This week on IFC News:
We’ve put together a gifty list of ten 2007 box set releases we find worthy of coveting here.
Aaron Hillis chases down Guy Ritchie to talk "Revolver":
If you don’t mind, I’d like to cut to the chase. What took so long to get "Revolver" to the U.S.?
Well, I don’t think anyone understood it. I don’t think it’s
any more complex than that. I mean, one of the cons of the movie is
that your mind won’t accept a game this big, [nor] accept the
simplicity of the concept. But your mind’s sort of geared up, that’s
what the film’s about. It’s geared up not to understand the premise
that you are your own con man, or the con man is hiding in your own
head. The reason that we fall for adverts and so forth is that our mind
is conditioned to understand illusions. It doesn’t understand truth. In
fact, it’s repulsed by truth.
Michael Atkinson does "Innocence" and "Drunken Angel." On the former:
A debut filmmaker with electrifying confidence, Hadzihalilovic cat-plays with our instant sense of dread â€” unanswered narrative questions are supposed to have horrifying answers, right? â€” but "Innocence" has a more sophisticated program than you might suspect from her credits as Gaspar NoÃ©’s producer and editor (and girlfriend?). The mysteries at the film’s pitiful heart aren’t sexual, but then again, they are: Wedekind always worked in lurid metaphoric colors, and "Innocence" is nothing if not a fable of puberty told not as awakening but as subjugation. Call it the feminist flipside to Jean Vigo’s "ZÃ©ro de Conduite," where revolt is not a condoned option (a single escapee is far from heroic, dropping into the unknown woods over the wall, never to be seen again), and Wedekind’s anti-bourgeois take on the "tragedy of sex" prevails. In its view of childhood as totalitarian citizenship, Hadzihalilovic’s film stands, quietly, in a gender-furious class by itself.
(He also has some bones to pick with A.O. Scott and Leah Rozen regarding their reads of the film.)
On the podcast, we discuss what seems to be a recent sag in the costume drama genre.
Matt Singer reviews "Billy the Kid" (finding it "like a sucker punch to the stomach," in a good way) here and "Revolver" (a "laughably crummy conman thriller and ‘Kabbalist’s Guide to Chess’ instructional video") here.
Christopher Bonet has what’s new in theaters.
Also, we never got a chance to post links to last week’s somewhat abbreviated update: so here you go:
Michelle Orange interviews "The Diving Bell and the Butterfly" star Mathieu Amalric:
[A]t the hospital where we shot, some of Jean-Do’s nurses and his
physical therapist were still there, so they could say, yes or no, this
is what this looks like. What was great though, in talking to his
friends and family and listening to them â€” their stories all
contradicted one another, and what I realized what that, "Oh, this is
not a hero, this is just…a man." He liked to travel, he was
materialistic, he liked cars, he was shallow, he had a temper, he
visited brothels in Brazil â€” normal things. [laughs] But also, he loved
life. Loved his children. That helped me a lot, it freed me, to realize
that you don’t become a saint when you have a stroke.
Michael Atkinson on "Our Hitler": "Finally, Syberberg’s monster is DVD’d, and of course today ‘Our Hitler’ cannot withstand the burden, for this moviehead, of all those years of anticipation, all that ballooning Sontagian hype, all of that pioneering rhetoric. No film could."
On the podcast, we confessed to blind spots.
And Matt Singer reviewed "The Savages" ("there’s a mundaneness to ‘The Savages’ that is incredibly appealing") here.