Showbiz History: Julia peaks, Channing rises, and Maddie swings from chandeliers

6 random things that happened on this day, March 17th, in Showbiz History. Happy Saint Patrick's Day!

1941 The National Gallery of Art opened in DC eighty years ago today. 

1991 The 44th annual BAFTA Awards honoring the films of 1990 are held. Italy's Cinema Paradiso (which we were just discussing) is a huge hit winning 5 awards and Martin Scorsese's Goodfellas emerges triumphant with the top prize (Dances with Wolves, which will beat it at the Oscars a week later, isn't up for the BAFTAs until the following year, but it loses then to the homegrown title The Commitments)...

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Revisiting 1989's International Oscars: Cinema Paradiso vs Camille Claudel vs Jesus of Montreal

by Nathaniel R

You've gotten to know Juan Carlos a little bit as a new contributor here at TFE. He hosts a podcast "The One Inch Barrier" which is how I sought him out to join us here. Each episode looks at one year of the Best International Feature Film race at the Oscars, moving backward chronologically. Each season covers one decade. I've finally made the time to guest-star, for the season four premiere to discuss a year that's deeply embedded in my history: 1989... aka the year my beloved Pfeiffer lost Best Actress. We discuss Italy's winner Cinema Paradiso which is all about moviegoing and nostalgia (so appropriate for the now), France's presumed runner up Camille Claudel (which was also nominated for Best Actress for Isabelle Adjani), and Canada's provocative Jesus of Montreal. A few other films make cameos, too, including Hong Kong's Painted Faces which is randomly streaming on Netflix; it was not nominated but makes an interesting companion piece to Cinema Paradiso.  

Please do share your feelings on these four films, none of which we've discussed on the site! 

Performing Spectatorship

by Cláudio Alves

As people who love cinema, I think we can all understand the power art can yield over those who experience it. Whether finding refuge in an escapist dream or seeing an ugly truth reflected at us, the act of being an audience has the potential to startle and surprise, to devastate and entertain. I can often recall those moments when a film overwhelmed me in such ways that I ended up making a spectacle of myself. There were my sobbed laughs at a Whitney Houston karaoke in Toni Erdmann, the breathless shock at Hereditary's peanut panic, the miraculous tears when faced with Parasite's perfect montage and so much more. Those memories are like precious jewels, bright reminders of why I love cinema.

Because of this, I have a special fondness for films that try to capture that inchoate ecstasy that happens when an audience is similarly enraptured…

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