Weekend Short Cuts

Just a few quick weekend notes.

First off, a reminder that Last Life in the Universe, a contender for Filmbrain's favorite film of 2004 is now playing in NYC, at the Cinema Village. Please go see it -- you won't be disappointed -- one of the most beautiful films in ages. (Karen, Aaron, George, Scotty, -- Filmbrain is looking in your direction. . .)

Filmbrain has been invited by the fine folks hosting the New York Korean Film Festival to appear as a guest on a panel discussion about contemporary Korean cinema. The discussion is being hosted by Village Voice film critic Michael Atkinson, and will feature four Korean directors whose films are part of the festival. Much more on the discussion, and the festival in general, in a few days.

As Karen Cinecultist pointed out earlier this week, there is a disagreement between Aaron Out of Focus and Uncle Grambo over The Brown Bunny. Filmbrain and Aaron have already exchanged their differences of opinion on Gallo, but Filmbrain will finally be able to offer his opinion of the film in just a few days -- he's been invited to a screening this Wednesday. Aaron -- be prepared -- Filmbrain's gut feeling is that he'll love it.

Lastly, the Blogs of Distinction list has been updated with a few links. One excellent discovery has been Shikaku's blog, which covers the Tokyo film scene. An incredibly useful site chock full of interesting news and observations.

[Update: Scotty has seen Last Life in the Universe and posted a wonderful review that will surely convince you to see it. He also saw Takashi Miike's Gozu, something Filmbrain might go see tonight if he can get off his lazy keester.]

Comments

[Aaron]

Filmbrain should note that even though Grambo and I have an ultimate disagreement over the film, it's not by much and seems to stem mostly from the fact that Grambo finds Gallo's egoism and narcissism enchanting while I find it a bit nauseating. However, if you actually read what Grambo says about the film and what I say about the film, we don't really differ all that much.

If you want to love it so badly, you probably will, regardless of how good or bad it is. And keep in mind, I didn't hate it as much as B66, and I thought the end would make a nice little grad student short film. So I am fully prepared for you to have a reaction to the film that isn't actually warrented by the film, especially if your criteria has anything to do with originality.

Enjoy!

[girish]

Filmbrain--I think you will like "The Brown Bunny". Gallo's narcissism, against all odds, is the glue that holds the movie together. I'm an admirer of "Buffalo '66", and didn't think the Bunny was as good, but a solid film nevertheless.

I know this probably flies in the face of most critical opinion, but after the dust has settled on the screeching bad notices, I suspect the Bunny will be regarded as the interesting and original, albeit not-earth-shaking, film that I think it is.

[scotty]

As you were typing this post, Filmbrain, I might very well have been watching Last Life in the Universe already. Check out my site for a full review I've just posted. I did, indeed, love it.

[Bill Humphries]

Last Life in the Universe doesn't open until September 10th out here in Silly Valley.

Oh darn you New Yorkers and your up-to-the-minute culture!

[Alexis]

I posted this in the comments of your previous entry on last life, but thought i'd put it here in case you missed it...

Filmbrain-- the latest issue of Cinema Scope, the lovely Canadian magazine, has an interview with Doyle. Here's an excert about working with Pen-Ek:

Cinema Scope: You don't simply impose your "Wong Kar-wai style" on, say, Last Life in the Universe or Hero. Life is calm and quiet, while Hero is very kinetic. How do you adapt to different director's needs?

Doyle: I'm very proud that young directors want to work with me. I just started shooting a film with Fruit Chan, who is much more local style, more "street." And the producer said, Chris is going to give you 50 things and only one is useful. He's right. But which do you choose? I give the director's choices. I can only trust the people I work with, which means that, hopefully, a Fruit Chan film will be a Fruit Chan film, even if I'm shooting it. But it will be a Fruit Chan and Chris Doyle film. And with a Wong Kar-wai film I know the images are different if I'm not there. I can tell you exactly which images are someone else made. Not out of hubris or jealousy, it's just that it's not the same. The point is the encounter. Whether it's a good meal, good sex, a walk on the beach, it's the same thing: it will be informed by who we are. I am most valuable as a collaborator. I'm so fucking proud that young filmmakers trust me, that they don't think I'm going to overwhelm them. They know I'm going to bring something. With Pen-ek's film, after spending a few days on location, I could say what I actually thought, because we developed trust. It was fucking beautiful. You could see that this is going to be a great film, that we'd be making films together forever. I just had this revelation. I mean, this or that might be shit, the dialogue might be off, but it'll work out. It's actually going someplace."

[Marleigh]

Congrats on the panel invitation, Filmbrain. I'm sure you'll be stunning and brilliant.