Monty @ 100: The recent documentary "Making Montgomery Clift"

by Sean Donovan

As a kind of epilogue to our Montgomery Clift Centennial series, in which we revisited every film of his, let's discuss a curio that made the festival rounds in 2018 and 2019. The documentary Making Montgomery Clift was co-directed by Hillary Demmon and Monty’s nephew Robert Clift. Robert is very much foregrounded as a protagonist of the film as he attempts to do much of what the Film Experience team has been attempting over the past two and half weeks: to grapple with the legacy of Montgomery Clift and bask in the immortal work he has left behind. Making Montgomery Clift is an imperfect project, and those imperfections arise out of an enormous emotional attachment to the subject that can’t hep but obscure our view of the man and his work.

Making Montgomery Clift provides an overview of the star’s life and career trajectory, the highlights and lowlights that have been gestured to in posts throughout this series: Clift’s struggles with alcohol and pills, his queer sexuality, the traumatic car accident that transformed his career, his reputation as a difficult diva of a movie star, etc. But the film also does the invaluable work of tracing the discourse of our pop culture knowledge of Clift himself: when and how the legend of Monty Clift was written...

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NYFF: the queer slow cinema of Tsai Ming-liang's "Days"

by Sean Donovan

Taiwanese auteur Tsai Ming-liang’s brand has reached a point where any objections to his style seem of limited use or value. At this point in his career, Tsai is going to do what Tsai is always wont to do- which is make films composed of far less shots overall than most filmmakers working today, some stretching as long as 10 minutes, studies in slow repetition and urbane melancholy, sometimes touching on queer themes but just grazing them (Tsai himself is gay). When a filmmaker’s brand is so immediately recognizable it’s sometimes met with impatience and boredom by audiences, as if wondering ‘when are they gonna just get over this already?’ ‘How many lengthy shots of people doing housework is too many?’ Matías Piñeiro’s latest entry in the New York Film Festival, Isabella, received notices of exactly this kind from many critics, wondering what the balance is between honing a brand vs. refusing to develop creatively (I reviewed the film here for TFE to a similarly lukewarm shrug). 

Yet with Tsai Ming-liang I find myself not caring whatsoever about any criteria of versatility or artistic variance in his work...

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NYFF: "Isabella"

by Sean Donovan

As part of their series of drive-in events, the New York Film Festival programmed Matías Piñeiro’s latest Shakespeare-influenced drama Isabella alongside Pedro Almodóvar and Tilda Swinton’s delicious queer treasure The Human Voice (previously unpacked by Nathaniel). In some ways this choice makes sense: both films relish in vivid expressions of color, the kind of experiences you would want to have in as close to a theatrical environment as we can get right now. But in terms of intensity and impact the films could not be more different, Human Voice’s sledgehammer playfulness is a misplaced introduction to Piñeiro’s foggy and ultimately disappointing drama.    

Isabella is named after the main character of Shakespeare’s Measure for Measure, one of the bard’s ‘problem plays’ positioned awkwardly between comedy and drama. Isabella displays no proclivities towards the comedic, but it may have internalized the problem play position of being stuck between choices and controlled by doubt...

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NYFF: Laura Dern's first leading role and a lost Blaxploitation treasure

Sean Donovan looks at two films from NYFF's "Revivals" section...

The major film festivals of the world, New York included, take as much responsibility for cinema’s past as its future. Alongside new hyped arthouse projects, festivals program curios from the past that may have fallen through the cracks or not received their due recognition in their day. In other instances, festivals re-deploy older films to the contemporary moment in an act of deliberate commentary, the film speaking to culture in a way that feels freshly vital for 2020 (that is certainly the case of one of the selections profiled here). Over the past weekend, New York Film Fest virtual cinema uploaded two of their revival selections, Joyce Chopra’s Sundance-winning drama Smooth Talk (1985) and a Blaxploitation cult film The Spook Who Sat by the Door (1973). Both are canny, fascinating picks from the NYFF, and well worth the revisit in 2020...

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2005: When Tilda Swinton went full Hollywood

Please welcome back former contributor Sean Donovan who returns to the fold...

With the 2005 Supporting Actress Smackdown quickly approaching TFE, let’s take a moment to think about a future Best Supporting Actress winner who was just then gathering her strength, summoning her powers of fierce alien glamour, and dipping a toe into Hollywood. 2005 was a pivotal year for Tilda Swinton in that it was her first engagement with big budget genre filmmaking. Tilda had found her way onto some Hollywood projects prior to this -- The Beach (2000) with Leonardo DiCaprio, Vanilla Sky (2001) with Tom Cruise, Jonze and Kaufman’s contemporary classic Adaptation (where she briefly shares the screen with Meryl Streep and my little gay heart explodes) -- but 2005 brought bombast, costuming, and blockbuster genre storytelling to her body of work...

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