I hope you are ready for a TON of links because I was incredibly prolific in September! First off, for the Classic Film Collective I recommended Alice Guy-Blaché’s Falling Leaves and wrote a poem about the late Jean-Paul Belmondo. Podcast wise, Billy Ray Brewton joined me to talk Springsteen on Prog Save America, and I made not one, but two appearances on Blake Howard’s Zodiac Chronicle. For my column this month I spoke to Núria Frigola Torrent on her new film The Song of the Butterflies, married directing duo Gita Pullapilly & Aaron Gaudet about Queenpins, Lina Roessler about her debut film Best Sellers, and dancer-turned-director Connie Hochman talks about her debut documentary In Balanchine’s Classroom.
I also covered the Toronto International Film Festival! For The Playlist I reviewed Dear Evan Hansen, Colin In Black and White, Lakewood, The Starling, The Mad Women’s Ball, and Silent Night. For RogerEbert.com I wrote about six African films. Dispatch one: Neptune Frost, Mlungu Wam (Good Madam), and Lingui The Sacred Bonds. Dispatch two: Astel, The Gravedigger’s Wife, and Saloum. For Moviefone I interviewed kate Dolan about her film You Are Not My Mother, Agustina San Martín about her film To Kill The Beast, Camille Griffin about her film Silent Night, Edgar Wright and co-writer Krysty Wilson-Cairns about their film Last Night In Soho, Justine Bateman about her film Violet, and Anita Rocha Da Silveira about her film Medusa.
But that’s not all! For Nerdist I wrote about my favorite recent depictions of bisexual and pansexual characters in film and television. I made my SlashFilm debut writing about the irresponsible depictions of suicide in Dear Evan Hansen and Roadrunner: A Film About Anthony Bourdain. For Crooked Marquee I reviewed the delightfully deranged Palme d’or winner Titane. For Moviefone I reviewed the wonderfully queer Venom: Let There Be Carnage. And lastly, I made my InStyle debut profiling The Many Saints of Newark star Alessandro Nivola!
If you’re not completely exhausted (like I am), after the cut you can find everything I watched in September, plus as always a breakdown by decade and a brief sampling of my favorites.
Marge Gunderson: Have you done an inventory recently?
Jerry Lundegaard: The car’s not from our lot, ma’am.
Marge Gunderson: How can you be sure without doin’ a. . .
Jerry Lundegaard: Well, I would know. I’m the executive sales manager.
Marge Gunderson: Yah, but I understand. . .
Jerry Lundegaard: We run a pretty tight ship here.
Marge Gunderson: I know, but how do they establish that? Are the cars counted daily, or what kind of a routine here?
Jerry Lundegaard: Ma’am! I answered your question.
Marge Gunderson: I’m sorry, sir?
Jerry Lundegaard: Ma’am, I answered your question. I answered the darn. . .I’m cooperating here, and there’s no. . .
Marge Gunderson: Sir, you have no call to get snippy with me. I’m just doing my job here.
Jerry Lundegaard: I’m. . .I’m not. . .I’m not arguin’ here. I’m cooperating and there’s no. . .We’re doin’ all we can.
Marge Gunderson: Sir, could I talk to Mr Gustafson?. . .Mr Lundegaard.
Jerry Lundegaard: Well, heck! If you wanna. . .if you wanna play games here. . .I’m workin’ with ya on this thing here, but. . .okay, I’ll do a damn lot count.
Marge Gunderson: Sir, right now?
Jerry Lundegaard: Yah, right now. You’re darned tootin’.
Charlie: I could tell you some stories. . .
Barton: Sure you could and yet many writers do everything in their power to insulate themselves from the common man, from where they live, from where they trade, from where they fight and love and converse and, and, and. . .So naturally their work suffers and regresses into empty formalism and. . .well I’m spouting off again, but to put it in your language, the theatre becomes as phony as a three-dollar bill!
Charlie: Well I guess that’s a tragedy right there!
Barton: You’re alright, Charlie. I’m glad you stopped by.
Joel and Ethan Coen’s 14th feature film was also their third film (out of four) to be nominated for Best Picture (1996’s Fargo was the first, 2007 Best Picture winner Now Country For Old Men the second, 2010’s True Grit the fourth). It’s also probably the most insular of their films; those who love it really love it, but many who saw it just couldn’t relate. The setting of the film, St. Louis Park, Minnesota in the late 1960s, adds a slight autobiographical element to the film and its plot deals heavily with Jewish mysticism and spirituality. The film was only nominated for two Academy Award, winning none: Best Original Screenplay and Best Picture. The other films nominated for Best Picture that year were: Avatar, An Education, District 9, Inglourious Basterds, Precious, The Blind Side, Up, Up In The Air and winner The Hurt Locker.
Pomade Vendor: I can get the part from Bristol. It’ll take two weeks, here’s your pomade.
Ulysses Everett McGill: Two weeks? That don’t do me no good.
Pomade Vendor: Nearest Ford auto man’s Bristol.
Ulysses Everett McGill: Hold on, I don’t want this pomade. I want Dapper Dan.
Pomade Vendor: I don’t carry Dapper Dan, I carry Fop.
Ulysses Everett McGill: Well, I don’t want Fop, goddamn it! I’m a Dapper Dan man!
Pomade Vendor: Watch your language, young feller, this is a public market. Now if you want Dapper Dan, I can order it for you, have it in a couple of weeks.
Ulysses Everett McGill: Well, ain’t this place a geographical oddity. Two weeks from everywhere!
The Dude: They gave the Dude a beeper, so whenever these guys call–
Walter: What if it’s during a game?
The Dude: I told him if it was during league play–
Donny: If what’s during league play?
Walter: Life does not stop and start at your convenience, you miserable piece of shit.