DID YOU READ

Family Values

Family Values (photo)

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A chamber piece resolutely devoid of flash and glitter, “Summer Hours” isn’t a film one would have anticipated from the director of such disparate provocations as “Irma Vep,” “Clean,” Demonlover” and “Boarding Gate.” Then again, Olivier Assayas’ new release is subtly provocative in its own right. Its willingness to lay out ideas about art and life in the age of globalization makes it his biggest dare yet. What distinguishes this Assayas movie from the others is the manner with which it sustains an unspoiled blend of the intimately emotional with the unequivocally intellectual. The cumulative strengths of “Summer Hours” as a philosophic elegy and a generational saga are powerful enough to throw everything else Assayas has done in illuminated relief.

The movie’s first summer dream is an idyllic one, with children playing on the grounds of an old country house whose widowed owner Hélène (Edith Scob) is celebrating her 75th birthday with her brood of three accomplished 40-something offspring. The light surrounding the party is festive and bright, but shadows seep in from the edges. Hélène knows — or, at least, suspects — that this may be her last birthday, and she’s intent on making sure the house’s 19th century art treasures, most of which (lithographs, glassware, furniture, original Corot paintings) belonged to her distinguished uncle, will be cared for in her absence.

Eldest son Frédéric (Charles Berling), an economics professor, regards each artifact with the mildest impatience. He’s taking it for granted that the house and its contents will always be in the family, no matter what happens to his mother. But it becomes all too clear, after Hélène’s death, just how perishable those dreams are. His sister Adrienne (Juliette Binoche) is a fashion designer with more at stake in America and Japan than in France, while younger brother Jérémie (Jérémie Renier) chooses to raise his family close to his shoe business in China. It’s left to Frédéric, the only one staying close to home, to decide what to do with Hélène’s stuff, and what he does is bring in appraisers and auctioneers to, piece by piece, yard by yard, disperse a rich family legacy.

05132009summerhours.jpgAssayas clearly shares Frédéric’s disdain for the economic forces that erode collective memories and transform art into commodity. But there’s nothing programmatic or (obviously) ideological in his approach. He doesn’t condemn Frédéric’s sibs for the life choices they make any more than he chastises their own children for all but bypassing the craftsmanship of their ancestors. Indeed, the writer/director’s melancholy resignation with culture’s casual dismantling arouses far deeper emotions than could be summoned with a more open attack on corporate culture; though a few zingers are fired here and there by Frédéric and Adrienne, mostly at Jérémie’s labor practices. But even they yield to what’s become the mantra of 21st century progress: It is what it is and what can you do, anyway? Making a movie about it all seems to be one answer — and Assayas has made one of the most haunting, probing, and (in the end) tentatively hopeful one could possibly imagine.

The world at large seems divided in two camps — those who dug Rian Johnson’s 2005 debut feature, “Brick,” for its cunning appropriation of ’20s pulp-magazine tropes for a contemporary teen crime thriller and those who thought the whole exercise was too coy and airless for its own good. I was — and remain — very much in the former constituency. Subletting Dashiell Hammett’s argot without sounding like a scratchy 78 RPM record is one thing, but using it to effectively bend the suburban high school subgenre without losing hold on plausibility is quite a larger thing. Risky, for sure, and you wouldn’t want to see it done again any time soon. But “Brick” had enough assurance going for it at the jump to make one wonder (avidly, avidly) what its writer/director would try next.

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Flame Out

Brockmire and Other Public Implosions

Brockmire Premieres April 5 at 10P on IFC.

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There’s less than a month until the Brockmire premiere, and to say we’re excited would be an insulting understatement. It’s not just that it stars Hank Azaria, who can do no wrong (and yes, that’s including Mystery Men, which is only cringeworthy because of Smash Mouth). It’s that the whole backstory of the titular character, Jim Brockmire, is the stuff of legends. A one-time iconic sportscaster who won the hearts of fans and players alike, he fell from grace after an unfortunate personal event triggered a seriously public meltdown. See for yourself in the NSFW Funny or Die digital short that spawned the IFC series:

See? NSFW and spectacularly catastrophic in a way that could almost be real. Which got us thinking: What are some real-life sports fails that have nothing to do with botched athletics and everything to do with going tragically off script? The internet is a dark and dirty place, friends, but these three examples are pretty special and mostly safe for work…

Disgruntled Sports Reporter

His co-anchor went offsides and he called it like he saw it.

Jim Rome vs Jim “Not Chris” Everett

You just don’t heckle a professional athlete when you’re within striking distance. Common sense.

Carl Lewis’s National Anthem

He killed it! As in murdered. It’s dead.

To see more moments just like these, we recommend spending a day in your pajamas combing through the muckiness of the internet. But to see something that’s Brockmire-level funny without having to clear your browser history, check out the sneak peeks and extras here.

Don’t miss the premiere of Brockmire April 5 at 10P on IFC.

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Mirror, Mirror

Portlandia Season 7 In Hindsight

Portlandia Season 7 Now Available Online and on the IFC App.

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Another season of Portlandia is behind us, and oh what a season it was. We laughed. We cried. And we chuckled uncomfortably while glancing nervously around the room. Like every season before it, the latest Portlandia has held a mirror up to ridiculousness of modern American life, but more than ever that same mirror has reflected our social reality in ways that are at once hysterical and sneakily thought-provoking. Here are just a few of the issues they tackled:

Nationalism

So long, America, Portland is out! And yes, the idea of Portland seceding is still less ludicrous than building a wall.

Men’s Rights

We all saw this coming. Exit gracefully, dudes.

Protests

Whatever you stand for, stand for it together. Or with at least one other person.

Free Love

No matter who we are or how we love, deep down we all have the ability to get stalky.

Social Status

Modern self-esteem basically hinges on likes, so this isn’t really a stretch at all.

These moments are just the tip of the iceberg, and much more can be found in the full seventh season of #Portlandia, available right now #online and on the #IFC app.

via GIPHY

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Spirit's Up

You Missed It, But Don’t Panic

Watch the 2017 Spirit Awards Right Now on the IFC App.

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The 2017 Independent Spirit Awards are over! Done! See you next year!
Moonlight won every award for which it was nominated, The Witch got some well-deserved rookie love, Nick Kroll & John Mulaney were perfect hosts, and Fred Armisen apparently died.

If you missed any of it, don’t freak. It’s 2017, which is the future. The magical immediacy of media technology will save you.

Watch the entire awards show, start to finish, on the IFC app or right here. RIGHT NOW. FOR FREE. Or, you know, whenever, because that’s the whole point.

If you’re still on the fence, don’t get comfortable. Here’s a sampler platter that’ll give you the flavor of everything that went down today. Fair warning: It’s real good.

Nick Kroll and John Mulaney

Perfect hosts. Perfect. Their opening routine was deadly funny, wicked smart, and invoked both David Lynch and Werner Herzog. A huge step up from the Academy Awards’ usual fart jokes, figuratively speaking.

Andy Samberg’s Surprise Cameo

We’ll never think of Eddie Vedder the same way again.

Best Supporting Female: Molly Shannon

Superstar! It’s been too easy to think of Molly exclusively in the context of her beloved characters, but her nuanced performance in Other People changes all of that. And man can she work a crowd.

Best Feature: Moonlight

This. Movie. We called it first, Oscar!

See the full list of winners here and enjoy the entire 2017 Spirit Awards now or anytime on IFC.com and the IFC app.

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