In Front of the Movie Screen

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Sometimes I think I have felt everything I’m ever gonna feel. And from here on out, I’m not gonna feel anything new. Just lesser versions of what I’ve already felt.

(via jakesgyllenhaal)

— 3 days ago with 247 notes
#Her  #Spike Jonze  #joaquin pheonix  #Scarlett Johansson  #roony mara  #amy adams  #Future  #technology  #Academy Awards  #Oscars  #Script  #Love  #break up 

Dear Catherine,
I’ve been sitting here thinking about all the things I wanted to apologize to you for. All the pain we caused each other. Everything I put on you. Everything I needed you to be or needed you to say. I’m sorry for that. I’ll always love you ‘cause we grew up together and you helped make me who I am. I just wanted you to know there will be a piece of you in me always, and I’m grateful for that. Whatever someone you become, and wherever you are in the world, I’m sending you love. You’re my friend to the end.
Love, Theodore.

(Source: holdingsback, via jakesgyllenhaal)

— 4 days ago with 1324 notes
#Her  #Spike Jonze  #joaquin pheonix  #roony mara  #Scarlett Johansson  #future  #technolgy  #love  #friends  #best friends  #friends to the end  #Academy Awards  #Oscars 
Her (Spike Jonze, 2013)
Her was the only film at the Oscars that seemed as impressionable and impressive as 12 Years A Slave but obviously for very different reasons. Written and directed by Spike Jonze, who’s work is always so beautifully shot, known for Being John Malkovich, Adaptation and Where the Wild Things Are however, Jonze was only credited as director on Where the Wild Things Are and Her. Although Where the Wild Things Are and Her are similar in direction, both films Jonze appears to have mastered a relationship between camera and sunlight, which romanticises emotion in both films as well as give them a warm feel. In terms of writing though, Her comes across as so natural and meaningful, so real and emotive that anyone could walk out afterwards and appreciate it. Where as with Where the Wild Things Are, although Jonze took a very different approach to the children’s book by having each beast personify an emotion, it came across as dry at times and just a bit harder to wade through. It’s obvious with the naturalness and flow of Her that Jonze has really tapped into something great and we can only hope it is something that sticks rather than a one off. If it is a one off (which is doubtful) it’s one of the great one offs 100% deserving of its rightful Oscar.
In a not so distant future Theodore (Joaquin Pheonix) is working his way through the divorce of love of his life Catherine (Rooney Mara). Ted works as a middleman at where he writes deeply personal, beautifully heartfelt and elegantly worded letters from his client to their wished recipient. Ted’s apparent and only friend Amy (Amy Adams) is in an obviously ‘seemingly happy’ relationship. Ted treats himself to the OS1 update where is introduced to Samantha (Scarlett Johansson). As Ted and Samantha’s relationship is being established, it becomes clear that in the real world Ted is surrounded by fake interaction and any real interaction he has/had fails so when Ted and Samantha start to fall in-love the boundary that ‘shouldn’t crossed’ seems insignificant in light of Ted’s happiness. Obvious problems arise when Ted meets up with ex-wife Catherine who questions this relationship, which Ted overcomes. However, the main problem is the technical issue that arises when Samantha’s evolution becomes indefinite, constantly growing and evolving beyond a human’s understanding.
It sounds like this is quite a heavy piece and it’s not. It is loaded but it is also incredibly charming and witty.  Jonze presents questions towards our ever-growing relationship with technology in such a simple way that you really can take it or leave it with this one. On the one hand it’s a philosophical piece questioning the morality of technology, on the other, much like Blue is the Warmest Colour, it’s a film about the complete start to the complete end of a relationship that just so happens to be between a man and software. There are two monologues, if you will, that you can’t miss (not that it’s possible to) both of which occur towards the end. The first is Samantha’s speech to Ted (this alone deserved the Oscar) and the second is Ted’s letter to Catherine both of which are two genius pieces of writing.
As well as the script Jonze’s direction is really magnificent. Not only does Jonze have this relationship with nature & natural light but also his ability to communicate that in a film, set in the future, about technology is really something else. Let alone how he uses shots themselves to communicate to his audience; Joaquin in the centre of a long shot in a crowd to emphasise his isolation (good or bad) or the close-ups of Joaquin as we look through the eyes of Samantha to replicate intimacy. It really is something else. As well as all of Jonze’s genius there really has to be credit given to K.K. Abrams who was the Oscar nominated production designer. Even though this was set in the future, thanks to the production design it was not your typical drastic future. The things that made it futuristic were subtle; subtle technologies and subtle fashion. Voice-interactive software, wireless headphones, a website that writes letters, a lift with projected images, body-controlled video games- all technologies we have now that just haven’t progressed to that stage yet. As for the fashion it’s hipster meets your dad…subtle yet worryingly not unbelievable.
If you haven’t seen it already, do yourself a favour and watch it. Granted this is not a lad’s film but it does have frequent laughable moments for any accompanying date to enjoy. Next to 12 Years, this is my favourite film of this year and due to their complete differences I’d say that Her is actual tied with 12 Years. Which has suddenly made me very grateful for the past two years of films we’ve had. Last year there was Django and Gatsby from 2/3 of my favourite all time directors and this year we’ve had masterpieces such as Her, 12 Years and Blue is the Warmest Colour. Let’s hope this is a correlation of film quality over time rather than a lucky streak!
— 5 days ago with 2 notes
#Her  #Spike Jonze  #jaoquin phoenix  #Scarlett Johansson  #amy adams  #BAFTA 2014  #bafta  #Academy Awards  #future  #technology  #Film  #Film Review  #Movie  #Movie Review  #Cinema  #Entertainment 
Philomena 2013
Anyone who didn’t see Philomena when it was released may be forgiven for thinking that it was an odd couple comedy aimed at attracting the grey pound audience due to the deceptive film posters and advertising but nothing could be further from the truth. The film is adapted from the book ‘The Lost Child of Philomena Lee’ by Martin Sixsmith (played by Steve Coogan) and is the true story of Philomena Lee (Judi Dench) who had her child taken from her in one of the infamous Magdalene Laundries for ‘fallen women’ in Ireland. Martin hears about Philomena and her story and offers to help her try and find her son in exchange for being allowed to write her story. Screenwriters Coogan and Jeff Pope have the challenging task of having to try and balance the highly emotional side of the story with the eternal optimism of Philomena herself and they pull it off with aplomb. At no point during the film does it feel like the lighter side of the story is taking away from the seriousness of Philomena’s plight and neither does it feel like it is preaching or beating the viewer around the head with it.
Any other year Dench would have won at least one award but up against the unstoppable force that was Cate Blanchett, Dench had to be content with the nominations she received for a performance that truly brings Philomena to life. Everyone knows that Dench can bring the emotional scenes to life but she also shines in the scenes between her and Coogan, which show Philomena as both a naïve little old lady who is also, extremely worldly and a total realist. It’s a completely three-dimensional performance that both Dench and the real Philomena Lee should be incredibly proud of. It was a slight surprise that Coogan didn’t receive a BAFTA Supporting Actor nomination, although not hugely surprising given the competition this year, as the BAFTA’s do have a tendency to reward their own. Coogan turns in a performance alongside Dench that both holds its own against a legend like Dench and serves as the viewer’s voice throughout the film, questioning Philomena’s treatment in the Magdalene laundry, voicing what the audience is thinking. Hopefully Coogan will start to do a few more dramatic roles in the future, as well as comedy and this film will serve as a sign of things to come. Both highly emotional and funny Philomena is one of the gems of awards season and if you saw it advertised and thought it was the sort of film that would only appeal to the older generation, give it a go and you may be surprised.
— 5 days ago with 2 notes
#Philomena  #adaptation  #true story  #Dame Judi Dench  #steve coogan  #Stephen Frears  #Book  #Film  #Film Review  #Movie  #Movie Review  #Entertainment 

Siamo tutti sull’orlo della disperazione.
La grande bellezza | Paolo Sorrentino, 2013

(Source: amatteroftiming)

— 5 days ago with 455 notes
#the great beauty  #la grande bellezza  #Italian  #foreign film  #foreign cinema  #World Cinema  #paolo sorrentino  #toni servillo  #Academy Awards  #Oscars  #BAFTA 2014  #bafta 
The Great Beauty (2013)
It’s difficult to say ‘why did this film win?’ when you haven’t seen all of the entrants. However when it comes to the Academy Awards both style AND substance should be considered; in layman’s terms, when considering a film as a whole, which best film not in the English language does, you would expect the film to tell a story as good as it looks. This is not the case with La Grande Bellezza (The Great Beauty). Straight out of the land of pizza and ice cream writer/director Paolo Serrentino tells the story of Jep who has lived off of the success of his one and only novel for decades. Allowing him into the elite inner social and literary circles of Italian society. On his 65th birthday he starts to see beyond popularity, wealth and parties and begins to see Rome as timeless landscape of exquisite beauty.
If there is one thing that stands out about this film it’s how stylish it is. The camera work and cinematography are as gorgeous as they are slick. In comparison this makes the storyline even more disappointing. Unfortunately whatever remnants of story that’s salvageable from the film didn’t kick in until about a third of the way through the film, so for the first part of the film you are left wondering what the hell you’re watching. The only reason why anyone continued watching was probably due to the fantastic camera work and any hope of the minuscule storyline actually developing. This was not the first time that Serrentino wrote as well as directed and it’s definitely questionable as to whether there is a correlation between the two as there is no doubt in his directorial abilities.
The concept for this film was good and the camera work was well matched however the concept was not executed well in terms of story. It came across very pretentious and ‘art-house’. It is worth mentioning that there is a possibility that Serrentino was going for the opposite of Italian Neorealism which is considered the Golden Age of Italian Cinema, centring around the economic and moral difficulties Italy suffered after World War II representing changes in Italian psyche and conditions of everyday life, including, poverty, oppression, injustice and desperation. Within this in mind there seems to be some context for The Great Beauty as the main character is obviously going through a dramatic change in psyche towards his day to day life consisting of wealth, excess and the elite in Italian society- the complete opposite of Italian Neorealism. This aside it doesn’t change the fact it’s slow and hard to follow. Despite not missing much if you didn’t get the chance to see it, Serrentino is definitely one to look out for.
— 5 days ago with 1 note
#the great beauty  #la grande bellezza  #Italian  #foreign film  #foreign cinema  #World Cinema  #Academy Awards  #Oscars  #BAFTA 2014  #bafta  #paolo sorrentino  #toni servillo  #carlo verdone  #sabrina ferilli