f i l m j o u r n e y . o r g

Drag Me to Hell (left); Enter the Void (top right); Thirst (bottom right)
By Robert Koehler
Lost amid the general, conventional sense of the Cannes competition lineup (see here) as a colloquium of auteurs–from Haneke to Campion, Audiard to Tsai, To to Resnais–is the fact that, for better or worse, the Palais will be the site of [...]

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Last weekend, LACMA screened the new print of Chantal Akerman’s riveting portrait of life as a series of imprisoning rituals, Jeanne Dielman: 23 Quai du Commerce, 1080 Bruxelles (1975), a film that charts the actions of a matronly widow (Delphine Seyrig)–and covert prostitute–as she performs house chores and errands over a three day period. [...]

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By Robert Koehler
Was this the single most memorable image of the entire BAFICI? Perhaps. Just as Godard’s festival trailer for last year’s Viennale, Une Catastrophe, stamped the entire festival with the filmmaker’s own form of visual-audio music and sense of the Zeitgeist, so Lisandro Alonso’s BAFICI trailer, mysteriously titled S/T, seemed to stamp this edition [...]

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Robert Koehler has sent in a few final updates from his recent trip to BAFICI; next stop: Cannes. -Doug

Miguel Gomes, writer-director of Our Beloved Month of August, is seen here answering audience questions after a screening of his brilliant, Lewis Carroll-like first feature, The Face You Deserve–which he thinks is better than August. (I would [...]

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