story: A black clarinet player who is falsely accused of rape, finds refuge on an island off the Carolina coast. An unpleasant gamekeeper forces himself on a 13 year old innocent girl (who looks remarkably like Liv Tyler). The two men end up playing a bitter battle-of-wills game, full of tense and racist scenes. An odd morality play examining prejudices, racism and pedophilia.

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The Letter Room, my first by Danish director Elvira Lind. She cast her real-life husband Oscar Isaac as a kind, mustachioed prison guard, who's assigned to go over the prisoners' mail. Ah, The American carceral system! The saddest film I've seen in a while. 9/10.

(Photo Above).

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“Eat the watermelon - it’s yours now”.

Cameraperson, my second superb documentary by elite cinematographer Kristen Johnson (after her incredible 'Dick Johnson is dead').

Johnson shot dozens of films, and this personal collage is a collection of some of her background leftover titbits, establishing shots and related stuff from all over the world. Extremely powerful, even before she breaks out stuff from the most tragic and harrowing places around the world: Guantanamo, Sarajevo, Jasper, Texas, Kabul, Nigeria, Yemen and Mississippi. So much heartbreaks and suffering, told with so much restrain. "Donba!" 9/10.

I discovered this in a short Thomas Flight essay 'The Succession Character You Never See' which describes how important the invisible camera decisions are.

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First watch: Closely Watched Trains, the groundbreaking Czech New Wave classic. Cute, light erotic story about Premature ejaculation and anti-Nazi resistance.

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A mighty wind, another of (Baron!) Christopher Guest's comedy-mockumentaries, this time about a television reunion of three folk bands from the 60's. With a scary-looking Harry Shearer (who later transition into a female), and all the members of the ensemble that made 'Spinal tap', 'Best in show' and others. Perfectly charming. 7/10.

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Loft, the standard 'Erotic thriller' from Belgium was the most successful Flemish-speaking film ever by 2008. 5 successful yuppies, duplicitous swinging dicks, own a fancy loft together, to which they bring their mistresses to. But they are all married, and claim to be faithful when in public. When a woman is found murdered in the loft, it's unclear who killed her or why. 3/10.

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Nine Queens is considered as one of Argentina's greatest films. A crime thriller of two small time street hustlers, who cross and double cross everybody around them again and again. With 2 surprising endings, one of which is typically Argentinian (The bank suddenly defaults!). 5/10.

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My 9th and 10th by Wes Anderson:

🍿 The Darjeeling Limited, a movie about designer suitcases; A visually-provocative but emotionally stunted drama about 3 irritating brothers on an exotic 'spiritual trip' to India. With the first (?) sex scene in any of his movies. All style, no substance. I don't know why I keep watching his films, when I find him empty and pretentious. 4/10.

🍿 Hotel Chevalier was a 12 minutes film he released together with 'Darjeeling', like a Pixar "Short". A prequel with some background about Jack Whitman and his ex-girlfriend. Like 'Prada: Candy', Anderson's perfume ad with Léa Seydoux, shorter is better. This is actually a perfectly little story with the same "Where Do You Go To (My Lovely)?" comment. 7/10.

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The chase (1946), a second rate Noir by a second rate auteur. With Robert Cummings and Peter Lorre. 1/10.

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The Beguiled, a moody Southern Gothic thriller by Sofia Coppola, about a wounded Union Corporal who was given shelter at a small girls school in Virginia in 1864. My second film about amputation this week (After 'Tristana'!). But the slow melodrama didn't speak to me at all.

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In Ted Gioia's tribute to Tony Bennett, he claims that lounge-lizard Lou Canova is modeled after Bennett, at the lows of his career at that period. I haven't seen Woody Allen's Broadway Danny Rose since 1984. His cinematic personality as the 'nervous Jew' is highly-irritating. But Gordon Willis photography helped give the tight story 100% score on 'Rotten Tomatoes'.

Rip, Tony Bennett!

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Fieldwork Footage is a 1928 short directed by Zora Neale Hurston. She was a central figure of the 'Harlem renaissance', an author and anthropologist and the first African-American female film maker.

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I was sick for a day, so I watched Pineapple Express once again, the best action-stoner comedy ever? Convincing marijuana enthusiast Set Rogen against local mob guy Bill Lumbergh. It's a movie about escalation! Starts with weed jokes and ends with "Prepare to suck the cock of Karma" climax.

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The Quiet American, an adaptation of Graham Greene Foreign Service Saigon thriller, with Michael Caine and Brendan Frazer. The two engage in a ménage à trois over a pretty Vietnamese taxi dancer. This is 1952 when the CIA is just getting into the war there. Cinematography by Christopher Doyle, Wong Kar-wai's usual collaborator. 3/10.

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In the 1960's and 70's, the Montmartre Jazz club on Store Regnegade in Copenhagen was the center of world class jazz in Europe. Many of the greatest names in Jazz played there regularly. Miles Davis, Chet Baker, Ben Webster, Dexter Gordon, Sonny Rollins, Art Blakey, Muddy Waters, Dizzy Gillespie, Stan Getz, and of course the Danish bass player Niels-Henning Ørsted Pedersen. Blues for Montmartre is a nostalgic 2011 Danish documentary about the place and the people who frequented it. 9/10.

Here is Ben Webster playing Stardust in Montmartre in 1971.

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Related!

That’s my jazz: Pastry chef Milt Abel ll reflects on his relationship with his late father Milton Abel Sr., a legendary Kansas City jazz musician.

Surprisingly, he went to work at Noma, and stayed in Copenhagen to open his own Danish-style bakery!

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Just because I dislike science fiction as a genre, does not mean that I'm not ready to give it another chance every once in awhile (But always to be disappointed!). Gattaca seemed to be different: Dystopian bio-punk about eugenics with Gore Vidal and Ernest Borgnine... But I only lasted 30 minutes inside this shiny, sterile world: Pseudo-intellectual mambo-jumbo, horribly acted.

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Throw-back to the "Art project”:

Adora with Buñuel.

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(My complete movie list is here)

#movies

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dimitryi · 4 years

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The Letter Room, 2020

“I just don’t want him to be scared. This is the only thing left that I can do for him.”

#caught this in the last hour its on argo #someone on letterboxd reviewed that this was an exercise of the female gaze by elvira lind #tbf I'd do the same if oscar isaac was my husband lmao lbr

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uomo-accattivante · 3 years

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Excellent article about bringing a re-make of Ingmar Bergman’s Scenes from a Marriage to fruition, and the twenty-year friendship that Oscar Isaac and Jessica Chastain share:

There were days on the shoot for “Scenes From a Marriage,” a five-episode limited series that premieres Sept. 12 on HBO, when Oscar Isaac resented the crew.

The problem wasn’t the crew members themselves, he told me on a video call in March. But the work required of him and his co-star, Jessica Chastain, was so unsparingly intimate — “And difficult!” Chastain added from a neighboring Zoom window — that every time a camera operator or a makeup artist appeared, it felt like an intrusion.

On his other projects, Isaac had felt comfortably distant from the characters and their circumstances — interplanetary intrigue, rogue A.I. But “Scenes” surveys monogamy and parenthood, familiar territory. Sometimes Isaac would film a bedtime scene with his onscreen child (Lily Jane) and then go home and tuck his own child into the same model of bed as the one used onset, accessorized with the same bunny lamp, and not know exactly where art ended and life began.

“It was just a lot,” he said.

Chastain agreed, though she put it more strongly. “I mean, I cried every day for four months,” she said.

Isaac, 42, and Chastain, 44, have known each other since their days at the Juilliard School. And they have channeled two decades of friendship, admiration and a shared and obsessional devotion to craft into what Michael Ellenberg, one of the series’s executive producers, called “five hours of naked, raw performance.” (That nudity is metaphorical, mostly.)

“For me it definitely felt incredibly personal,” Chastain said on the call in the spring, about a month after filming had ended. “That’s why I don’t know if I have another one like this in me. Yeah, I can’t decide that. I can’t even talk about it without. …” She turned away from the screen. (It was one of several times during the call that I felt as if I were intruding, too.)

The original “Scenes From a Marriage,” created by Ingmar Bergman, debuted on Swedish television in 1973. Bergman’s first television series, its six episodes trace the dissolution of a middle-class marriage. Starring Liv Ullmann, Bergman’s ex, it drew on his own past relationships, though not always directly.

“When it comes to Bergman, the relationship between autobiography and fiction is extremely complicated,” said Jan Holmberg, the chief executive of the Ingmar Bergman Foundation.

A sensation in Sweden, it was seen by most of the adult population. And yes, sure, correlation does not imply causation, but after its debut, Swedish divorce were rumored to have doubled. Holmberg remembers watching a rerun as a 10-year-old.

“It was a rude awakening to adult life,” he said.

The writer and director Hagai Levi saw it as a teenager, on Israeli public television, during a stint on a kibbutz. “I was shocked,” he said. The series taught him that a television series could be radical, that it could be art. When he created “BeTipul,” the Israeli precursor to “In Treatment,” he used “Scenes” as proof of the concept “that two people can talk for an hour and it can work,” Levi said. (Strangely, “Scenes” also inspired the prime-time soap “Dallas.”)

So when Daniel Bergman, Ingmar Bergman’s youngest son, approached Levi about a remake, he was immediately interested.

But the project languished, in part because loving a show isn’t reason enough to adapt it. Divorce is common now — in Sweden, and elsewhere — and the relationship politics of the original series, in which the male character deserts his wife and young children for an academic post, haven’t aged particularly well.

Then about two years ago, Levi had a revelation. He would swap the gender roles. A woman who leaves her marriage and child in pursuit of freedom (with a very hot Israeli entrepreneur in place of a visiting professorship) might still provoke conversation and interest.

So the Marianne and Johan of the original became Mira and Jonathan, with a Boston suburb (re-created in a warehouse just north of New York City), stepping in for the Stockholm of the original. Jonathan remains an academic though Mira, a lawyer in the original, is now a businesswoman who out-earns him.

Casting began in early 2020. After Isaac met with Levi, he wrote to Chastain to tell her about the project. She wasn’t available. The producers cast Michelle Williams. But the pandemic reshuffled everyone’s schedules. When production was ready to resume, Williams was no longer free. Chastain was. “That was for me the most amazing miracle,” Levi said.

Isaac and Chastain met in the early 2000s at Juilliard. He was in his first year; she, in her third. He first saw her in a scene from a classical tragedy, slapping men in the face as Helen of Troy. He was friendly with her then-boyfriend, and they soon became friends themselves, bonding through the shared trauma of an acting curriculum designed to break its students down and then build them back up again. Isaac remembered her as “a real force of nature and solid, completely solid, with an incredible amount of integrity,” he said.

In the next window, Chastain blushed. “He was super talented,” she said. “But talented in a way that wasn’t expected, that’s challenging and pushing against constructs and ideas.” She introduced him to her manager, and they celebrated each other’s early successes and went to each other’s premieres. (A few of those photos are used in “Scenes From a Marriage” as set dressing.)

In 2013, Chastain was cast in J.C. Chandor’s “A Most Violent Year,”opposite Javier Bardem. When Bardem dropped out, Chastain campaigned for Isaac to have the role. Weeks before shooting, they began to meet, fleshing out the back story of their characters — a husband and wife trying to corner the heating oil market in 1981 New York — the details of the marriage, business, life.

It was their first time working together, and each felt a bond that went deeper than a parallel education and approach. “Something connects us that’s stronger than any ideas of character or story or any of that,” Isaac said. “There’s something else that’s more about like, a shared existence.”

Chandor noticed how they would support each other on set, and challenge each other, too, giving each other the freedom to take the characters’ relationship to dark and dangerous places. “They have this innate trust with each other,” Chandor said.

That trust eliminated the need for actorly tricks or shortcuts, in part because they know each other’s tricks too well. Their motto, Isaac said, was, “Let’s figure this [expletive] out together and see what’s the most honest thing we can do.”

Moni Yakim, Juilliard’s celebrated movement instructor, has followed their careers closely and he noted what he called the “magnetism and spiritual connection” that they suggested onscreen in the film.

“It’s a kind of chemistry,” Yakim said. “They can read each other’s mind and you as an audience, you can sense it.”

Telepathy takes work. When they knew that shooting “Scenes From a Marriage” could begin, Chastain bought a copy of “All About Us,” a guided journal for couples, and filled in her sections in character as Mira. Isaac brought it home and showed it to his wife, the filmmaker Elvira Lind.

“She was like, ‘You finally found your match,’” Isaac recalled. “’Someone that is as big of a nerd as you are.’”

The actors rehearsed, with Levi and on their own, talking their way through each long scene, helping each other through the anguished parts. When production had to halt for two weeks, they rehearsed then, too.

Watching these actors work reminded Amy Herzog, a writer and executive producer on the series, of race horses in full gallop. “These are two people who have so much training and skill,” she said. “Because it’s an athletic feat, what they were being asked to do.”

But training and skill and the “All About Us” book hadn’t really prepared them for the emotional impact of actually shooting “Scenes From a Marriage.” Both actors normally compartmentalize when they work, putting up psychic partitions between their roles and themselves. But this time, the partitions weren’t up to code.

“I knew I was in trouble the very first week,” Chastain said.

She couldn’t hide how the scripts affected her, especially from someone who knows her as well as Isaac does. “I just felt so exposed,” she said. “This to me, more than anything I’ve ever worked on, was definitely the most open I’ve ever been.”

“It felt so dangerous,” she said.

I visited the set in February (after multiple Covid-19 tests and health screenings) during a final day of filming. It was the quietest set I had ever seen: The atmosphere was subdued, reverent almost, a crew and a studio space stripped down to only what two actors would need to do the most passionate and demanding work of their careers.

Isaac didn’t know if he would watch the completed series. “It really is the first time ever, where I’ve done something where I’m totally fine never seeing this thing,” he said. “Because I’ve really lived through it. And in some ways I don’t want whatever they decide to put together to change my experience of it, which was just so intense.”

The cameras captured that intensity. Though Chastain isn’t Mira and Isaac isn’t Jonathan, each drew on personal experience — their parents’ marriages, past relationships — in ways they never had. Sometimes work on the show felt like acting, and sometimes the work wasn’t even conscious. There’s a scene in the harrowing fourth episode in which they both lie crumpled on the floor, an identical stress vein bulging in each forehead.

“It’s my go-to move, the throbbing forehead vein,” Isaac said on a follow-up video call last month. Chastain riffed on the joke: “That was our third year at Juilliard, the throb.”

By then, it had been five months since the shoot wrapped. Life had returned to something like normal. Jokes were possible again. Both of them seemed looser, more relaxed. (Isaac had already poured himself one tequila shot and was ready for another.) No one cried.

Chastain had watched the show with her husband. And Isaac, despite his initial reluctance, had watched it, too. It didn’t seem to have changed his experience.

“I’ve never done anything like it,” he said. “And I can’t imagine doing anything like it again.”

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#oscar isaac #jessica chastain #scenes from a marriage #hagai levi #michelle williams #elvira lind #behind the scenes #article

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dindjarinslegs · 2 years

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elvira lind did not need to eat her husband up like that

#elvira lind #oscar isaac #met gala 2022

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fieryphrazes · 2 years

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worried that elvira lind is flying too close to the sun (posting so many thirsty pics of her husband on instagram that her comments are going to become absolutely insane and she’s going to stop sharing altogether)

#please elvira i need more........

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outlanderfandomfollies · 3 years

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THIS IS PR: Romantic leads in a series often play up their chemistry to promote their show

In real life, Jessica Chastain is married to Gian Luca Passi de Preposulo and Oscar Isaac is married to Elvira Lind. And yet they appeared to be very affectionate on the red carpet while promoting their new HBO mini-series Scenes From a Marriage at the Venice International Film Festival.

But no, Jessica and Oscar aren’t having a clandestine affair.

What looks like “love” between Oscar and Jessica in the slow motion gif above and the photo below is actually PR. This is what is often expected in the film and TV industry of many romantic co-stars when they are promoting their shows.

Some of the actors in film/TV romantic pairings are better at playing up their chemistry for PR than others. Clearly, Jessica and Oscar are very good at this kind of PR work.

Undoubtedly, Oscar and Jessica are physically familiar with each other at this point, after playing husband and wife for months during filming. So they aren’t shy about touching each other. This makes it easier for them to play up their chemistry at PR events to promote their show. [See this POST if you want to understand more about the touchy-feely behavior of actors & why their significant others (SOs) are okay with that.]

SamCait Extreme Shippers Often Misunderstand PR

Despite the alleged “PR experts” 🙄 among them, over the years many Outlander SamCait extreme shippers (ES) have appeared to confuse S & C’s flirty behavior when trying to promote Outlander with a real life romance.

S & C played up their chemistry the first couple of years the show was on--and of course the ES replay those slow-motion gifs (often taken out of context) over and over again as “evidence” that their ship is “real.”

Ex-shippers also don’t seem to understand that S & C weren’t deliberately “gaslighting” them in the past. They were just doing their jobs. They also weren’t being “disrespectful” to their real SOs. They were “acting”--even while doing PR--and their real SOs understood that.

According to Cait, she and Sam also share a similar sense of humor, so that may be why some of their fan service banter on twitter had all sorts of juvenile sexual innuendo in it. But that was never meant to be taken literally.

The rest of us got the memo years ago that S & C weren’t a real couple, especially when Sam and Cait’s respective SOs showed up at events. Unlike extreme shippers, we didn’t assume Cait’s romantic partner T and the women that S has dated were “fake” SOs. Rather, we assumed (correctly) that S & C had just played up their chemistry for PR purposes--like many romantic leads are expected to do.

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image sources: 01 (video source for gif), 02, 03; note that all images were modified from their original sources.

#samcait debunk #outlander fandom #jessica chastain #oscaar isaac #pr in the entertainment industry #my gifs #my edited gifs #my edits

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dailyreverie · 2 years

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GUYS I NEED YOUR HELP!

Does anyone know, or happen to have, the comment or caption where Elvira Lind said "Our husband"? I've been looking all day and I need it for research purposes.

#I'll give you anything you want for it #i swear I saw it like two weeks ago on her insta and now I can't find it

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foxilayde · 2 years

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Wow. They are really really good at that*.

*existing

#Elvira Lind and Her husband #Oscar Isaac

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thevibraniumveterans · 2 years

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So I found something earlier.

Elvira Lind - screenwriter, filmmaker, director, and co-creator of Mad Gene Media (which she runs with her husband Oscar Isaac) - took this photo of Isaac signing some things for a good cause:

And I spotted something familiar on his table…

It turned out to be this book right here:

I remember reading it, like once, and I really liked it! The fact that Isaac has likely read it himself, and deemed it special enough to auction off for a charitable cause? Oh, man, that’s awesome.

And also! Just late last month, in an interview with Publisher’s Weekly, Isaac has gone on record to state - when asked whether he read the 2016-2018 Star Wars: Poe Dameron run:

“I have, I got all of them. I was so excited: that was the first time a character of mine had been in a comic book - that I had created this character. So I was really excited to see that and read about his parents and yeah, that was a really special thing to see.”

What’s more, in an old interview with Polygon:

We have gotten to see a bit of Poe’s backstory in the Marvel comics series. Is that something you follow and does it affect your performance in any way?

“I’ve looked at them. I mean, they’re amazing artwork and really cool stories and it’s pretty amazing to see that. It’s great.”

Has it affected the way you play the character at all?

“I mean, it definitely enriches the character but, ultimately, my job is to take the script and do my best to tell that story. But what’s great about the comics is that it gives a richer tapestry to his life.”

This entire run, ALL 31 GLORIOUS ISSUES OF IT:

I also saw this little book on his table, amongst other things up for auction:

I wonder what’s in the book, as I’ve personally never read it myself (nor have I really heard of it until now 😅)

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