A Seattle moviegoing lifestyle magazine
Is there anything more unpleasant than being stuck with another squabbling family’s seething Thanksgiving drama? The Humans, Stephen Karam’s film adaptation of his Tony Award-winning answers: Being stuck with it in a cramped old Chinatown apartment with no furniture, a bunch of secrets, thin walls and shoddy wiring!
The Toronto International Film Festival kicked off this weekend in hybrid form. Among the splashier in-person screenings was the long-awaited premiere of Edgar Wright’s Last Night in Soho.
Like most other film festivals, the much-beloved Orcas Island Film Festival took 2020 off for the pandemic. It’s usual fall dates coincided …
In this dispatch from the Telluride Film Festival, Andrea Arnold on a farm, Celiné Sciamma in the woods, and Paul Schrader at the poker table.
A dispatch from Saturday at Telluride featuring films from three master directors, each of whose primary action is catalyzed by a challenging marriage.
My second day at Telluride featured three very different takes from distinctly different directors on the creative process.
The Telluride film festival returned yesterday, and aside from uploading proof of vaccination, providing a recent negative Covid-19 test result, and wearing masks inside, the biggest difference from recent years was that it started a day early (yay, more film!) and was marked by a series of drizzles and downpours. Every store in town was out of umbrellas and covered outdoor seating was at a premium.
After taking a year off for the pandemic, the Telluride film festival is back, in-person (during a pandemic) for 2021. Attendees are …
So much of literature, cinema, and religion contemplate the afterlife. What happens to us when we die, where do we go, how are our lives judged? Less spiritual attention — at least in the west — is paid to how and why we get to be alive on this planet in the first place. Something must be in the air: just as Pixar’s holiday release Soul introduced The Great Before as the first episode in a trilogy ending with the Great Beyond, Edson Oda’s festival favorite Nine Days contemplates a process by which souls come to inhabit a life on Earth.
Arriving in theaters this weekend more than a year’s pandemic delay, The Green Knight might be the closest thing to “pure cinema” that I’ve seen in a very long time. David Lowery’s lyrical adaptation of the fourteenth century anonymously-written epic poem sprawls across the screen using all the tools at its disposal, making it it easy to see why A24 held out to assure that audience first experienced it as a theatrical experience. It was worth the wait.
