The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
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Sunday, November 25, 2018 at 10:54PM STEVEN YEUN. That’s it. That’s the whole tweet.
— Amin (Happy Together) (@cinemasocietie) November 24, 2018
AND A GOOD TWEET IT IS, TOO.
curated tweets for you after the jump involving Angels in America, the cgi-animated remake of The Lion King, Widows, and a lot of obsessing over The Favourite which happens to be our new pasttime as well...
Friday, January 6, 2017 at 8:35PM Now that La La Land is in wide release word of mouth from regular moviegoers (rather than critics) keeps expanding. As expected with Best Picture frontrunners, not all of it is kind. This unique and ravishing film has begun to suffer from the inevitable backlash. Some of my musical theater friends are balking that neither star is a great singer, the songs aren’t sophisticated, and it doesn’t honor Hollywood musicals in the way they’d expected.
To harp on these issues misses the point of what director Damien Chazelle has created. It's true that neither Emma Stone nor Ryan Gosling have Broadway-caliber singing voices, and it’s also true that future composers of musical theater are likelier to study Sondheim than Justin Hurwitz. But Chazelle isn’t making a Broadway show, he’s crafting a wholly-original tone for a film, stealing bits and pieces from a wide variety of sources, and doesn’t seem interested in making a purely traditional Hollywood musical.
Chazelle has spoken in interviews about how the single greatest influence on La La Land were the two musical films of French director Jacques Demy: The Umbrellas of Cherbourg, and The Young Girls of Rochefort...
