The Telluride Film Festival wraps up today and with that, the upcoming awards season has finally taken a little shape. We have a long way to go, of course, and no one should be calling the race from this far out, but we certainly know a few things.
TELLURIDE, Colo. - More than any other medium, the chemistry between two actors is paramount onscreen. The camera intimately reveals what the stage cannot and, ultimately, is most unforgiving if there is none. The latter, sadly, is the fate of Ralph Fiennes' impeccably realized "The Invisible Woman," which premiered at the 2013 Telluride Film Festival on Saturday.
TELLURIDE, Colo. - I must say I'm happy to see that the media is finding its way to Penn and Teller's "Tim's Vermeer" here at the fest. I caught the film on a whim Friday morning and haven't found the right time and head space to write it up, but it might just be -- still -- my favorite entry of the 40th annual Telluride Film Festival.
TELLURIDE, Colo. - There's an interesting bit of synergy happening in Telluride this year between the hottest ticket of the festival and a modest short film that has been screening before John Curran's "Tracks."
Without giving too much away (though some might consider this paragraph to contain SPOILERS -- you've been warned), Alfonso Cuarón's "Gravity" features a scene in which astronaut Ryan Stone (Sandra Bullock) makes an S.O.S. radio call down to Earth and picks up the signal of an Inuk man in the arctic. Of course, you don't really know he's an Inuk until you get a look at Jonás Cuarón's short film "Aningaaq," which depicts the very same scene but from the Inuk man's point of view with Stone's voice coming in over the radio.
VENICE - It may not have received ecstatic reviews across the board, but when the dust settles on this year's Venice Film Festival, one of my personal highlights is still likely to be "Tracks," John Curran's classical, visually resplendent true-life tale of Australian explorer Robyn Davidson's 1700-mile trek across the Outback desert. Judi Dench may have all the Lido buzz right now for "Philomena," but were it up to me, "Tracks" lead Mia Wasikowska would be the leading contender for Best Actress at this point in the fest.
VENICE - If I wasn't surprised by the news today of Hayao Miyazaki's retirement, it's not just because he's made several preliminary remarks to this end over the last few years. Rather, as I noted in my review last night of the Japanese animator's apparent swansong "The Wind Rises," it seemed to me that he indirectly made the announcement in the film itself.
TELLURIDE, Colo. - Usually I'm winding down on Sunday at Telluride, but this is the first year I'll be staying until Tuesday, meaning a full day tomorrow of casually catching up on things I missed. So today, a much-needed respite: I slept in. After Fox Searchlight and Sony Classics' separate soirees for their films and talent last night, and particularly after a ride like Alfonso Cuarón's "Gravity," it didn't hurt to charge the batteries a little more.
Cuarón's film had its North American premiere last night at the Werner Herzog Theater with the director and his son/co-screenwriter Jonás on hand. Probably the most eager crowd of the fest so far, given the raves that burst out of Venice upon the film's world premiere last week, were thickly lined up well in advance. Before the screening, Jonás said that the intent was indeed to produce a roller-coaster ride, and boy is it ever. But something that struck me while experiencing this one-woman-show was how much of a powerful double feature it would be with J.C. Chandor's "All is Lost," also programmed at Telluride this year.
VENICE - As we near the 50th anniversary of John F. Kennedy's assassination, it's comforting to know that he died surrounded by so many attractive people. Cold comfort, admittedly, if indeed we still require any consolation at all for a moment in history that, however rupturing, has by now been amply processed -- both on screen and elsewhere.
But it's pretty much all I gained from Peter Landesman's vapidly exploitative take on the events of November 22, 1963, as experienced by the sundry agents, doctors, servicemen and civilians who played a tangential but first-hand role in the unhappy day. Like Emilio Estevez's similar but marginally more redeemable "Bobby," it reveals nothing about the tragedy that you didn't already know, bar that which you certainly never needed to know in the first place. "Hey, there's Jackie! I think so, at any rate: looks nothing like her. Anyway, how did the nurse feel about it all?"
VENICE - Is it a bird? Is it a plane? At several points in Hayao Miyazaki's frequently dazzling new feature "The Wind Rises," the answer might as well be both. Studio Ghibli devotees could be forgiven for scratching their heads a little when the news broke that the Oscar-winning animator -- hitherto a merchant of extravagant, culture-fusing fantasy -- was set to make a biopic of influential Japanese aeronautical engineer Jiro Horikoshi. Engineering biography, however sexy a genre on its own terms, isn't known for its abundance of flying eel-dragons or midnight cat-buses.
TELLURIDE, Colo. - The truth is I don't quite know how I feel about the Coen brothers' "Inside Llewyn Davis" yet. A number of people have asked me, "How can you not know how you feel?" This is, after all, a film embraced almost unanimously at Cannes and now here in Telluride.
I don't quite know how to put it, so I want to wait and see how it resonates. At first blush it feels somewhat minor, but I want to think more about what's going on thematically. It shouldn't be lost on anyone that the Coens are independently making a film about a folk musician struggling against the constraints of commercial music after coming off their biggest box office hit to date, for instance. For now, though, I'll just concentrate on what sticks out as immediately worthy of praise: Oscar Isaac's absolutely pitch-perfect performance as the eponymous Davis.