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“Kapò” and “The Missing Person” on DVD

“Kapò” and “The Missing Person” on DVD (photo)

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Once upon a time, one of the best film critics in any language, a Frenchman named Serge Daney, found himself at 17 inspired toward his vocation by a single line of writing — about a film he’d never seen, and would never see.

The film was Gillo Pontecorvo’s “Kapò” (1959), and the first reviewer, the firestarter, was none other than Jacques Rivette, already on his way to being one of the world’s greatest and most fiercely principled filmmakers. The piece was in Cahiers du Cinéma in 1961. This is the line that changed Daney’s life: “…Look however in ‘Kapò,’ the shot where [Emmanuelle] Riva commits suicide by throwing herself on electric barbed-wire: the man who decides at this moment to make a forward tracking shot to reframe the dead body — carefully positioning the raised hand in the corner of the final framing — this man is worthy of the most profound contempt.”

Stings the corneas, doesn’t it? Daney’s famous essay “The Tracking Shot in Kapò” — you can find it translated online — was written years later, and without firsthand knowledge of the film. The film, after all, was irrelevant to Daney’s program — it was Rivette’s insistence on cinema and its form being a matter of ethics that drove Daney forward. And both critics are absolutely correct — cinematic images are a matter of ethics, of respecting the moral value of the subject and the intelligence of the viewer, of creating a world in which the way we see things reflects a functioning moral compass. Daney spent a good part of his career railing against the so-called “‘Kapò’-ization” of modern movies, before he died in 1992 of an AIDS-compromised immune system more likely plagued by bad movies and cinephilic outrage than anything else.

04132010_Kapo2.jpgAll of which is decidedly beside the point of “Kapò” itself, except that the film has been out of circulation so long — more famous, in fact, for Daney’s evocation of Rivette than for any actual viewings — that the question eventually arose (in British and French film magazines of the last decade, mostly) of whether Rivette’s account was reliable and whether the “tracking shot” actually exists. This took on the usual tone of sectarian film critic spitting matches — imagine monstrous, toothless walruses hurling phlegm loudly but harmlessly at each other — until whoever owned the film reinjected it into the mainstream, first for cable broadcast and now as a Criterion “Essential Art House” DVD, and we can see for ourselves that, yes, there is the tracking shot in “Kapò,” just as Rivette described it, though perhaps so brief it may hardly qualify by today’s standards.

It’s probably just as well that Daney, writing in the ’80s, never saw “Kapò” — his mojo would’ve taken a hit, since in comparison to the heyday of Spielberg, Lucas et al., the tiny manipulations in Pontecorvo’s chilling Holocaust film are absurdly small potatoes. Nominated for a Best Foreign Film Oscar, the movie is a perfectly harrowing wail of postwar, post-Neo-Realist historical filmmaking, closer to the ashen psychodramas of Wajda than to the guerrilla tension Pontecorvo brought to “The Battle of Algiers.”

Released the same year as “The Diary of Anne Frank,” Pontecorvo’s film was the first major European production depicting life inside the Nazi camps, and, as the title suggests, it’s a milieu primed for some heavy self-loathing. (The film is Italian, and then from a culture particularly torn between guilt and victimhood.) The brand of intimate evil perpetrated by the Kapòs, or prisoner-functionaries, who brutalized fellow prisoners in exchange for privilege and survival, is the crux here, as a 20-year-old Parisian Susan Strasberg, having starred in the Broadway production of “Anne Frank” just a few years earlier, is shipped out to Auschwitz and then a Polish labor camp, and eventually, accidentally, becomes a Kapò herself, a soul-wasted servant of genocide amid a crowd of starving women.

04132010_Kapo3.jpgPontecorvo’s recreation of the labor camp landscape is appalling in its scope and detail. There’s a veracity when Europeans in the middle century make movies about the war that American filmmakers can never touch, even Rivette didn’t seem to mind that the prisoners of “Kapò” all look far too healthy after years of hard camp labor (as they even did in the 1948 Auschwitz film “The Last Stage” — conventions die hard). But “Kapò” is necessary and incisive, and deserves a high shelf in the troubled history of the Holocaust film, which has lately become so poisoned by complacency and glamour. “Contempt,” I dare say not, as even Rivette might not, given the intervening decades of amoral tripe.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…


IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.


IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).


IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.


IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.


IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.



IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on and the IFC app.

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G.I. Jeez

Stomach Bugs and Prom Dates

E.Coli High is in your gut and on IFC's Comedy Crib.

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Brothers-in-law Kevin Barker and Ben Miller have just made the mother of all Comedy Crib series, in the sense that their Comedy Crib series is a big deal and features a hot mom. Animated, funny, and full of horrible bacteria, the series juxtaposes timeless teen dilemmas and gut-busting GI infections to create a bite-sized narrative that’s both sketchy and captivating. The two sat down, possibly in the same house, to answer some questions for us about the series. Let’s dig in….


IFC: How would you describe E.Coli High to a fancy network executive you just met in an elevator?

BEN: Hi ummm uhh hi ok well its like umm (gets really nervous and blows it)…

KB: It’s like the Super Bowl meets the Oscars.

IFC: How would you describe E.Coli High to a drunk friend of a friend you met in a bar?

BEN: Oh wow, she’s really cute isn’t she? I’d definitely blow that too.

KB: It’s a cartoon that is happening inside your stomach RIGHT NOW, that’s why you feel like you need to throw up.

IFC: What was the genesis of E.Coli High?

KB: I had the idea for years, and when Ben (my brother-in-law, who is a special needs teacher in Philly) began drawing hilarious comics, I recruited him to design characters, animate the series, and do some writing. I’m glad I did, because Ben rules!

BEN: Kevin told me about it in a park and I was like yeah that’s a pretty good idea, but I was just being nice. I thought it was dumb at the time.


IFC: What makes going to proms and dating moms such timeless and oddly-relatable subject matter?

BEN: Since the dawn of time everyone has had at least one friend with a hot mom. It is physically impossible to not at least make a comment about that hot mom.

KB: Who among us hasn’t dated their friend’s mom and levitated tables at a prom?

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

BEN: There’s a lot of content now. I don’t think anyone will even notice, but it’d be cool if they did.

KB: A show about talking food poisoning bacteria is basically the same as just watching the news these days TBH.

Watch E.Coli High below and discover more NYTVF selections from years past on IFC’s Comedy Crib.

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