Tuesday, December 27, 2016


Written & Directed by Tom Ford

Where & When: Sundance Sunset Cinema, West Hollywood, CA.  December 20, 2016  2:00 PM

When it was announced that Tom Ford, the renowned creator of sleek, colorful and extremely sexy clothing who first came to fame after reviving the Gucci brand in the '90's before later launching his own eponymous line, was directing a feature film, the news was met a little curiosity and a lot of skepticism. But that 2009 film, "A Single Man", based on the novel by Christopher Isherwood, received rapturous praise for it's polished look, skillful direction and remarkable performances, particularly from lead Colin Firth who went on to earn an Oscar nomination for Best Actor. This haunting film was one of my favorites that year and I couldn't wait to see what Mr Ford would do next.

It took some time because of the time-consuming demands of his day-job but Mr Ford has finally returned with his follow-up feature, "Nocturnal Animals". This stylish story-within-a-story takes us on a dark journey of a privileged yet dissatisfied woman whose life is disrupted by the arrival of a just completed novel written by a man from her past with it's disturbing contents rattling her in more ways than one. "Nocturnal Animals" is another visual stunner with plenty of thrilling twists and turns in addition to featuring some excellent work from all of the actors involved yet the emotional pulse of the film is far too icy and detached to fully draw you in.

Images of nude, obese women dancing provocatively opens the film, clearly designed to elicit shock and outrage to viewers. This turns out to be part of a successful art exhibit, curated by Susan Morrow (Amy Adams), a Los Angeles gallery owner. A striking woman of wealth and prestige, from her flaming red hair to severe make-up to her high-fashion clothing, she should be elated. But Susan appears troubled and unhappy. The relationship with her husband and business partner (Armie Hammer) has grown more strained and distant due to him constantly leaving town for work-related matters. Yet something even deeper is bothering her.

After receiving a manuscript from her former husband, Edward (Jake Gyllenhaal) with a note wanting her opinion of his new work, Susan is taken aback. This is because she hasn't spoken to him in almost twenty years despite many attempts to contact him. The book, called "Nocturnal Animals", is dedicated to Susan with the title sharing a nickname Edward had given her during their marriage.

As Susan begins to read, the story unfolds on screen. A family consisting of Tony Hastings (also played by Mr. Gyllenhaal), his wife Laura, (Isla Fisher) and India (Ellie Bamber) their teenage daughter travel down a long stretch of highway through West Texas. A car driving recklessly passes by with India flipping them the bird. The occupants of the vehicle want them to pull over but Tony refuses. A dangerous chase ensues until the Hastings are run off the road. The trio of foul, imposing men, with the leader appearing to be Ray, (played with searing menace by Aaron Taylor-Johnson) begin to harass and torment the family. Tony, a decent man paralyzed with fear and panic, watches helplessly as two of the men take his wife and child off in their car while he is dumped in the middle of nowhere by the other.

It should be of little surprise about the tragic outcome, leaving Tony racked with guilt and despair. Detective Andes (Michael Shannon) had been working on the case with no leads until a year later when a possible suspect is apprehended. Tony identifies him as one of the men involved and with the other killed during a robbery attempt, there's only Ray left to capture. It doesn't take long for an arrest but due to only circumstantial evidence, Ray is set free. Andes, soon to retire from the force, suggests they take justice in to their own hands.

Painful loss, deep regret and a hunger for revenge are a large part of the book. These feelings begin to trigger in Susan memories of her marriage to Edward and looks back at that time through a series of flashbacks. One key scene has Laura Linney making a brief appearance as Susan's mother. With a helmet of lacquered hair, a power suit and martini in hand, she warns her daughter not to marry Edward, feeling he's too weak to handle her needs. With a defiant desire to prove her wrong, Susan marries him. But her mother was correct and causes him unnecessary anguish and betrayal. By the time Susan finishes the book, she realizes she has become a literary inspiration.

Much like his work in fashion, Mr Ford has a strong, dramatic eye and a clear concept of how he wants his vision to come across. His influences lean more towards iconic auteurs like Hitchcock and Kubrick with their distinctive way of storytelling before filtering it through to create his own memorable imagery. Oscar nominated cinematographer Seamus McGarvey, who worked on “Atonement” and “We Need to Talk About Kevin”, helped create the different looks of each story with vividly rich color in the real world and a murky grime for the fictional story. Based on the novel, "Tony and Susan" by Austin Wright, Mr. Ford has given each story layered meanings yet neither narrative is effectively well-textured and the characters are far from complex.

"Nocturnal Animals" may not be as emotionally impactful as Mr. Ford's previous work in cinema but he still displays a vibrant dramatic flair and expert direction of his performers that makes this moody thriller a compelling view.

Tuesday, December 20, 2016


As several critic groups announce their picks for the best of the year, it appears that "Moonlight" and "Manchester By The Sea" continue to dominate the field in award recognition. These films have not only won top spots from varied critics organizations across the country for the performances and technical achievements but received nominations from the Screen Actors Guild Awards, Golden Globes and both were selected by the American Film Institute as one of the ten best films of the year.

I just realized that I have never mentioned the Golden Globes or their nominations in this blog. I guess because I don't fully take them seriously as honoring the best in cinema ever since giving Pia Zadora the prize for "New Star of the Year" back in 1981. This year their nominations managed to be inspired ("Best Actor" nominee, Colin Farrell for "The Lobster", "Best Actress", Hailee Steinfeld in “The Edge of Seventeen” and a "Best Director" nod for Tom Ford) and head-scratching (acting noms for Lily Collins, Jonah Hill and Ryan Reynolds for "Deadpool"?).

Here is a listing of winners and nominations:

2016 AFI Films of the Year:

"Hacksaw Ridge"
"Hell or High Water"
"La La Land"
"Manchester by the Sea"

2016 Chicago Film Critics Association Awards:

Best Picture: "Moonlight"
Best Director: Barry Jenkins, "Moonlight"
Best Original Screenplay: Kenneth Lonergan, "Manchester by the Sea"
Best Adapted Sceenplay: Seo Kyung-Chung & Chan-wook Park. "The Handmaiden"
Best Actor: Casey Affleck, "Manchester by the Sea"
Best Actress: Natalie Portman, "Jackie"
Best Supporting Actor: Mahershala Ali, "Moonlight"
Best Supporting Actress: Michelle Williams, "Manchester by the Sea"
Best Foreign Language Film: "The Handmaiden"
Best Documentary: "OJ: Made in America"
Best Animated Feature: "Kubo and the Two Strings"
Best Cinematography: Linus Sandgren, "La La Land"
Best Editing: Tom Cross, "La La Land"
Best Art Direction: Seong-hie Ryu, "The Handmaiden"
Best Original Score: Mica Levi, "Jackie"

2016 San Francisco Film Critics Circle Awards:

Best Picture: "Moonlight"
Best Director: Barry Jenkins, "Moonlight"
Best Original Screenplay (tie):Kenneth Lonergan, "Manchester by the Sea" & Barry Jenkins, "Moonlight"
Best Adapted Screenplay: Eric Heisserer, "Arrival"
Best Actor: Denzel Washington, "Fences"
Best Actress: Isabelle Huppert, "Elle"
Best Supporting Actor: Mahershala Ali, "Moonlight"
Best Supporting Actress: Viola Davis, "Fences"
Best Animated Feature: "The Red Turtle"
Best Foreign-Language Picture: "The Handmaiden"
Best Documentary: "I Am Not Your Negro"
Best Cinematography: James Laxton, "Moonlight"
Best Original Score: Mica Levi, "Jackie"
Best Film Editing (tie): Joe Walker, "Arrival" & Nat Sanders and Joi McMillon, "Moonlight"

2016 Boston Online Film Critics Association Awards:

Best Picture: "Moonlight"
Best Director: Damien Chazelle, "La La Land"
Best Screenplay: Kenneth Lonergan, "Manchester by the Sea"
Best Ensemble: "Moonlight"
Best Actor: Casey Affleck, "Manchester by the Sea"
Best Actress: Isabelle Huppert, "Elle"
Best Supporting Actor: Mahershala Ali, "Moonlight"
Best Supporting Actress: Michelle Williams, "Manchester by the Sea"
Best Foreign Language Film: "The Handmaiden"
Best Documentary: "Cameraperson"
Best Animated Film: "Kubo and the Two Strings"
Best Cinematography: Natasha Braier, "The Neon Demon"
Best Editing: Nels Bangerter, "Cameraperson"
Best Original Score: Mica Levi, "Jackie"

2016 SAG Awards Nominations (film):

Cast in a Motion Picture:

“Captain Fantastic”
“Hidden Figures”
“Manchester by the Sea”

Female Actor in a Leading Role:

Amy Adams, “Arrival”
Emily Blunt, “The Girl on the Train”
Natalie Portman, “Jackie”
Emma Stone, “La La Land”
Meryl Streep, “Florence Foster Jenkins”

Male Actor in a Leading Role:

Casey Affleck, “Manchester by the Sea”
Andrew Garfield, “Hacksaw Ridge”
Ryan Gosling, “La La Land”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”

Female Actor in a Supporting Role:

Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures”
Michelle Williams, “Manchester by the Sea”

Male Actor in a Supporting Role:

Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Hugh Grant, “Florence Foster Jenkins”
Lucas Hedges, “Manchester by the Sea”
Dev Patel, “Lion”

Outstanding Stunt Ensemble in a Movie:

“Captain America: Civil War”
“Dr. Strange”
“Hacksaw Ridge”
“Jason Bourne”
“Nocturnal Animals”

2016 Golden Globe Award Nominations (Film):

Best Motion Picture (Drama):

“Hacksaw Ridge”
“Hell or High Water”
“Manchester by the Sea”

Best Motion Picture (Musical or Comedy):

“20th Century Women”
“La La Land”
“Florence Foster Jenkins”
“Sing Street”

Best Performance by an Actor in a Motion Picture (Drama):

Casey Affleck, “Manchester by the Sea”
Joel Edgerton, “Loving”
Andrew Garfield, “Hacksaw Ridge”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”

Best Performance by an Actress in a Motion Picture (Drama):

Amy Adams, “Arrival”
Jessica Chastain, “Miss Sloane”
Isabelle Huppert, “Elle”
Ruth Negga, “Loving”
Natalie Portman, “Jackie”

Best Performance by an Actor in a Motion Picture (Musical or Comedy):

Colin Farrell, “The Lobster”
Ryan Gosling, “La La Land”
Hugh Grant, “Florence Foster Jenkins”
Jonah Hill, “War Dogs”
Ryan Reynolds, “Deadpool”

Best Performance by an Actress in a Motion Picture (Musical or Comedy):

Annette Bening, “20th Century Women”
Lily Collins, “Rules Don’t Apply”
Hailee Steinfeld, “The Edge of Seventeen”
Emma Stone, “La La Land”
Meryl Streep, “Florence Foster Jenkins”

Best Performance by an Actor in a Supporting Role in a Motion Picture:

Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Simon Helberg, “Florence Foster Jenkins”
Dev Patel, “Lion”
Aaron Taylor-Johnson, “Nocturnal Animals”

Best Performance by an Actress in a Supporting Role in a Motion Picture:

Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures”
Michelle Williams, “Manchester by the Sea”

Best Director (Motion Picture):

Damien Chazelle, “La La Land”
Tom Ford, “Nocturnal Animals”
Mel Gibson, “Hacksaw Ridge”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”

Best Screenplay:

Damien Chazelle, “La La Land”
Tom Ford, “Nocturnal Animals”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”
Taylor Sheridan, “Hell or High Water”

Best Motion Picture (Foreign Language):

“Divines” (France)
“Elle” (France)
“Neruda” (Chile)
“The Salesman” (Iran/France)
“Toni Erdmann” (Germany)

Best Motion Picture (Animated):

“Kubo and the Two Strings”
“My Life as a Zucchini”

Best Original Song (Motion Picture):

“Can’t Stop the Feeling” – “Trolls”
“City of Stars” – “La La Land”
“Faith” – “Sing”
“Gold” – “Gold”
“How Far I’ll Go” – “Moana”

Best Original Score (Motion Picture):

Nicholas Britell, “Moonlight”
Justin Hurwitz, “La La Land”
Johann Johannsson, “Arrival”
Dustin O’Halloran, Hauschka, “Lion”
Hans Zimmer, Pharrell Williams and Benjamin Wallfisch, “Hidden Figures”

Sunday, December 18, 2016


For this year's New York Times magazine Great Performances series, it turned to classic film noir for inspiration to photograph the sixteen outstanding actors selected.  The performers are Emma Stone ("La La Land"), Viola Davis and Denzel Washington ("Fences"), Don Cheadle ("Miles Ahead"), Taraji P. Henson ("Hidden Figures"), Royalty Hightower ("The Fits"), Natalie Portman ("Jackie"), Krisha Fairchild ("Krisha"), Alex R. Hibbert, Ashton Sanders and Trevante Rhodes ("Moonlight"),  Ruth Negga ("Loving"), Isabelle Huppert ("Elle", "Things To Come"), Sasha Lane ("American Honey"), Casey Affleck ("Manchester By the Sea") and Kristen Stewart ("Certain Women", "Cafe Society").

Photographer Jack Davison took some amazing period-like pictures while Gina Prince-Bythewood ("Love & Basketball") directed nine black & white shorts using the actors in virtual reality which enables the viewer to actually feel like they're in the scene. Also Times film critics, A.O. Scott and Wesley Morris discuss the year in cinema, highlighting the exceptional performances from this distinguished group.

Click below to view the article:

Great Performances: L.A. Noir

Thursday, December 15, 2016


The female-buddy thriller, "Thelma & Louise",  Rob Reiner's comic fantasy,  "The Princess Bride",  Hitchcock's horror masterpiece, "The Birds", "Steamboat Bill, Jr.", the Buster Keaton silent, the '80's teen classic, "The Breakfast Club", Frank Capra's 1941 screwball comedy, "Ball of Fire", Barbra Streisand's film debut in the musical, "Funny Girl" and the animated films, "The Lion King" and "Who Framed Roger Rabbit" are just a few of the twenty-five films inducted in to this year's National Film Registry.  These widely varied films were selected because of their cultural, historic or aesthetic importance and to showcase and preserve the diversity of the American film heritage.

Here is the complete list of the films selected to the 2016 National Film Registry. The films chosen must be at least ten years old and this now brings the total to 700 films in the registry:

"The Atomic Cafe" (1982)

"Ball of Fire" (1941)

"The Beau Brummels" (1928)

"The Birds" (1963)

"Blackboard Jungle" (1955)

"The Breakfast Club" (1982)

"The Decline of Western Civilization " (1981)

"East of Eden" (1955)

"Funny Girl" (1968)

"Life of an American Fireman" (1903)

"The Lion King" (1994)

"Lost Horizon" (1937)

"The Musketeers of a Pig Alley" (1912)

"Paris Is Burning" (1990)

"Point Blank" (1967)

"The Princess Bride" (1987)

"Putney Swope" (1969)

"Rushmore" (1998)

"Solomon Sir Jones" films (1924-28)

"Steamboat Bill, Jr." (1928)

"Suzanne, Suzanne" (1982)

"Thelma & Louise" (1991)

"20,000 Leagues Under the Sea" (1916)

"TA Walk in The Sun" (1945)

"Who Framed Roger Rabbit" (1988)

Sunday, December 11, 2016


Although she may be an unfamiliar name to the average American film goer, Isabelle Huppert is hardly a novice to cinema. This French legend has been making films since 1971 and is said to have appeared in at least one hundred since then.

I remember first encountering Ms Huppert in one of her infrequent English-language ventures back in 1987 with an early Curtis Hanson film, "The Bedroom Window", a psychological crime thriller which she co-starred with the odd line-up of Steve Guttenberg and Elizabeth McGovern. While it was fairly standard but entertaining, I do remember being dazzled by this exotic actress, clearly the most interesting aspect of this film as she stood out with her unusually still and definitively European performance. I have been a fan ever since and saw whatever of her native-language films that made it to the U.S. Some of my favorites include Claude Chabrol's "Story of Women" and "Madame Bovary", "8 Women", the musical from Francois Ozon, "White Material" by Claire Denis and one of her more daring roles in the erotic thriller "The Piano Teacher".

There has been a lot of attention buzzing around this iconic actress this year due to her amazing performance in Paul Verhoeven's comeback feature "Elle", another sexually-charged yet disturbing drama as well as for her appearance in the latest from Mia Hansen-Love, "Things To Come (L'Avenir").

The New York Times has done a rare, in-depth profile of the private Huppert, covering her life and career while also providing a proper introduction to America as we will be seeing her quite frequently during this award season. Oh, and the correct pronunciation of her last name is hoo-pear.

Click below to read the article:

The Enduring Allure of Isabelle Huppert

Friday, December 9, 2016

ELLE (2016)

Written by David Birke

Directed by Paul Verhoeven

Where & When: Arclight Cinemas, Hollywood, CA. November 14, 2016  7:00 PM

One thing you can say about Paul Verhoeven is that he is not subtle. The Dutch film maker has earned a reputation for creating cinema that is proudly audacious, extreme and provocative. And his films, particularly his Hollywood work, such as "Robocop", "Basic Instinct", and "Showgirls", are filled with a shocking amount of graphic violence and sexuality, particularly at their time of release, that were met with an equal amount of praise and revilement.

After taking a lengthy hiatus from making films, he had originally developed "Elle" as a Hollywood film and had approached several top American actresses for the lead role. But they had all turned him down due to the disturbing nature of the project. So Verhoeven changed the setting to France, took a crash course in French and brought Isabelle Huppert, a legendary performer known for being quite fearless, on board. This explosive duo manages to turn this story of a woman who is savagely violated, physically and emotionally, and enacts revenge in ways that are perplexing and unpredictable in to one of the most unsettling thrillers of the year.

The film opens with the horrific aftermath of a sexual assault by a masked assailant, with him leaving his victim, Michèle Leblanc (Huppert) badly bruised and bleeding on the floor. But what is most shocking is her reaction after this traumatizing event. She calmly picks herself up, cleans up the broken dishes, takes a long bath and orders a pizza, barely acknowledging to herself what has just happened nor making any attempt to notify the police. The next day she carries on, displaying no sign that something terrible occurred, as the head of a successful video game company. As a tough, no-nonsense female in a male dominated industry, Michèle receives either bitter resentment or lustful infatuation from her mostly male employees.

Michèle has had a long history of troubled relationships with men beginning with her father. He's serving a life prison sentence for a horrific crime, a scandal of which she was dragged in to as a young teen, leaving her ostracized and distrustful of the police. While having a somewhat civil relationship with her ex-husband (Charles Berling), she's having difficulties with their overwrought son (Jonas Bloquet) largely due to his gold-digging, pregnant girlfriend (Alice Isaaz). Michèle also has been engaged in an affair with the husband (Christian Berkel) of her close friend and business colleague, Anna (Anne Consigny). But she now wants this liaison to end because she has become infatuated with Patrick (Laurent Lafitte), her married, next-door neighbor.

After receiving an e-mail taunting her about the attack and promising a return visit, Michèle decides to begin her own investigation and engage in self-defense. She purchases pepper-spray, learns to fire a gun and has the computers of all of her employees searched. Despite her best efforts, Michèle is assaulted again but this time she's ready to fight back. She wounds her attacker, unmasking him and discovering she knows the man. Yet her response is not at all what would be expected. Michèle calmly continues her communication with this man, engaging in behavior that makes her appear oddly charmed and intrigued.

If the intention with "Elle" was to provoke, offend, confuse and titillate, then Verhoeven has succeeded like a champion. But the director is also a master at presenting social satire and sexual politics in a way that's cogitative, stylish and with a wicked sense of humor. With an effective script by David Birke, which is based on the Philippe Djian novel, "No. . .", the film takes us on a outlandishly perverse journey of a woman who finally finds a way to liberate herself from being a victim and takes back control of her life.

Not well-known here stateside, Ms Huppert is one of the most honored and acclaimed actresses in the world. Similarly to Meryl Streep, she is the most nominated actress for the César Award, the French equivalent of the Oscar, with 15 nominations. And while our Ms Streep is respected for her chameleon-like abilities as a performer, Ms Huppert is lauded for her willingness to explore dark, emotionally complex characters and her work in "Elle" certainly fits that bill. Her character is hardly likable. Michèle can be brutally blunt, dismissive and unnecessarily cruel to friends and family alike. But the actress is quietly hypnotic, keeping you fascinated by her every move. Ms Huppert's powerful presence holds the film in place, making every seemingly crazy and preposterous reaction somehow plausible.

It's clear that some will see "Elle" as an authoritative female empowerment account while others will look at this as no more than an overheated male fantasy. Regardless, this admirably difficult film remains thoroughly fascinating, filled with heightened emotions, twisted sexual games, black comedy and features one of the most spectacularly brave, astonishing and demented performances this year by Ms Huppert.

Monday, December 5, 2016


Critics on both coasts have just weighed in on their picks for the best films of 2016 and it should hardly be unexpected that there were different opinions. The New York Film Critics Circle proclaimed on December 1st that Daniel Chazelle's modern musical, "La La Land" was their top choice while "Moonlight", Barry Jenkins's moving drama, was selected yesterday as the best by the Los Angeles Film Critics Association. There were certainly areas of agreement with both selecting Mr. Jenkins as Best Director, the Best Actress prize to Isabelle Huppert for her mesmerizing work in "Elle" and two more "Moonlight" wins for Best Cinematography and Best Supporting Actor to Mahershala Ali.

And both groups offered a few surprises. The most notable with the New York critics was the naming of "La La Land" for Best Film as it received no other awards from them. While L.A. offered quite a few bold picks like awarding Best Actor to Adam Driver for his amazing turn in Jim Jarmusch's latest, "Paterson", Lily Gladstone for her graceful supporting performance in "Certain Women", the wonderfully weird script of "The Lobster" took Best Screenplay and "I Am Not Your Negro", the outstanding documentary on writer James Baldwin, was named the best.

2016 New York Film Critics Circle Award Winners:

Best Film: "La La Land"
Best Director: Barry Jenkins, "Moonlight"
Best Screenplay: Kenneth Lonergan, "Manchester by the Sea"
Best Actor: Casey Affleck, "Manchester by the Sea"
Best Actress: Isabelle Huppert, "Elle"
Best Supporting Actor: Mahershala Ali, "Moonlight"
Best Supporting Actress: Michelle Williams, "Manchester by the Sea" and "Certain Women"
Best Animated Film: "Zootopia"
Best Cinematography: James Laxton, "Moonlight"
Best First Film: (tie) "The Edge of Seventeen" and "Krisha"
Best Foreign Film: "Toni Erdmann" (Germany)
Best Non-Fiction Film (documentary): "O.J.: Made in America"

2016 Los Angeles Film Critics Association Award Winners:

Best Picture: "Moonlight"
Best Director: Barry Jenkins, "Moonlight"
Best Screenplay: Efthymis Filippou and Yorgos Lanthimos, "The Lobster"
Best Actor: Adam Driver, "Paterson"
Best Actress: Isabelle Huppert, "Elle" and "Things To Come"
Best Supporting Actor: Mahershala Ali, "Moonlight"
Best Supporting Actress: Lily Gladstone, "Certain Women"
Best Animation: "Your Name"
Best Foreign Language Film: "The Handmaiden"
Best Documentary: "I Am Not Your Negro"
Best Cinematography: James Laxton, "Moonlight"
Best Editing: Bret Granato, Maya Mumma and Ben Sozanski, "OJ: Made in America"
Best Production Design: Ryu Seong-hee, "The Handmaiden"
Best Music Score: Justin Hurwitz, "La La Land"

Sunday, December 4, 2016


    Barry Jenkins

    David Chazelle

An auteur is a French term for a director whose individual style and complete control over all elements of production give a film its personal and unique stamp. This year seems to have a high number of these film makers and their dazzling work is receiving a lot of attention and acclaim. The New York Times has selected seven writer/directors to profile and they are Barry Jenkins ("Moonlight"), David Chazelle ("La La Land"), Mike Mills ("20th Century Women"), Andrea Arnold ("American Honey"), Jeff Nichols ("Loving"), Kenneth Lonergan ("Manchester By The Sea") and Tom Ford ("Nocturnal Animals") and features video interviews with some of the film makers who discuss pivotal scenes in their films.

Click below to read the article:

The Auteurs Changing Cinema

Thursday, December 1, 2016


The idiosyncratic film maker, Wes Anderson has teamed-up with the fast-fashion company, H&M to make "Come Together", a short film (or what some might refer to as a commercial) for the 2016 Christmas collection. Oscar-winner, Adrien Brody is featured prominently in the whimsical short and is sure to help get people in the shopping spirit and perhaps bring some holiday cheer.