Festival Circuit 2018

Discuss films of the 21st century including current cinema, current filmmakers, and film festivals.
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DarkImbecile
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Re: Festival Circuit 2018

#126 Post by DarkImbecile » Tue May 15, 2018 5:34 pm

Omensetter wrote:I know it comes with following critical responses to films I've yet to see and is inevitable, but I did always agree with Rosenbaum's assertion that formal moves are as much as spoilers as plot points.
Yeah, you're right about that... apologies!

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senseabove
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Re: Festival Circuit 2018

#127 Post by senseabove » Tue May 15, 2018 5:43 pm

I don't think you're gonna be able to read any coverage of the Bi Gan without getting that particular formal move spoiled. It was literally the only specific thing mentioned in the first reactions that trickled out. So while I generally agree with the premise—I was kinda annoyed to read a formal spoiler for the Trier, for example, even though I'm as likely to see it as not—we don't really know anything about how he uses it, and it's not like you wouldn't know you were in for that particular formal feature literally as soon as you walk in the door to the theater. It would be impossible to see the movie without knowing it was coming.

Can't wait to see it, though, and I'm pleased the reactions are positive. I just saw Kaili Blues a few weeks ago and found the first half absolutely mesmerizing. I'll be very curious to see what he can do with what I assume is a bigger budget.

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Omensetter
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Re: Festival Circuit 2018

#128 Post by Omensetter » Tue May 15, 2018 5:43 pm

Oh no, you're fine! I'm definitely reading tweets (no reviews) to sate myself; it comes with the territory and I'm exposing myself by choice. I've learned to limit my intake of takes on films I know I'm already going to see, but some moments stand out such that you cannot help but read about them. Plus, I imagine there will be a lot more pleasures within the take.

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The Fanciful Norwegian
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Re: Festival Circuit 2018

#129 Post by The Fanciful Norwegian » Tue May 15, 2018 7:11 pm

senseabove wrote:I don't think you're gonna be able to read any coverage of the Bi Gan without getting that particular formal move spoiled. It was literally the only specific thing mentioned in the first reactions that trickled out. So while I generally agree with the premise—I was kinda annoyed to read a formal spoiler for the Trier, for example, even though I'm as likely to see it as not—we don't really know anything about how he uses it, and it's not like you wouldn't know you were in for that particular formal feature literally as soon as you walk in the door to the theater. It would be impossible to see the movie without knowing it was coming.
I'll add here that Bi spoke about the particular formal move in question while doing press for Kaili Blues, so it's not something he himself made any effort to keep under wraps.

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Omensetter
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Re: Festival Circuit 2018

#130 Post by Omensetter » Tue May 15, 2018 8:36 pm

No addition necessary; I've already admitted my culpability.

The Rosenbaum comment (which surely cannot be attributed to him directly) was more of a stray comment, a wistful what-if for critics that if actually adhered to, they'd have nothing to write about, more or less.
----
The debut of yet another Star Wars movie has made me yearn for non-blockbuster premieres. I suppose if they cannot land most American films because of the Oscars, they have to turn to these splashy events. I'm ultimately just complaining since there aren't many reviews for At War and Under the Silver Lake at the moment.

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Omensetter
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Re: Festival Circuit 2018

#131 Post by Omensetter » Wed May 16, 2018 7:40 pm

It got buried under the American films, but Brizé's film received polite enough notices. I'll see it because of its subject matter, Lindon, and liking The Measure of a Man, but it seems it suffered from not being basically any other film at Cannes. Seriously, the jury will have to try very hard to activate a sort of George Miller-swerve; at this point, previous frontrunner Three Faces might be considered a surprise winner.

Burning is currently playing to the best reviews of the festival after what seems the previous film had the best reviews of the festival. It's all very exciting stuff and point towards potentially great films in the months ahead. Fremaux really curated the hell out of this festival, although the Yomedinne inclusion remains baffling over Bi or even Loznitsa, even accounting for the notion that UCR needs good films as well, like in 2007 when they had Hou's Binoche-starring masterpiece there.

I suppose the one valid complaint one could lob is the silly French quota, which won't go anywhere. All of them have been pretty much been non-starters or easily eclipsed, with tomorrow's being a midnight movie essentially. Could they really, truly not have found room for another Spanish language film?

The American films and Lars are behind us, fortunately, and there is still Ceylan and Dvortsevoy to come.

Just cross-checking multiple polls, here's where I have the tiers:


Burning
Cold War
Lazzaro felice
Ash is Purest White
Shoplifters
The Image Book
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Three Faces
Leto
BlacKkKlansman
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Asako I & II
Under the Silver Lake
Sorry Angel
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At War
Yomeddine
Everybody Knows
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Girls of the Sun

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Omensetter
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Re: Festival Circuit 2018

#132 Post by Omensetter » Wed May 16, 2018 7:48 pm

Addendum: It's frustrating that there have been essentially no pick-ups!

Limited to competition, here is current distributor status:

Amazon --- Cold War
Kino Lorber --- The Image Book
Focus --- BlacKkKlansman
A24 --- Under the Silver Lake
SPC --- Everybody Knows, Capernaum

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colinr0380
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Re: Festival Circuit 2018

#133 Post by colinr0380 » Thu May 17, 2018 1:35 am

Omensetter wrote:Addendum: It's frustrating that there have been essentially no pick-ups!
Its going to be ironic if they all end up on Netflix.

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Ribs
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Re: Festival Circuit 2018

#134 Post by Ribs » Thu May 17, 2018 7:15 am

lol Arrow bought Climax

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mfunk9786
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Re: Festival Circuit 2018

#135 Post by mfunk9786 » Thu May 17, 2018 10:46 am

Why is either A24 or Arrow buying that so funny?

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Ribs
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Re: Festival Circuit 2018

#136 Post by Ribs » Thu May 17, 2018 10:54 am

I think for A24 its an incredibly uncanny decision very unlikely to produce a return, when other conpetition titles wouldn’t struggle as much. I have a lot of faith in A24’s ability to turn something unexpected into profit at the domestic box office (Menashe was a hit - grossing more than A24’s own Ghost Story despite playing in half the theaters) but just don’t see the money in this. I just thought it’d be amusing to repeat that structure for this acquisitions from one of this forum’s other favorite distributors.

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mfunk9786
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Re: Festival Circuit 2018

#137 Post by mfunk9786 » Thu May 17, 2018 10:59 am

Planting my flag: I think it'll make $15 million at the domestic box office by the time its run is over, and it'll be a cult hit on home video for years. Enough people know Noe at this point that while surely it's a risk for A24, I don't think it's a given that it'll be a money loser, based on descriptions of the film. They can market the hell out of it and get an It Comes at Night-level gross.

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Alphonse Tram
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Re: Festival Circuit 2018

#138 Post by Alphonse Tram » Thu May 17, 2018 11:05 am

I know that Arrow have for quite some time been trying to release Noe's films on Blu. I think it's great that they have finally managed it. I only like a couple of his films, but I look forward to this and hopefully other Noe titles getting the Arrow treatment rather than someone like AE. You only have to look at the AE DVD only release LOVE to see that this is good news.

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colinr0380
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Re: Festival Circuit 2018

#139 Post by colinr0380 » Thu May 17, 2018 1:24 pm

I'm not an enormous fan of Artificial Eye releasing so many films on DVD only (Jupiter's Moon being a recent example) but they definitely released Love on Blu-ray initially (though I don't think they released it on 3D-Blu-ray!). I wonder why only the DVD is available now.

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Omensetter
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Re: Festival Circuit 2018

#140 Post by Omensetter » Thu May 17, 2018 1:42 pm

A24 would not have picked up a foreign film if they didn't think it could perform at the stateside box-office. That's just how they are.

Relevantly....Gaspar Noé has won Fortnight's top prize after starting the festival with a (still) pathetic poster.

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Ribs
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Re: Festival Circuit 2018

#141 Post by Ribs » Thu May 17, 2018 1:46 pm

It’s A24’s first foreign film, weirdly.

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Omensetter
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Re: Festival Circuit 2018

#142 Post by Omensetter » Thu May 17, 2018 1:54 pm

Ribs wrote:(Menashe was a hit - grossing more than A24’s own Ghost Story despite playing in half the theaters) but just don’t see the money in this.
Did you see the money in Menashe? Brooklyn-set film involving orthodox Jews that primarily played in Brooklyn and NYC, home of one of the world's largest populations of orthodox Jews? I can see it and clearly A24 saw it. If nothing else, A24 is good at business (not expanding Florida Project aside] and branding.

The movie's already loved; they've had their test screenings, essentially. It's French, genre, and features ostensibly just choreographed dancing to famous techno cuts.

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Ribs
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Re: Festival Circuit 2018

#143 Post by Ribs » Thu May 17, 2018 2:32 pm

I don't really agree that A24 is particularly good at their business - like, yes, you have a Menashe or The Lobster that does well, but they've seriously screwed the pooch on 20th Century Women, Green Room, Swiss Army Man, and (most especially) A Ghost Story. Menashe had an obvious in to a lot of major markets with Jewish populations, but even still it probably exceeded their wildest projections, which is great (and I think a similar effect might be going on with Bleecker Street's Disobedience's relatively promising return so far, but that obviously has the virtue of two recognizable stars boosting its profile).

I do not believe in any scenario in which this movie released by any distributor makes $15 million domestic, just because by virtue of it being a foreign language film it won't go into wide release. The goal is probably for like $5 million, but I can also imagine a path for this movie where American audiences just don't want to go see the weird sex thing and it makes less than $2 million and doesn't expand beyond 150 screens.

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Brian C
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Re: Festival Circuit 2018

#144 Post by Brian C » Thu May 17, 2018 2:39 pm

Yeah, $15 million is a hell of a lot. I’d be seriously impressed if it made that number.

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knives
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Re: Festival Circuit 2018

#145 Post by knives » Thu May 17, 2018 2:41 pm

I have to admit I don't understand this assumption that religious Jews watch movies?

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Re: Festival Circuit 2018

#146 Post by Dead or Deader » Thu May 17, 2018 2:55 pm

knives wrote:I have to admit I don't understand this assumption that religious Jews watch movies?
The synagogues bring their members for a special trip to the movies by watching something that's reflective of their theology.

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FrauBlucher
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Re: Festival Circuit 2018

#147 Post by FrauBlucher » Thu May 17, 2018 3:06 pm

They don’t. I lived in Brooklyn for many years. The neighborhood I grew up in bordered with an orthodox jewish neighborhood. They clearly stay to themselves, have there own forms of entertainment and are very strict at keeping popular culture out of their community. However, Williamsburg, Brooklyn which is another neighborhood that has long been the so called capital of ultra orthodox Jews has gone through a bit of a renaissance over the last 10 to 15 years, in which it has been infiltrated by young professionals, artists and hipsters that has caused a gentrification to it. I’m not familiar with the film, but that is probably the basis for the film.

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hearthesilence
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Re: Festival Circuit 2018

#148 Post by hearthesilence » Thu May 17, 2018 3:19 pm

FrauBlucher wrote:They don’t. I lived in Brooklyn for many years. The neighborhood I grew up in bordered with an orthodox jewish neighborhood. They clearly stay to themselves, have there own forms of entertainment and are very strict at keeping popular culture out of their community. However, Williamsburg, Brooklyn which is another neighborhood that has long been the so called capital of ultra orthodox Jews has gone through a bit of a renaissance over the last 10 to 15 years, in which it has been infiltrated by young professionals, artists and hipsters that has caused a gentrification to it. I’m not familiar with the film, but that is probably the basis for the film.
Isn't B&H operated by orthodox Jews? I'm not that familiar with the culture but this seems amusing given how popular B&H is with the entertainment biz.

And just to add to what FrauBlucher has said about Williamsburg, it's basically hipster central, and it's slowly becoming an overpriced collection of boutiques aimed at tourists - even the thriving indie rock scene that was here when I moved to NYC has been gradually shrinking. (TV on the Radio even moved to L.A. not that long ago.) One reason why I haven't been crazy about the American independent film scene is that 99% of it seems to center around hipsters in Williamsburg, Brooklyn. There's nothing wrong with making a film about that world, but when you see it in film after film after film, it gets old really fast - you're dealing with a microscopic (and very privileged) sliver of the population.
Last edited by hearthesilence on Thu May 17, 2018 3:34 pm, edited 2 times in total.

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Re: Festival Circuit 2018

#149 Post by FrauBlucher » Thu May 17, 2018 3:30 pm

They do. Just like J&R Music World was. There are also different sects of the orthodox/Hasidic community that allows for slightly more liberal activities than others. But being in business is a little different than partaking in entertainment value. It’s very similar to the ones that work and own diamond businesses on 47th street. But you never see them walking around wearing opulent jewelry.

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Ribs
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Re: Festival Circuit 2018

#150 Post by Ribs » Thu May 17, 2018 3:37 pm

My goal in life is to start discussions about Menashe that will inevitably be spun off into the infighting forum

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