satyricon

8 and a half

Lynchian. Hitchcockian. The Lubitsch touch. Transforming a filmmaker’s name into a qualitative term has been a common practice in tracking the style and influence of those who have contributed to the art form. But few proper nouns-turned-adjectives carry a greater reserve of meaning than Felliniesque. Felliniesque can refer to a carnival style, one that bends and toys with supposed distinctions between reality and fantasy. The Felliniesque acknowledges the potential for life to reach orgiastic highs and desperate lows in one fell swoop, and finds adults constantly haunted by the memories, trials, and joys of childhood. The Felliniesque can see beauty in the mundane, and abject horror in the most fantastic of experiences. There are few filmmakers whose style has remained so distinctive through an array of transitions, from social realism to fantastic spectacles. He is a filmmaker of enormous influence – yet, as Paolo Sorrentino demonstrated with The Great Beauty, it is better to tip our hat and pay homage than to imitate the unparalleled. So here is some free advice (for fans and filmmakers alike) from no doubt the most Felliniesque director.

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This year’s New York Film Festival ended on Sunday night with the world premiere of Robert Zemeckis‘s Flight, a big Hollywood movie that many saw as too mainstream a selection for the event. But it’s apparently decent enough to currently have a very high rating on Rotten Tomatoes — our own Jack Giroux gave it a “B” in his review from the fest — so it’s not like they closed things out with Alex Cross. Other big movies that some didn’t see as fitting were opening night film Life of Pi (review)and the “secretly” screened debut of Steven Spielberg‘s Lincoln (review). However, for the most part the 2012 programming was the typical New York cinephile’s dream smorgasbord of highbrow indies and foreign films. And these seemed to mainly meet the approval of our two primary critics covering them, Daniel Walber and Caitlin Hughes (both of whom are new additions to the FSR team and did an excellent job). And all together, our 22 reviews of NYFF features averaged mainly in the range of “B” to “B+” grades. And the only thing to get less than a “C” was Brian De Palma‘s Passion, to which Caitlin gave a “D.” We weren’t only interested in new works, either. Caitlin had some fun with the anniversary screening of The Princess Bride, while Daniel had requested that one of his picks of the fest be an older film: “If I can say the new (Dolce and Gabbana funded) restoration of Satyricon that made its […]

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