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DID YOU READ

IFC News: “War Dance,” Corbijn, Coens.

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War Dance
This week on IFC News:

Aaron Hillis interviews Sean Fine and Andrea Nix Fine, the directors of doc "War Dance" (formerly with slightly artier punctuation: "War/Dance"). On the prettiness of the images (the film was shot in HD) versus the subject matter (a Ugandan refugee camp):

I’ve filmed awful things, like somebody dying, but to see a
small child emotionally gutted was probably the most difficult thing
I’ve ever filmed. I can see in my shooting where I get uncomfortable
and start to shake. The camera moves farther and farther back. I waved
everyone else off. It was just me and the sound man, and I’m thinking
the whole time, I shouldn’t be here. It went on for two hours.

Then the other half of me was like, I have to be here if we’re
going to do right by these kids. This might be the one time where you
see the complexity unfold right in front of us. You see her [traumatic
reaction], but you also see a parent having to deal with her child.
This mother has taken her daughter to a place where she buried her
father in pieces by herself. No one thinks about the mom, what she’s
going through, and at the same time, [having to] explain to her
daughter how and why this happened. She can’t. How do you comfort a
young daughter like that? So for those reasons, I think we had to hang
in there. It was that golden hour, towards the end of the day. I hope
this isn’t taken the wrong way, but there is a beauty in something so
raw like that.

And our interview with Anton Corbijn on "Control" is here. We are so slooow.

Michael Atkinson on "Sicko":

Ambivalences are discarded; why are no poor people interviewed in the socialized countries, and only the poor in the U.S. are? It’s easy to assume why: because the relative situations are complex, probably too complex for a mere feature film to unentwine. But that’s Moore‘s peculiar position in the public sphere: he’s an activist (not, please, one in the practice of "propaganda," which should, by my lights, be redefined as persuasive media designed by state power, not individuals acting in resistance to that power). Moore isn’t interested in fighting fair or attempting a "balance"; he’s scrapping with Karl Rove, Rupert Murdoch and Sean Hannity on their own terms, and movies like "Sicko" aren’t freestanding essays on social issues, but fireball volleys hurled across the landscape. Inciting social change — Moore’s real target — is more important than the integrity of cinema, and who could argue?

On the podcast this week, we turn our thoughts to TV as a medium, with its relative advantages and disadvantages over film.

Matt Singer on "No Country For Old Men":

I’ve seen over 80 new releases in the five months since I saw "No Country For Old Men" at this year’s Cannes Film Festival, including fine works by directors like Steven Soderbergh, Michael Winterbottom and Abel Ferrara. But none has stayed as fresh in my memory — or, hell, just straight-up kicked as much ass — as the Coen brothers‘ "No Country For Old Men." I’d say it’s their masterpiece, but they’ve already put out two or three other movies that might qualify for that title.

And Chris Bonet has what’s new in theaters.

+ IFC News

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.