Filmbrain's Screen Capture Quiz: Round 17, Week 5

No shortage of Jacques Tati fans over the last seven days! Few of you had trouble recognizing the final shot from Les Vacances de Monsieur Hulot (Mr. Hulot's Holiday), the French director's early comic masterpiece. 

I'd like to thank everybody for the comments on Rohmer -- I'm terribly sorry I haven't yet found the time to respond to them all. Between New York Film Festival screenings and parties, as well as some exciting soon-to-be-announced changes at Benten, I find myself with scant spare time for anything else. (I have about four fragments of NYFF reviews, but none are ready for publishing. Sigh. Doesn't help that I'm the slowest writer on the planet.)

As you've no doubt read elsewhere, Monday was Che press day at the NYFF, and the Ziegfeld Theater was packed with critics absorbing Soderbergh's four-hour-plus epic. In a nutshell -- I was underwhelmed. Technically brilliant, but thematically and emotionally flat. Not dull by any means, but not terribly engaging either.Then again, some respected critics admire the film's detachment. I guess I'll take that over standard bio-pic fare, but perhaps I need to see it a second time to better grasp was Soderbergh was striving for.

This morning I'm on my way to see Aronofsky's The Wrestler -- the film I've been anticipating the most at the festival. Here's hoping it lives up to it's reputation.   

This week: there's no other way to say it -- this is an especially lousy film. Its Brittany connection is slight, though one of the film's larger set pieces was shot at a famous location. Name the film. Submit your answers to this address. Good luck!

Comments

[Israel Vonseeger]

Soderbergh shot "Che" with the Red One camera. I'd kinda like to see how it held up beyond just the trailer.

[Peter Nellhaus]

I sort of like this film.