Screening Room: ‘Joy’ at the Venice Film Festival

JOY-Photo1_986

Sudabeh Mortezai’s Joy, which screened at this year’s Venice Film Festival, is a harrowing story about a Nigerian woman trapped in a cycle of dependency as a sex worker in Austria.

My review is at The Playlist:

At the start of Sudadeh Mortezai’s downbeat trafficking tragedy “Joy” there’s some reason to think that one is about to see a story of power and independence. A young Nigerian woman sits in the hut of a juju man while he wrings the blood from a chicken’s slashed neck over an altar and leads her in the recitation of charms. “Protect her from the living and the dead,” he says about her upcoming trip to Europe. “No man will harm me!” He has her shout like a young warrior heading off to battle…

You can check out the trailer here.

Writer’s Desk: Stay Curious About Everything

There are writers—some, but certainly not all—whose eyes will glaze over at the mere mention of topics like “science.” (See also: “401K,” “Retirement Planning,” “Job Security,” and “Deadlines” for other unpopular topics.) But stay with me with for this.

A couple weeks back, the great George Will turned away from deftly skewering members of his former party for bowing and scraping before the president and turned to the topic of curiosity. In “America is Sacrificing the Future,” Will talks about a 1939 essay by Abraham Flexner with the glorious title “The Usefulness of Useless Knowledge.” Will approvingly highlights Flexner’s thesis, which is that many of the greatest inventions sprang not from diligent and targeted effort, but rather the application of discoveries made in the process of research for research’s sake.

Will uses Flexner to buttress his central argument that the administration’s push to cut general research budgets is a phenomenally short-sighted endeavor, not uncommon in these STEM-obsessed times: “America is eating its seed corn.”

But the point goes beyond that. Per Will:

It has been said that the great moments in science occur not when a scientist exclaims ‘Eureka!’ but when he or she murmurs ‘That’s strange.’ Flexner thought the most fertile discoveries come from scientists ‘driven not by the desire to be useful but merely the desire to satisfy their curiosity.’

Writing is not that different. Of course, when working on that novel about the blind detective from Johannesburg, you better make sure you figure out a few things first (what’s Afrikaans for “You’re under arrest”?).

But writers, like scientists, should never stop following the urge to satisfy their often random-seeming curiosities. You never know what you might come across.

Nota Bene: The New Canon

eternalsunshine1

The Washington Post‘s Ann Hornaday has just addressed an obvious lacuna in movie criticism by declaring first that not only has the Great Movie Canon remained stubbornly fixed for too long (Vertigo, Citizen Kane) but that there are many movies post-2000 that stand up alongside all the greats of yesteryear.

Hornaday’s article “The New Canon” is an absolute must-read. She also selected a fairly unassailable list, excepting maybe Spike Lee’s adventurous but uneven 25th Hour and Kenneth Lonergan’s solid but somewhat unremarkable You Can Count on Me. Her list is here but it’s best reading her arguments are each of them as well:

  • Children of Men
  • 25th Hour
  • The Hurt Locker
  • Michael Clayton
  • Pan’s Labyrinth
  • There Will Be Blood
  • Boyhood
  • 4 Months, 3 Weeks, and 2 Days
  • Old Joy
  • Eternal Sunshine of the Spotless Mind
  • Hunger
  • You Can Count on Me
  • No Country for Old Men
  • I’m Not There
  • Minority Report
  • Dunkirk
  • Mudbound
  • Spotlight
  • Son of Saul
  • Stories We Tell
  • The Fog of War
  • The Royal Tenenbaums
  • Spirited Away

Screening Room: ‘Do You Trust This Computer?’

doyoutrust1 ‘Do You Trust This Computer?’ (Papercut Films)

The new documentary from Chris Paine (Who Killed the Electric Car?) takes on a far more mistrusting topic of technology, namely: What’s artificial intelligence going to do to us as a species?

Do You Trust This Computer? is playing now. My review is at Film Journal International:

The delicious danger of malevolent machines has been an attractive science-fiction standby ever since R.U.R., Karel Capel’s 1920 play about a robot rebellion. There are a couple of problems with that statement, both of which are obliquely referenced in Chris Paine’s stylistically monotonous but occasionally thought-provoking documentary Do You Trust This Computer?

Here’s the trailer:

Writer’s Desk: Read to Write

Like all the greats, Chimamanda Ngozi Adichie is an unrepentant bookworm. As she told Stylist:

Read, read, read. I’m not sure that one can be a good writer without being a good reader. If you’re going to build a desk it’s very good to see what other carpenters have done.

It seems obvious, but you would be surprised how many writers forget to take the time to see what great new books are out there. It’s not just good research, it’s also helpful to scope out the competition. See what you’re up against and that will push you to do better.

(h/t: LitHub)

Quote of the Day: Ike Didn’t Love Parades

According to presidential historian Michael Beschloss, in the 1950s, some generals approached former general Dwight Eisenhower about having big Soviet-style military parades to show off American military might:

“Eisenhower said absolutely not, we are the preeminent power on Earth,” Beschloss says, recalling Eisenhower’s response. “For us to try to imitate what the Soviets are doing in Red Square would make us look weak.”

Writer’s Desk: Don’t Stop

The novelist Kazuo Ishiguro said that he’d always followed the rule that said after four hours of continuous writing, the rule of diminishing returns set in. But, with the willing cooperation of his wife Lorna, he decided to try something different. They called it a “Crash”:

During the Crash, I would do nothing but write from 9am to 10.30pm, Monday through Saturday. I’d get one hour off for lunch and two for dinner. I’d not see, let alone answer, any mail, and would not go near the phone. No one would come to the house. Lorna, despite her own busy schedule, would for this period do my share of the cooking and housework. In this way, so we hoped, I’d not only complete more work quantitively, but reach a mental state in which my fictional world was more real to me than the actual one.

Ishiguro didn’t let anything stop him, no matter how awful the material that he was producing. He just kept at it. Four weeks later, he basically had The Remains of the Day finished.

Listen to Ishiguro. After all, he did win the Nobel Prize for Literature.

Writer’s Desk: Be Ruthless

williamfaulkner1When William Faulkner was interviewed by The Paris Review in 1956, he was asked whether writers need to be “completely ruthless.”

The sage of the South replied in the affirmative, with vigor:

The writer’s only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the ‘Ode on a Grecian Urn’ is worth any number of old ladies.

He may not be right about the literary importance of “Ode on a Grecian Urn,” but the point is, nevertheless, an uncomfortable truth.

Screening Room: ‘Fifty Shades Darker’

The first great unintentional comedy of the year, Fifty Shades Darker is the second movie installment in E.J. James’s we-should-all-be-embarrassed bestselling trilogy of erotic novels. It opened last week, Lord help us.

My review is at Film Journal International:

In Fifty Shades of Grey, Anastasia Steele (Dakota Johnson)—these people have monikers that sound like superheroes’ secret civilian names—was a mousy, brown-haired wallflower who fell into a BDSM relationship with Grey. A controlling billionaire who flies his own helicopters and has secret lairs and a bodyguard—again, like a superhero, only ultimately far more boring—Christian took the dominant thing too far with Anastasia. She fled from the dark cruelty she saw in him. Now, in the sequel, he’s trying to win her back. But she’s making her way in the world, working at a small publisher and getting the eye from her just-as-chiseled boss Jack Hyde (Eric Johnson), and not willing to put up with Christian’s domineering nonsense.

Until she does…

Eyes Wide Open 2016: The Worst

passengers1

Usually around this time each year, I would be finishing up the new edition of Eyes Wide Open, my annual guide to the best and worst films of the past year.

Since a good part of last year was spent working on two new books that will be coming out this summer—The Handy New York City Answer Book in May and Monty Python FAQ in June—there just wasn’t enough time to put together Eyes Wide Open 2016.

But, there was still a lot to talk about in 2016, film-wise. So, this week over at the Eyes Wide Open site, I’ll be running a series of posts counting down the good, the bad, and the blah films of the year.

Starting with today’s installment: The Worst and Most Disappointing Films of 2016.

Tomorrow I’ll start getting to the good stuff.

Weekend Reading: December 16, 2016

rarebooks1

Screening Room: ‘Hooligan Sparrow’

hooligan-sparrow1

This year’s Human Rights Watch Festival opens with a strong indictment of the institutional and moral corruption of modern-day China, as laid bare by a tiny insurgent band of determined women activists.

My review of Hooligan Sparrow, whose footage had to be smuggled out of China and which opens the festival this Friday in New York, is at Little While Lies.

Here’s the trailer:

Screening Room: ‘Captain America: Civil War’

capamerica1

Roaring into theaters in the wake of Batman vs. Superman and before the summer movie season really gets going, the latest Marvel launching pad for yet more movies and series, Captain America: Civil War opens everywhere this week. 

My review is at PopMatters:

When Shakespeare wrote about the quality of mercy in The Merchant of Venice, chances are he wasn’t thinking about perpetually quipping guys in shiny suits slamming each other into walls…

Here’s the trailer:

Screening Room: ‘Sing Street’

Sing+Street poster

The newest musical from John Carney (Once) is an ’80s-set romance set in (of course) Dublin. Sing Street is playing now. My review is at PopMatters:

When first glimpsed in John Carney’s newest musical confection, ruddy-cheeked teenager Conor (Ferdia Walsh-Peelo) looks like the kind of kid who’s set to be chewed up and spit out by the music industry, not to mention life itself. The setting for Sing Street is Dublin, circa 1985, where the black-robed authority of the Church still rules all and the ferry to England carries more dreamers and strivers to London each day.

As the meager middle class trappings of Conor’s life are stripped away, he’s left facing a future without much in the way of armor, or security. It’s the kind of situation that pop songs were made to cure…

Here’s the trailer: