Berenice Bejo

The Past

“I’m nobody in this story.” By the time Ahmed (Ali Mosaffa, consistently solid throughout the film) utters that comment halfway through Asghar Farhadi’s The Past, it’s far too late in the narrative and too deep into the story to hold much water. After all, Ahmed is not a nobody in the A Separation director’s latest tale of domestic disruptions, and neither is the woman who lies in a coma many miles away, or the man who has started a new life somewhere in Brussels, or any number of other nameless participants in the film’s various characters’ pasts that we never meet. It’s called The Past for a reason, not The Future or The Present, but it might as well be called The Past People in Our Lives We Can’t Forget and Move Away From and This is The Result of All of That Stuff. It’s certainly not as snappy, however. While the basic plotline of The Past sounds salacious – a man returns after many years to divorce a wife who already has a new husband lined up and he discovers many secrets along the way – it’s surprisingly tame in execution. The film could easily be tailored to fit the needs of an American studio, with Ahmed starring as the out-of-town-ex who transforms a mixed family with his charm, level thinking, and delicious cooking (think Uncle Buck with more complicated relationships). At least, that’s what happens for the first half of the movie, with Ahmed playing unexpected peacekeeper between […]


inside llewyn davis 04

Three-hour lesbian drama Blue is the Warmest Color was announced the winner of the prestigious Palme d’Or at the 2013 Cannes Film Festival, a choice that many foresaw as likely but not a sure thing. The jury that awarded the honor was led by Steven Spielberg and also included Nicole Kidman, Ang Lee, Christoph Waltz and Lynne Ramsay. For the second place Grand Prix winner, they picked the latest from the Coen Brothers, Inside Llewyn Davis, while for Jury Prize (considered the third biggest deal) they chose Hirokazu Kore-eda‘s Like Father, Like Son. Like Father, Like Son was also recipient of an honorable mention from the Christian-based Ecumenical Jury, whose top prize went to The Past — the star of which, Bérénice Bejo, was named Best Actress by the main Cannes jury. Blue is the Warmest Color also earned multiple honors from the fest, taking the critic choice FIPRESCI Award for the In Competition category. The biggest surprise of today’s announcement seems to be Spielberg and Co.’s naming of Bruce Dern as Best Actor for the new film from Alexander Payne, Nebraska. After the jump, you can find a full list of main jury winners (from the festival website) and other honorees announced over the weekend accompanied by links to our review of the film where available.


review past

Divorce is rarely a scenario in which anyone wins, least of all the children, as A Separation director Asghar Faradi reminds us once again in his latest feature, The Past, which has been widely touted as one of the Cannes Film Festival’s hottest tickets and a sure-fire Palme d’Or frontrunner. While failing to quite live up to the heart-wrenching moral dilemmas of the director’s previous film, The Past offers up plenty of provocative notions about the state of the contemporary family unit, wrapped around a thoroughly engrossing central mystery. The story begins as Ahmad (Ali Mosaffa) is summoned to France by his estranged wife of four years, Marie (Berenice Bejo), to finalize their long-gestating divorce. However, Ahmad soon enough uncovers quite the familial powder keg once he realizes that Marie’s current partner, Samir (Tahir Rahim), has near-enough set up shop with her despite the fact that he has a wife in an eight-month-long coma following a suicide attempt. It is the character of Samir’s wife who, though seen on screen for roughly just a minute in total, forms the crux of the film’s dramatic tension.


The Artist Best Picture

The Independent Spirit Awards and the Oscars never agree. Well, almost never. In 28 years of co-existing, the two organizations have only agreed once before – on Oliver Stone’s Platoon back in 1986. It’s not surprising since the Spirit Awards focus on celebrating a particular method of filmmaking that is often overlooked by the red-carpet-ready Academy Awards, but if both honor prestige movies, it seems at least likely they’d agree from time to time, right? They didn’t until last night. The more-than-two-decades-long drought was finally broken when The Artist took home Best Picture less than a week after bringing home the top Spirit prize. It became the first movie since 1986 to win both the Oscar and the Indie Spirit Award. One was in an ornate theater, the other was in a tent on the beach, but the implication is clear: independent movies are breaking more and more into the mainstream.


Oscar 2012 Predictions: Best Supporting Actress

The other night I got into an almost knock-down fight with a colleague while we shared the stage on a Oscar panel over who we thought would win Best Supporting Actress this year. It’s not that we didn’t both agree Octavia Spencer had the best chance of winning, nor that she didn’t deserve the nomination, but we bickered over the fact that this year’s female performances were just so marvelous considering how utterly boring the Academy-backed films ended up being. There is no denying the fact, this year’s “Oscar worthy” films (yes, I want you to read that with air quotes and everything) were easily some of the most tired, bland, and kitschy offerings we’ve seen this side of Shakespeare in Love. But the one thing that is honestly saving this small group of voters from a strongly worded letter from my most prized stationary is the appreciation bestowed upon a fine group of actresses this year. The ladies sharing 2012 Best Supporting Actress Oscar nominations are all first time nominees (except for Janet McTeer who was previously nominated in 1999) with performances rivaling veteran women in the Best Actress category. If we go by what the previous award shows say, there is one clear winner, but I think each of these varied ladies brought their A-game with them this season. Here are the nominations for Best Supporting Actress, with my predicted winner in red…



It’s been a year filled with silent screen stars seeking redemption, the 1920s coming alive in Paris, a young boy searching for the first great director, sex addicts in New York City, horses going to war, maids of dishonor, and skulls getting crushed in elevators. Now it’s time to celebrate all of those things and more with the 84th annual Academy Awards. They’ve come a long way since the Hotel Roosevelt in 1929 (although sex addicts have almost always been a fixture). Get to ready to smile, ball your fists with snubbed rage, or be generally unsurprised. Here they are. The 2012 Oscar nominees:



This week, Fat Guy Kevin Carr pulls out his screening schedule, which looks like a gambling addict’s racing form. He bounces from huge, mainstream releases to minor indie award contenders. Facing motion-capture CGI, tattooed bisexual investigators, cross-dressing waiters, silent film actors, and a lead star who is literally hung like a horse, Kevin tries to make sense of the seemingly countless releases this holiday week. Exhaustion from this process makes it impossible to buy a zoo or face the 3D end of the world, but his movie stocking is full, nonetheless.



We all know that music is an important part of the film experience. It helps set the mood and has the power to completely influence a film’s tone. Changing the music, regardless of what is happening on screen, can suddenly alter the feel or perception of a scene. You take the sound out of a horror film (as I explored here) or replace intense score with cheesy pop music (as spoofed in Funny or Die’s mock Drive trailer) and suddenly the fear and the anxiety are taken away. You are less likely to jump at a sudden reveal without the musical jab that goes along with it and watching Ryan Gosling bash a man’s head into a wall goes from unsettling to humorous when set to Enrique Iglesias’ “I Can Be Your Hero.” Back before there was talking in film, music was the only thing to accompany the moving images and was used to not only convey the emotions being acted out on screen, but to also provide all the sound in the film. The Artist does a brilliant job of not only taking us back to a time of full and vibrant orchestrations, but also reminding audiences how different films were then from what we are used to seeing (and hearing) on screen now. In one of The Artist’s first scenes, this difference proven handily when the audience bursts into applause and you do not hear a single clap.



Michel Hazanavicius’ The Artist is not only a throw back to the days before people spoke in films; it almost makes you wonder why we ever added sound in the first place. Jean Dujardin and Berenice Bejo shine as the film’s two leads able to say more with a look or a soft shoe than most of us can in 140 characters. Filmed in stunning black-and-white, The Artist takes us back to a time when men wore suits, women wore hats and a simple dance could lead to love. The movie tells the story of silent film star George Valentin (Dujardin) and how his world and career are threatened when sound and talking are introduced into art form. At the same time, aspiring actress Peppy Miller (Bejo) finds herself the sudden face of this new style of filmmaking with her star rising as George’s falls. After a chance encounter at one of George’s film premieres, Peppy wins a role as an extra on his next film (much to George’s surprise and delight). It is clear Peppy is a natural star from the start with a contagious personality and bright eyes that play right to the camera. Audiences quickly fall in love with the new starlet, and they are clearly not the only ones.



It feels like every year when The Weinsteins are pushing, shoving, and clambering for Oscars, everyone responds, “Really? That movie? It was good, but… really?” This year, that will not be the case. If a viewer doesn’t get a goofy smile planted on their face during Michel Hazanavicius‘ The Artist, then something is probably wrong with them. Their brains must not be ticking right, they could very well be part monster, or perhaps their hearts are missing up their cynical *expletives*. Why would that be? Because The Artist oozes with undeniable charm.


The Artist Cannes 2011

On paper, Michel Hazanavicius‘s The Artist looks a fairly difficult sell. Tell anyone you’re off to see a black and white, silent movie that runs over 90 minutes long and they might look at you with a mix of pity and downright confusion, and it will probably take a Herculean effort by Warner Brothers and The Weinstein Company to convince audiences to come out to see it. But make no mistake, the film is as good as any cinematic experience gets, and will have a far more lasting effect on the world of film than any bloated 3D “epic” that screens out here. The Artist is an infinitely charming, and incredibly clever homage to the Golden Age of silent film: as authentic and believable as if it were made circa 1927, right from the opening credits which are so subtly unquestionable that you’re immediately gripped by the glamour and romance of the era, before we’ve even met a character. When we do, it’s Jean Dujardin’s George Valentin, an intoxicatingly charming mega-star of the silent period, who has the whole Hollywood world on their knees before him – the film subsequently charts his peek, before the advent of the talkies arrives, and he finds himself cast out overnight in favor of the new breed of speaking stars. Along the way he meets Berenice Bejo’s Peppy Miller, a wannabe who miraculously finds her way to stardom when she bumps into George during a photo shoot, and takes her fate in her own hands to […]

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published: 01.31.2015
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published: 01.30.2015
published: 01.29.2015

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