Greetings Reader,
How are you? It's getting pretty late, are you okay to drive home from here? If not, leave your keys with the bartender and hitch-hike home.
Say, are you from Chicago? I thought so. I could tell by the way you say "gimee a beef samich". Which is strange because I don't have beef sandwiches.
What am I selling? Dreams, my friend, pure dreams. Want one? I thought so. Who doesn't. Here, put this in your pocket and don't look at it until you get home.
You ever been to Facets on Fullerton? No, not the scrap iron place, the movie theatre. They show art films and stuff like that. Yeah, right, next to the sub shop. That's the one. Well if you go there this week you can see me in a movie. No I'm not shitting you. Yeah, me, in a movie, up on the big screen. No, I'm not in the new Harry Potter movie, not yet at least. But I hope I'll be in the last one.
No, I'm in a film called Phantom Love and its playing this week only. So go see it. No, no car chases. No, no explosions. Yeah, there is sex. There are snakes. And there is magic. There are boats and clouds and gambling too. And a river. Oh, and it's in beautiful black and white. Yeah, shot on film. No, film, you know, sprockets and emulsion and chemicals and shit. Yeah they sell popcorn. No, really, I'm not kidding you. I'm in the film. I play a preacher. On TV. A TV preacher. Yeah, all fire and brimstone this and burn in hell that. Check it out.
No, I don't get paid more if you see it, I just want you to go see a cool film and be like, "hey, I know that dude in the movie".
Here are the details. See it if you want. Drive home safely.
Phantom Love by Nina Menkes
in Chicago at Facets Cinematheque
1517 West Fullerton Ave
Chicago, IL 60614
773.281.4114
www.facets.org/cinematheque
Fri., Feb. 29 at 7 & 9 pm
Sat.-Sun., Mar. 1-2 at 3, 5, 7 & 9 pm
Mon.-Thurs., Mar. 3-6 at 7 & 9 pm
Chicago Reader Review:
http://onfilm.chicagoreader.com/movies/critic.html
Showing posts with label Phantom Love. Show all posts
Showing posts with label Phantom Love. Show all posts
Sunday, March 02, 2008
Friday, January 26, 2007
Variety Review of Phantom Love
Phantom Love
A KNR Prods./Menkesfilm presentation of a Kevin Ragsdale production. Produced by Ragsdale. Executive producer, Julian Goldberger. Co-producers, Nina Menkes, Ragsdale. Directed, written, edited by Nina Menkes.
With: Marina Shoif, Juliette Marquis, Yelena Apartseva, Bobby Naderi.
(English, Russian dialogue)
By ROBERT KOEHLER
Stanley Kubrick's confident statement -- "If it can be written or thought, it can be filmed" -- receives stunning confirmation in Nina Menkes' "Phantom Love." While the helmer's four previous features similarly function in a state of dream logic and concern female states of being, the current pic strikingly puts a woman's subconscious thoughts and dreams onscreen in ways more radical and beautiful than in her past visually stunning semi-narrative pics. "Phantom Love" may be too rich for most U.S. distribs, but sophisticated foreign buyers and fests will lust after this piece of pure cinema.
First seen in sweaty coitus with her lover (Bobby Naderi), Lulu (Marina Shoif) appears distanced and expressionless, her face suggesting that her mind is elsewhere. "Phantom Love" is intentionally designed and structured in an open manner, welcoming the viewer to various interpretations. One of them -- implied by the title -- is that much of the rest of the film's images and sounds are the wandering thoughts Lulu experiences during sex.
These images are in black-and-white, and not since Bela Tarr's "Werckmeister Harmonies" has black-and-white looked so stunning and mesmerizing -- thanks crucially, to cinematographer Chris Soos' masterful use of high contrasts, shadows and depth-of-field in the film's majestic interior locales. Though she has handed over lensing chores this time, Menkes functions as usual as her own camera operator, displaying again her gift for framing and nimbly following spontaneous action.
This includes several extended scenes in a Koreatown casino, where Lulu works (akin to Menkes' Vegas heroine in "Queen of Diamonds") at a roulette table. Although the scenes seem at first repetitive, they are actually staged and shot with great variety, including some amazing close-ups of the excited players' faces and hands.
Like dreams often do, images repeat themselves as Lulu tries to work her way through her erotically triggered troubles. One of these involves her dressed in a classic little black dress and heels, carefully walking down a long hallway around an enormous snake. Animals abound in the film, including a fantastically viewed squid in an aquarium and scenes in which Lulu's mother (Yelena Apartseva) is surrounded by bees.
Menkes is not so dreamy a scripter that she fails to link these otherwise showy and random images to Lulu's real-life problems, some of which involve struggling with her mother who's overstayed her welcome in Lulu's home, and her emotionally troubled sister Nitzan (a fine Juliette Marquis), whose momentary disappearance marks the only point in the film where a fixed psychological reality takes the place of subconscious fears and desires.
A repeated view of Lulu crossing a bridge (ravishingly filmed in Rishikesh, India) suggests a passage to another sort of life, and, in a film intently focused on material objects and bodies, the sight of Lulu being drowned in light offers a striking spiritual note.
Actors' perfs matter far less here than their place in the overall staging, but Shoif and Marquis are allowed considerable freedom to express themselves along the lines of silent cinema (the first real line of dialogue occurs well past the 30-minute mark).
Pic triggers memories of movie images from Jacques Demy's "Lola" to Jean Cocteau's "Orpheus," and an amazing shot of a sleeping woman rising off her bed sends the viewer back to the medium's earliest days. Soundtrack, mixing sound effects and Rich Ragsdale's music, creates an audio dream state of its own.
Camera (B&W, 35mm-to-DV), Chris Soos; music, Rich Ragsdale; production designer, S. Logan Wince; costume designer, Erica Frank; sound, Ed White; supervising sound editors, Menkes, Joseph Tsai; sound re-recording mixer, Michael Kreple; visual effects supervisor, Tim Carras; line producers, Aditya Singh, Elyse Katz; associate producers, Lena Bubenechik, Paul Inman; assistant director, Natasha Subramaniam; casting, Bubenechik. Reviewed at Sundance Film Festival (New Frontiers), Jan. 19, 2007. Running time: 86 MIN.
A KNR Prods./Menkesfilm presentation of a Kevin Ragsdale production. Produced by Ragsdale. Executive producer, Julian Goldberger. Co-producers, Nina Menkes, Ragsdale. Directed, written, edited by Nina Menkes.
With: Marina Shoif, Juliette Marquis, Yelena Apartseva, Bobby Naderi.
(English, Russian dialogue)
By ROBERT KOEHLER
Stanley Kubrick's confident statement -- "If it can be written or thought, it can be filmed" -- receives stunning confirmation in Nina Menkes' "Phantom Love." While the helmer's four previous features similarly function in a state of dream logic and concern female states of being, the current pic strikingly puts a woman's subconscious thoughts and dreams onscreen in ways more radical and beautiful than in her past visually stunning semi-narrative pics. "Phantom Love" may be too rich for most U.S. distribs, but sophisticated foreign buyers and fests will lust after this piece of pure cinema.
First seen in sweaty coitus with her lover (Bobby Naderi), Lulu (Marina Shoif) appears distanced and expressionless, her face suggesting that her mind is elsewhere. "Phantom Love" is intentionally designed and structured in an open manner, welcoming the viewer to various interpretations. One of them -- implied by the title -- is that much of the rest of the film's images and sounds are the wandering thoughts Lulu experiences during sex.
These images are in black-and-white, and not since Bela Tarr's "Werckmeister Harmonies" has black-and-white looked so stunning and mesmerizing -- thanks crucially, to cinematographer Chris Soos' masterful use of high contrasts, shadows and depth-of-field in the film's majestic interior locales. Though she has handed over lensing chores this time, Menkes functions as usual as her own camera operator, displaying again her gift for framing and nimbly following spontaneous action.
This includes several extended scenes in a Koreatown casino, where Lulu works (akin to Menkes' Vegas heroine in "Queen of Diamonds") at a roulette table. Although the scenes seem at first repetitive, they are actually staged and shot with great variety, including some amazing close-ups of the excited players' faces and hands.
Like dreams often do, images repeat themselves as Lulu tries to work her way through her erotically triggered troubles. One of these involves her dressed in a classic little black dress and heels, carefully walking down a long hallway around an enormous snake. Animals abound in the film, including a fantastically viewed squid in an aquarium and scenes in which Lulu's mother (Yelena Apartseva) is surrounded by bees.
Menkes is not so dreamy a scripter that she fails to link these otherwise showy and random images to Lulu's real-life problems, some of which involve struggling with her mother who's overstayed her welcome in Lulu's home, and her emotionally troubled sister Nitzan (a fine Juliette Marquis), whose momentary disappearance marks the only point in the film where a fixed psychological reality takes the place of subconscious fears and desires.
A repeated view of Lulu crossing a bridge (ravishingly filmed in Rishikesh, India) suggests a passage to another sort of life, and, in a film intently focused on material objects and bodies, the sight of Lulu being drowned in light offers a striking spiritual note.
Actors' perfs matter far less here than their place in the overall staging, but Shoif and Marquis are allowed considerable freedom to express themselves along the lines of silent cinema (the first real line of dialogue occurs well past the 30-minute mark).
Pic triggers memories of movie images from Jacques Demy's "Lola" to Jean Cocteau's "Orpheus," and an amazing shot of a sleeping woman rising off her bed sends the viewer back to the medium's earliest days. Soundtrack, mixing sound effects and Rich Ragsdale's music, creates an audio dream state of its own.
Camera (B&W, 35mm-to-DV), Chris Soos; music, Rich Ragsdale; production designer, S. Logan Wince; costume designer, Erica Frank; sound, Ed White; supervising sound editors, Menkes, Joseph Tsai; sound re-recording mixer, Michael Kreple; visual effects supervisor, Tim Carras; line producers, Aditya Singh, Elyse Katz; associate producers, Lena Bubenechik, Paul Inman; assistant director, Natasha Subramaniam; casting, Bubenechik. Reviewed at Sundance Film Festival (New Frontiers), Jan. 19, 2007. Running time: 86 MIN.
Thursday, January 18, 2007
Sundance 2007 - Day 1
It's late, and I've been traveling all day, but I wanted to write something before I go to bed. I'm here at the Sundance Film Festival. This year, unlike anytime I've been here before, I'm connected to a film in the festival. I have a small part in the film Phantom Love by Nina Menkes. When Nina wrote me that the film was selected to premiere in the fest, I knew I had to be here. If it weren't for that, I wouldn't have come this year.
It's cold here! Yeah really, it's winter. The high today in Park City was 20 degrees. I haven't experienced a cold winter in a year, and you know what? It's the same as I remember it. You have to wear a lot of clothes and it's cold and hard to move and its cold. But I'm not here to talk about the weather.
We flew into Salt Lake City today, rented a car and drove up to Coalville, UT, about 20 miles east of Park City. It was the only place I could get a room a month before the festival that didn't cost $300 a night. After checking in at the Best Western in Coalville, we went down and sat in the spa for a while. That helped releive some of the stress of travel.
Then we drove into Park City for dinner and to look around. Tonight is the opening night of the festival, so it isn't that crowded yet. Already the bars and restaurants are busy, but not like it will be tomorrow, and the rest of this opening weekend. The festival runs for ten days, but most people come either the first weekend or the second. The opening weekend is busier and more star sightings are likely.
Kris has never been to Park City or the festival, so this is all new to her. This is my fourth festival, so I know the lay of the land a bit.
One thing that didn't work for me about this years festival was the system they created for buying individual screening tickets. You see, if you are anybody, you have a pass. A pass says you are somebody. Sombody with either an expence account, a studio job, or are successful enough or important enough to shell out hundreds (or maybe a thousand) for an all access full festival pass.
The rest of us must beg, borrow or steal tickets to get into the best films. Or get lucky in the ticket lottery to buy single tickets. This year they had a lottery system and here's how it worked. You had to pay 5 bucks to be entered into a lottery, and create a user account. Then a computer would randomly assign all those who entered a time to purchase individual tickets to screenings via a secure website. The time slots were from Monday to Friday of the week before the festival. Kris and I entered. Her time was Thursday afternoon, mine was friday morning, the last day tickets were on sale. Now, they don't really know how many pass holders are going to attend a given movie, so they must have a system for estimating how many will, and based on the number of seats at a particular venue, (there are 8 in Park City) how many individual tickets they can sell.
So you log onto a website at your assigned time, access your account, and start selecting tickets. If you called in on the phone at your assigned time, there would be a ten dollar service fee, on top of the one dollar service fee on each tickets bought on-line or on the phone.
When Kris' time came, we started logging in to use the service, but the system was so over loaded that it didn't work. So we tried the phone, and that was busy for over a half hour. Then our call was answered and we were put on hold for a long time. When we finally got an operator, every movie we wanted, and every back-up second choice we wanted was already sold out. The only movie we were able to get tickets for was a screening on Saturday night at a theatre about 6 miles outside of Park City (who wants to leave Park City just to see a movie!) of Phantom Love, the film I am in. That's it. Everything else was sold out. And with the service fee, the lottery fee and the telephone fee, it cost us 52 dollars for two tickets to see the movie I am in. Great!
Now if you can't afford 26 dollars for a movie ticket maybe you should stay home and rent a movie and make some micro-wave popcorn. This is Sundance baby. You might be sitting next to "someone" at a screening. You might see a big star on the street or the table next to you at lunch. Once I ran into Hope Davis at the Albertsons doing some shopping. You never know. So, no, I'm not complaining about spending 52 dollars for two movie tickets, I'm bragging about it! $28 for an entree? $13 dollars for a glass of wine? Bring it on.
Tomorrow we will get in line for last minute tickets to the Premiere of Phantom Love. I hope we can get in. I want to see the first screening, to go up on stage after the movie with the director and the rest of the cast. That is what I want out of this.
I got paid 100 bucks for my participation in this movie. I'm spending thousands to attend the festival. Is it worth it? You bet it is. It's priceless.
More tomorrow! Look for us on E - entertainment! Signing out from Coalville, UT -
Noel
It's cold here! Yeah really, it's winter. The high today in Park City was 20 degrees. I haven't experienced a cold winter in a year, and you know what? It's the same as I remember it. You have to wear a lot of clothes and it's cold and hard to move and its cold. But I'm not here to talk about the weather.
We flew into Salt Lake City today, rented a car and drove up to Coalville, UT, about 20 miles east of Park City. It was the only place I could get a room a month before the festival that didn't cost $300 a night. After checking in at the Best Western in Coalville, we went down and sat in the spa for a while. That helped releive some of the stress of travel.
Then we drove into Park City for dinner and to look around. Tonight is the opening night of the festival, so it isn't that crowded yet. Already the bars and restaurants are busy, but not like it will be tomorrow, and the rest of this opening weekend. The festival runs for ten days, but most people come either the first weekend or the second. The opening weekend is busier and more star sightings are likely.
Kris has never been to Park City or the festival, so this is all new to her. This is my fourth festival, so I know the lay of the land a bit.
One thing that didn't work for me about this years festival was the system they created for buying individual screening tickets. You see, if you are anybody, you have a pass. A pass says you are somebody. Sombody with either an expence account, a studio job, or are successful enough or important enough to shell out hundreds (or maybe a thousand) for an all access full festival pass.
The rest of us must beg, borrow or steal tickets to get into the best films. Or get lucky in the ticket lottery to buy single tickets. This year they had a lottery system and here's how it worked. You had to pay 5 bucks to be entered into a lottery, and create a user account. Then a computer would randomly assign all those who entered a time to purchase individual tickets to screenings via a secure website. The time slots were from Monday to Friday of the week before the festival. Kris and I entered. Her time was Thursday afternoon, mine was friday morning, the last day tickets were on sale. Now, they don't really know how many pass holders are going to attend a given movie, so they must have a system for estimating how many will, and based on the number of seats at a particular venue, (there are 8 in Park City) how many individual tickets they can sell.
So you log onto a website at your assigned time, access your account, and start selecting tickets. If you called in on the phone at your assigned time, there would be a ten dollar service fee, on top of the one dollar service fee on each tickets bought on-line or on the phone.
When Kris' time came, we started logging in to use the service, but the system was so over loaded that it didn't work. So we tried the phone, and that was busy for over a half hour. Then our call was answered and we were put on hold for a long time. When we finally got an operator, every movie we wanted, and every back-up second choice we wanted was already sold out. The only movie we were able to get tickets for was a screening on Saturday night at a theatre about 6 miles outside of Park City (who wants to leave Park City just to see a movie!) of Phantom Love, the film I am in. That's it. Everything else was sold out. And with the service fee, the lottery fee and the telephone fee, it cost us 52 dollars for two tickets to see the movie I am in. Great!
Now if you can't afford 26 dollars for a movie ticket maybe you should stay home and rent a movie and make some micro-wave popcorn. This is Sundance baby. You might be sitting next to "someone" at a screening. You might see a big star on the street or the table next to you at lunch. Once I ran into Hope Davis at the Albertsons doing some shopping. You never know. So, no, I'm not complaining about spending 52 dollars for two movie tickets, I'm bragging about it! $28 for an entree? $13 dollars for a glass of wine? Bring it on.
Tomorrow we will get in line for last minute tickets to the Premiere of Phantom Love. I hope we can get in. I want to see the first screening, to go up on stage after the movie with the director and the rest of the cast. That is what I want out of this.
I got paid 100 bucks for my participation in this movie. I'm spending thousands to attend the festival. Is it worth it? You bet it is. It's priceless.
More tomorrow! Look for us on E - entertainment! Signing out from Coalville, UT -
Noel
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