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Entries in Lena Olin (7)

Sunday
Nov182018

Would you rather?

Time for another round of our silly hangin' with celebrities game, brought to you via the aspirational pleasures of Instagram.

Would you rather... 

  • smell the flowers with Missi Pyle?
  • steal a Myrtle Snow painting with Sarah Paulson?
  • Read Thelma Adams' new book with the LEOgend?
  • enjoy a mud treatment with Michelle Monaghan on the Dead Sea?
  • attend a tennis match with Mads Mikkelsen?
  • do charity with Liv Tyler & Goldie Hawn?
  • dine with Julianne Moore & Kyle Maclachlan?
  • see Vox Lux with Carrie Preston & Emily Berg?
  • visit an ADR session with Lena Olin?
  • have a cup with Henry Golding & Michelle Yeoh?

pictures after the jump to help you decide... 

Click to read more ...

Wednesday
Mar302016

Q&A: Artists in Movies and Uninspiring Best Pic Lineups

For this weeks Q&A I asked for an art theme to celebrate the joint birthday of Vincent Van Gogh and Francisco de Goya on this very day! So we'll start with a few art-focused topics before venturing to rando questions.

TOM: Which film about an artist (in any field of the Arts) that you were not particularly knowledgeable about made you want to see/hear the real work by that artist? 

I vastly prefer non-traditional biopics so I'm susceptible to stuff that piques curiosity rather than gives you a greatest hits. So I like bios like Thirty Two Short Films About Glenn Gould (1993). I have some problems with I'm Not There (2007) which is my least favorite Todd Haynes film but I respect the hell out of it conceptually. In terms of movies about painters I definitely became more interested in Francis Bacon after Love is the Devil (1998) and not just because of Daniel Craig in the bathtub! I already cared about Caravaggio before seeing Derek Jarman's Caravaggio but I hope people see that one, too. 

BRIAN: If you had to recommend a budding Cinephile a movie based on an artist, a work of art, or has artistic themes what would it be?

Hmmm. A lot of movies about painting aren't very good (Watching someone paint being only a notch more interesting than watching someone write). So let's do "artistic" theme and the answer there is easily Amadeus (1984). It's such a useful movie to reference in ways both commonplace ("too many notes!") and contemplative (what makes the difference between competent journeyman skill and true genius?). One of my other favorite "art" movies is High Art (1998)...

8 more questions after the jump

Click to read more ...

Wednesday
Nov052014

The Honoraries: Jean-Claude Carrière, Part 2

Our 2014 Honorary Oscar tribute series continues with a two-part look at the long fascinating career of Jean-Claude Carrière. Here's Tim with Part Two.

Yesterday, Amir did a wonderful job of introducing us to the supremely gifted and abnormally prolific Jean-Claude Carrière, focusing on his iconic collaboration with Luis Buñuel. As important as that work was for both men, it tells only a fraction of the tale. With nearly a hundred screenplays to his credit in a career that’s still holding steady, 54 years on, it’s simply not possible to reduce the full scope of Carrière’s contribution to cinema to his work just one collaborator.

And so we now turn to Carrière's writing in the years following Buñuel’s death. Given the transgressive, ultra-modern nature of their films together, it’s perhaps a bit surprising that Carrière’s output from the ‘80s to the present would be dominated by prestigious literary adaptations and costume dramas - what could possibly be less transgressive than that? But just as Belle du jour is nothing like the usual late-‘60s erotic drama, so are Carrière’s late-career period pieces only superficially akin to awards-bating fluff. 1979’s The Tin Drum, which he adapted alongside director Volker Schlöndorff and Franz Seitz, is one of the nerviest films about the psychology of Nazi-era Germany ever filmed. In the scenario he provided for Andrzej Wajda’s 1983 French Revolution film Danton, he built a foundation for an angry, vivid drama about the corruption of politics. These are confrontational films, even upsetting.

As the years progressed, Carrière perhaps mellowed, enough to pick up one final Oscar nomination for 1988’s The Unbearable Lightness of Being, which he shared with that film’s director, Philip Kaufman. Although even here, “mellowing” is a relative term.

(The Unbearable Lightiness of Being, Birth, and Valmont after the jump)

Click to read more ...

Wednesday
Sep032014

Podcast Pt 1: Smackdown Companions & Left Feet: A Love Story

As a companion piece to the Supporting Actress Smackdown, we recorded a companion podcast. In the first half we talk misleading movie posters, Oscar campaigns, the outcome of the smackdown, Jim Sheridan's My Left Foot and Paul Mazursky's Enemies A Love Story and directorial,  acting choices, sexism, and point-of-view storytelling.

You can listen at the bottom of the post or download on iTunes. Continue the conversation in the comments. We'd love to hear your comments on either film, and what your big takeaway from this month's Smackdown was. 

Smackdown Pt 1: My Left Foot Love Story

Sunday
Aug312014

Smackdown 1989: Anjelica, Brenda, Dianne, Lena, and Julia Roberts

Presenting the Nominated Supporting Actresses of 1989. Motherhood was the loose theme of the shortlist with a determined mom (Brenda Fricker) facing off against a determined-to-be-a-mom bride (Julia Roberts). Add in 1986's Oscar winner in this category (Dianne Wiest) as a mom so exasperated maybe she wished she hadn't become one in one of 89's top ten box office hits. Rounding out the list was a late breaking pair of women with claims on the same married man. Only one of them is married to him but... well, let's just say it's complicated. It's complicated for all five of these women.

THE NOMINEES

 

Then-unknown Irish character actress Brenda Fricker, gifted with a screen partner who would go on to become Oscar's most-winning Best Actor, took the gold. But the other four were in-demand hot commodities. Lena Olin who had emerged the year before (The Unbearable Lightness of Being) as a memorably erotic screen presence made good on that breakthrough. Anjelica Huston and Dianne Wiest, both recent Oscar winners, had yet more memorable turns in beloved films around the corner. But it was Julia Roberts who was the true breakout of the season... she went super nova literally three days before the actual ceremony with the release of her follow up Pretty Woman. Had the Oscars been a month later she might've won on in-the-moment global mania; the film was a hit everywhere grossing nearly ½ a billion dollars worldwide in 1990.

THIS MONTH'S PANELISTS

You've already heard 'what 1989 means to them' and now here to talk about these five performances are critics Nick Davis (Nicks Flick Picks), Kevin B Lee (Fandor Keyframe), Tim Robey (The Telegraph), Tasha Robinson (The Dissolve), Todd VanDerWerff (Vox) and your host Nathaniel R (The Film Experience). With a shoutout to StinkyLulu for the original Smackdown inspiration in which we revisit Oscar shortlists of the past without all the campaigning and heat-of-the-moment politics that infect each awards race.

Without further ado, the Smackdown...

1989
SUPPORTING ACTRESS SMACKDOWN 

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