The Screengrab : olivier assayas

Screengrab Review: "Summer Hours"

Phil Nugent — Fri, 15 May 2009 15:00:00 GMT

The French filmmaker Olivier Assayas is probably best known for Irma Vep, a 1996 update of Day for Night, about the efforts of a movie director (Jean-Pierre Léaud) and his squad of technicians and assistants who were all trying to make a modern version of the silent movie serial Les Vampires, with Maggie Cheung, as herself, slinking about the set in a black cat suit. (My favorite detail may have been the lackey whose job was to hang around Maggie with a little squirt bottle to make sure her outfit stayed shiny.) Since then, Assayas has certainly established himself as a man of wide-ranging ambitions. His movies have ranged from the aging-friends ensemble drama Lat August, Early September and Les destinées sentimentales, a three-hour family drama set in the nineteenth century, to Demonlover, which ended with its anti-heroine, Connie Nielson, ensnared in a Videodrome-like S & M website, where she was last seen trussed up in fetish gear and waiting for her fate to be determined by some kid a million miles away who'd logged on using his dad's credit card, and the trash-fest Boarding Gate. Whatever their subject matter, Assayas's films are always intelligent, handsomely mounted, and intriguing; the one thing they generally lack is a pulse. They're not overly predetermined, like the work of some smart guys who make dull movies, but they do seem more thought-out than felt, and this can make the experience of being bored by them more frustrating than it is at sloppier movies. This is especially so in the case of his provocations, like Boarding Gate, which is like a self-conscious attempt to create the ultimate nightmare fantasy of rough sex and paranoid thrills; fighting to keep from falling asleep while Asia Argento is running around in her underwear executing people and being pursued by the agents of Kim Gordon can make you feel awfully jaded. Assayas's new one, Summer Hours, is as boring as anything he's ever done, but the nice thing about it is, it sounds as if it ought to be boring, thus restoring some of your faith in a logical universe.

The movie opens at a family gathering at the country home of the aged but still beautiful matriarch Hélène (played by the veteran actress Edith Scob). It's a beautiful day, and Hélène, her faithful housekeeper (Isabelle Sadoyan), her three adult kids (played by Assayas' favorite leading man, Charles Berling; Juliette Binoche, in a blonde dye job that takes some getting used to; and Jérémie Renier) and their kids sit in the bright sunshine or run around in the fields while Assayas and his cinematographer Eric Gautier (who also shot A Christmas Tale, a family-gathering movie that could eat this one for breakfast) do everything to make you feel wistful about it all short of parade in front of the camera wearing sandwich boards reading "Youth and Beauty Are as Fleeting as Summer Itself!" When the sunblock runs out, everybody can wander into the house and admire mom's vast collection of paintings, antique furniture, and other artworks, which include the sketchbooks of Hélène's uncle, an artist named Paul Berthier. After this long opening section introduces the actors and establishes whatever character traits they're going to have to work with, Hélène dies, and the movie can settle into the real dramatic work at hand: deciding what to do with mom's stash of collectibles.

You might think that the movie is so taken with the idea that a human being's life comes down to the hoarded belongings she's left behind has something to do with how French it is, and you wouldn't entirely be wrong. (It sure sounds classier, coming from Assayas and his characters, than it does from Nick Hornby's boyish men.) Actually, it was the starting point of the movie because the movie was originally commissioned as part of a plan to celebrate the twentieth anniversary of the Musée d'Orsay. (So was Hou Hsiao-hsien's Flight of the Red Balloon, which included scenes set inside the museum, and which also featured Juliette Binoche being especially lively in dubious-looking hair.) The actors get to express little irritations with those playing their siblings and to cry over the loss of mom and fret over their kids, but the core of the movie is in scenes where curators from the Musée d'Orsay stamp around the house and discuss how badly they want mom's knickknacks (which are in fact pieces on loan to the filmmakers from the museum) and set aside a moment to tear their hair out when they think about those barbarians at Christie's. (Bincohe, who lives in New York, has flirted with the idea of selling the sketchbooks to Christie's, before coming to her senses.) At the end, there's a set piece that's a sort of inverted version of the opening scene, with Berling's teenage daughter taking over grandma's all-but-abandoned house for a weekend party with all her little buddies, who have their whole lives ahead of them and seem very confused by this, maybe because they haven't yet begun to whole-heartedly devote themselves to building their own stockpile of objets d'art and attaching personal memories to them. But Assayas isn't fooling anybody: he's at least as much in his element when the curators are sitting around being huffy about the quality of Art Nouveau furniture they're being offered as when he's trying to stage scenes depicting intimate human behavior. Summer Hours is probably opening about three months too early: who wants to feel wistful about the dying of the light in May? But it is strongly recommended for those who are counting the seconds between episodes of Antiques Roadshow.

DVD Digest for December 9, 2008

Paul Clark — Tue, 09 Dec 2008 15:00:00 GMT

This week brings a number of interesting possible Christmas gifts for the DVD lover in your life, no matter what his or her taste might be.

DVD of the Week: There are probably about half a dozen DVDs coming out today that I’d be happy to receive for Christmas. But if, say, some unnamed benefactor with deep pockets was to give me any of this week’s new releases (hint hint), the one I would want most would be the Murnau, Borzage and Fox DVD Collection (Fox). Spotlighting two of Fox’s most celebrated silent filmmakers- F.W. Murnau and Frank Borzage- the set collects a dozen of their great American silents, from Murnau’s City Girl and Sunrise to Borzage’s 7th Heaven and Street Angel. But while the films alone would justify the purchase, the set is also filled with extras that should prove to be catnip for silent film junkies, including a feature-length documentary about the filmmakers, several commentary tracks, and the alternate European cut of Murnau’s masterpiece Sunrise. Perhaps most exciting is the inclusion of material related to Murnau’s famous lost film 4 Devils, including the screenplay, a stills gallery, and a documentary about the film. All in all, it’s the perfect Christmas gift for the movie nerd in your life, not least if that movie nerd is me.

Of course, if you’re on a budget, that movie nerd would probably be happy with a number of this week’s other releases. Also worth mentioning on the classics front is the release of two of the most inventive films of the 1990s, Olivier Assayas’s Irma Vep (Zeitgeist) and Lars Von Trier’s Europa (Criterion), released in the U.S. as Zentropa. Also of note are a pair of double-feature DVDs from Warner, one containing Chamber of Horrors and The Brides of Fu Manchu, the other pairing The Shuttered Room and It!

If the DVD nut in your life is more of a TV watcher, you could do a hell of a lot worse than HBO’s massive box sets of The Wire: The Complete Series (HBO) and Deadwood: The Complete Series (HBO). Or if he’s more into brain-teasing fantasy, give Lost Season 4 (Disney, also Blu-Ray) a spin. And the classic TV nut should go for Get Smart: The Complete Series (Universal).

If you’re looking for some discs to go with the snazzy new Blu-Ray player you’re getting Christmas morning, this week brings the comedy triple feature of Dodgeball (Fox), The Mask (Warner), and Super Troopers (Fox).

Finally, this week’s new releases on DVD include something for the kids (Dr. Seuss’ Horton Hears a Who! [Fox, also Blu-Ray]), something for the ladies (Sex and the City: The Movie Ultimate Collector’s Edition [Warner]), and something for the documentary fans (James Marsh’s stunning Man on Wire [Magnolia]). Oh, and there’s a little something called The Dark Knight (Warner, also Blu-Ray) coming out this week. I figure it’ll sell at least a few copies, but don’t quote me on that.

Paul Clark Previews TIFF '08

Paul Clark — Thu, 04 Sep 2008 16:00:00 GMT

Today marks the beginning of this year’s Toronto International Film Festival. Sadly, I won’t be covering the fest for Screengrab as I did last year, since various factors have made it impossible for me to make the trip again. However, I’m still looking forward to it in much the same way I did in the years before I actually got to go myself. I love hearing the buzz about the new movies- whether you’re in the market for Oscar-baity Hollywood fare, out-of-nowhere sleepers, or critical darlings, Toronto has plenty to chew on. Even this year, when a number of festival favorites (Hong Sang-soo, Lucretia Martel, Hayao Miyazaki, Erick Zonca, Fernando Eimbcke) are mysteriously missing from the TIFF slate, there’s still a lot to look forward to there. Bearing in mind that I prefer to skip movies that are getting released in the forseeable future, here are eleven movies that I would make the greatest effort to see at TIFF, in no particular order:

Che- there are other films here I’m more eagerly anticipating, but of all the movies playing at Toronto, Che feels most like an event, particularly the 4 1/2 –hour screening of both segments of the film. Most big-ticket directors come with films that have studio backing, but Che is still seeking a distributor, and since there’s no telling when it’s going to be released in theatres, this festival season may be the last chance for it to be seen in a long time.

A Christmas Tale- a few weeks ago, I declared Arnaud Desplechin’s new movie to be one of my most-anticipated films of the fall, and even though this is allegedly coming out in limited release in December, given the choice of seeing it earlier, I don’t think I could wait. Besides, it’d be a way to ensure I see it in time for certain year-end awards.

Of Time and the City- after eight years trying to get projects off the ground, the great Terence Davies surprised cinephiles by premiering a new film at Cannes. Buzz on his latest, a documentary about Liverpool, was fairly muted, but no matter- a new Davies is always cause for celebration.

35 Shots of Rum- Claire Denis is one of the most gifted filmmakers working today, with a winning streak that’s even longer than Pixar’s. I haven’t disliked any of her features to date, and Venice buzz from her latest indicates this will be a worth addition to her already-impressive filmography.

Wendy and Lucy- after the critical success of 2006’s Old Joy, the talented Kelly Reichardt returns with a new film starring Michelle Williams and her dog. Here’s hoping that the presence of recognizable name in the cast will bring Reichardt’s films a new level of visibility.

Lorna’s Silence- word from Cannes was that the latest film from Luc and Jean-Pierre Dardenne was something of a departure from celebrated recent work like The Son and The Child. As much as I love those movies, I’m also eager to see what else they can do. Aw, who am I kidding? I’d follow these guys anywhere.

Three Monkeys- a far cry from the Western rip-offs most people associate with Turkish cinema, Nuri Bilge Ceylan is a genuine visionary whose films have made him perhaps the most important filmmaker in his home country. After Distant and Climates, Three Monkeys should only confirm this status.

Summer Hours- considering all the world-class directors she’s worked with, it’s sort of surprising that Juliette Binoche hasn’t starred in a film by her countryman Olivier Assayas. This film has been compared with Assayas’ lovely 1998 film Late August, Early September, which is enough to get me excited to see it.

Still Walking- with his first two fiction features, Japanese filmmaker Hirokazu Kore-eda made two masterpieces- Maborosi and After Life. And while none of his subsequent projects has been up to that rarefied level, his 2004 film Nobody Knows is proof that he’s still got plenty of creative juice left in him.

The Beaches of Agnès- some filmmakers find their styles becoming more mainstream as they get older, but not French New Wave veteran Agnès Varda. Her latest essay film should be as chock full of dotty humor as her previous efforts Ydessa, the Bears and I… and The Gleaners and I.

JCVD- the typical pitch I’ve seen for this is Being Jean-Claude Van Damme. With that premise, how could it NOT be awesome?

And since I won’t be covering the festival, here are some links to some cool cats who will be:

Noel Murray and Scott Tobias at the always-indispensible Onion AV Club
Screengrab favorite Mike D’Angelo
Quote identifying machine Victor Morton
Cyprus correspondent Theo Panayides
Self-described Academic Hack Michael Sicinski
The tireless Jeremy Heilman
Honest-to-goodness AMPAS member Ken Rudolph
The good Doctor Girish Shambu
Of course you all know to check out Greencine Daily, Cinematical, and IndieWire. And whether you’re heading to Toronto or simply watching from the sidelines, enjoy the festival.

DVD Digest for June 3, 2008

Paul Clark — Tue, 03 Jun 2008 14:00:00 GMT

With Father’s Day coming in less than two weeks, the studios begin to unveil their snazzy new editions of what TNT used to call “movies for guys who like movies.” We’ve got all the manly movies you need to keep dad happy while mom and her friends are out seeing the Sex and the City movie (seriously, how did we not see that coming?).

Before Clint Eastwood became known as an Academy Award-winning filmmaker (or a guy who co-starred with an orangutan) he was first and foremost a grimacing badass. And while some- including yours truly- have a soft spot for his Man With No Name trilogy- the most enduring character from this period would also certainly be “Dirty” Harry Callahan. This week, Warner unveils new DVD and Blu-Ray editions of all five of Eastwood’s Dirty Harry films, featuring all of the features from previous DVD editions plus a number of new ones. Most notably, Warner Brothers’ box set (the films are also sold separately) includes a new feature-length documentary, Clint Eastwood: Out of the Shadows. In addition, the memorabilia included in the box set includes a 40-page hardcover book and a map of San Francisco detailing Harry’s hunt for Scorpio.

But if dad’s looking for wartime heroism (Blu-Ray only), MGM and Fox both have something that’ll fit the bill. MGM will unveil Blu-Ray editions of A Bridge Too Far and Battle of Britain this week, although these new discs will contain no special features. So if it’s tricked out Blu-Rays (and better movies) you want, go with Fox’s war DVDs. The studio will be releasing three of its classics- Patton, The Longest Day and The Sand Pebbles- exclusively on Blu-Ray, packed with special features and all the bells and whistles he could ever hope for.

But that’s not all, folks. If dad wants some laughs with his testosterone, buy him the new City Slickers: Collector’s Edition (MGM), which gives him some Western action, male bonding humor courtesy of Crystal, Kirby and Stern, and of course Jack Palance, who even in death can still crap bigger than you. Other, more recent dudely comedies releasing this week include Semi-Pro (New Line, also Blu-Ray), Vince Vaughn’s Wild West Comedy Show (Lionsgate), and for the father whose enjoyment of movies far outweighs his taste, Meet the Spartans (Fox, also Blu-Ray). And what’s a list of guy movies with James Bond? Sony will release a new three-disc edition of Casino Royale, Bond’s best big-screen adventure since the sixties (there, I said it).

Other new releases this week include: Anton Corbijn’s Ian Curtis biopic Control (Weinstein Company); the Jessica Alba remake of The Eye (Lionsgate, also Blu-Ray); Michael Caine and Demi Moore in Flawless (Magnolia); the long-delayed The Onion Movie (Fox); and Asia Argento just the way we like her (i.e. mostly naked and toting a gun) in Olivier Assayas’ Boarding Gate (Magnolia). The week’s most notable non-guy-movie old-school release is Jean-Jacques Beineix’s seminal Cinema du look classic Diva (Lionsgate). Finally, releasing on Blu-Ray only: Cloverfield (Paramount), Signs (Buena Vista), The Recruit (Buena Vista), There Will Be Blood (Paramount).

Indie Box-Office Roundup: Weekend of March 21-23, 2008

Paul Clark — Wed, 26 Mar 2008 14:00:00 GMT

Someone call up Shabba-Doo and Boogaloo Shrimp, because breakdancing is BACK! In a weekend full of new specialty fare, Benson Lee's documentary Planet B-Boy (Elephant Eye Films) snuck into the top spot on this week's chart, with an average of $13,889 on two screens. The film's distributor plans to take the film wider over the next month, beginning with San Francisco, San Diego and Washington D.C. next week.

All of this week's top spots were occupied by new openers, with Olivier Assayas' new thriller Boarding Gate (Magnolia) coming in second despite middling reviews. Also finishing strongly was #3 film Under the Same Moon (Weinstein Co.), which not only broke U.S. record to become the top-grossing opening weekend for a Spanish-language release, but broke into the top 10 grossers overall. Rounding out the top 5 were Christophe Honoré's Love Songs (IFC) and Race (UTV Communications).

Holding steady in this week's top 10 are the Oscar-winning The Counterfeiters and Ira Sachs' Married Life (both Sony Pictures Classics). Not so lucky was last week's champ, David Gordon Green's Snow Angels, which fell to #13.

Top 10, Weekend of March 21-23:
1. Planet B-Boy [Elephant Eye Films] ($13,889 per screen)
2. Boarding Gate [Magnolia Pictures] ($11,440)
3. Under The Same Moon [The Weinstein Company] ($10,414)
4. Love Songs [IFC Films] ($10,244)
5. Race [UTV Communications] ($8,357)
6. The Grand [Anchor Bay] ($8,227)
7. Praying With Lior [First Run] ($6,443)
8. The Counterfeiters [Sony Pictures Classics] ($5,398)
9. The Hammer [International Film Circuit] ($4,857)
10. Married Life [Sony Pictures Classics] ($4,459)

Source: IndieWire.

The Rep Report (February 14-21)

Phil Nugent — Wed, 13 Feb 2008 18:00:00 GMT

NEW YORK: A dependable annual treat, the "Film Comment Selects" series at the Film Society of Lincoln Center (February 14-28) gives the writers and editors of that magazine a chance to decorate the screen of the Walter Reade Theater with a wide-ranging selection of films, new and old, that they love a lot more than the U.S. distribution business does. There are new films by George A. Romero (the opening night selection, Diary of the Dead), Jacques Rivette (The Duchess of Langeais, to be shown with the actress Jeanne Balibar in attendance), Ramin Bahrani (Chop Shop), Olivier Assayas (Boarding Gate), Lukas Moodyson (Container), and Alex Cox (The Searchers 2.0). The weird revivals include Cox's 1987 Walker, Crispin Glover's 1992 Rubin and Ed, and a couple of Richard Fleischer movies, the 1971 English true crime story 10 Rillington Place starring Richard Attenborough, and the mind-boggling 1975 Southern slave-owners' potboiler Mandingo.

"Milos Forman: A Retrospective" (February 14-28) at the Museum of Modern Art covers the expatriate director's career from his early, attention-getting work (Loves of a Blonde, The Firemen's Ball), traces his American work from the 1971 Taking Off to his finding a groove as a respected Hollywood pro (from the Academy Award-winning smash One Flew Over the Cuckoo's Nest to Amadeus and The People vs. Larry Flynt); it also includes some items from off the beaten tracks, such as his contributions to the omnibus films Visions of 8 and I Miss Sonja Henie.

CHICAGO: For one week starting February 15, the Gene Siskel Film Center is showing a new print of Jean-Luc Godard's exploration of youth culture, revolutionary leftist politics, and bright, shiny primary colors, La Chinoise (1967). This is an important film in the career of a major director and a unique experience on its own terms, and it's never been available on home video in this country, and it doesn't get out to play very often, so I'd advise the curious to brave whatever disaster-movie weather you have to brave to make it to the theater.