Warning, trailer contains nidity (sic). Goodbye First Love is a very French film but one with made in conjunction with Germany.
The gorgeous new romantic drama from rising talent Mia Hansen-Løve (Father of My Children) is an unashamedly personal story of love, loss and the tender memories from youth that can never truly be erased.
It was ok. Full of emotion’s & tears & pretty much saying how you never get over your first love. That’s sposed to be a fact innit?
Probably not what you’d consider a ‘boy’s film” but it had the sublime Dark Dark Dark all over the soundtrack so I was happy. And it was nice that Watershed gave the music full deference, keeping the lights down at the end way longer than they usually do.
Went to see The Avenger’s film last Weds. Good escapist stuff. This time I was in an audience full of much younger people. Found it surprisingly funny. Weirdly I was laughing roughly 2 secs before everyone else. Doesn’t sound like much but actually it’s quite a while. What a twat. I also “whooped” twice before anyone else. Actually no one else “whooped” at all.
Saw Headhunters on Saturday. Really enjoyed it. Unlike most of the films at Watershed it was one that you could just switch off, power down, relax & enjoy. Feeling a bit fucked off with shit as I was twas precisely the kind of film I was in the mood for. It has funny, violence, suspense, beautiful people, beautiful photography & if it isn’t remade by hollywood in the next two years I’ll eat one of my two hats. (Or maybe the third as I never wear that one).
A satisfying, entertaining, original thriller. Get down.
Actually went to the big cinema today to see Hunger Games. First time in a couple of months I big to the Showcase. Been doing sooo many gigs & watershed have had sooo many little films over the last 8 weeks or so following their 2 month rinsing of The (bloody) Artist.
It was pretty good. Massively popular in Americky apparently. An enjoyable, entertaining bit of escapism anyway. Don’t think it’ll happen in real life though.
Embarrassed myself nicely outside the flicks. Was locking up my bike & some other dude pulled up next to me, also on a fixie. Have no idea where the urge came from but I decided it’d be cool to do a fonzie style “heyyyyy” then go in for fist bump.
A fucking fist bump. With a fucking stranger. Naturally he totally ignored my fist. In a futile attempt to cover up my embarrassment I decided to just paw the air three times. THREE FUCKING TIMES. PAWING THE AIR. Once, i figured would’ve looked pathetic & twice sad but three times, oh aye, three times is the very embodiment of cool.
Saw Bonsai at Watershed last Thursday before going up to see Ace Bushy Striptease. It was quite good although I can understand why Philip French considered it “rather tiresome”. Bit of a literary film all about life & love (again) & Proust, understandably as it was also about memory & the past a bit too.
From Watershed’s program:
Chilean director Jiménez’s tale of sex, lies and literature centres on aspiring writer Julio (Diego Noguera). He’s been asked to transcribe a veteran novelist’s latest book, but when he loses the job he decides to pretend (and lie to his lover) that he’s still working on it, and proceeds to write his own version. In need of a plot, he turns to the doomed romance he had eight years earlier with Emilia (Natalia Galgani) when they were both students, lying around reading Proust - free of all responsibilities. Youthful and melancholy yet sweetly funny, this charming tale of awkward first love reminds us of the lies we all tell ourselves - and the fiction we create - to make relationships work.
Not sure how I managed to get Daniel Johnson into this but I did. Dude’s a dude & was obvsly overdue a spot on this blog. (See below).
Saw Carl Theodor Dreyer’s The Bride of Glomdal (1926) earlier. A silent obviously. One of Dreyer’s lesser known films it was still brilliant. Comedy, action & beautiful Norwegian landscapes, it’s one of those films all about people falling in love with the wrong person but it all working out ok in the end.
Despite the fact that it never happens like that in real life (well, the falling in love with the wrong person obviously does, it’s the “it working out in the end” that doesn’t. (In my experience anyway)) it’s sometimes nice to watch a film with an happy ending, he says, while acknowledging that we all criticise hollywood for doing that all the time these days.
Daniel Johnson, of course, would disagree with me & agree with Dreyer - he’s pretty sure “True Love Will Find You In The End” look (listen). Beautiful & typically stark:
Gulp, that’s two post’s in one week featuring artists Kurt Cobain rated, first Flipper now Daniel Johnson. Gulp again.
Been so busy going to shows have been missing telling y’all about films I been at.
Saw Jafar Panahi's “This Is Not A Film" before Flipper on Thurs. Ostensibly it was about censorship, Panahi having been banned from film making in Iran for 20 years & facing 6 years imprisonment. This was his response, he got a friend to do the camerawork & he began acting out the story in his front room.
Film turns out to be much more though. A masterclass in film making is included in what we end up with. It also gives as great an insight into what life in Iran’s like for creative people (and the non creative alike). The film needed to smuggled out in a cake & includes quite a lot of shots filmed using an iPhone. Sadly, now Panahi’s friend who did the camerawork’s been arrested also.
Like he said, there’s nothing going to happen from inside Iran to prevent him being imprisoned - they’d all end in prison if that happened. It’s gonna take the international community to do something.
Quite brilliant film making & hopefully this film will do something to provoke the international community to do something.
Abandoned by his father, a young boy is left in a state-run youth farm. In a random act of kindness, the town hairdresser agrees to foster him on weekends.
Got to be honest, very surprised this won the grand jury prize at Cannes last year. It’s ok but overall it’s a bit of a run of the mill rights of passage type film. It does well not just trying to play with your emotions mind (I only wept once!) which I’m sure would’ve been the knee-jerk response for less experienced directors than the Dardennes bro’s but at the end of the day it doesn’t really have much to say I’m afraid.
Brilliant acting by the young star of the film, mind, Thomas Doret. It’s probably not really my kind of film tbh but if you do like this sort of ting you’ll like this exact ting. Once upon a time it might’ve been my kind of film but I guess I’ve just seen too many similar type of films.
Damn, think I’m turning all cynical in my old age. That’s the last thing I wanted. Or needed.
Saw this at noon yesterday. It was very good despite rather whopping holes in the plot, holes that contemporary films would never get away with. Also something contemporary films would never get away with is that there are as many strong female character roles in it as male (although of course the man still has the last laugh). What’s more in line with contemporary movies is that there was just the one, token, black actor in a pretty minor role. Hard to believe the movie industry’s still so much the preserve of the white male. And harder still to believe no one’s kicking up a stink about it.
Fucking white men the fuckers.
Great, gripping film anyway. Steve McQueen’s favourite so he said, though I suspect that’s probably as much because he got to ride fast cars, play golf, relax at the beach & fly glider planes as much as because he considered it his best film. Some wonderful 60’s clothes too, mainly on the women but the bright orange (a colour that kept on appearing throughout the film) dressing gown he wore at one stage proper took the breath away (and not in a good way).
The film’s famous for it’s score by Michel Legrand as much as anything & this Thursday an interesting event’s happening in the bar at Watershed. The guy who created See No Evil & some of the cities more interesting electronic producers are using one of the songs from the score & improvising image creation (on an iPad) while the musicians are cutting up & splicing together the most famous song in the film, Windmills Of Your Mind. It’s at 10pm & details can be found over there: ☞
Here’s the song from the film, sung by Noel Harrison (could only find it on Youtube introduced by Jack Dee so ignore the first 4 secs):
L’Atalante’s been my favourite film for ages. It’s a great film in it’s own right (no.3 in the guardian’s all time top 100 films) but it also has added nostalgia value for me as it was the first ‘arthouse’ film I ever saw & as such it opened up a whole new world of cinema to me, a world I never really knew existed before seeing it.
It’s a simple story told in a bewitching, otherworldly (and yet also very much of this worldly) way, a story about the power of love, love won, lost & found again. It has many beautifully touching sensuous moments, the tones of which are brilliantly leavened by the irrepressible, comedic pere jules, his cats & the cabin boy.
The most famous part of it demonstrates why jean vigo, the director, is so revered amongst film fans, historians & students alike. It’s brilliantly progressive for a film made in 1934 & still thrills to watch it even to this day - one can only wonder what cinema goers at the time made of it. It is when the captain, having lost his bride following an argument to the city’s (and a tinker’s) lure throws himself into the water his barge is moored in after recalling how his wife had said if you keep you eyes open when underwater you should be able to see the face of your true love. He starts off just trying to do it in a basin, then a bucket of water but when both these fail he takes an extreme approach & dives headfirst over the side of the barge. This leads to 60 seconds of him swimming underwater & refusing to go up till he’s seen his wife’s face. Which of course he does coz it’s the movies right?
Arguably the real star of the film, pere jules, devasted himself by his captains depression then sets off into paris & finds the bride, who he carries off back to the barge fireman style (over one shoulder) (with her approval of course) where naturally the two collapse in each others arms.
It’s got just about everything you could want from a film. I’ve seen it 5 times in the cinema now & may try squeeze another viewing in before it leaves watershed next week. Gonna have to try & persuade someone to come along with me though I think. As justification, like, for splashing out another £7 on it.
The trailer for the newly restored version of the film’s at the top of the page. Below are some screen grabs including one showing pere jules with his tattoo’s (remember he must’ve acquired them at the turn of the century so they’re pretty rudimentary to say the least. One of them is a human face drawn on his body using his belly button as a mouth & into which he’s pushing a smoking cigarette. And if that doesn’t win you over to the film nowt will.
The film’s the very personification of the word ‘tender’ and shows an absolute profound understanding of the nature of what love & affection, on every level, is all about.
Saw this film yesterday before going to see Ceremony at the Fleece. Film of the year so far I reckon. Directed by Nuri Bilge Ceylan it’s a two and a half hour meditation on life & death & shit like the human condition, all centred around a murder investigation. Ultimately though the murder investigation’s pretty irrelevant, it’s the stories that go on around it that keep you mesmerised. Brilliant characterisation, acting & visually stunning it’s also unexpectedly quite funny at times too. Masterly cinema to say the least.
MMMM (or Mx4 even) premiered at last years Sundance to rave reviews. It’s a very “Sundancey” film. Not necessarily a bad thing. Not definitely a bad thing in this case. Bit of a dark & unsettling psychodrama featuring rather too many inappropriate sniggers from me (sometimes I can’t help myself) (chances are you won’t be troubled by this as I won’t be off to see it again I expect) it also feature standout acting performances.
I liked it but probably can’t promise you will too. (Although you should).
My advice to anyone going to see it, don’t even try to ask for a ticket “Martha Marcy May Marlene” at the box office. You’ll fuck up if you do. Try asking for a ticket to “Muuurrh, Muuuurrh Muuuurrh & Muurrrrrh”. They’ll know what you’re after.