Atom Egoyan‘s latest, "Where the Truth Lies," which stars Kevin Bacon and Colin Firth and generated an "okay" to "eh" response when it premiered at Cannes this year, has been slapped with an NC-17 for the threesome that is apparently the film’s narrative center. Distributor ThinkFilm, who planned to release the film in NY/LA on October 14, are planning on challenging the rating. "I just heard the deciding factor could be thrusting. Apparently, anything over three thrusts and you’re in trouble," Egoyan said. Via the Guardian.
In the Times of London, Andrew Robinson, whose book "Satyajit Ray : A Vision of Cinema" will be available in the US October 7, discusses meeting the great Indian director and traveling to Calcutta to cover the production of 1984’s "The Home and the World." Meanwhile, at Rediff, Raja Sen launches into the first of a three-part feature on cinematic depictions of India’s First War of Independence in 1857.. Sen’s film of choice? Satyajit Ray’s 1977 "The Chess Players."
Dan Zak at the Washington Post looks into the mysterious (career) disappearance of the five kids who made "The Blair Witch Project" ("the most profitable movie of all time," according to Zak, though others have made the same claim) and reassures us that they’ll likely never be successful again:
Currently, [Eduardo] Sanchez and [Gregg] Hale are in Orlando editing "Altered," a Haxan feature about four rednecks who capture an alien as payback for their own abduction, with [Robin] Cowie and [Michael] Monello producing. They plan to construct an Internet mythology around the film (sound familiar?) to entice a following and allow for sequels, video games and comic book adaptations.
In October, [Daniel] Myrick begins shooting "Solstice," an indie he says will hark back to elemental horror films like "Rosemary’s Baby" and "The Shining." His current project is "The Strand," a series produced by his solo banner, Gearhead Pictures, and streamed on the Internet in "webisodes," 30-minute slices-of-life about the denizens of Venice Beach.
Geoff Pevere in the Toronto Star elaborates on this summer’s insidious trend: too much backstory. After much drippy sarcasm he comes upon a rather ingenious term for this tendency towards overexplanation of motivation: it’s the sled. You know which one we’re talking about. We’re not quite ready to commit yet, but we’re a little infatuated with this one, e.g. "Why is Elijah Wood‘s character so sad that he mopes around in the center of the frame for much of the movie? I could have used more sled there." Or: "The director hopes that we’ll be suitably intrigued by exotically lit strippers and animal smuggling, so the film remains emigmatic until we get to the total sled of an ending, when everyone’s motivations are tied up neatly in what doesn’t seem until later a cheap shot."
+ Movie’s thrust upsets censor (Guardian)
+ Ray of light still shines in the dark (Times of London)
+ Revisiting 1857: Satyajit Ray’s vision (Rediff)
+ A Potent Spell’s Slow-Acting Aftereffect (Washington Post)
+ New flicks can’t abide loose ends (Toronto Star)
+ Session 416  (IFILM)