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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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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