Visits to cinema showcases around the world
This was the first year that the film curators of MoMI visited the Cannes Film Festival together. Eric Hynes and Edo Choi compare notes on the scene, the culture of the festival, the slate, and what it might mean for MoMI.
Bemoaning or simply acknowledging the metastasis of the “Sundance film” has an obvious tendency of obscuring the nonfiction and non-English narrative entries that premiere at the festival and aren’t likely to be sought out by viewers, especially virtual ones.
Viewers watching this year’s Sundance films are being asked to interrogate their ways of seeing, coming up against films that examine perspective by more thoroughly investigating the relationship between who’s behind the camera and what we see on screen.
It is clear that, for some, certain forms are still anathema to what constitutes serious cinema, and that changes in approach, personnel, or temperament are acceptable so long as they do not disrupt our preconceived notions of the author’s vision.
Verhoeven wants us to know who the real perverse parties are here, and he avoids charges of blasphemy in Benedetta by mining the history of the Catholic Church in rigorous, drippy excess. Also reviewed: Anais in Love, Bergman Island, Small Body, Three Floors.
The curators ask in the program notes, Can remembrance fix a broken world? At the core of this inquiry into the world, and the status of the human within its historical, sociopolitical, technological, and ecological parameters, lies the emphasis on feeling.
There was a fair amount of expectation for this year’s Midnight selections to contain the next iteration of meaningful, shocking, or gossip-inspiring titles that could also be talked about as layered, complex examinations of real-world issues.