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: "Hopper/Welles"

by Jason Adams

Picture it: the year is 1970 and the director Orson Welles has just recently begun filming his experimental film The Other Side of the Wind, the production of which would ultimately outlast the director himself (Welles died in '85) and many of the people he put in front of his camera. (Wind was finally released by Netflix in 2018 after nearly 50 years of tinkering.) One such person Welles filmed was actor-turned-director Dennis Hopper, who was fresh off his counter-culture sensation Easy Rider. Strange bedfellows, these two, but they sat down for over two hours of filmed and oft-antagonistic conversation, and now producer Filip Jan Rymsza and editor Bob Murawski, who finally got Wind across the finish line, have gifted us with Hopper/Welles, the fly-on-the-wall footage of that moment screening at NYFF. It's something!

Full disclosure: I went in to Hopper/Welles expecting to find Welles a bit of a boor and Hopper a pip. Fuller disclosure: I came out with quite the opposite...

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Podcast: "Nomadland" and "The Nest"

with Nathaniel R & Murtada Elfadl

We're back for weekly podcasting now as the season revs up.

Index (58 minutes)
00:01 Virtual festivals pros & cons and blurry lines between film and TV
13:00 NYFF - Frances McDormand in Chloe Zhao's Nomadland
27:00 Ivory Coast's Night of Kings and the documentary Time
40:22 Sean Durkin's The Nest starring Jude Law and Carrie Coon 
49:00 Boys in the Band in brief
56:00 Wrap up: French Exit is soon! Eeeeeee

Related Reading:
• Nathaniel's Review of Night of Kings
• All posts on Nomadland
• Murtada's Review of Boys in the Band

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

The Nest and Nomadland

NYFF: "Night of Kings"

Our coverage of the New York Film Festival -- you can buy virtual tickets to most of these films -- continues.

by Nathaniel R

The prison movie is its own specific subgenre, holding close to its own tropes, structural familiarity, and character types. Though we've never been imprisoned, we imagined these are culled from reality as much as imagined from collective nightmare. As a general rule, we long for escape from well worn genres, but in some cases it's useful shorthand. Such it is with Philippe LaCôte's Night of Kings, the buzzy Ivory Coast Oscar submission which we suspect might have been too confusing to resonate for Western audiences, were if not for these familiar, even universal, elements...

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NYFF: Steve McQueen's "Mangrove"

by Jason Adams

Well we knew the party couldn't last forever -- it's 2020 after all, and there's serious work to be done. Last week the New York Film Festival officially opened with Lovers Rock, the second part of Steve McQueen's five-part "Small Axe" series of films all set within the same West Indian community in London where McQueen grew up (and which are set to air on the BBC and Amazon starting at the end of November) -- Lovers Rock, which I reviewed at this link, was set over the course of a single night, a single party, and reveled in tactility and sound, in the moment; it allowed its characters to lose themselves in song and sex and joy. Tonight the NYFF rewinds back us to premiere Small Axe's first part, titled Mangrove and based on the famous legal battle of 1970 involving the so-dubbed "Mangrove Nine," a group of local activists who were wrongly accused of inciting a riot by a corrupt and racist police department.

So no, no big party here -- this one's a courtroom drama. And a rip-roaring one at that... Although it takes its time becoming exactly that...

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