Originally published on Fri April 19, 2013 3:38 pm
Among the semi-literate journals submitted by his high-school students, jaded French literature teacher Germain (Fabrice Luchini) is jazzed to find a rough diamond from a new pupil, Claude (Ernst Umhauer).
In weekly installments, the ingratiating but enigmatic teenager, who looks as though he just stepped out of a Pasolini movie, chronicles his efforts to insinuate himself into the family of one his classmates, an amiable but awkward underachiever named Rapha (Bastien Ughetto).
Derek (Alexander Skarsgard) and wife Cindy (Paula Patton) are sandbagged by online identity thieves who steal their credit information — even as they're still grappling with the death of their young son.
Credit LD Entertainment
In a loosely connected storyline, the relationship between an investigative journalist (Andrea Riseborough) and a young digital sex worker (Max Thieriot) grows increasingly complicated as the twisted plot of <em>Disconnect</em> unwinds.
The title of Disconnect may be read as describing any of several things: the gulf between online and real-world interactions; the chasm that opens between human beings when spoken communication fails; our default emotional position in the face of unthinkable tragedy.
Attempting to address all three interpretations within the confines of a single movie may be courting failure, but writer Andrew Stern and director Henry-Alex Rubin go one better, adding an unnecessary cybercrime angle that muffles the screenplay's more subtle psychological insights.
The best documentaries about filmmaking are the ones that show it at its worst.
Movie sets are fundamentally boring places, where there's mostly a lot of waiting around going on. But when disaster strikes with millions of dollars on the line, the tension and drama are suddenly amped up to levels that often equal those in the movie being filmed.
The enigmatic Julia (Olga Kurylenko) surfaces from the mysterious past of Victoria's husband, Jack (Tom Cruise), a repairman tending drones on a largely abandoned Earth.
Credit Universal Pictures
The sterile, futuristic gloss of the post-apocalyptic living spaces in <em>Oblivion</em> are a perfect setting for Andrea Riseborough's icy Victoria — whose humanity, showing occasionally through the odd crack in her reserve, informs some of the film's strongest moments.
The score for Oblivion was composed by M83, a superb French electronic outfit that derives its name from one of the spectral pinwheels known as spiral galaxies. I point this out because it's the best element of the movie — a cascade of dreamy synthesizers that registers as appropriately futuristic (at least the future as suggested by '80s pop) while allowing an undercurrent of romantic yearning.
Artist Jackie Sumell set out to build a dream home for bank robber Herman Wallace, whose additional conviction for killing a prison guard is the subject of a long-running dispute.
Credit First Run Features
A 3-D rendering of Wallace's dream house; Sumell's juxtaposition of the house and Wallace's 6-by-8 prison cell is a statement on the severity of solitary confinement in Louisiana's notorious state penitentiary.
The off-screen protagonist of Herman's House, Herman Wallace, already has a dwelling for his body: a 6-foot-by-8-foot cell at the Louisiana State Penitentiary, aka Angola. But the documentary's on-screen protagonist, Jackie Sumell, wants him also to have a place for his soul: a dream house for a man who desperately needs dreams.
This is the third in a three-part series aboutthe intersection of education and the arts.
Life Pieces to Masterpieces is an arts program that's not entirely about the art. It's an after-school program based in a struggling neighborhood in Washington, D.C., that teaches black boys and young men what they call "the four C's": "Connect, create, contribute, celebrate." From ages 3-25, they learn to express themselves by conceiving their paintings together. And those paintings will often reflect what's going on in their lives.
Richard Linklater's <em>Before Midnight</em> is one of many high-profile films set to be shown at this week's Tribeca Film Festival in New York City. (Pictured: Ethan Hawke as Jesse and Julie Delpy as Celine)
Credit Sony Pictures Classics
The National, subject of the documentary film <em>Mistaken For Strangers,</em> performed at the April 17 opening-night party for the 12th annual Tribeca Film Festival.
Credit Bryan Bedder / Getty Images for American Expres
Originally published on Thu April 18, 2013 1:33 pm
This week, the Tribeca Film Festival kicks off its 12th year. With a shorter history than Sundance or Cannes — the two major festivals that flank it on the calendar — Tribeca has grown in fits and starts since its 2002 launch as an effort to revitalize Lower Manhattan in the aftermath of the Sept. 11 attacks.
Today, Tribeca has carved out an identity as an international festival supporting both established and first-time filmmakers — and, not coincidentally, showcasing New York as a filmmaking hub.
War photographer Tim Hetherington said he thought war was wired into young men. And he risked, and ultimately gave, his life to capture these young men in photographs and video — in Liberia, Sierra Leone, Afghanistan and other war zones. Hetherington was killed by shrapnel from a mortar round while taking pictures in Libya in 2011, during the uprising against President Moammar Gadhafi.