A Seattle moviegoing lifestyle magazine
September marks the beginning of “Awards Season” proper, with three major international festivals providing platforms for some of the world’s greatest filmmakers to make a splash in front of adoring audiences. Venice kicked off earlier this week, TIFF launches on September 8 in Toronto, and high in the San Juans mountains, Telluride Film Festival provides a breathtaking setting for a Labor Day weekend packed with films.
The much-beloved Orcas Island Film Festival took 2020 off for the pandemic but eased its way back in 2021 in a more …
When last we saw George Miller, it was in the sun-blasted desert of Fury Road for a breathless post-apocalyptic hyper-saturated revolutionary adventure. But aside from his forays into the Mad Max mythology, his oeuvre also includes two movies about dancing penguins, another pair about talking piglets, and a dark adult fairy tale concerning three suburban witches. So, seven years after his chaotic masterpiece, we shouldn’t be too surprised that his return to big screens is less an action spectacle than a return to the realm of storybook fables.
The title of The Territory refers to a large swath of rainforest inhabited by the dwindling population of Uru-eu-wau-wau people, who first came into contact with non-Native Brazilians in 1981. Until recently, strict protections have made this land one of the few remaining bulwarks against the rampant clear-cutting that threatens to fundamentally erase the lush and biodiverse Amazon river basin.
Alex Pritz’s documentary juxtaposes life among the Uru-eu-wau-wau with those of indigent farm workers seeking to establish their own settlements within the untouched lands as a way of elevating themselves from poverty.
Is there any sadder fate than being the last (rich) white man in Brooklyn without a hit podcast? Sure, Ben Manalowitz (B.J. Novak) has a plum job at the New Yorker (not New York magazine), a huge apartment with a view, no shortage of rooftop party invites, and a phone that’s constantly blowing up with messages from the half-dozen women he’s simultaneously casually “dating”. But he (feels that he) has (somewhat incongruously given his actual job) no platform by which to prattle his ideas about the true source of America’s divisions — not by geography or politics, but by asynchrony and self-curation — into the ears of millions of captive listeners. Such is the central challenge facing Ben in Novak’s debut as a feature film director.
After a topsy-turvy couple of years in which big films tiptoed back into cinemas, Nope, the third feature from Jordan Peele lands in theaters this weekend. In a bombastic blockbuster season of big planes and superhero bloat, Peele’s cryptic tale of weird happenings in a lonely gulch of inland California might just be the best time you can have at a movie theater all summer. Chase and I saw a promo screening this week and couldn’t wait to talk about it.
A narrator makes all the difference in the world. One can easily imagine the story of French volcanologists Katia and Maurice Krafft, who died together while observing the eruption of Mount Unzen, told with withering nihilistic disbelief by Werner Herzog. Or their matching red knit caps as the centerpiece of the production design for a twee fictionalized version of molten melancholy by Wes Anderson, perhaps the Life Volcanic. Instead, in her compilation of the couple’s own photos and films, Sara Dosa has enlisted the talents of Miranda July, who conveys the story of their lives together with boundless wonder and aching romance.
Set during an experimental art collective’s stay at an elite monthlong creative residency in an English country manor house, Peter Strickland’s latest cinematic provocation will certainly raise both eyebrows and questions. Peter Strickland’s newest film played as part of this spring’s Seattle International Film Festival, Tony and I saw it separately, and enjoyed the cinematic feast with varying levels of indigestion. Regardless, we both agree that for those of certain appetites, it’s worth your time. With the film getting a theatrical run this weekend, we revisit our warmed-over festival reactions.
As he demonstrated with Shithouse, Cooper Raiff is so incredibly great at making deeply sentimental movies about the extremely emotionally available as they experience fleeting life-changing moments that you suspect he gives them silly titles as a handicap. Writing, directing, and casting himself in a starring role with Dakota Johnson as his love interest is enough to make you hate the upstart auteur if the results weren’t such an absolutely joyous delight.
At long last, Pixar returns to theaters with “the origin story of the human Buzz Lightyear that the toy is based on”. It’s less complicated that it seems, but nevertheless a blockbuster that’s fun for the whole family.
