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Blake’s Top 20 of 2011: Picks 10-1
Not only does the photography benefit from the color depth and added resolution from celluloid, but the 35mm format is but another of the film's sly anachronisms. The film posits that things change slowly, but - watching this on the last day of this year's digital-heavy Cannes festival - nothing has felt more rushed than the disappearance of film prints in our theatres.
Blake’s Top 20 of 2011: Picks 20-11
It's probably too early to call 'Year of the Decade', but 2011 is certain to be a major contender for that prize eight years from now; at the moment, it's at least the best since 2007, which did battle with 2006 for the king of the previous decade. But I'm getting ahead of myself, jumping the gun a bit to look at the big picture, when in fact, this has been a year of many great small ones.
Review: Shame
Engaging and competently-produced as it may be, Shame's biggest downfall can really be sourced to its questionable worldview. In an age of political progression regarding sexual liberation, McQueen's film posits a stubbornly one-sided debate between family and hedonism."
Shame | Review
Follow-up to the British artist's wildly visceral debut is heavy on morals, Fassbender's jollies
Interview: Bertrand Bonello (House of Tolerance)
Representing a monumental leap in poise and craft, it is also Bonello's most subtle work in terms of provocation and shocking or subversive imagery. I met up with Mr. Bonello after his film's North American premiere at the Toronto International Film Festival last September, when we discussed his place in the New Extremity Movement, the mixed reception that his film has had with North American critics, and the research that went into the project, among other things.
