I could describe Noah Baumbach and Greta Gerwig’s Frances Ha as a film that crosses elements from Woody Allen’s Manhattan, Sofia Coppola’s Lost in Translation, Jim Jarmusch’s Stranger than Paradise and Terry Zwigoff / Daniel Clowes’ Ghost World but such namedropping, while accurate, might mislead you into thinking Frances Ha is a self-conscious and highly referential indie. It is not.
Baumbach and Gerwig built the rarest of filmic pleasures nowadays, a completely contemporary motion picture that stands alone, no references required. No other film I’ve seen recently is as remotely accurate as what it like to be a young (and perhaps "undateable!") adult nowadays, the New York City setting being totally irrelevant to its ressonance. The sequence (minor spoiler) in which Frances goes into debt and spends a weekend in Paris all by herself is utterly soul-crushing, way more poignant than the science fictional, literal aloneness Sandra Bullock’s character endures in Alfonso Cuáron’s Gravity (also an incredibly good movie on a wholly separate set of merits).
Do yourself a favour and watch Frances Ha as soon as possible.
Tweets for August 12th 2013
Lifehacking is just another way to make us work more. — Slate Magazine www.slate.com/articles/technology/future_tense/2013/07/lif... Instapaper Aug 12th, 3pm
Tweets for June 19th 2013
The last few days have been a bit crazy as I tackled some Murphy Law technical issues in order to have Caos finished today. After a failed first render (my bad actually, in all haste I accidentally unsynced the sound in a couple of scenes), yesterday I had two computers rendering and compressing the film simultaneously. It seems such redundancy kept Murphy at bay, as both finished without any trouble. I just watched a compressed MPEG, and it’s allright. And that is just as well, as the avant-premiere is scheduled for… today.
So if you’re in the Porto or whereabouts, you’re invited to drop by Teatro Nacional S. João at 6.30pm. See you there.
Here’s the poster for my new film Caos, right now in the final stages of editing. Like last year’s Damião, Caos is an adaptation of texts by Pedro Estorninho, this time about a surreal group of Portuguese expats in France who meet at the same Portuguese coffeehouse.
Here’s a teaser video. I’ll post more information about the first preview screening soon.
Yumeji’s Theme by Shigeru Umebayashi, from Wong Kar-Wai’s In the Mood for Love, was one of my classic film soundtrack obsessions (perhaps along with Michael Nyman’s score for The Draughtsman’s Contract). In simpler film school times, when I didn’t care for copyright, I even used it in (unfortunately illegal, academic-only versions of) my own movies. (hat tip to Ckck)
Recently I made the decision to dedicate a few of my older videos to the Public Domain. This meant getting formal permissions from the people who contributed to the making of those videos and a small amount of reediting to replace those bits that weren’t PD-kosher (i.e. stuff I used that had Creative Commons licenses).
Life is Change is the first of my videos to go full-blown Public Domain (through the CC0 Universal Dedication). Even though many web services encourage their use (and some don’t even allow you to check a Public Domain option) I am not at all interested in the common Creative Commons licenses, as I feel these encourage a ‘free-ish culture’ with strings attached. I believe your stuff should be either free or not free. Public Domain or Your Domain.
So enjoy Life is Change: Remix, redistribute, do whatever you want. I have made some downloads available at Archive.org. They’re yours.
A History of 19th century optical toys — Dawn of the Flick: The Doctors, Physicists, and Mathematicians Who Made the Movies Boing Boing