Cinema4you2me

Remember that story about how Mr. Rogers? The one about how he was actually the most prolific sniper in the history of the Marines? (Or was it the Navy Seals?) He killed 25 (or 150) people in Vietnam and wore long sleeves to cover the tattoos adorning his arms. It wasn’t true, of course, but wouldn't that be something? We want our nice guys to have dark sides because nice guys seem mendacious. Behind that veneer of joviality something sinister must lurk. That’s what Tom Junod wanted when he was assigned to interview Mr. Rogers for Esquire in 1998; instead, the journalist, an acerbic, unsentimental writer (or, less flatteringly, a “cynic”), was startled to find out that Mr. Rogers was seemingly the real deal. Fred Rogers is portrayed by Tom Hanks in Marielle Heller’s A Beautiful Day in the Neighborhood , which chronicles Junod’s (here called Lloyd Vogel) revelatory encounter with the beloved television personality, culminating in his seminal 10,000-word essay “Can You Say… Hero?...

Remember that story about how Mr. Rogers? The one about how he was actually the most prolific sniper in the history of the Marines? (Or was it the Navy Seals?) He killed 25 (or 150) people in Vietnam and wore long sleeves to cover the tattoos adorning his arms. It wasn’t true, of course, but wouldn't that be something? We want our nice guys to have dark sides because nice guys seem mendacious. Behind that veneer of joviality something sinister must lurk. That’s what Tom Junod wanted when he was assigned to interview Mr. Rogers for Esquire in 1998; instead, the journalist, an acerbic, unsentimental writer (or, less flatteringly, a “cynic”), was startled to find out that Mr. Rogers was seemingly the real deal. Fred Rogers is portrayed by Tom Hanks in Marielle Heller’s A Beautiful Day in the Neighborhood , which chronicles Junod’s (here called Lloyd Vogel) revelatory encounter with the beloved television personality, culminating in his seminal 10,000-word essay “Can You Say… Hero?...

Roman Bondarchuk's Volcano , which is receiving an exclusive global online premiere on MUBI, is showing from December 8 – January 6, 2019 in MUBI's  Debuts  series. Above: Roman Bondarchuk This script was built on a lengthy documentary study and real events.   In general, we wanted the locals to play local characters. They talk differently, move differently.  The casting took place three months before the shooting. We walked around factories, clubs, fields, and watermelon plantations. Some people were afraid that their daughters were not actually cast for a movie, but for trafficking to Turkey. And this one time we had to film a shepherd for a scene, and there was this wonderful man with a cane and a grey beard. But his wife chased Tetiana—our casting director—away every time, because she was afraid that she was attracted to her husband. And the gas station man actually looked even better at the audition. When he came to the set, he looked as if he shav...

Roman Bondarchuk's Volcano , which is receiving an exclusive global online premiere on MUBI, is showing from December 8 – January 6, 2019 in MUBI's  Debuts  series. Above: Roman Bondarchuk This script was built on a lengthy documentary study and real events.   In general, we wanted the locals to play local characters. They talk differently, move differently.  The casting took place three months before the shooting. We walked around factories, clubs, fields, and watermelon plantations. Some people were afraid that their daughters were not actually cast for a movie, but for trafficking to Turkey. And this one time we had to film a shepherd for a scene, and there was this wonderful man with a cane and a grey beard. But his wife chased Tetiana—our casting director—away every time, because she was afraid that she was attracted to her husband. And the gas station man actually looked even better at the audition. When he came to the set, he looked as if he shav...

Caroline Poggi and Jonathan Vinel's  Jessica Forever , which is receiving an exclusive global online premiere on MUBI, is showing from December 4 – January 2, 2019 in MUBI's  Debuts  series. We have wanted to write this film to put into image the atmosphere that we felt during our teenage years. We have always felt close to those who sink into cold, inexplicable violence. This frightens and fascinates us in equal measure. To understand that violence is not always gratuitous and isolated but that it arrives at a moment when it isn’t possible to speak anymore, when words are lacking. A violence that is directed against a world which appears in many shapes, cold, excluding, uninhabitable. A violence against a world we do not want to save but to destroy. Of course, to understand does not mean to legitimize. But we have never looked to position ourselves as judges with our films. Our films are made inside the world’s chaos. And in this sense, we are not inventing anything, b...

Caroline Poggi and Jonathan Vinel's  Jessica Forever , which is receiving an exclusive global online premiere on MUBI, is showing from December 4 – January 2, 2019 in MUBI's  Debuts  series. We have wanted to write this film to put into image the atmosphere that we felt during our teenage years. We have always felt close to those who sink into cold, inexplicable violence. This frightens and fascinates us in equal measure. To understand that violence is not always gratuitous and isolated but that it arrives at a moment when it isn’t possible to speak anymore, when words are lacking. A violence that is directed against a world which appears in many shapes, cold, excluding, uninhabitable. A violence against a world we do not want to save but to destroy. Of course, to understand does not mean to legitimize. But we have never looked to position ourselves as judges with our films. Our films are made inside the world’s chaos. And in this sense, we are not inventing anything, b...

Above: Midnight in Paris There’s a certain warmth to Indie Memphis. Perhaps it’s odd to ascribe that to a film festival, but it’s the first word that comes to mind when I think of the four days I spent in downtown Memphis, Tennessee, surrounded by audiences, filmmakers, programmers, and writers like myself who have an enduring love for independent cinema. As soon as I arrived the temperature dropped to the low 40s and eventually the 30s, but I hardly noticed. I’d been wanting to go to Indie Memphis since critic and programmer Miriam Bale took was named Artistic Director of the event last year. The centerpiece of her first year was a celebration of Hong Sang-soo, bringing his films ( The Day After , Grass ) to Memphis for the first time. This year, the centerpiece of the festival was the Sara Driver retrospective, which included both her films and personal selections. Driver, a New York City director, writer, producer, and actor, was in attendance along with her frequent collaborator...

Above: Midnight in Paris There’s a certain warmth to Indie Memphis. Perhaps it’s odd to ascribe that to a film festival, but it’s the first word that comes to mind when I think of the four days I spent in downtown Memphis, Tennessee, surrounded by audiences, filmmakers, programmers, and writers like myself who have an enduring love for independent cinema. As soon as I arrived the temperature dropped to the low 40s and eventually the 30s, but I hardly noticed. I’d been wanting to go to Indie Memphis since critic and programmer Miriam Bale took was named Artistic Director of the event last year. The centerpiece of her first year was a celebration of Hong Sang-soo, bringing his films ( The Day After , Grass ) to Memphis for the first time. This year, the centerpiece of the festival was the Sara Driver retrospective, which included both her films and personal selections. Driver, a New York City director, writer, producer, and actor, was in attendance along with her frequent collaborator...

Above: From Tomorrow on, I Will The finely scaled body of a green serpent coiled against a white background adorned the posters across the capital city of this year’s Vienna International Film Festival. More than mere ornamentation, it is an image meant to symbolize the renewal process of the festival shedding off old skin, while maintaining a continuity to its past under the still relatively new artistic direction of Eva Sangiorgi, who took charge of the festival early last year. It suggests the Viennale wanting to definitively emerge out of the shadow of Hans Hurch, who ran the festival for twenty-one years until his unexpected death in June 2017. No doubt, the reputation of the Viennale as a sensitively and concisely curated bastion of a particular cinema, one that is at once political, formally explorative, and fiercely resistant to the self-satisfied middlebrow, is much the doing of Hurch’s work and temperament as artistic director.  Its identity also firmly resides inits de...

Above: From Tomorrow on, I Will The finely scaled body of a green serpent coiled against a white background adorned the posters across the capital city of this year’s Vienna International Film Festival. More than mere ornamentation, it is an image meant to symbolize the renewal process of the festival shedding off old skin, while maintaining a continuity to its past under the still relatively new artistic direction of Eva Sangiorgi, who took charge of the festival early last year. It suggests the Viennale wanting to definitively emerge out of the shadow of Hans Hurch, who ran the festival for twenty-one years until his unexpected death in June 2017. No doubt, the reputation of the Viennale as a sensitively and concisely curated bastion of a particular cinema, one that is at once political, formally explorative, and fiercely resistant to the self-satisfied middlebrow, is much the doing of Hurch’s work and temperament as artistic director.  Its identity also firmly resides inits de...