The Global Lens program - ten 35mm feature films - arrived en masse this afternoon. The shipment looked impressive sitting at our loading dock, so I snapped a quick picture to give you a sense of what 10 films can look like. (Technically, this is nine and a half, as half of The Bet Collector was delayed.)
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We’ve been hosting the Global Film Initiative’s (GFI) touring film program, Global Lens, since its inception five years ago. For the first time, the GFI has made trailers available for all ten of the films included in their program.
The Kite (Le Cerf-Volant)
All for Free (Sve Džaba)
Luxury Car (Jiang Cheng Xia Ri)
The Custodian (El Custodio)
Kept and Dreamless (Las Mantenidas Sin Sueños)
Let the Wind Blow (Hava Aney Dey)
The Bet Collector (Kubrador)
The Fish Fall in Love (Mahiha Ashegh Mishavand)
Opera Jawa
Bunny Chow
The 26th annual Minneapolis/St. Paul International Film Festival is upon us, and Al Milgrom and his cohorts over at the Minnesota Film Arts offices have put together an impressive slate of films to say the least. It’s daunting to sort through and pick from the 150 or so programs, so for my sake - and yours, I’ve asked some colleagues and friends to pass on their recommendations. Here they are:
Sheryl Mousley, Curator, Film/Video, Walker Art Center
- You the Living (April 18 and 19)
- Momma's Man (April 18 and 20)
- Alexandra (April 22 and 29)
- Up the Yangtze (April 28)
Dean Otto, Assistant Curator, Film/Video, Walker Art Center
- And Along Come Tourists (Saturday, April 19)
- Still Life (Sunday, April 20)
- Irina Palm (April 21 and 25)
- The Way I Spent the End of the World (April 21)
- Woman on the Beach (April 21)
- Red Elvis (April 23)
- Dry Season (April 24)
- Patti Smith: Dream of Life (Saturday, April 26)
- The Mosquito Problem and Other Stories (April 25 and 27)
- Savage Grace (April 27 and 28)
- Import/Export (April 29 and May 2)
Verena Mund, Women With Vision Program Associate
- All of the bove recommendations, and…
- Yella (April 19 and 25)
Rob Nelson, Film Critic, Walker Blog Contributor
- The Last Mistress (April 27)
- Momma's Man (April 18 and 20)
- Nerakhoon (The Betrayal) (April 26 &27)
- Public Enemy: Welcome to the Terrordome (April 18 screening only)
- Woman on the Beach (April 20 and 21)
Kathie Smith, Flim Critic and blogger extraordinaire
- Little Moth (April 19 and 29)
- Still Life (Sunday, April 20)
- Woman on the Beach (April 20 and 21)
- Alexandra (April 22 and 29)
- You the Living (April 18 and 19)
- Dry Season (April 24)
I’d also like to add a plug for Song Sung Blue (April 26). It was nothing I had expected and completely blew me away.
See you at the movies!
I worked for years as a projectionist in archival screening venues that handle films of all kinds from all eras. These venues, the Walker counted among them, are typically equipped to handle just about anything that comes in the door, often via the octagonal shipping cans like those pictured on the left. As most projectionists can attest, it is not uncommon to receive a print that is not marked with the film’s proper aspect ratio. This typically isn’t an issue, especially with a modern film produced in the US. 99.9% of the time, these films will be one of two aspect ratios: 1.85:1(often referred to as ‘flat’) or 2.35:1 (referred to as ’scope’). A quick look at the image on the print will quickly determine which of these a particular film is.
Paranoid Park arrived, unmarked, and a quick look determined that it should, being a modern film produced in the US, be projected in the 1.85 aspect ratio. A few sources on the net confirm this. In the hours preceeding the screening, I glanced at the film’s press kit and noticed that an aspect ratio of 1.33 was noted. 1.33 (often referred to as ‘academy’, and more accurately 1.37:1) is basically the aspect ratio from the earliest days of silent cinema, and the predominent aspect ratio of the first five or six decades of film history. It also matches the aspect ratio of a standard 4:3 television. Outside of some video production (most of that has shifted to a 16:9 aspect ratio) and standard 16mm production, that format is very rarely used these days. We were a little puzzled. Was it possible that Paranoid Park was actually intended to be presented in the 1:37 ratio?
A little more in-depth research found that to indeed be true. What cemented that for me was the lead-in to an interview with Gus Van Sant on the excellent film blog Twitch. It describes a conversation between Van Sant and Andrew Bailey at the Letterman Digital Center:
“Van Sant mentioned that--because the Letterman Digital Center is one of the few places equipped to do so--Paranoid Park was going to be projected in its original aspect ratio, 1.37--”so it's a big square." He explained that he's been shooting his last few movies in this format, partly because they were commissioned as HBO television projects, allowing for the square format. Likewise, when he was a film student in school, he used to shoot in 16mm so he's continued to do so. Though 1.37 is Paranoid Park's original aspect/ratio, it's sometimes shown in different formats due to the limitations of in-house projection systems. When it comes out in theaters it will most likely be shown in 1.66 [the predominant ‘flat’ format in European cinemas] or 1.85. The rare opportunity to screen in the Letterman Digital Center allows the film to be projected as it was meant to be seen. Andrew offered the keen insight regarding using aspect ratio as character development, with which Van Sant fully concurred.”
So we proceeded with the plan to present the film in the 1.37 aspect ratio, but decided, thanks to the never-ending patience of our projectionist, Aaron, to run some tests to compare the 1.37 presentation with a 1.85 presentation. This was an interesting experiment, and it demonstrated how different a film can ‘feel’ with a different aspect ratio. The images below aren’t directly from the print, but you can get a sense of the difference. On the left is an image from the film in the 1.37 aspect ratio. On the right is the same image with the top and bottom blacked out, mimicking the presentation the film would have in a theater that can only show the film in the 1.85 aspect ratio.
With the film presented in 1.85, the top and bottom of the frame is cut off. It’s clear that though Christopher Doyle and Rain Kathy Li shot the film with the images composed for the 1.37 frame, they were very cognizant of the fact that the image would likely be presented in theaters that needed to eliminate the top and bottom of the image. Audiences seeing the cropped image won’t miss any details important to the plot, but they will, in my opinion, have a very different viewing experience. The cinemtography on this film is absolutely stunning and I can’t recommend more highly that you see the film projected from a 35mm print. If you missed the screening at the Walker last night, you can catch it locally at the Lagoon Cinema starting this Friday, March 21.
· Deb Wallwork and Mike Hazard’s C. Beck, featured in the 2007 edition of MNTV, took the grand prize from Independent Lens‘ online shorts fest. Indiewire reports. If you missed the airing of MNTV, the films can still be viewed online.
· Past Regis Dialogue guests Ang Lee and James Schamus talk to Entertainment Weekly about Heath Ledger, the new Hulk movie, and their upcoming project. Thanks to Matt Dentler’s blog, as EW is nowhere near my radar.
· I look forward to David Bordwell’s posts from Hong Kong every spring. They are always envy-inducing and chock-full of great snapshots. Head here to read about his trip thus far and check out that picture with him and Hou Hsiao-Hsien!
Film Critic and Walker Blogger Rob Nelson, clearly a man of many hats, is currently teaching a documentary film studies class at the Minneapolis College of Art and Design. He asked his students to weigh in on Nina Davenport’s documentary Operation Filmmaker, which will be playing at the Walker this Thursday (It’s a free screening!) as part of the Women With Vision Film Festival. Head over to the MinnPost page to read what they had to say.
· Anthony Minghella, Oscar winning Writer and Director of The English Patient, died at 5am this morning after a brain hemmorhage. Variety reports.
· Cinematical reviews Older Than America from SXSW, hot off the opening night of Women With Vision.
We’ve been following the career of Gus Van Sant for some time now. He was here in 2003 when for a Regis Dialogue and Retrospective. We premiered his film Gerry at that time, and that film marked the beginning of a departure from the style of filmmaking of his previous work. Longer takes and improvisation became a part of his filmmaking. Gerry might be my personal favorite, but Elephant really blew me away as well. I’ve been looking forward to Paranoid Park since hearing about its premiere at Cannes last year. It’s taken a while for it to make it’s way to the theaters, and it should be a spectacle on the screen here at the Walker. With Cinematography by long-time Wong Kar Wai collaborator Christopher Doyle and Kathy Li, and a newly completed sound sytem upgrade (more on this soon) in our Cinema, this should prove to be a great show.
We will be presenting a FREE screening of Paranoid Park On Wednesday, March 19.
Take a look at the trailer to get a sense of the film. (and a taste of the super 8 skateboarding footage.)
We’ve got a very exciting weekend ahead of us!
Women With Vision opens this evening with what will be a packed, sold out screening of Older Than America. If you missed your chance to get tickets, don’t worry, I know the filmmakers are planning to bring the film back to the Twin Cities for more screenings.
Saturday brings three exciting programs: The first of two Women With Vision Short Film Programs, the WIFTI Short Film Showcase, and the local premiere of Maria Speth’s Madonnas. Tickets are still available for all three of these programs.
Sunday, in conjunction with the Sabes Foundation Minneapolis Jewish Film Festival, we will be presenting the documentary Making Trouble. The Walker’s allotment of member tickets have sold out, but there are a very limited number of tickets remaining from the Jewish Film Festival box office. Call 952.381.3499 to check availability and purchase a ticket.
To finish off the year, I asked a number of folks here at the Walker to list their top three films of 2007. Enjoy. Happy New Year! Look for more blogging in 2008.
Greg, Beckel, Pre-Press Production Specialist, Design
1. Day Night Day Night (Julia Loktev)
2. Once (John Carney)
3. No Country for Old Men (Ethan and Joel Coen)
Joe Beres, Assistant, Film/Video
1. Sunshine (Danny Boyle)
2. Zidane: A 21st Century Portrait (Douglas Gordon and Philippe Parreno)
3. Eastern Promises (David Cronenberg)
Emmet Byrne, Designer, Design
1. Bladerunner: Final Cut (Ridley Scott)
2. Hot Fuzz (Edgar Wright)
3. Mutual Appreciation (Andrew Bujalski)
Evan Drolet Cook, Intern, Film/Video
1. Red Road (Andrea Arnold)
2. Superbad (Greg Mottola)
3. I Think I Love My Wife (Chris Rock)
Justin Heideman, New Media Designer, New Media Initiatives
1. Sicko (Michael Moore)
2. Grindhouse (Quentin Tarantino, Robert Rodriguez)
3. The Bourne Ultimatum (Paul Greengrass)
Mike Lyon, Ghost of Intern Past, Film/Video
1. No Country For Old Men (Joel and Ethan Coen)
2. Eastern Promises (David Cronenberg)
3. The Darjeeling Limited (Wes Anderson)
Verena Mund, Program Associate, Film/Video
1. Longing (Sehnsucht) (Valeska Grisebach)
2. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)
3. Zodiac (David Fincher)
Ryan Nelson, Fellow, Design
1. No Country for Old Men (Coen Brothers)
2. Hotel Chevalier (Wes Anderson)
3. Half Nelson (Ryan Fleck)
Dean Otto, Assistant Curator, Film/Video
1. 4 Months, 3 Weeks, and Two Days (Christian Mugiu)
2. Persepolis (Marjan Satrapi and Vincent Paronnaud)
3. Silent Light (Carlos Reygadas)
Matt Reints, Mailroom Services Coordinator, Mailroom
1. No Country for Old Men (Ethan Coen, Joel Coen)
2. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)
3. The Bourne Ultimatum (Paul Greengrass)
Reid Selisker, Public Relations Coordinator, Marketing & Public Relations Department
1. Zodiac (David Fincher)
2. Michael Clayton (Tony Gilroy)
3. No Country for Old Men (Ethan and Joel Coen)
Daniel Smith, Assistant Archivist, Library/Archives
1. Blade Runner - Final Cut (Ridley Scott) -Ridley Scott and Syd Mead imagined a future that grows ever more believable…
2. The Simpson's Movie (David Silverman) -Oh, Spiderpig!
3. Superbad (Greg Mottola) -Jonah Hill's performance is a rare thing in comedy, teen or otherwise: suffused with anger.
*Runner up: Aqua Teen Hunger Force Colon Movie Film for Theaters (Dave Willis) -Why was this made, and why did it make me laugh?
Kathie Smith, blogger, Film/Video
Three films is just mean. Once I narrowed down to movies that start with “i” it became much easier.
1. Inland Empire - David Lynch
2. I Don’t Want to Sleep Alone - Tsai Ming Liang
3. I’m Not There - Todd Haynes
Morgan Wylie, Department Assistant, Education & Community Programs
1. Eastern Promises (David Cronenberg)
2. Lars and the Real Girl (Craig Gillespie)
3. Sicko (Michael Moore)
I honestly never thought I would see this happen. For the longest time, the only way to see the work of Frederick Wiseman was via a projected 16mm print. That was certainly the case when we presented a retrospective in conjunction with a Regis Dialogue back in 2003. Cinephiles knew they needed to get here to see the films as catching up with them on video was not an option. Since then, Wiseman’s company, Zipporah Films, began to offer VHS copies of his work for sale to institutions. Even that seemed revolutionary given his long-standing stance on presenting his work on film, protecting himself from lost revenue from bootlegged video copies. I was really excited to see today, on Michael Tully’s blog, that Zipporah has now crossed over to DVDs, offering them for sale not only to institutions, but to individuals as well. Now so many more people will be able to catch up with some of the greatest documentaries ever produced. I count High School and Titicut Follies amongst my favorites, but all of his work is worth checking out.
We’re just past the halfway point of our run of the 2007 British Television Advertising Awards having sold almost every single seat for each of the screenings thus far. Thanks to all that have and will join us for a screening.
Last year people used the blog as a means to seek out and offer tickets to the sold out screenings. Please comment on this post to do so again for upcoming screenings.
As of this writing, we have tickets remaining for the 9pm screening on Saturday, December 22 and the 1pm screening on Sunday, January 23. Those are selling quickly, and beyond that, all advance tickets are sold out for the screenings leading up to the Christmas holiday. There are currently still tickets available to most of the screenings occurring between Christmas and New Years’ Eve, but those are virtually guaranteed to sell out as well, and I encourage you to get your tickets soon. Good luck and thank you for your support.
Click here to go directly to the ticketing page to see what is available.
Walker Art Center's annual Women with Vision film festival presents new work by women directors from around the world. A discovery in 2002 was Danish filmmaker Susanne Bier, then unknown to US audiences, with her film Open Hearts. In 2005 the festival showed her next film, Brothers. Now working in the United States, Bier's first studio film is Dreamwork's The Things We Lost in the Fire.
Academy Award-winners Halle Berry and Benicio Del Toro star in director Susanne Bier's (the Oscar-nominated After the Wedding) powerful new drama Things We Lost in the Fire, a compelling drama about two people brought together by fate.
Audrey Burke (Berry) is reeling from the shock of the news that her loving husband of 11 years, Brian (David Duchovny), the father of their two young children, has been killed in a random act of violence. Desperate to fill the painful void caused by her husband's death, Audrey impulsively turns to Jerry Sunborne (Del Toro), a down-and-out addict who had been her husband's close friend since childhood. She invites him to move into the room adjacent to their garage in the hope that he can help her and her children cope with their sudden loss. Jerry faces a daily battle to stay off drugs, but in his unexpected role as surrogate parent and friend to Audrey's son and daughter, he finds a core of inner resilience. As Jerry and Audrey navigate grief and denial, they discover the strength to move forward. 2007, 35mm, 117 minutes.
European director Susanne Bier (director of the Academy Award Nominated After the Wedding) makes her American directorial debut with Things We Lost in the Fire. The film centers around a recent widow played by Halle Berry and her two children dealing with the loss of the families patriarch (played by David Duchovny). While grieving, Berry invites her husband's drug addled best friend (Benicio Del Toro) to come live with the family while they both try to put their separate lives back together, even if she never understood why he and her husband were friends. What unfolds is not just a common story about coping with loss but an examination of what happens when people try and hold their worlds together, even as it falls apart around them. The film treads dark territory, but manages to take seemingly cliché ideas and turn them on their head.
We are thrilled to welcome our friend and colleague Rob Nelson to the Walker Film/Video blog! Rob is a member of the National Society of Film Critics and the recipient of three awards each from the Society of Professional Journalists and the Association of Alternative Newsweeklies. A graduate of the University of Wisconsin-Madison, he has studied film at NYU’s Tisch School of the Arts, has taught film courses at St. Cloud State University and the University of Minnesota, and has served on film festival juries in Los Angeles, Minneapolis and Vancouver. For five years he was the curator of Get Real: City Pages Documentary Film Festival, which he co-founded with City Pages publisher Mark Bartel in 2001. His writing currently appears in Film Comment, Cinema Scope and Mother Jones, and has been featured in Spin, The Village Voice, The Boston Phoenix, LA Weekly, New York Newsday, and The Independent Film and Video Monthly. In 2005, his reviews of “In the Mood for Love” and “Eyes Wide Shut” were reprinted in The X List (Da Capo Press). He is a regular attendee of the Cannes, New York, Full Frame and Sundance film festivals.
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