The Meryl's Double.

I love Jennifer Ehle and have for a few years now. I believe her subtly romantic turn in Possession was award worthy (the whole movie was quite underrated truth be told) and I was pleasantly surprised when she pretty much gave the best performance in Contagion. 

During the movie we are told that humans touch their faces up to 3 thousand times a day. The very idea of having hands all over one's face has always reminded me of one person: Meryl Streep.

The divine Streep is always taking her hands to her face, usually when she gasps, laughs or does something which reminds us of her godliness. It's as if concealing a part of her face will contain all the nuclear power coming out of her magnificence. I obviously immediately linked Ehle to Streep and given how alike they look, I wanted to share this with you all:

Creepy, no?

Do you think Ehle has what it takes to reach Streep-ian levels of perfection?

Beneath the Earth Reviews.

As you all know, I was fortunate enough to be part of the Grand Jury of the Beneath the Earth Film Festival.
The official selection was comprised of some truly remarkable films made by people from all over the world.
My favorite entry in the official selection was the fast moving, excitingly melancholy It's Natural to Be Afraid, which deals with globalization, doomed love and is a hybrid between Tom Tykwer and Michel Gondry. You can watch this and all the other films here (but hurry, you have until 11/15)

As part of our work as jury members we all had to review the winning films, which I now present to you:

After Ever After - Winner of the Audience Award

Director: Jeff Pinilla

This tale of love gone wrong focuses on what happens after relationships end. In this case we follow young advertising creative Sidney Gamblin (gotta love the retro inspired name) as he goes through the phases of post-love grief. Done with extreme style and featuring a superb performance by Michael Furlong - perhaps the film's greatest asset - we witness a lovely story that feels urgent and very real. There is a dialogue exchange in a billiard room, which is captured with such care by director Pinilla, that you feel as if he's been poking around inside your memories. The film features a wonderful job of edition that focuses on both moments of extreme activity as well as more introspective scenes and Pinilla does an overall good job even if you get the feeling that he wanted to say much more than he could handle. The film could've done without a few minutes; even if it's quite short, sometimes its themes seem redundant, but Furlong is a joy to watch (talk about schadenfreude) and for all its flaws and slight stylistic incoherence the film results pleasing.

(Watch After Ever After here)

Photographs - Winner of the Best Film Award

Director: Brendan Clogher, Christina Manrique

The problem with Pixar is that they have spoiled us for most animated films out there. Such is the case when watching Photographs, the winner of this year's Best Film Award which seems merited but results slightly underwhelming when compared to other, more exciting work. Photographs tells the story of a lonely old lady who finds a photographic camera and proceeds to take mysterious pictures in different locations. It takes little imagination to figure out why she's doing it and perhaps the film relies too much on this eventual emotional revelation to maintain the audience captivated. Those who guess the twist in the first minute will then be showered with a series of pretty images that lead nowhere. The animation is indeed masterful and the score is gorgeous but the film's emotional payoff is directly connected to the viewer's ignorance of how dramatic structure works, or perhaps its joys are better reserved for those who are less cynical.

(Watch Photographs here)

Don't forget to share the films with your friends and family! As always, what's important is to get new filmmakers involved in the conversation!

Contagion ***½

Director: Steven Soderbergh

Cast: Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law

Gwyneth Paltrow, Kate Winslet, Jennifer Ehle, Elliot Gould

Sanaa Lathan, John Hawkes, Bryan Cranston

Contagion opens inside an airport bar where American businesswoman Beth Emhoff (Paltrow), on her way to the States from Hong Kong, sits having a drink and talking on the phone while she waits for a connecting flight. As she hears her flight number being called out she leaves the bar. The camera then focuses on the small bowl of peanuts that sat in front of her. A title card reading "Day 2" appears. With a seemingly innocuous choice of editing, camera positions and additional information (we don't get title cards in real life), Steven Soderbergh sends us down a spiral of fear, the likes of which we rarely see in contemporary cinema.

Once Beth is back in the States, she suddenly falls ill with a strange disease that sends her into a coma and kills her a mere minutes after the movie begins. With this bold move Soderbergh reassures us that for the next two hours, no one will be safe.
Contagion then deals with the discovery, propagation and consequences of this new lethal virus that is transmitted by contact and has no apparent cure. As the virus grows, we meet different characters who deal with it in their part of the world as society around them begins to crumble. Soderbergh also divides them into different aspects of our current world, without making them a too obvious "group". We see the emotional part with  Beth's husband, Mitch (Damon) for example, who has to deal with his wife's sudden death as he must survive in order to support his daughter.
There's also Dr.Ellis Cheever (Fishburne) of the Centers for Disease Control and Prevention, who tries to clear doubts that suggest the new virus might be a bioweapon by sending his colleague Dr. Erin Mears (Winslet) to investigate. Their stories are more related to bureaucracy and the handling of disasters by local governments which provide the film with eerie echoes of the H1N1 epidemic and the way in which the American government has dealt with events like Hurricane Katrina and the oil spill in the Gulf of Mexico.
Their storylines are also linked to the scientific community represented by Gould, who plays a genius biology professor and Ehle, who plays Dr. Ally Hextall, a CDC scientist commissioned to find a vaccine.
As the story begins to occupy a more global aspect, we meet Dr. Leonora Orantes, a World Health Organization epidemiologist who is sent to Asia in search of "patient zero". Scenes involving her character are filled with an exotic dread in which we are reminded that despite the world's global union feeling, we are still pretty much on our own. Soderbergh makes her scenes scary and mystifying by recurring to the use of multiple languages which instill a very primal fear in audience members. Is he perhaps suggesting that xenophobia is acceptable under special circumstances?
Other characters include slimy conspiracy theorist/blogger Alan Krumwiede (Law), a down on his luck janitor (Hawkes) who finds himself in the midst of a disease which to him remains incurable due to his lack of money and Aubrey (Lathan), Dr. Cheevers partner who gets involved in a political disaster.
Soderbergh has proved in the past that he's a maverick at handling parallel storylines with unifying, often enlightening, clashes. But while in Traffic he did something a bit more orthodox in terms of dramatic structure, Contagion offers him the chance to do his own hybrid of Nashville and Outrbreak. Those expecting an ultimate message of salvation, or even a unifying climax will come out severely disappointed as Soderbergh makes a case of maintaining the pieces of his mosaic separated.
Their detachment might come off as cold-hearted by usual standards but Soderbergh sees himself as a scientist trying to dissect the various pieces of his experiment (an autopsy scene is done with such straightforwardness that you can't help but feel both revolted and mesmerized). He leaves it to his actors to create flashes of humanity within the hyper-realism of his direction. Cotillard for example brings a worldly charisma (and a serious working woman hairdo) to her scenes, while Ehle becomes a joy to watch as she puts all of her Streep-ian attributes to work as she delights herself with her work discoveries.
Paltrow, who the film sometimes uses as a morality clause, is haunting, as she represents the face of an irresponsible (if only by ignorance) branch of American society and Winslet delivers one of the year's most powerful emotional punches in less than ten scenes.
His insistence to keep the stories from coming together has a remarkable symbolism because we realize that he's trying to contain infection from seeping to his other characters. By maintaining them apart, Soderbergh might be making the film's strongest point which is a questioning of the benefits of globalization.
This is confirmed in the finale which might be a bit facile but still shocks us to our very core by reminding us that by trying to make the world a smaller place, we have also made its decay much easier to obtain. With his expert use of editing, cinematography and sound (there are scenes without dialogues that creep under your skin) Soderbergh creates the kind of movie that transcends genre but becomes effective even within them. The film is scary because it feels possible and its use of scientific fact and borrowing from contemporary history only makes it more valid.
Martin Scorsese said that horror is related to physicality but terror is more related to what we feel, with Contagion Soderbergh might've created one of the most terrifying films of the decade.

XXX.

Unorthodox Seduction.

Yikes.

Even if I found Eyes Wide Open to be completely preposterous, the seduction scene was spot on. How on Earth would the poor, older Jewish man be able to resist Ran Danker?

Short Takes: "Hanna", "In Time" and "Attack the Block".

Hanna should be required viewing for all women going through the child to adolescent transition, given that- for lack of bullshit-ery - it's essentially a metaphor about how it all goes to hell after your first period. Saoirse Rona, plays the title character, a young girl who has always lived in the forest with her dad (Bana), a CIA agent gone rogue, who one day decides she wants to face her destiny and go to the big world. Trained in all of the deadly arts, Hanna is aware that to lead a normal life she must first destroy Marissa (Blanchett in a delicious star turn) a wicked agent responsible for her mom's death. Highly influenced by Tom Tykwer and, by Charles Laughton's The Night of the Hunter , the versatile Joe Wright delivers a thrilling spectacle that more than makes up for the story's lack of originality. Ronan is reliably perfect, combining child-like awe with chilling heartlessness and Bana once again proves he's one of the most underrated working actors. Wright's combination of fairy tales with biological conundrums feels a bit too stale at times and he can't seem to decide if he's in the mood for some well told Gothic action piece or a green-friendly, almost reactionary, invitation to have everyone move to the mountains and disregard the modern world. For what it matters, the film fares much better and what could've been a weird hybrid of Nell and The Bourne Identity comes off looking as a kick-ass allegory for the pains of growing up.  Grade: ***

Andrew Niccol delivered one of the most fascinating sci-fi movies in contemporary cinema with his remarkable Gattaca. Sadly, now he comes back with a piece of "social" fluff disguised as a dystopia in the making. In a world where time has become the official currency and people stop aging at age 25, it's up to none other than Justin Timberlake to show people how immoral they are. JT plays a Dickensian character who gets thrown into a whirlwind of chaos after he "inherits" more time than he can deal with. When authorities become suspicious about his background, he recruits a wealthy socialite (Seyfried) to steal from the rich and give back to the poor. At the film's center there is a fascinating conundrum to explore: should people live long and prosper or is there an element of truth to eugenics? Of course, Niccol doesn't have time to dwell on this as he has his heroes reenact perfume ads during the entire movie. It's a shame, cause In Time often brims with promise which then turns upon itself in such unexpected ways. You end up rooting for the villains, it makes you think that JT and Seyfried are unsexy (they have such little chemistry that it often feels like you're watching audition tapes),  and for all its talk about social injustice, its own brand of Bonnie and Clyde by way of Dolce & Gabbana feels so preposterous that you only thing you want to protest against, are lazy Hollywood flicks. Grade: *


Aliens invade London. Group of thugs saves the day. The biggest problem with Attack the Block is that it's never truly able to overcome two major flaws. On the one hand, its very own kind of British humor is practically impenetrable, making it a dragging experience for worldwide audiences (something that comedies like Hot Fuzz and The Full Monty had no trouble doing), then, the movie is so in love with its low budget concept that it ends up becoming obnoxiously dull. Grade: **

Style Sunday.

Noomi Rapace evoked old Hollywood glamour in this stunningly simple Giambatista Valli dress. Gotta love how she keeps it so simple in the hair and makeup department and allows the dress to do all the work for her.

Lately I feel that Annie has abandoned me. I miss her in movies and even if she has a ton coming up, she should be in at least a movie a month, no? With that said, I'm not sure if my undying love for her makes me worship her public appearances so much, or this Valentino beaded dress is actually worthy of writing about. You help me decide.

When Naomi Watts gets it right, she gets it right. Even if she always seems to favor nude colors and simple designs, here she proves that sometimes sticking to what you know is the best strategy. This Stella McCartney design just reassures us that Naomi's undeniable sexiness would've made her ideal for that other rumored Marilyn biopic. She exudes class and sensuality with such effortlessness that it's just amazing.

Who of these ladies is your fave?

Sheet-y Saturday.

Where we take a look at posters for upcoming features.

Oh the French, while silly Americans worry about the notion of sex onscreen and Michael Fassbender's cock, the French not only dare to put a male figure on the suggestive poster, but the moving hand implies it's heading to somewhere a bit more risqué. Despite the weird proportions of the body (the too smooth sides make it look like a woman in serious need of Nair) applause to the European distributor for reminding us that we all want to see this movie for the same kinky reasons.

More and more, this movie reminds me of a reverse Mrs. Doubtfire. Also, the drastic change from the original, perfect teaser, to this more common one-sheet makes it seem like the studio is worried it'll only attract nerdy arthousers (which it will...). With that said, Aaron Johnson should be in much more movies. Still wonder what they see in Wasikowska though...

What's your own take on all the knobs in this week's posters?

Most Perfect Filmography Ever?

Head over to PopMatters and read my review for The Complete Jean Vigo. Also, do you agree with this post's title? Discuss!

Extra! Extra!

Head over to PopMatters and read my review for Page One: Inside The New York Times.