Oscar History

The Film Experience™ was created by亚博主页Nathaniel R.Gemini,Cinephile,Actressexual.All material herein is written and copyrighted by Nathaniel or a member ofour teamas noted.

Powered by Squarespace
Comment Fun

Great Moments in Horror Actressing: Margot Kidder

"This genre gives actresses some really juicy lines and roles,but denies them the acclaim that comes from more 'serious' roles.Kidder was a gifted actress who was indelible in a few films."-Lady Edith

"She won a Genie for it - because Canadians have great taste!"-Mike in Canada

Keep TFE Strong

We're looking for500...no461 Patron Saints!If you read us daily,please be one.Your suscription dimes make an enormous difference.Consider...

I ♥ The Film Experience亚博主页



LULU WANG onThe Farewell


Ritesh Batra(Photograph)
Schmidt & Abrantes(Diamantino)
Wanuri Kahiu(Rafiki)
Jia Zhang-ke(Ash is Purest White)

What'cha Looking For?

Entries in Kiefer Sutherland (4)

Jun 23 2017

A Pfeiffer Portrait of Devastating Despair


The year of Michelle Pfeiffer continues.We've seen the trailer and pictures fromMurder on the Orient Express.We've seenthe poster formother!(sacrilege she's not on it).We've seen her on HBO as Ruth Madoff.And now her Sundance film,Where is Kyra?,made its way to Brooklyn and played at BAMCinemaFest last weekend.

Andrew Dosunmu (Mother of George) collaborates once again with Bradford Young to gorgeous results.This time Pfeiffer's transfixing visage supplements their beautiful frames with movie star magic...

Click to read more ...亚博足彩app

Dec 14 2016

New Photos from "Where is Kyra?"

more pics and an important question...

Click to read more ...亚博足彩app

Oct 29 2015

Dream of the Pfeiffival

Pfeiffer aged up to play grey haired Ruth Madoff in "Wizard of Lies"The McConaissance ended with an Oscar and an Emmy nomination.The Reeseurgence went well,too,even if it's pop cultural impact wasn't soWild.Can't we get a Pffeiffival now?(I'll have to work on the name but renaissance and resurgence were already taken so I'm going with revival).

As previously reported our favorite goddessMichelle Pfeiffer,Susie Diamond herself,is back at work.She and Robert De Niro are currently filming their roles as The Madoffs in HBO's telefilm "Wizard of Lies".It will be Pfeiffer's first major television role in over 30 years.Among the top bakers dozen of female movie stars of the 1980s (roughly speaking that's: Streep,Close,Lange,Spacek,Midler,Keaton,Basinger,Pfeiffer,Turner,Weaver,Field,Hawn,and Winger in no particular order) only Pfeiffer and Hawn have refused to do television since.Streep and Close even dabbled before it was cool to toggle back and forth.Hawn doesn't really count as she is essentially retired and with Pfeiffer making an HBO film,yes,TV has won the final round.(There's a great conversation about this,via Jane Fonda -- who retired from movies halfway through the 1980s -- in the forthcoming movieYouth)

But the most exciting thing about Pfeiffer returning to acting is not that she is -- look we've been here before and she never dives in the pool after sticking a toe in but runs from the water -- but that she'll do so twice in short succession.After the HBO movie,she's signed on for a regular movie,a proper silver screen effort from Killer Films calledBeat Up Little Seagull.

Pfeiffer at her last film promotion event way back in September 2013

This is a very big deal for a number of reasons: Killer Films is awesome and has been for decades -- you can thank them for Todd Haynes and and also the bulk of interesting LGBT movies from the past couple of decades;Pfeiffer never does "indies"so she's getting out of her comfort zone which is well past long-needed;it's a leading role and she's too luminous to get shoved to the background to play someone's supportive grandma;the director previously made the indieMother of Georgewhich was shot by cinematographer Bradford can we hope he affixes his brilliant lenses on Pfeiffer?(What better subject for his eye than one of the world's great screen beauties?)

The film is described like so:

Beat-Up Little Seagullfollows the life of a sensitive and fragile woman (Pfeiffer) who struggles to find footing in a fast-paced world.When her mother dies,she faces a crisis in which she must find a means for survival,all the while hiding her struggles from her new lover (Sutherland)."

"Sensitive and fragile"Pfeiffer?Yes please.Perhaps she'll even cry in a sweater or lie to herself.That all said we look forward to trying hardnotto view this 'struggles to find footing in a fast-paced world' plot as a thinly veiled allegory for La Pfeiffer's repeated disinterest in her own career.

Comment if you embrace this news with wet eyes and/or if you're suspicious that she won't go through with it.You can have both reactions.Your host here at The Film Experience is living proof.亚博主页

Sep 24 2011

NYFF: "Melancholia"This Is The Way The World Ends

[Editor's Note: Our NYFF coverage begins!You'll be hearing from Michael and Kurt and me.-Nathaniel]

Hey,everybody.Serious Film'sMichael reporting from the New York Film Festival.I'm jumping right into the deep end of the pool with the first title so let's get to it.

When the world ends in Lars von Trier'sMelancholiait is definitely going to be with a bang and not a whimper.The film opens with a stunning series of images centered around a rogue planet spinning out from behind the sun on a course to smash into Earth like a wrecking ball.It's a dark nihilistic death dance,the B-side toTree of Life's sun-dappled song of life.The sequence alone is worth the price of admission.

From there the film splits neatly into halves.The first concerns the wedding of clinically depressed bride Kirsten Dunst to "aw shucks"wholesome groom Alexander Skarsgård.The second concerns Dunst and sister Charlotte Gainsbourg grappling with the whole possible destruction of the planet thing.Both halves follow similar arcs with characters hoping against hope that the worst case scenario can be avoided before remembering that this is,after all,a von Trier movie.

I'm not sure splitting up the stories was the wisest choice,since the second half never recovers the energy of the wedding scenes.I could write that the second halfcreaks under the weight of its symbolism,but if Von Trier is willing to fill the sky with an ominous death planet named after his own depression,who am I to point out that the whole thing is a bit "on the nose"?

Melancholiawould have to qualify as a minor disappointment considering the shattering impact Von Trier is capable of,but still,it's an experience worth having.The whole cast is aces.Dunst rises to the occasion with a bone deep convincing portrayal of smothering depression,whileKiefer Sutherland,to my surprise,punches through in a big way as Gainsbourg's wealthy put-upon husband.Best of all,is the wall to wall breathtaking cinematography byManuel Alberto Claro,which,by the way,is probably the film's best shot at awards attention.The whole thing has a cumulative effect greater than the sum of its flaws.