On one of the English language news channels this morning, they were talking about this new film ‘Toilet: Ek Prem Katha’ which is making a big splash — or shall I say “flush” — in India at the moment. It’s a love story shot around the absolute, undeniably dire need for better plumbing facilities in the Desh. “This is one instance where perhaps a movie has been able to change policies,” said one anchor. Duh, I thought. Cinema has been changing the way we think, act and feel since its inception. It’s just that we don’t often think about it, because the kind of films which usually change us, for better or for worse, are those that entertain us without apparently teaching us anything. But the power of their subliminal messages is there, always, on the big screen, your TV and even your mobile screen.
Read MoreThe 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.
Read MoreThe Venice Film Festival Diaries: ‘Suburra’ from Netflix, James Toback’s Latest Work and Why, Oh Why George Clooney?
It is a thin line that filmmakers walk every time they make a film, that invisible border which separates cinema the audience wants to watch from the work they really wish to make. Sometimes, as in the latest film from American auteur James Toback premiering at the Venice Film Festival, they balance perfectly on that tightrope and create a watchable masterpiece like ‘The Private Life of a Modern Woman’ which is also critically acclaimed and emanates important subliminal messages for days after viewing it. Other times, for example with George Clooney’s ‘Suburbicon’ well, they miss, tumbling onto the safety net of their celebrity-dom which allows fans of their work to oh and ah, regardless of how valid their product really is.
Read MoreThe Venice Film Festival Diaries: ‘The Shape of Water’, the Wonder of Netflix and Lucrecia Martel’s ‘Zama’
While my first 36 hours at the Venice Film Festival were filled with impossible sunshine and balmy heat, with the morning’s thunderstorms came both barometric relief but also some much needed introspection. I found myself in a deep, thoughtful place thanks to a beautiful meeting with Argentinian filmmaker Lucrecia Martel and a morning screening of Netflix’s ‘Our Souls at Night’.
Read MoreThe Venice Film Festival Diaries: Kicking Off Big with ‘Downsizing’ and ‘Nico 1988’
Just when I think I have the Venice Film Festival figured out, La Biennale goes and changes the game on us! Instead of a grand spectacle like ‘Birdman’, ‘Everest’ or ‘La La Land’ — the three films that opened the past editions of the oldest film festival in the world, for this year’s 74th edition Artistic Director Alberto Barbera did a bit of ‘Downsizing’ — Alexander Payne’s ‘Downsizing’ that is, starring Matt Damon.
Read MoreThe Locarno Film Festival Diaries: The Prizes, the Takeaways and ‘Till We Meet Again, Locarno
A film festival is of course only as great as the sum of its parts, and one very important, visual and ever-present part of the well-loved and hyper-attended festival that is Locarno is represented in the figure of its Artistic Director, Carlo Chatrian. A film journalist, writer, film programmer and now as the visionary head of the festival, Chatrian has been a part of Locarno Festival since 2002, inheriting his latest role in 2013. Those attending, as well as those following the event on social media and through their informative, interactive website, will notice his infectious enthusiasm. When I caught up with him on the next to last day of the festival, after he greeted the delegations of the day’s films during lunch — an activity he calls “a pleasure, after spending so much time in the dark watching films, to see these films come to light, and meet those who have done that work” — and then did a lively TV interview, he still had energy to spare. I, on the other hand, was exhausted by then.
Read MoreThe Locarno Film Festival Diaries: ‘The Family’, Struggles of ‘The Poetess’ and ‘A Letter to the President’
Away from the main competition films featured in the Locarno Film Festival are two important sidebar sections which are filled with works of art worthy of the numerous audiences who attend their screenings. La Semaine de la Critique, Critics’ Week, and the Open Doors programs offer each and separately a fresh insight into modern groundbreaking filmmakers who will be the future maestros of our times. With Open Doors that even goes beyond the films we are watching on the big screen now, but bear with me before I get to that.
Read MoreThe Locarno Film Festival Diaries: ‘Gemini’, the Hotel Belvedere and a Movie That Shall Remain Nameless
My third day at the Locarno Film Festival started with the mind-blowing, wonderful directorial debut by actor John Carroll Lynch, which made me feel ‘Lucky’ all day long. It’s that good and if Harry Dean Stanton doesn’t get an Oscar nomination for playing the title character, I’ll go on a hunger strike — albeit one where I exclusively drink milk and diner coffee just like Lucky. If you haven’t kept up with the Diaries, you can read my thoughts on the film here.
The day went from great to better when I got to interview filmmaker Nadir Moknèche and his lead actor Tewfik Jallab about their film ‘Lola Pater’ on the patio of the Hotel Belvedere — a stylish place overlooking the Old Town that required a brisk walk up a steep hill in the midday heat and humidity to access. After the initial huffing and puffing, I realized that everything which goes up must come down, and the walk back into town after the inspiring conversations with two men who simply make the world better by being in it was soul soothing. I loved being an invisible witness to Locarno daily life, the man who watered his garden unaware of my presence to the left, the band rehearsing at a club a bit further down the hill on the right. There is a wonderful human aspect to the festival and that walk back into town made me reconcile with the world, for a few precious moments.
Read MoreThe Locarno Film Festival Diaries: Feeling ‘Lucky’, Dame Fanny Ardant and a Cool “Chap Flick”
Locarno is a really pleasant surprise. While Cannes may be the glitziest, Venice the oldest and Berlinale the most packed with titles, the Locarno Film Festival is a rockstar among film fests. Starting from its frontman, Artistic Director Carlo Chatrian, to the stars attending and what they are wearing, from the films shown, to how those in the media can comfortably attend mostly everything on their wish lists, Locarno stands out as the hip, cool and happening event.
Read MoreThe Locarno Film Festival Diaries: ‘Tomorrow and Thereafter’ and the Elusive Adult Fairy Tale
The city of Locarno, located on the Lago Maggiore, is reached by crossing a tunnel through a mountain that felt like it was a dozen kilometers long. It’s moments like those, in the darkness and echo of an eerie place deep into the core of a solid rock formation that I feel smallest on this earth. But also in awe of the grandness of my fellow humans, who could envision such a project before its inception and managed to dig a passageway where it must have seemed impossible. Perhaps the perfect example that even a journey of a thousand miles begins with one, single step.
Read MoreThe Pitti Uomo 92 Diaries: “Boom, Pitti Blooms” Comes to an End
As the fashion tribe is getting ready to leave Florence for Milan — Pitti Uomo for Milano Moda Uomo — amidst a 24-hour transportation strike throughout Italy, I reflect back on the great things I’ve seen in the last 36 hours. While this year’s Pitti Uomo has been truly fantastic and full of personal highlights, the last day also managed to be pretty mind blowing.
Read MoreThe Pitti Uomo 92 Diaries: Federico Curradi’s Angelic Rockstar Cool Look
In the biography for Florentine-born designer Federico Curradi, his extensive experience at the helm of Ermanno Scervino, as head of menswear for Roberto Cavalli. as creative director for menswear at Iceberg and various consultancy jobs including one at Dunhill are collectively described as his “unique baggage of experiences”. I love to think of life as a journey and nowhere in Florence this year — where I find myself for the Pitti UomoSpring/Summer 2018 collections — was that concept more apparent than in Curradi’s line.
Read MoreThe Pitti Uomo 92 Diaries: Why #iamHUGO This Year in Florence
It’s interesting how different people can view a space in different ways. I mean, this time last year at Pitti Uomo we were watching the Gosha Rubchinskiy show at the Manifattura Tabacchi — a Fascist era tobacco factory near the racetrack in Florence. Within that setting, the Russian designer presented a daytime vision of boys framed by the rundown buildings of the abandoned manufacturing plant. The look was very Pasolini, both in the style of the clothes and the spare feel of the surroundings.
Fast forward a year, almost to the date, and I found myself once again within the same tobacco factory grounds, this time at night, and for the HUGO show. But even if the address was the same, the venue had been transformed into a hauntingly theatrical setting, a place alit with fire circles burning, lanterns hanging from a tall tree and smoke spewing out of broken windows, at uneven intervals. I expected Tina Turner in her ‘Mad Max’ costume to peek out of one of the red lit windows at any time.
Read MoreThe Pitti Uomo 92 Diaries: Christian Louboutin Brings Sport and Glamour to Florence
“Please excuse me if I will speak in English but my Italian is very tiny.” So shoe designer extraordinaire Christian Louboutin kicked off the Bike Polo tournament named after him in Florence. From early morning on Tuesday, June 13th, eight teams of three players from around the world battled for the win in the Piazza S. Maria Novella, in front of an iconic Florentine church.
Read MoreThe Pitti Uomo 92 Diaries: Olivier Saillard Brings Fashion Magic to Florence
“Presented flat, on a hanger or on an artificial bust made of wood or wicker, the garment is silenced,” but also an orphan, according to the Director of the Paris fashion museum Palais Galliera, Olivier Saillard.
Read MoreThe Cannes Diaries: Agnès Varda & JR, Abel Ferrara and His Musicians and ‘Golden Years’
There have been many emotional moments for me at this year’s Festival de Cannes, like hearing Dustin Hoffman talk intimately about the death of his mother in law during a press junket, Thierry Frémaux giving his speech from the stage of the Sale Debussy during the evening in honor of French maestro André Téchiné, while pointing out of the legendary actresses and actors the filmmaker has worked with in his lengthy career, and catching up with favorite filmmaker Amos Gitai about his vision for peace in Israel.
Read MoreThe Cannes Diaries: NYC Stories, Recognizing ‘Tehran Taboo’, and a Mistreated Beauty
Every day I’m in Cannes for the Festival I deal with an internal struggle that makes existentialist wonderings seem like a trip to the ice cream shop. Should I watch films until I drop, or spend more time at the various cocktail parties that dot the Croisette every late afternoon? Is it OK to view a film on a link while sitting at my computer, or should I make sure I get to experience each and every oeuvre on the big screen, as god intended and Cannes artistic director Thierry Frémaux insists upon? Am I allowed to choose between Jake Gyllenhaal, Tilda Swinton, Emma Thompson, Dustin Hoffman, Noah Baumbach or a Nespresso? Attend a dressed-down press screening or get dolled up for the black tie gala? Oh, the choices! It’s times like these I wish I could be cloned.
Read MoreThe Cannes Diaries: A Cowboy, the Courage to Dream Peace and a Fairy Tale
Thierry Frémaux is a cinema potentate. And that’s a great thing!
While most people at the top usually usurp their power for personal gain, the director of the Festival de Cannes uses his inimitable influence for the good of cinema. It’s a vision which may eventually — if filmmakers have their way — change the world. Thanks to ones like Amos Gitai, Chloé Zhao and Bong Joon-ho to cite a few whose latest oeuvres I’ve watched these past 24 hours — change the world for the better.
On a personal note, watching Frémaux’s elegant and welcoming presence at the top of the red carpet staircase before each of the official screenings has been a breath of style air, in a world that’s increasingly forgetting the power of modesty and class.
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