This is only a partial IFC News update for the week; we’ll post the rest when it goes up tomorrow and we’re back in the office.
Richard Kelly! The "Donnie Darko" director was at the Apple Store in Soho this past Friday for an indieWIRE event moderated by critic Dennis Lim in which he talked about what’s incontestably one of the most batshit insane (and by our own estimation, also one of the finest) films of the year â€” what Kelly refers to as a "pop fever dream," "Southland Tales." A video of footage from the discussion and an interview Kelly did afterward with our own Matt Singer is up here.
A kind of modern-Gothic psycho-thriller that is astonishingly frank for
its day, Asquith’s movie manifests what old-school movieheads have long
said about silent-vs.-sound cinema â€” that had sound come along a few
years later, rather than in the silent-renaissance year of 1927, then
film itself would’ve reached heights of expressive power it didn’t
attain for years afterwards (if it ever has). One look at the ’27-’28
roster â€” "Sunrise," "Metropolis," "Napoleon," "October," "Le Passion de
Jeanne d’Arc," "The Crowd," "The Man Who Laughs," "The End of St.
Petersburg," "The Wedding March," "The Wind," "Hindle Wakes" â€” gives
you pause. Here’s one way to consider the difference between what we
had and what was lost: "A Cottage on Dartmoor" feels like a movie that
doesn’t need sound, and that doesn’t lean upon the conventions of
silent film (overacting, numerous intertitles, simplistic
On the podcast this week, we go over the sophomore slump and how it affected some of our favorite filmmakers of the past few decades.
And Christopher Bonet has what’s new in theaters.