Imagine if Noah Baumbach’s WHILE WE’RE YOUNG had an illegitimate child and decided to keep it locked away in the attic only to occasionally feed it fish heads and allow it to howl at the moon. That child would later mature to be NASTY BABY. Perhaps that is slightly harsh, but Sebastián Silva’s jagged edged feature which pokes holes in the middle class, stabs violently at the NYC art world, creates a collision course between race and culture, and even unearths the mythos of the hipster homosexual couple has quite a bit to say about the state of our current society. Babies are seen as status symbols, especially mixed-race families, the homeless or discarded are feared versus helped, and gentrification offers its warm embrace around every turn.
Continue reading “Welcome To The Neighborhood: A Review of Sebastian Silva’s NASTY BABY”
Hello there Film World:
On Thursday September 24th, 2015 Film Club will be kicking off our LOST WEEKEND IV in grand style with a screening of 99 Homes directed by Ramin Bahrani which stars Andrew Garfield, Michael Shannon, and Laura Dern. We then follow this up with 16 more films plus a block of shorts over the next three days. It is an intense ride full of laughter, intensity, emotion, tears, and the best part – community!
To me, that is what makes Lost Weekend special. I would argue that the first Lost Weekend we put on was all about the movies, working to find a way that we could show several great films over a full weekend, but then evolution stepped it. What Lost Weekend became was a chance for us, a film community, to watch great films, but also interact with some great businesses that support our beautiful habit.
I would like to take a moment to recognize these sponsors and really say THANK YOU for their support. So, when you can – visit their websites, like them on Facebook, and really take a moment to appreciate that they have brought us four Lost Weekend events. Without them this could not be possible!
Continue reading “Lost Weekend IV: Meet Our Sponsors”
One yardstick of a film’s greatness is how well it survives repeat viewings. Carol Reed’s The Third Man is championed as a movie not only withstanding familiarity but actually improving upon multiple sittings. After a fourth time this writer remains in the chorus of those cherishing their return visits to the gargantuan Ferris wheel and labyrinthine sewer system of post-WWII Vienna, though on this engagement the abundance of assembled talent is frankly less impressive than the thrilling courting of failure through ambition.
Continue reading “Clear the street of balloon sellers prior to stakeout: Just one important lesson learned from Carol Reed’s The Third Man”