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Cannes Video Day 5: Gustavo Hernandez’s La Casa Muda
This is for those who thought Paranormal Activity was the sh*t. Take note of Gustavo Hernández's La Casa Muda (The Silent House) - a Director's Fortnight selected title from Uruguay with the uniqueness being that the picture is filmed in one take (think Russian Ark, PVC-1) and is impressive feat when you consider that there's a thin, but applicable narrative based on a true story. Hernández and cinematographer Pedro Luque do a great job with the lighting and the camera isn't one of those vomit enducing shaky cam headaches, but something that allows for you to see the incremental fear and then delirium in actress Florencia Colucci's face.
Cannes Video Day 4: Cam Archer’s Shit Year
We've been talking about this one for so long, glad to have finally seen Cam Archer's sophomore pic and the verdict? Think Jim Jarmusch's early days and Anton Corbijn videos from the late 80's but with a tone that is slightly surreal, slightly candid in the notion of retirement and slightly distilled - the shades of B&W have a dreamy, docu-like quality and makes this a purely art-house theatres.
Cannes Video Day 4: Xavier Dolan’s Les Amours imaginaires
It was a two for two kind of day yesterday. I was there on opening night for I Killed My Mother in the Director's Fortnight section and one year later, almost to the exact date, I'm there again to assist in a true love fest for Xavier Dolan preems Les Amours imaginaires.
Cannes Video Day 4: Jorge Michel Grau’s We Are What We Are (Somos lo que hay)
My thinking is that there is a nice future ahead for this edgy, auteur, little Mexican horror flick and plenty in store for the pic's helmer in Jorge Michel Grau. A film that borrows more from the family drama than the actual freight factors (there are some gore scenes, but it is almost an after-thought).
Cannes Video Day 4: Mike Leigh’s Another Year
Several stories set to the four seasons is where Mike Leigh went with Another Year -- a hard follow up act to follow in the eyes of those who can't think before the cheery go lucky portrait with Sally Hawkins. I kept thinking of Bergman's later films -- and was comforted like what a quilt would do by the on-screen couple of Ruth Sheen and Jim Broadbent: just a healthy, super supportive couple growing old together with a mutual respect for one another and those around them.
