Hou Hsiao-Hsien's Café Lumière
The movie magazines I subscribe to include Sight & Sound, Cinemascope and Cineaste, but the one that’s most fun to receive in the mail is Film Comment. It’s pitched blatantly to the cinephile set, and contains a well-rounded mix of essays, reviews, film festival coverage and trade news. The new issue arrived last week.
I saw one of this year’s best films, Michael Haneke’s Caché, with three friends. We each had our own take on it, which makes me wish all movies were this customizable.
Over time, I've discovered that J. Hoberman is the critic my taste lines up most closely with. Normally tightfisted with his ratings, he lavished four stars on Tim Burton's Corpse Bride, taking it from “totally-off-my-radar” to “must-see-this-week” at my local second-run theater where it’s showing.
A film I caught in Toronto but never had a chance to mention was Italian avant-garde filmmaker/artist Olivo Barbieri's 12-minute site specific_LAS VEGAS 05, which he shot from a helicopter over Las Vegas. The city and people below are real and yet they look uncannily like scale models and toys. Only part of the image is in focus at any one time, which heightens its unreality. A quietly spooky experience.
Errol Morris’ guilty pleasures include Bubba Ho-Tep and Blood Feast.
I closed the magazine and hightailed it to my local bookstore to pick up a collection of Roman Polanski interviews. Always enjoyed hearing him talk.