Fassbinder Double Feature: "Ali" & "Maria Braun"

by Cláudio Alves 

In these days of "social distancing" and delayed releases, the cinephiles among us must satiate our hunger for cinema in the privacy of their own homes. Streaming services are saviors during such trying times, offering a respite from the chaos. Among them, The Criterion Channel continues to shine brightest as a paragon for the promotion of the seventh art's best triumphs. Just this month, two of Rainer Werner Fassbinder's most beloved and accessible masterpieces were made available for streaming. We're talking about 1974's Ali: Fear Eats the Soul and 1979's The Marriage of Maria Braun.

Join us as we peruse the glamor and doom, fear and fury of these singular films…

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Jennifer Jones Centennial: "Indiscretions of an American Wife"

We're celebrating Jennifer Jones's centennial. By your request (you voted on which two movies we'd cover), here's Nathaniel R...

Your viewing assignment should you choose to accept it, and you really should, is Vittorio de Sica's Indiscretion of an American Wife (1953), a floridly emotional 65 minute drama (you read that right) in which a very thirsty Jennifer Jones engages in some illicit behavior because what else can you do when confronted with the beauty of Montgomery Clift in the 1950s?

Though 1953 was arguably Monty's peak (he also starred in Hitchcock's I Confess! and the Best Picture winner From Here to Eternity that year), this melodrama from the Italian master Vittorio de Sica is Jennifer Jones's film from fussy indecisive start to farewell heartbreak finish...

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Pedro Party: What Have I Done To Deserve This? & Volver

It's a Pedro Party. We're celebrating Almodóvar each day as we count down to Cannes 2017. Here's Daniel Crooke.

Women hold the universe together according to the peacock-feathered films of Pedro Almodóvar, and never more earthily or elegant than in his mirrored portraits of multitasking matriarchs putting out the fires of the men around them: 1984’s What Have I Done To Deserve This? and 2006’s Volver. Both domestic dramas with a hint of the supernatural, they showcase a pair of imperfect pragmatists – respectively, Gloria (Carmen Maura) and Raimunda (Penelope Cruz) – caught in the crucible of their everyday lives with no signs of slowing down, spinning an interminable amount of plates only to wash them straight after so they can serve their families dinner on time. While their inattentive lazybones husbands bark orders from the couch and fail to see the strength beyond their busts – no matter, as they’ll soon both be dead– Gloria and Raimunda are the breadwinners, juggling odd jobs and managing the affairs of family and friends to simply keep the lights on.

Strikingly feminist with an emphasis on the superhuman virtues of intergenerational sisterhood, What Have I Done To Deserve This? and Volver display two working women hustling on the verge with no time for a nervous breakdown...

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Ben-Who? Weekend Box Office

The name "Ben-Hur" wasn't enough of a brand on its own to lure moviegoers to theaters this weekend for the remake. My guess: Those who know of Ben-Hur love the 1959 version too much to care about a 2016 version. I have zero desire to see it so if you dared the movie theater this weekend to do so, tell me this: did any of the 1925 sensuality or the 1959 homoeroticism survive in the 2016 version. Or is this just all antiseptic generic blockbuster action mode? 

Ben Hur in 1959, 2016, and 1925If you didn't see Ben-Hur, what did you see? Did you like it? More after the jump including the fate of Kubo and the Two Strings and the best thing I saw this weekend...

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Sundance: Oscar Hopeful "Brooklyn" is Beautifully Old-Fashioned

Nathaniel's final review from Sundance

Late last year while interviewing Yves Belanger on his lensing of Wild (2014) and his ongoing working relationship with Jean Marc Vallee I noticed he had a non-Vallee project on his forthcoming filmography called Brooklyn. He spoke highly of the experience, an about face from Wild's all natural light mandate. He said it was much more stylized lighting, an 'old fashioned romantic drama'. He hoped people still wanted to see that sort of thing.

If the reaction at Sundance is any indication (and a word of caution: Sundance fever is 50/50 for the real world at best) the people will welcome it with open arms... and tear ducts.

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