DAILY | Karlovy Vary Awards, Frank V. Ross Week, and More
The Karlovy Vary International Film Festival wraps with a slew of awards, Kentucker Audley presents Frank V. Ross Week, and, with two versions out on DVD/Blu-ray on Tuesday, we’re still talking about Kenneth Lonergan’s MARGARET.
Martin Lund’s The Almost Man has won the Crystal Globe, the top award at the Karlovy Vary International Film Festival, as well as the Best Actor Award for Henrik Rafaelsen. KVIFF, which wrapped last night, actually gives out a hell of a lot of awards, and you can see the full list of the winners here, but let’s go ahead and mention the Special Jury Prize for Marco Tullio Giordana’s Piazza Fontana: The Italian Conspiracy and Rafaël Ouellet, who’s won the Best Director Award (and the Ecumenical Jury Award) for Camion.
Next week is Frank V. Ross Week at No Budge, the online distribution platform run by Kentucker Audley. And you can listen to Ross discuss his features Audrey the Trainwreck (2010), Present Company (2008), and the upcoming Tiger Tail in Blue, with Matt Fagerholm at Public Radio Exchange.
DVD/Blu-ray. Fox Searchlight will release Kenneth Lonergan’s Margaret on Tuesday, a disc featuring two versions, “the theatrical release and a new, ‘extended cut’ by Lonergan that, he says, better reflects his current vision for Margaret,” as Jim Emerson notes. In his latest entry, he focuses on “four of the most mesmerizing and complex characterizations I’ve ever seen in any movie: Paquin’s Lisa, Jeannie Berlin’s Emily, J. Smith-Cameron’s Joan and Allison Janney’s Monica (the latter a one-scene cameo).”
At Cinespect, David Fitzgerald suggests that Margaret might be seen as part of an “allegorical film triptych,” one of three noble stabs at “the Great American film” in the post-9/11 era. The other two? Lars von Trier’s Dogville and Paul Thomas Anderson’s There Will Be Blood.
New York. Stanley Kubrick’s 2001: A Space Odyssey (1968) screens twice today as part of the Museum of the Moving Image and Reverse Shot‘s See It Big! series. RS co-editor Michael Koresky: “If 2001, which needs no synopsis recap or analysis here to impinge upon its brattish, holier-than-words grandiosity, remains, to my mind, American cinema’s greatest evocation of the possibility of the divine (and the greatest example of the divine power of the cinema), then my response to it has probably mirrored my own in terms of my incessant flip-flopping of embracing and rejecting religion, an ongoing internal battle, forged in Sunday school, traces of which emanate in walls of every synagogue I happen to enter. The repetition of watching 2001 similarly held me; by constantly revisiting its unknown reaches, I was unintentionally returning to that one thing which would give me faith in a higher power. While I was watching it, I believed it; whether I still believed it once the tape was rewinding mattered little. Like the apes in the Dawn of Man sequence tentatively trying to touch the intruding monolith, 2001 gives us something to reach out to.”
For further mid-summer browsing, let me recommend Steve Greene‘s Criticwire roundup.
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