lincolncenter: Lincoln Center’s AtriumFlix series, a monthly FREE cinema showcase with filmmaker discussion and screening, continues tonight. April’s event begins with an interview of prolific filmmaker Mira Nair (Academy Award and Golden Globe Nominations) conducted by Elvis Mitchell, the curator for the Film Independent/Los Angeles County Museum of Art, followed by a showing of Nair’s seminal film Mississippi Masala.  Staring a young Denzel Washington, this exquisite film tells of a third-generation Ugandan Indian family – Jay and Kinnu - who are expelled from the country in 1972 and then escape to Mississippi. In 1990 Mina, their daughter, falls in love with Demetrius (Washington), a local carpet cleaner and their forbidden and sensuous romance begins. The film highlights racial and class tensions in the supposedly “New South.” Join us at 7:00pm at the David Rubenstein Atrium. Mira Nair fan 4 LYF (is that how the kids say it?).  I say that, but I haven’t seen her Earhart film because my dislike of Hillary Swank is stronger than my desire to see every film Nair makes. Still, Mississippi Masala is pretty wonderful. Denzel is so cute in it!
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lincolncenter:

Lincoln Center’s AtriumFlix series, a monthly FREE cinema showcase with filmmaker discussion and screening, continues tonight.

April’s event begins with an interview of prolific filmmaker Mira Nair (Academy Award and Golden Globe Nominations) conducted by Elvis Mitchell, the curator for the Film Independent/Los Angeles County Museum of Art, followed by a showing of Nair’s seminal film Mississippi Masala. 

Staring a young Denzel Washington, this exquisite film tells of a third-generation Ugandan Indian family – Jay and Kinnu - who are expelled from the country in 1972 and then escape to Mississippi. In 1990 Mina, their daughter, falls in love with Demetrius (Washington), a local carpet cleaner and their forbidden and sensuous romance begins. The film highlights racial and class tensions in the supposedly “New South.”
Join us at 7:00pm at the David Rubenstein Atrium.

Mira Nair fan 4 LYF (is that how the kids say it?).  I say that, but I haven’t seen her Earhart film because my dislike of Hillary Swank is stronger than my desire to see every film Nair makes.

Still, Mississippi Masala is pretty wonderful. Denzel is so cute in it!

film-dot-com: WE NEED TO TALK ABOUT HOW WE TALK ABOUT FEMALE DIRECTORS Anyone passingly interested in this sort of industry gossip will have no doubt heard by now that, on Monday morning in Santa Fe, director Lynne Ramsay (“We Need to Talk About Kevin”) declined to appear for the first day of production on her new film “Jane Got A Gun”, allegedly abandoning the 25 million dollar project and its 150 eager crew members in the process. This decidedly minor news item, though conspicuously light on both detail and corroboration, has already proven compelling to those most predisposed to casual indignation, circulating widely after Deadline broke the exclusive and commented upon extensively and ceaselessly by the web’s vocal peanut gallery since. A common sentiment has recurred on both Twitter and the comments sections of the articles reporting the story, seemingly gaining in animosity with each passing day: Lynne Ramsay, by virtue of being a woman, has somehow made things harder for other female directors by her sudden—and as of yet unexplained—absenteeism, ruining not only her own chances of working in this town again but those who incidentally share her gender as well. The rhetoric is weirdly uniform in most cases: Ramsay is “hysterical”, “emotional”, “ungrateful”, and has “set female directors back 20 years”. One particularly noxious comment even describes Ramsay as “clearly P.M.S.ing”, written by somebody who is clearly an assh**e. Also check out: Director a No-Show on Day 1 of Natalie Portman Western That wide swaths of the (overwhelmingly male) film-nerd public would flock to social media to express grossly misogynistic thoughts after the slightest opportunity presents itself is perhaps not so surprising. But what is surprising—and what’s much more disconcerting, given the circumstances—is how deeply and needlessly gendered the response to this story has been from professional journalists and news organizations. Leaving aside the somewhat unexpected shift in default editorial sympathies from the artist to her producer, the articles reporting this story have continued to lean on language tailored, at least implicitly, for gender-based condescension. THE “DRAMA” CONTINUES ON FILM.COM
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film-dot-com:

WE NEED TO TALK ABOUT HOW WE TALK ABOUT FEMALE DIRECTORS

Anyone passingly interested in this sort of industry gossip will have no doubt heard by now that, on Monday morning in Santa Fe, director Lynne Ramsay (“We Need to Talk About Kevin”) declined to appear for the first day of production on her new film “Jane Got A Gun”, allegedly abandoning the 25 million dollar project and its 150 eager crew members in the process. This decidedly minor news item, though conspicuously light on both detail and corroboration, has already proven compelling to those most predisposed to casual indignation, circulating widely after Deadline broke the exclusive and commented upon extensively and ceaselessly by the web’s vocal peanut gallery since.

A common sentiment has recurred on both Twitter and the comments sections of the articles reporting the story, seemingly gaining in animosity with each passing day: Lynne Ramsay, by virtue of being a woman, has somehow made things harder for other female directors by her sudden—and as of yet unexplained—absenteeism, ruining not only her own chances of working in this town again but those who incidentally share her gender as well. The rhetoric is weirdly uniform in most cases: Ramsay is “hysterical”, “emotional”, “ungrateful”, and has “set female directors back 20 years”. One particularly noxious comment even describes Ramsay as “clearly P.M.S.ing”, written by somebody who is clearly an assh**e.

Also check out: Director a No-Show on Day 1 of Natalie Portman Western

That wide swaths of the (overwhelmingly male) film-nerd public would flock to social media to express grossly misogynistic thoughts after the slightest opportunity presents itself is perhaps not so surprising. But what is surprising—and what’s much more disconcerting, given the circumstances—is how deeply and needlessly gendered the response to this story has been from professional journalists and news organizations. Leaving aside the somewhat unexpected shift in default editorial sympathies from the artist to her producer, the articles reporting this story have continued to lean on language tailored, at least implicitly, for gender-based condescension.

THE “DRAMA” CONTINUES ON FILM.COM

film-dot-com: Ang Lee Double-Fists an Oscar and an In-N-Out Burger. the man’s a hero. I know this isn’t technically a cause and reaction thing, but I watched Sense and Sensibility yesterday afternoon while I cleaned my apartment and then Ang Lee won the best director Oscar that night. That made me happy.
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film-dot-com:

Ang Lee Double-Fists an Oscar and an In-N-Out Burger.

the man’s a hero.

I know this isn’t technically a cause and reaction thing, but I watched Sense and Sensibility yesterday afternoon while I cleaned my apartment and then Ang Lee won the best director Oscar that night. That made me happy.

ocelott: Film still from Tokyo Story (1953), directed by Yasujiro Ozu  Look at the composition of this shot! I mean, seriously. Tokyo Story was one of the three Criterion films I watched on Hulu over the long weekend.  Just in the past couple of months I have been watching Ozu’s films, but this is the first one of the three I’ve seen that made me cry.
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ocelott:

Film still from Tokyo Story (1953), directed by Yasujiro Ozu 

Look at the composition of this shot! I mean, seriously. Tokyo Story was one of the three Criterion films I watched on Hulu over the long weekend.  Just in the past couple of months I have been watching Ozu’s films, but this is the first one of the three I’ve seen that made me cry.

cinemagreats:

Abbas Kiarostami

So far I’ve only seen two of these (Certified Copy & Shirin), but I’m hoping to see more…

thesmithian: The movie was shot in Sri Lanka, somewhat secretly, said Deepa Mehta, who has been the target of protests by Hindu fundamentalists. “[Rushdie’s] got the Muslims, and I’ve got the Hindus,” she [said] two years ago. Production was briefly interrupted because the Iranians protested, but was allowed to go ahead after the intervention of the Sri Lankan president. The filmmakers changed the title to “Winds of Change” for the remainder of the shoot. more, about the premiere in India. I didn’t even know Deepa Mehta was working on a new film!
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thesmithian:

The movie was shot in Sri Lanka, somewhat secretly, said Deepa Mehta, who has been the target of protests by Hindu fundamentalists. “[Rushdie’s] got the Muslims, and I’ve got the Hindus,” she [said] two years ago. Production was briefly interrupted because the Iranians protested, but was allowed to go ahead after the intervention of the Sri Lankan president. The filmmakers changed the title to “Winds of Change” for the remainder of the shoot.

more, about the premiere in India.

I didn’t even know Deepa Mehta was working on a new film!

(via racialicious)

Source: thesmithian