Strangers in the Night

Strangers in the Night (photo)

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Forget Who’s Your Favorite Beatle, or Who’s Your Favorite Monkee, or even Who’s Your Favorite Little Rascal (for me, it’s Wheezer, God save him) — if you ask someone What’s Your Favorite French New Wave Landmark and they say Alain Resnais’ “Last Year at Marienbad” (1961), you’d better start a endless tab for cocktails, hunker down for a long and glorious night of gamesmanship and bedevilment, and forget about tomorrow. Famous as the über-art film openly mocked by Pauline Kael and the authors of “The Fifty Worst Films of All Time,” Resnais’ saturnine masterpiece remains exactly the film experience it was originally intended to be: a dream inside a puzzle inside a story that never actually takes place. Is there a better, more eloquent way to define movies?

Cavils are absurd, because “Marienbad” so obviously avoids being a “normal” movie in every frame. On the most fundamental level, it’s a ravishing formal achievement, patrolling in drunken, swoony slow-motion through the Neoclassical hallways, ballrooms and elaborate gardens of an apparently infinite hotel-palace, a stomach-churning, cobbled-together location that’s the film’s most vivid character (decadent but hollow), and a fantastically expressive statement about wealth, class, narcissism and the dying European aristocracy. (Kael lovingly slammed the film as a “Come-Dressed-as-the-Sick-Soul-of-Europe party.”)

Resnais began as a liberal documentarian, and the architectural hyperbole of “Marienbad” is no accident. But the core of the film is, of course, more mysterious than that: it’s an exercise, or a triathlon, on the very slipperiness of narrative, and therefore of memory. Or vice-versa. Within this cavernous maze of ornate filigree and looming artworks, the comatose guests stalk or sometimes just stand, and we follow one such tuxedoed zombie (Giorgio Albertazzi) as he attempts to make a woman (Delphine Seyrig) remember that they had, in fact, met and engaged in a romance the previous year, maybe in Marienbad, maybe here. He spins yarns and speculations like a talkative Beckett character, she toys with him, plays along, he doubts his memories, moments and slices of dialogue repeat themselves, and the film never establishes anything “happening” in the present tense — just a rumored sense of a past that might never have been.

06302009_LastYearAtMarienbad2.jpgResnais’ movie (written and conceived by nouveau roman pope Alain Robbe-Grillet) is both a hypnotic trance to endure and a text intended to be interpreted in an infinite variety of ways; it was the latter aspect that made the movie both spectacularly popular back in a more adventurous filmgoing age and vulnerable to lowbrow attack. But think of Beckett and Calvino and Sartre, and you get closer to the film’s accomplishment; the great existentialist questions on hand are easy to scoff at, but are also still harrowingly difficult to answer. What allowed the movie to rock bourgeois worlds in the early ’60s (the ample Criterion supplements document the film’s reception as attentively as its production) was its daring evacuation of narrative orthodoxy, asking us to wonder if anything in the film is “real” (such a silly question, but one that still drives viewers nuts), and to understand meta-characters who seem to be talking about “now” as if it already happened, or has already been imagined, and may already be forgotten.


New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…


IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 


IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.


The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”


Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).



Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.


And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.


Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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GIFs via Giffy

In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.


Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.


Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!



Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.


Self Defense

You can’t throw a download like a ninja star. Think about it.


If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.