Fiction films can be a trickier proposition at the Tribeca Film Festival than their nonfiction counterparts; for some time the fest had a reputation as a home for pictures that made the slate for the movie stars they’d put on the red carpet rather than the quality they’d put on the screen. That rep has fallen away in recent years, bolstered by a stronger slate of under-the-radar indies and faves from other festivals. Here’s a look at the 22 new narrative movies your film editor saw, and how they stack …Read More
Wally Pfister has been in it for a minute. He started out in the late ‘80s and early ‘90s, first as a camera operator and then cinematographer for straight-to-VHS erotic thrillers and horror films with titles like Animal Instincts II, Secret Games 3, and Amityville: A New Generation. But in 2000, he hooked up with director Christopher Nolan for Momento, and he’s shot every Nolan film since (along with Moneyball, The Italian Job, and a few others). Now he moves into the director’s chair, orchestrating a high-caliber cast in the big-budget sci-fi thriller Transcendence (out today). But even if you view it without this thumbnail bio in the back of your head, you might guess the pedigree, because it’s a terrible movie that looks amazing.
When Freud wrote of female sexuality as “a dark continent,” he might as well have been writing about Woody Allen’s murky understanding of women. The director’s female characters invariably have abundant daddy issues, a slew of neuroses, and affairs with artists, professors, married men. They seek advice from therapists and fortune tellers, they’re tempestuous and stubborn; though they’re sometimes incredibly narrow, they’re often appealingly complex. Allen’s female characters are so obviously amalgamations of his fantasy woman – or rather women, plural – that one might contend they’re part of an ongoing, experiment in understanding women. Following this week’s news that Emma Stone is set to star in the next Allen film, we’ve conducted a little experiment of our own, looking back at the ladies of his canon, matching the women of his classic era with their contemporary counterparts.