Wednesday, December 5, 2018

Favorite (four), part fifty-eight

Just like in my other fifty-seven posts in this series, I want to take a second to single out the highlights of my recent film viewing.  Most of the films I have been glad to see but only very few have stayed with me.  This series is my filter for those and my hope is one or two will be good to you as well.

Elaine May's A New Leaf
The first May film I have seen in its entirety, and it immediately made me want to go watch her entire filmography.  Her style is loose and modern while still feeling intimate and restrained (I know, some of those words seem to be in direct conflict with one another!)  Perhaps it's her ability to achieve such lived-in, natural performances from her actors that makes her work vibrate so or maybe it's the fact that she never feels to be following any known framework or genre.  Her output as director is limited, but if her debut film is any indication, her filmography ranks with the highest shelf of American filmmaking in the seventies.

Claire Denis' Let the Sunshine In
Perhaps most remarkable about Denis' films, aside from the fact that they are always top shelf, is that they consistently feel modern.  As she advances in her career, her work never feels regressive with respect to her own filmography or retro with regards to the history of the medium in general.  Denis and Binoche are a potent combination.  They are two of our most daring artists, repeatedly willing to defy labels, classification or emotional signposts in their venturing.  When the end credits roll, it is clear once again that Denis is writing the book on film grammar today.  It is precisely the little touches like this that keep us moving forward and remind us, once again, that she is one of the greatest filmmakers at work today.      

Elaine May's Heartbreak Kid
My second experience with May's work after watching A New Leaf a couple of days ago.  Richer and deeper in its study of character than May's debut, it proves again the bold and unique place she occupied within American cinema in the seventies.  Her style, though not entirely lacking, definitely seems much less important to her than the words, the acting, and the opportunity to burrow deep inside the skin of her cast.  May's power of observation and ability to capture small details is remarkable, whether it's the egg salad on Lila's face or the way Kelly absorbs the conversation when Lenny first confesses to her father that he's married. 

F.J. Ossang's Zona Inquinata
About as great of a mix as I could ever imagine of Boy Meets Girl, Repo Man, and Permanent Vacation.  Absolutely blew my mind with its formal beauty and uninhibited cinematic boldness. 

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