Following the monumental critical and commercial success of The Blair Witch Project in 1999, it would have been safe to assume that found footage was the next big thing in horror cinema – and it was – but it took a while to get there. Rather than replicate the 16mm, and lo-fi video look of Blair Witch, filmmakers in the early 2000s turned to the increasingly democratic and cost effective landscape of digital video, eventually leading to the Spanish horror film, [REC], arguably a major turning point for the sub-genre. It would go on to spawn three sequels and an American remake that was fast tracked and released in 2008.
Brattle Theatre Film Notes Posts
For those accustomed to Ingmar Bergman’s more serious fare, such as the austere Winter Light or his foreboding The Seventh Seal, Smiles of a Summer Night is a light-hearted, utterly amusing antidote. It is the Bergman film for people who don’t like Bergman. Of course, the film has some of the usual touches of the Swedish director: familiar actors such as Gunnar Bjornstrand and Harriet Andersson, a theater scene within the film, characters revealing their most intimate thoughts to others, etc. However, while Bergman typically dedicates an entire film to the intense inner turmoil of one or two characters, in Smiles there are many characters struggling with anxieties that are often exploited to a farcical end.
The confessional scene from Ingmar Bergman’s The Seventh Seal follows Antonios Block (Max von Sydow) as he struggles through a crisis of faith. The film’s opening sequence sees the physical embodiment of Death (Bengt Ekerot) come for the knight’s life but, for reasons explained during the confession scene, Block challenges Death to a game of chess to decide his fate. Traveling through a country devastated by the Black Death, Block is also dealing with the societal wreckage left in its wake. His confession in this scene is a direct response to his confrontation with the personification of Death and the actual death he has already encountered.
With Thirst (1949), Ingmar Bergman, a visionary master of cinema, made his first contribution to the exploration of marriage — a topic he would return to most memorably in Scenes from a Marriage (1974). It is often argued that Thirst’s imbalanced and loosely connected storylines and intermittent flashbacks muddle the overall effect of the film, but the individual scenes stand as brilliant musings on relationships between men and women. Pieced together from a collection of short stories, the disconnectedness of the narrative can be excused. As an early example of classic Bergman themes and aesthetics, Thirst is an interesting piece to analyze due to its raw examination of the nature of men and women as two emotionally distinct species.
Bo Burnham understands better than most what it’s like to be a lonely kid trying to find the joys of online invisibility in the real world, and with Eighth Grade, has taken a sledgehammer to the outdated myth that high school is the worst part of growing up. High school is confusing, sure, but it’s nothing compared to the three year caravan of misery through halls of kids carrying SpongeBob USB drives and horny teens begging for Snapchats.
Thanks, Ned, for that introduction. It’s so great to see so many people here, willing to show up for 90 minutes of free air conditioning on a Monday night.
My name is Ezra Glenn, and as Ned said, I teach in the urban planning program at MIT. My background is on the applied side of the field – I worked for over a decade in municipal government, including stints as the director of planning for the city of Somerville and director of community development for the city of Lawrence. So I came to MIT having worked a lot in the actual making of cities.
Some iconic L.A. films – Rebel Without a Cause, Zabriskie Point, Chinatown, Annie Hall – relish the city. A sprawling urban metropolis built up of drastically different neighborhoods, a skyline defined downtown and dozens of notable landmarks; Los Angeles is inherently cinematic. Perhaps best unpacked in Thom Anderson’s equally sprawling documentary Los Angeles Plays Itself, the city didn’t just give us movies, it became them. Which makes William Friedkin’s depiction of the city in the 1985 neo-noir To Live and Die in L.A. that much more enigmatic.
Bloody, senseless fights between main character Henry Chinaski (Mickey Rourke) and Eddie, a macho bartender, (Frank Stallone) frame the film Barfly, Charles Bukowski’s powerful and unrelenting journey into the Los Angeles bar scene. However, the setting for the film, the Golden Horn, is no ordinary bar and its drunken adversaries are engaged in no ordinary brawl.
In horror and sci-fi films, female characters are too often the victim of the male gaze. Some might offer Ripley’s disrobing scene in Alien as a classic example. However, the mise-en-scene and cinematography of the scene disrupt the sexualizing possibility of the male gaze, and instead highlight the vulnerability of the human form.
Seeing things in black and white often means denying room for any nuance and detail. And yet, it is in black and white that Marjane Satrapi chose to illustrate her vision of the Iranian Revolution and the role it played in her life in her autobiographical graphic novel and its 2007 film adaptation, Persepolis.