November will add three new spine numbers to the Criterion Collection – Desert Hearts (Donna Deitch, 1985), The Philadelphia Story (George Cukor, 1940), and Jabberwocky (Terry Gilliam, 1977) – and in a case of First World/film nerd problems, none of these upcoming versions port over all the special features of the existing editions I own! Ugh, how I must suffer. Thankfully, the trailer for Jabberywocky scores high marks for Pythonesque recklessness and a great series of gag warnings. Brilling!
Once an Icelandic colony, Gimli sits at the edge of Lake Winnipeg, a beach community in the province of Manitoba that is home to a couple of thousand residents and that hosts an ever growing film festival for five days each July. The seventeenth and latest iteration of the Gimli Film Festival was its largest so far, including approximately 45 feature films and various shorts. Needless to say, no attendee can see the entire program. I was lucky enough to attend for three of the five days of programming, making it to 14 screenings and avoiding the dozen plus titles I had already seen.
The hallmarks of the GFF are its free sunset screenings on the beach with its massive 11 metre tall screen set up out in the water. This year featured Twister (Jan de Bont, 1996), Footloose (Herbert Ross, 1984), The Neverending Story (Wolfgang Petersen, 1984), and the Criterion title Fantastic Mr. Fox (Wes Anderson, 2009). Classic car owners came out en masse for the screening of American Graffiti (George Lucas, 1973), lining the beach with some beautifully chromed vehicles, however the most inspired selection was Alfred Hitchcock‘s The Birds (1963) with Gimli and its gulls allowing Bodega Bay to spread out beyond the screen’s limits.
What a month! Criterion knocks it outta the park with its October releases, trailers abound with the San Diego Comic Con in full swing, reviews from the ongoing Fantasia Film Festival keep rolling in, and I’m scheduled for 14 screenings at the Gimli Film Festival later this week! Wheeeee!
The stand out title in Criterion’s stacked October announcements is Stanley Kubrick’s Barry Lyndon (1975). It’s taken me quite a while to become comfortable with the contrasting beauty of Kubrick’s compositions and the coldness of his direction, but this tension has always felt right in Barry Lyndon, where the great director dissects the shallowness of his subject with great insight and depth. Everything about the Criterion Collection’s edition of Barry Lyndon looks amazing and I suspect I may need to re-write my Top Ten as a result.
First, a shout out to Cole and Ericca at The Magic Lantern Podcast who shared some love for MMC! in their recent discussion of Little Murders. Cole and Ericca provide a great (and very funny) discussion on the relationship at the centre of Arkin’s film. For the record, I’m with Cole – the wedding sequence stands as the most enjoyable part of the movie and Elliott Gould’s unresponsiveness to the demands of social convention or personal interactions is all too recognizable.
My most recent Criterion connection came by seeing Brazilian singer Seu Jorge perform live his selection of David Bowie covers from Wes Anderson’s The Life Aquatic with Steve Zissou (2004). Jorge put on an amazing show, providing a variety of entertaining anecdotes on the making of the film, displaying some nimble guitar-work, and filling the theatre with his deep, impressive voice. The trailer for The Life Aquatic prominently features Jorge’s covers, serving as an effective promo of the singer’s currently touring show. Don’t miss it!
The 70th annual Cannes Film Festival is now underway and this month’s “Trailer Tuesday” is devoted to the most intriguing trailers from the most prestigious film festival in the world!
I should say that Cannes will likely screen many good, even great films, but that doesn’t mean those films have trailers that distinguish them as anything other than feel-bad dramas and social commentaries. Heck, a lot of films at Cannes don’t even have trailers yet! Today, we’re embracing a few engaging trailers, not endorsing future masterpieces.
Let’s start with Redoubtable, Michel Hazanavicius’ bio-pic on acclaimed director and general enfant terrible – Jean-Luc Godard. Leave it to the cheeky Hazanavicius to rib Cannes right in the trailer to his film! Cannes might have the last laugh though, as reviews from Redoubtable‘s screening are less than flattering.
It’s easy to look at the Criterion Collection’s July announcements as being rather slim, but the announcement of Andrei Tarkovsky’s Stalker (1979) is a long awaited dream finally come true for cineastes. And if the thinness of new edition’s supplements have muted your enthusiasm, one look at the trailer for the 2017 restoration may be the answer to all your anxieties. I would daresay that this trailer nearly shows an entirely new film to me. This could be a revelation.