And the titles include ‘The Extraordinary Miss Flower’ by Iain Forsyth & Jane Pollard, ‘On Becoming a Guinea Fowl’ by Rungano Nyoni and Georgian film ‘April’, produced by Luca Guadagnino.
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A still from ‘Family Romance, Llc’ by Werner Herzog
The Cannes 2019 Diaries: Wondrous Werner Herzog, 'Papicha' is my new heroine and the life surreal of a film journo
In ‘Family Romance, Llc’ Werner Herzog finds a new way to work through the difficulties life throws our way — outsource them to an agency specializing in family connections. He does it with his usual flair for our human ridiculousness and making the impossible seem real. During the junket following the screening, I loved listening to my esteemed colleagues’ confused explanations of stories they thought they’d seen like this one in documentaries, or even completely convinced this was a reality film, instead of fiction. And Herzog himself quite perfectly, calmly and smoothly shooting down each and all of their perplexed ideas.
‘Family Romance, Llc’ was a Special Screening at this year’s Festival de Cannes.
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A still from 'Ray & Liz' courtesy of Locarno Festival
The Locarno Diaries: 'Ray & Liz'', #Female Pleasure' and 'Likemeback'
The greatest thing about the Locarno Festival is how accessible their venues are and how organic an experience watching great cinema becomes here. As author and filmmaker Emmanuel Carrère pointed out earlier, he is in Locarno on Jury duty, while at other festival you basically know what you can expect, here it's wonderful because the discoveries you make are completely unexpected.
Personally, I find it perfect to get up in the morning and catch the press screening of competition films at 9 a.m. at the Kursaal cinema and return there after lunch for more great things. Also sprinkled around town and culminating in the Piazza Grande screening each night, there are many wonderful films to be discovered. I mean, like Meg Ryan said during our public chat this past Saturday, the "Piazza Grande has 8,000 seats!" Now wrap your head around that.
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The Cannes Diaries 2018: 'Lucia's Grace' ('Troppa Grazia') is a miracle of a film!
One of the freshest and most romantic films I watched in Cannes was Gianni Zanasi’s ‘Lucia’s Grace’ which screened in the Directors’ Fortnight section. On Thursday night it was awarded the Label Europa Cinema prize and personally, I was elated. Zanasi’s film is another one of those modern Italian cinematic gems that have brought me home. Quite literally.
I moved back to my birth country five years ago because its newest wave of movies and filmmakers made me once again proud of being Italian. And Zanasi’s film also features as Lucia one of the most exciting young actresses in indie cinema today, Alba Rohrwacher, whom we can definitely claim as Italian but who is so much bigger and better than that label alone. Her wit, the way she can take the most basic of characters and build around them grand nuances and subtle mannerisms make her so cool that she may as well read the phone book on the big screen. And I’ll pay to watch that.
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Lav Diaz at the press conference for 'Season of the Devil' held during the 68th Berlinale
Photo courtesy of the Berlinale
The Berlinale Diaries: Eric Khoo's 'Ramen Teh', Lav Diaz is my hero and the 'Pig' that's conquering Berlinale
When I sat with the maestro Lav Diaz for our interview for his Competition film 'Season of the Devil', he pointed to the film critics, the journalists who write about cinema, as an integral part of the filmmaking process. And I agree wholeheartedly with the genius that is Diaz, a man who, in this age of everything fast and immediate, still makes films that lull us into watching them for four and a half hours! He teaches us how to watch his cinema, and I believe as film writers, we hold a responsibility to teach audiences to find those films.
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PHOTO COURTESY OF ETON
A look from Eton’s Fall/Winter 2018-19 collection ‘Kyoto Anywhere’
The Pitti Uomo 93 Diaries: Eton’s Kyoto Anywhere, Concept Korea and Les Benjamins at the Pyramids
On my second full day of Pitti Uomo, I went on a journey eastward to Egypt, Korea and Japan, thanks to the vision and wit of four fashion brands.
I’ll start with Eton, because for me Pitti Uomo always begins with Eton. The Swedish shirt brand has become synonymous with fashion with a conscience, and a symbol of how great ethics and cool designs can make for a powerful, winning combination in today’s market. While some designers with attitudes, and their ungrateful PRs can create attention for almost anything for a season or two before disappearing into oblivion, these days it’s with principles and great artistic vision that fashion houses thrive, time and time again. The inclusive atmosphere I experienced at the Gucci Garden launch party here in Florence only confirmed my theory.
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COURTESY OF VENICE DAYS
A still from Shirin Neshat’s ‘Looking for Oum Kulthum’ featuring Yasmin Raeis
The Venice Film Festival Diaries: ‘Looking for Oum Kulthum’, ‘Woodshock’ and a ‘Coda’ That Isn’t the End
If you think that in order to feature strong women a film festival only has to pay attention to the male to female ratio of filmmakers in their Competition section, think again. At this year’s Venice Film Festival, powerful, interesting, revolutionary women roles, filmmakers and icons have been everywhere. You just have to know how to look. And maybe you won’t always find them in the director’s chair, which is alright by me. But in the case of the first two films I’ll talk about here, they happened to be both in front of and behind the camera.
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