http://www.bfi.org.uk/bfi-homepage
Related: CinemaFilm review: Bright Star "The beginning of your poem has something very perfect," says Keats's lover, Fanny Brawne, of his Endymion – before complaining that the rest of it isn't nearly as good. Tactfully, Jane Campion allows us to understand that this is not so much a criticism of Keats's poetry but his life, in fact all our lives. They are finest at the beginning and careless youth is an Endymion moment, a blaze of perfection and rightness, destined to decay with adulthood's compromises and responsibilities. With this account of John Keats's love affair with Fanny Brawne, played by Ben Whishaw and Abbie Cornish, Campion has made a fine and even ennobling film: defiantly, unfashionably about the vocation of romantic love. She has Whishaw and Cornish actually recite poetry – which, for most actors, is as difficult as walking on your hands or juggling with knives – and even proposes a kind of secular martyrdom for them in the movie's final act.
Academy of Motion Picture Arts and Sciences Scientific & Technical Awards Better Movies Through Science The Sci-Tech Awards honor the innovators whose contributions have changed the way movies are made and presented. CE - WHAT IS A WESTERN MOVIE? Westerns are the major defining genre of the American film industry, a nostalgic eulogy to the early days of the expansive, untamed American frontier (the borderline between civilization and the wilderness). They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins. [The popularity of westerns has waxed and waned over the years. A Closed Door That Leaves Us Guessing So, that's a director. You, who are beginning to make films, you must keep a bit of The Tramp in you, and you must have begun already to have a bit of A Countess from Hong Kong in you too. You must always have the extreme youth of The Tramp that wants to speak against society, that we're on the street, that we have the sky and belong to mankind, and you must have begun already to have a bit of A Countess from Hong Kong, being very old and a bit bitter. That, in order to say as he does in that film, that society has let go of him, that it doesn't take an interest in him any more. Here, perhaps it's different in Japan, because the Japanese relationship with old age is completely different.
Jury Prize (Cannes Film Festival) New Zealand filmmaker Jane Campion was the president of the Jury for the 2014 festival and oversaw a rare decision, in which the Jury Prize was awarded to two films: Mommy, by Xavier Dolan, and Goodbye to Language, by 83-year-old Jean-Luc Godard.[2] Anorexic Logic: On American Psycho "Nothing evokes the end of the world more than a man running straight ahead on a beach ... cocooned in the solitary sacrifice of his energy ... In a sense, he spews himself out ... He has to attain the ecstasy of fatigue, the "high" of mechanical annihilation."
Best Director Award (Cannes Film Festival) The Best Director Award (French: Prix de la mise en scène) is an annual award presented at the Cannes Film Festival for best directing achievements in a feature film screened as part of festival's official selection (i.e. films selected for the competition program which compete for the festival's main prize Palme d'Or). Awarded by festival's jury, it was first given in 1946. The prize was not awarded on 12 occasions (1947, 1953–54, 1960, 1962–64, 1971, 1973–74, 1977, 1980). In addition, the festival was not held at all in 1948 and 1950, while in 1968 no awards were given as the festival was called off mid-way due to the May 1968 events in France. Also, the jury vote was tied and prize was shared by two directors on six occasions (1955, 1969, 1975, 1983, 2001, and 2002). 3 wins – Joel Coen (with Ethan Coen, non-credited) (1991, 1996, 2001)2 wins – René Clément (1946, 1949)2 wins – Sergei Yutkevich (1956, 1966)2 wins – Robert Bresson (1957, 1983)2 wins – John Boorman (1970, 1998)
Is Women's Humor Still Taboo? Then Why Are Men Nervous Around Laughing Women? Anthropologists argue that across most cultures, conventional definitions of feminine modesty and a contrived sense of innocence even among women who are clearly adult and experienced causes those women who do laugh freely and openly in public to be regarded and judged as “loose,” “sexually promiscuous,” and “lacking in self-discipline .” Making a joke is read, in other words, as making a pass—which might account for women's hesitation to make many jokes around men. Initiating humor is the first taboo broken—with that one gone, we can assume other barriers are meant to fall. As scholar Judith Wilt has argued, there is a certain kind of women's humor “tumbles over the edge of myth into madness, " the place where comedy ceases to offer comfort and becomes murderous, violent , apocalyptic. The barriers between comedy as comfort and comedy as castastrophe become erased in the works of certain women writers.
Grand Prix (Cannes Film Festival) Since 1995, the official name of the award has been simply the Grand Prix, but it has had two other names since its creation in 1967: Grand Prix Spécial du Jury (1967-1988), and Grand Prix du Jury (1989-1994). In addition, the award should not be confused with the Grand Prix du Festival International du Film, which is the previous name of the Palme d'Or, the highest prize of the Cannes Film Festival. Cannes Film Festival official website Cannes Film Festival at IMDb. The Five Obstructions - Lars von Trier - Review Lars von Trier, the Danish director of "Breaking the Waves," "Dancer in the Dark," and "Dogville" returns with a strange and brilliant meta-film. In 2000, he challenged his mentor, the veteran filmmaker Jorgen Leth, to a one-of-a-kind director's game: von Trier would give Leth rules, or obstructions, by which Leth would have to remake his own 1967 short film "The Perfect Human"--five times. The first film, according to von Trier's rules, has to be composed of shots no longer than 12 frames and must be filmed in Cuba, without a set. Fast forward to Havana: Leth has found a solution to the difficulties and is making his film with confidence. With satanic glee, von Trier comes up with an even more constraining set of obstructions, clearly taking pleasure in torturing his former teacher. He attempts to find the most crippling rules and devises appropriate punishment when Leth fails to follow them.