You’re Invited to Muriel’s Wedding (1994)

MURIEL'S WEDDING (1994)

To view Muriel’s Wedding click here.

Last year, I took a look at the enduring (and sometimes unexpected) impact the music of ABBA, the wildly adored Swedish pop group, has had on the world of cinema. One of the key titles in that study was Muriel’s Wedding (1994), an Australian films from the Miramax-led art house wave that hit theaters during the grunge years. Now that you lucky dogs can watch it right here on Filmstruck as part of a “Starring Toni Collette” two-fer with another Miramax title, Cosi (1996), what better time could there be to take a closer look? [...MORE]

Treasures Left Behind

THE GLEANERS AND I, (aka LES GLANEURS ET LA GLANEUSE), director Agnes Varda, 2000. ©Zeitgeist Films/

As of late a lot of my friends are purging themselves of records, books, movies and more. I’ve been the happy recipient of these spoils and, as best I can, I have been trying to give these items a good home. Something in this act reminds me of The Gleaners and I (2000) – a documentary by Agnès Varda about people who make their living sifting through that which has been discarded by others. Varda, who made her first film at the age of 26 (La Pointe Courte, 1955) and whose work was essential to the French New Wave, was the first woman to receive an honorary Palme d’or two years ago. Her work is infused with a deep intellect that is kind, ruminative and open to experimentation.

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Creative Collaboration: Jane B. par Agnès V. (1988)

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When Jane Birkin (Blow-Up [1966], Wonderwall [1968], La Piscine [1968], Don Juan (or If Don Juan Were a Woman) [1973], Je t’aime moi non plus [1976], Death on the Nile [1978], Evil Under the Sun [1982], La Belle Noiseuse [1991]), Boxes [2006]) was getting ready to celebrate her 40th birthday in 1986 she confessed to filmmaker Agnès Varda that she had reservations about growing older. Varda, who was almost 60-years-old at the time, told Birkin that she was about to enter a wonderful phase in her life and asked if she could shoot a cinematic portrait of the actress, filmmaker, model and chanteuse that demonstrated her evolution. After some coaxing, Birkin agreed and together the two friends crafted the creative docudrama Jane B. par Agnès V. (1988) currently streaming on FilmStruck as part of The Masters: Agnès Varda collection.

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Workin’ Man’s Blues: Man is Not a Bird (1965)

MAN IS NOT A BIRD, A (1966)

Dušan Makavejev made his directorial debut with Man is Not a Bird (1965), a raucous portrait of a Yugoslav mining city currently streaming on FilmStruck as part of the Directed by Dušan Makavejev theme. Made with the full cooperation of the residents of Bor, an industrial town in eastern Serbia, the movie is filled with hypnotist acts, marriage breakdowns, circus routines and brief, bitter affairs. It is based on the real lives of people that Makavejev interviewed before shooting, while indulging the director’s love of the carnivalesque, injecting Makavejev’s absurdist humor into a film that, by subject matter anyway, inherits the tradition of the Communist social realist films of previous decades. But these worker-heroes, while awarded and celebrated by the local government, have made messes of their personal lives. Makavejev said that with this film he “was trying to explain that you can have global changes but people can still stay the same, unhappy or awkward or privately confused.”

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Coup d’etat: The Embassy (1973)

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There is a coup d’etat in an unnamed country, and a group of dissenting artists and intellectuals pour into an embassy, seeking asylum. Chris Marker’s The Embassy (1973) is a provocative short film, shot on Super8, that manages to conjure an entire fascist state out of twenty minutes of footage of a few apartment rooms. It was made as a reaction to the overthrow of Salvador Allende’s government in Chile, though the surprising location of the film is obscured until the final two shots. For the majority of the runtime you are in an unknown space, disoriented and thrust into internecine battles of the political left, still bickering as a country falls around them. Information is doled out solely by the narrator/filmmaker, who is inside the embassy shooting home movies of the panic within. The camera is handheld and mostly kept at a distance, it never gets inside arguments but circles outside them, hearing snippets but never the heart of the matter. But when facts do start trickling in, like how the new military government is executing dissidents at the nearby soccer stadium, ideological battles give way to plans for survival. The Embassy is streaming on FilmStruck in the Directed by Chris Marker theme, which collects 23 of his remarkable shorts and features.

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A Surrealist Anti-Nationalist for All Ages – And All Countries.

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Luis Buñuel died in 1983 at 83 of cirrhosis of the liver in a hospital in Mexico City. The Spanish-born filmmaker was famous, in part, for being fearless in his critiques of organized religion and the bourgeoisie. His cinematic career started in 1929 with Un Chien Andalou (aka: An Andalusian Dog), a short film he made with Salvador Dali. Fans of The Pixies probably can’t hear that title without also hearing lead singer Black Francis (now Frank Black) barking out the words to the song “Debaser”: “Got me a movie, I want you to know, slicing up eyeballs, I want you to know, Girl so groovy, I want you to know, Don’t know about you, But I am Un chien andalusia.” This a nod to the famous scene where a cloud cuts across the moon and then a razor seems to cut a woman’s eyeball (it was actually that of a dead calf with bleached fur). Un Chien Andalou ran for eight months in Paris. Things like that happened almost a hundred years ago before Netflix and binge watching.

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Mad Love: Beauty and the Beast (1946)

BEAUTY AND THE BEAST (1946)

Next month Disney will release their live action adaptation of Beauty and the Beast, starring Emma Watson and Dan Stevens. It is sure to be sumptuous and well-appointed and all that, but it’s unlikely to approach the carnal magic of Jean Cocteau’s 1946 version (streaming on The Criterion Channel of FilmStruck), ideal viewing for this Valentine’s Day. Made soon after the close of WWII, with France still lacking many basic supplies, Cocteau’s Beauty and the Beast conjured the uncanny out of odds and ends: busted cameras, cracked lenses, unstable film stock. Somehow DP Henri Alekan captured the look Cocteau sought, the ““soft gleam of hand-polished old silver.” The fable unspools in this soft gleam, with the elusiveness of a dream you try to remember upon waking. Cocteau wrote in his production diary that, “My method is simple: not to aim at poetry. That must come of its own accord. The mere whispered mention of its name frightens it away. I shall try to build a table. It will be up to you then to eat at it, to examine it or to chop it up for firewood.” For generations audiences have been examining his handmade table, and finding it to be more surreal and darkly romantic every year.

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My Melancholy Valentine: Dans Paris (2006)

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Love is complicated. Some see it as a priceless gift or blessing while others describe it as an unshakeable disease. It can be comforting, enriching, elevating, thrilling and divine. It can also be messy, unruly, feral, ferocious and cruel, particularly if you are suffering from acute depression. In Dans Paris aka In Paris (2006), French filmmaker Christophe Honoré (Ma mère aka My Mother [2004], Les chansons d’amour aka Love Songs [2006], Les Bien-Aimés aka Beloved [2011]) introduces us to a family in the throes of a profound depression although this fact is kept hidden from viewers throughout most of the film’s 90-minute runtime. Instead of focusing on the hows, whys and what fors of the situation, Honoré shows us how each family member is trying to cope and for better or worse, their drug of choice is love. With Valentine’s Day looming on the horizon, I thought it would be a good time to revisit Dans Paris, one of my favorite French films of the past 20 years, which is currently streaming on FilmStruck. Honoré’s delightful, difficult and bittersweet romantic drama is part of their holiday appropriate “City of Love” theme featuring films set in Paris, a city that’s mere name conjures up scenes of romance and passion.

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The Search for Common Ground: A Separation (2011)

A SEPARATION, (aka NADER AND SIMIN, aka JODAEIYE NADER AZ SIMIN), from left: Leila Hatami, Peyman Mo

When the U.S. government decided to abruptly impose a travel ban on seven Muslim-majority countries (Iran, Iraq, Libya, Syria, Sudan, Somalia and Yemen) last week it caused pandemonium in international airports across the country. Travelers were removed from planes and denied passage while others were handcuffed, interrogated without legal representation and isolated from family and friends. Massive protests erupted and flights faced delays as the public tried to make sense of the situation.

Amid the chaos, Iranian director Asghar Farhadi (About Elly [2009], A Separation [2011], The Past [2013]) expressed concern that he would not be allowed to enter the country to attend the upcoming Academy Awards in Los Angeles where his latest film, The Salesman (2016), is an Oscar contender for this year’s Best Foreign Language Film. When it became clear that his safe passage could not be guaranteed, Farhadi announced he wouldn’t be attending the award’s ceremony citing that officials were responding to his questions with “ifs and buts, which are in no way acceptable to me, even if exceptions were to be made for my trip.”

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Little Big Strongman

LONG GOOD FRIDAY, THE (1980)

(You want spoilers? We got spoilers! Tons of ‘em! Beware!)

He’s not very big in stature but thinks he is. Put another way, he realizes he can be physically imposing but likes to think his true power comes from his ability to sway people to his side, including wealthy foreigners who, he insists, will pay for his real estate project. They’re even coming to meet with him to discuss it and, as far as he is concerned, he is at the top of his game. This is his shining moment, when he will consolidate power and respect, and finally show everyone how much they’ve underestimated him. Then, for reasons this little man cannot understand, his world begins to fall apart. Hidden enemies lurk behind every door and, even though it’s clearly a lie, he trys to assure everyone around him that he’s hugely popular and everything is under control. That’s Harold Shand, gangster with a chip on his shoulder, at the center of the 1979 crime thriller The Long Good Friday.

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