1991-2000

Edited by John Boorman and Walter Donohue
Projections is a forum for practitioners of the cinema to write about their work. The first issue includes a journal compiled by John Boorman which records his responses to the events and trends of 1991, and their implications for the future of cinema. Like his Emerald Forest diary, Money into Light, it is a fascinating mix of anecdote, personal reflections, thoughts on the nature of cinema, and comments on the practical business of making films.Read More »

Contents
Foreword by John Boorman, vi
Introduction by Michel Ciment, vii

1 Robert Bresson: L’Argent, I
2 Eric Rohmer: Conte d’ete, 13
3 Claude Chabrol: La Ceremonie, 18
4 Alain Resnais: On connait la chanson, 26
5 Louis Malle: Au revoir les enfants, 33
6 Alain Cavalier: Therese, 51
7 Claude Sautet: Un Coeur en hiver, 64
8 Maurice Pialat: Van Gogh, 70
9 Bertrand Tavernier: Un Dimanche ala campagne, 83
10 Claude Miller: Garde a vue, 93
11 Patrice Leconte: Ridicule, 103
12 Marcel Ophuls: Hotel Terminus, 111
13 Otar Iosseliani: Les Favoris de la lune, 123
14 Olivier Assayas, 132
15 Catherine Breillat: 36 fillette, 138
16 Jean-Pierre Jeunet: Delicatessen, 144
17 Robert Guediguian: Marius et Jeannette, 152
18 Arnaud Desplechin: La Sentinelle, 160
19 Manuel Poirer: Western, 167
20 Jacques Audiard: Un Heros tres discret, 175
21 Mathieu Kassowitz: La Haine, 183Read More »

[Amazon.com]:
Moving Places is the brilliant account of a life steeped in and shaped by the movies–part autobiography, part film analysis, part social history. Jonathan Rosenbaum, one of America’s most gifted film critics, began his moviegoing in the 1950s in small-town Alabama, where his family owned and managed a chain of theaters.Read More »

Jonas and Emir are members of a criminal gang of 14-15 year-olds in Oslo. Emir has slight brain-damage after being beaten by his father as a 5-year-old, and Jonas’ biggest problem is stopping Emir from hitting people on the head. One day, they are offered a job by a gang of drug-dealers: Deliver a packet of heroin to one guy and beat up another. This is the start of a chain of events that sends their lives spiraling out of control.Read More »

Currently film critic at the Chicago Reader, Jonathan Rosenbaum has written for a variety of film journals for more than 20 years. Collected in Movies as Politics are more than three dozen essays focusing on political statements of modern film. Covered are such topics as racial stereotyping in the movies, the emergence of films and filmmakers from the Third World, and the cinematic treatment of historical events, such as the civil rights movement, the Vietnam War, and the Holocaust. It’s not all heavy going, either. Rosenbaum’s essays on Forest Gump, Ace Ventura, and the influence of Miramax are both informative and entertaining, if at times scathing.Read More »

Quote:
The 1993 remake of The Secret Garden is a beautifully produced rendition of the classic Frances Hodgon Burnett novel about a young girl (Kate Maberly) who discovers an abandoned garden on her uncle’s large Victorian country estate, as well as an invalid cousin she didn’t realize she had. With the help of a local boy, the girl sets out to restore the garden and, once it is blooming again, she discovers it has magical powers. After it has flowered, she brings her cousin to the garden, and he is magically healed. Although this version of The Secret Garden isn’t quite as strong as the original 1949 movie, the story is nevertheless moving in any format and the production is very beautiful to look at. ~ Stephen Thomas Erlewine @ All Movie GuideRead More »

Quote:
In this cryptic, moody film, seemingly unrelated tales ultimately dovetail to reveal the shared past of a tortured government tax auditor (Bruce Greenwood), a gay pet-shop proprietor (Don McKellar), a sultry young stripper (Mia Kischner) and her co-workers. The characters’ focal point is a kitsch Toronto strip joint called Exotica, where the club’s dancer’s strut their stuff to satisfy the sale clientele’s voyeuristic and emotional needs.Read More »

Quote:
Drink Deep is a lyrical vision of friendship, hidden secrets, and desires. Cohen uses several types of film image to add texture to the layered composition. Beautiful shades of grey, silver, black and blue echo the water, reminiscent of early photography and silverprints. Cohen says, “The piece was constructed primarily from footage I’d shot of skinnydippers at swimming holes in Georgia and rural Pennsylvania. It’s about water and memory and stories just submerged. It is also, in part, a response to thinking about censorship. I would say that Drink Deep is both unabashedly and deceptively romantic. Surface, flow, and undertow. What looks like paradise is always paradise lost.”

Music composed by Stephen Vitiello and performed with Gabriel Cohen and Mary Wooten.Read More »

A group of folks is celebrating at the dinner table, with each man recounting a peculiar sexual experience he has had.Read More »