The Criterion Collection, a continuing series of important classic and contemporary films presents Thirty Two Short Films About Glenn Gould.
François Girard provides in this unconventional bio-pic a compelling and memorable exploration of Canadian musician Glenn Gould, arguably the 20th Century’s greatest classical pianist. Through thirty-two elegantly constructed vignettes mixing drama, documentary, animation, and avant-garde, Girard reveals glimpses of Gould as performer, recording artist, humorist, outdoorsman, speculator, recluse, and iconoclast. Taken together, Thirty Two Short Films About Glenn Gould offers a prismatic understanding of Gould’s complex genius and his personal struggles without dispelling the enigmatic power of his legend.
MMC!‘s post proposing a Criterion treatment for Thirty Two Short Films About Glenn Gould (François Girard, 1993) is set to arrive during this weekend’s O Canada! Blogathon. In the meantime, MMC! offers for your consideration Enzo Nasso’s Cold Trumpet (1963), an experimental short featuring another musical virtuoso, Chet Baker. Tromp Fredda (the short’s Italian title) sees the trumpeter through an Antonioni-esque landscape of industrialized decay, where he is acknowledged by some individuals, completely unnoticed by others, and plagued by the sudden appearance of a pair of wind-up musical toys apparently mocking him. Just a little jazz surrealism to lead you to the weekend!
The best dancing zombie video since John Landis’ Thriller (1983), Henry Kaplan’s We Together (2016) offers some interesting ideas as to why the undead might partake of some extended krumping. Featuring the music of Kerron Hurd, this short manages to do something surprising and intelligent with an over-played and often uninspired monster. For more on the making of We Together, check out Henry Kaplan’s interview at Directors Notes.
Winner of the Best Horror Short at the 2015 Fantastic Fest, Fredrik Hana’s Sister Hell (2015) is a Norwegian Nunsploitation horror-comedy about a quiet nun who yearns for a life of voluptuous sin and infernal objectification. With the help of some back alley cosmetic surgery, she achieves her dream only to become the target of the sisterhood that she fled. Sister Hell plays like a post-millennial Ken Russell film, full of heresy and bad taste, then jacked up on body modification, gore, and pornified celebrity in all the best ways.
Designed for the film lover in mind, SHOUT SELECT shines a light on films that deserve a spot on your shelf. From acknowledged classics to cult favourites to unheralded gems, SHOUT SELECT celebrates the best in filmmaking, giving these movies the love and attention they deserve.
IN BOB WE TRUST.
Written, directed, and starring Tim Robbins, this mockumentary about an upstart celebrity candidate for the United States Senate is a hilariously fearsome prediction of American politics in the 25 years that followed. Conservative folksinger Bob Roberts manipulates media coverage of him while singing about the proliferation of welfare abusers, drug users, and soft-hearted liberals and resisting rumors of corruption and hypocrisy. Bob Roberts captures the false populism and soundbite superficiality of contemporary politics with unnerving prescience.
Tim Robbins assembles an all-star cast with Alan Rickman as Roberts’ shady campaign financier, Giancarlo Esposito as a crusading journalist, Gore Vidal as Robert’s political opponent, and an array of supporting appearances by Jack Black, Susan Sarandon, Ray Wise, James Spader, John Cusack, Helen Hunt, David Strathairn, Fred Ward, Bob Balaban, Peter Gallagher, Lynne Thigpen, Pamela Reed, and Brian Murray.
- Audio Commentary With Director And Star Tim Robbins
- Audio Commentary With Tim Robbins And Gore Vidal
- Audio Commentary With Alexander Cockburn and Jeffrey St. Clair of Counterpunch
- Back On The Campaign Trail – New Interview With Tim Robbins
- Buggin’ Out – New Interview With Giancarlo Esposito
- Getting Started – New Interview with Jack Black
- Original Bob Roberts Short Film Made For Saturday Night Live
- Deleted Scenes
- Photo Gallery
Day 3 put generational conflict at the forefront of the SFFF and the kids were far from alright. It also marked the Festival’s greatest distance from the horror genre, moving into the rock-doc, the coming of age film, and whatever kind of trash bag meltdown The Greasy Strangler may be. That’s no criticism of Jim Hosking’s film; just a statement of fact. We’ll get to 2016’s most notorious film soon enough, but first things first…