Superman Trailer
Hmm. I don’t know. I haven’t liked Superman in a movie since the early 80s. What do you think? Does Superman even make sense as a contemporary superhero?
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kottke.org posts about movies
Restoring Vintage Star Wars Posters
Watching these expert restorers mend & refresh a pair of vintage Star Wars posters (neither of which features the logo we’re familiar with today and one of which is signed by the designer) is both fascinating and relaxing. It’s like the posters are having a spa day: bit of a soak, a gentle scrub, some light bodywork, and voila, you’re brand new. (via meanwhile)
Grand Theft Hamlet
Sam Crane and Mark Oosterveen, actors out of work during the pandemic, were playing Grand Theft Auto when they found the Pinewood Bowl amphitheater and decided to try staging a production of Hamlet within the game with other players voicing all the parts. Grand Theft Hamlet is a documentary about the effort. It’s not streaming anywhere yet, but I hope it will be soon!
They audition all-comers: an uproarious business in which weird randoms show up with a tendency to destroy others by using a flame-thrower or rocket-launcher for no reason at all while the production is being explained to them.
They end up performing the play all over the city, “this is Shakespeare on a billion dollar budget,” not sticking to the amphitheater. The trailer looks great.
Vintage Hand-Drawn VHS Labels
This person posted a bunch of images of their dad’s old VHS tapes with lovingly hand-drawn labels indicating their contents. Kids, this is what people did before the internet.
Also, it’s weird/interesting that CDs, DVDs, Blu-ray, LaserDisc, cassettes, MiniDisc, and 8-tracks are all played on devices named for the media (e.g. CD player) but VHS tapes are played on VCRs. We could have easily started calling them “VCR tapes” or “VHS players” en masse, but we mostly collectively stuck to the “correct” terminology. (thx, david)
Werner Herzog’s Nihilist Penguin
In this clip from my favorite Werner Herzog film, Encounters at the End of the World, the director muses about the mental health of penguins and observes a lone penguin heading in the wrong direction. From an appreciation of this penguin scene written by Tim Cooke for Little White Lies:
Herzog proceeds to explain that the penguin will not go to the feeding grounds at the edge of the ice, nor will he return to the colony; instead he heads straight for the mountains, “some 70 kilometres away”. Catching him and bringing him back will make no difference — he’ll simply turn around and head again for the interior. “But why?” Herzog asks. We then see footage of another of these “deranged” penguins, 80 kilometres off course, sliding on its belly towards certain death. These shots of the solitary birds marching to their demise, mere black dots against the white expanse, are perfect in their portrayal of loneliness and desolation.
The scene, then, is a splendid tragicomedy, serving as a sour antidote to the fluffy charm of films like the The March of the Penguins, which arrived two years earlier. It’s a play within a play; masterfully constructed, it delivers a hefty emotional blow. It’s in this construction, and self-reflexive style, that truth and revelation can be found — Herzog’s ecstatic truth, that is. The natural world, as we learnt from the horrors of Grizzly Man, is not easily compared with ours. The structures we adopt for our stories — be they tragic, romantic or comedic — do not fit nature quite so tightly, and Herzog knows this. Any facts about the penguins’ motivations and thought processes remain unobtainable. We view the narrative as the filmmaker builds it: through an exclusively human lens.
A Time of Earnestness
Laura Olin’s newsletter of “art, internet, and ideas” is a favorite of mine (subscribe here), and I appreciated her comments from this morning on why sci-fi and fantasy movies work for moments like these.
I’ve never thought of myself as a person who’s particularly into sci fi or fantasy. But on the worst days — and yesterday was one — I find myself thinking of the essential lessons of art in that genre. Maybe because a lot of it is about people in dire situations making stark moral choices for a larger good — and for various reasons World War II parables aren’t really going to do it anymore, at least in America. We saw Rogue One in the theater soon after Trump’s first election and I took some strength from the image of (vague spoilers) Felicity and Diego on the beach, sacrificing themselves to give everything thereafter a chance. I’ve been thinking of the Battlestar Galactica reboot of the W. Bush years, with the fighter pilots touching a portrait of a comrade on a fallen planet on their way out to battle; of Stellan Skarsgard’s speech and “one way out” in Andor, which you must watch; of Katniss touching three fingers to her lips in a salute special to her community, and a crowd of people she can’t even see saluting back; of the fundamental text that is “Why must we go on?” / “Because there’s some good in this world, Mr. Frodo, and it’s worth fighting for.” Is all this cringe? Undoubtedly; but I think we’ve entered a time that requires deep earnestness. (I hope to come back to this paragraph in four years and feel I was being overly dramatic about how bad things might get but I suspect I will not.)
The Time Travel Movie That Doesn’t Go Anywhere
So first of all, before you watch this analysis of Chris Marker’s fantastic La Jetée, you should watch the film itself if you’ve never seen it. It’s 28 minutes long, entirely in black & white, and is a “speculative fiction masterpiece” done with “422 photos, a voiceover, and a score”. You can find it streaming at Amazon, Apple, Criterion Channel, or Kanopy. You will not regret it. And then come back and watch this analysis/appreciation by Evan Puschak.
Every Frame a Painting: What Would Billy Wilder Do?
Billy Wilder (Sunset Boulevard, The Apartment, Some Like It Hot) was both a great director and a great writer. In this video essay, Taylor Ramos & Tony Zhou examine how Wilder balanced the verbal, dramatic, and situational ironies of his scripts with making it all work on the screen, emotionally and structurally.
New Film by Errol Morris: Separated
Separated is the newest documentary film from Errol Morris. Based on Jacob Soboroff’s 2020 book Separated: Inside an American Tragedy, the film probes the inhumane family separation and immigration policies of the Trump administration. From a review in The Guardian:
The Trump administration’s southern border policy began with the dream of a wall in the desert and ended with the nightmare of family separation: children torn from their parents and loaded en masse into wire-mesh cages. It was inhumane treatment, which was precisely the point. The White House’s intention was to use terror as a deterrent and effectively write every parent’s worst fear into law. “When you have that policy, people don’t come,” Donald Trump said blithely. “I know it sounds harsh, but we have to save our country.”
Errol Morris’s forensic, procedural documentary walks us through the bureaucratic backrooms to show how the policy was hatched and implemented. It explains how its principal authors — Trump adviser Stephen Miller and attorney general Jeff Sessions — junked the pre-existing catch-and-release scheme (which had allowed migrants to remain in the country until their immigration hearing) in favour of a bold new tactic of forced separation and mass imprisonment. If Separated lacks the rueful exuberance that typifies much of Morris’s early work (The Thin Blue Line, The Fog of War, even last year’s John le Carré film), that is entirely understandable. The material is sobering and the mountain of evidence needs unpicking. The film-maker handles his brief with the cold, hard precision of an expert state prosecutor.
From a Variety review:
“Harm to children was part of the point,” says Jonathan White, a committed public servant who saw his department, the Office of Refugee Resettlement, hijacked by a blatantly inhumane strategy that the Trump administration implemented for its deterrent potential. “They believed it would terrify families into not coming.” White isn’t exactly a whistleblower, although he comes across as no less courageous in describing a dictated-from-the-top family separation scheme for which he had a front-row seat.
And here’s an interview with Morris & Soboroff about the film:
For his second term, Trump and his team are planning a blockbuster sequel to these inhumane crimes entirely in the open: deporting up to 20 million people (undocumented immigrants, documented immigrants, and political opponents) with a minimum of due process, which will require a massive increase in the scale of the police state and concentration camps. That’s 6% of the US population. We don’t know if they will succeed but they will try. Those are the stakes.
Relax With George Clooney at the End of a Movie
It has been a week. It’s not going to fix anything, but maybe watching George Clooney chilling at the end of a movie will help you in some small way.
He has perfected the art of just chillin’ out silently for an extended period of time during the last shot of a movie while the credits roll…
(via laura olin)
Music By John Williams
Music By John Williams is a documentary film about the legendary composer who did the scores for Star Wars, Jaws, Indiana Jones, Jurassic Park, Close Encounters, Superman, E.T., Home Alone, Schindler’s List — seriously, one person composed all these?! — Saving Private Ryan, Harry Potter, Lincoln, etc. etc. etc. Oh, and the Olympic Fanfare and Theme that NBC uses for the Olympics.
Anyway, the documentary premieres on Nov 1 on Disney+.
Wes Anderson Is Museum Bound
London’s Design Museum is hosting a big retrospective of Wes Anderson’s work beginning in late 2025.
This exhibition will be the first time museum visitors have the opportunity to delve into the art of his complete filmography, examining his inspirations, homages, and the meticulous craftsmanship that define his work.
Through a curated collection of original props, costumes, and behind-the-scenes insights, including from his personal collection, this exhibition offers an unprecedented look into the world of Wes Anderson, celebrating his enduring influence on contemporary cinema.
Might have to make my way to London for this. (via daniel benneworth–gray)
Mickey 17, a New Film From Bong Joon-ho
For his first movie since 2019’s Parasite, filmmaker Bong Joon-ho is coming out with a sci-fi dark comedy film called Mickey 17. The trailer is above and the synopsis from Wikipedia is:
Wanting to get out of Earth, Mickey Barnes signs up to be an “expendable”: a disposable employee where after one iteration dies, a new body is regenerated with most of their memories intact. After one of his “multiples”, Mickey 17, unintentionally survived a human expedition to colonize the ice world Niflheim, he goes head-to-head with a new multiple, Mickey 18.
Mickey 17 will be out in theaters in late January. I found the trailer for this from Aaron Stewart-Ahn, who says:
David Zaslav’s Warner Bros has been trying to bury Bong Joon-ho’s sci-fi follow up to Parasite for over a year now, refused to let it play Cannes, and is now dumping it in January. Rumors are Robert Pattinson’s weirdo performance also bothered them which to me means it must be friggin’ awesome.
Per Wikipedia, production wrapped in late 2022 so yeah, it sounds like they didn’t know what to do with it.
Apollo 13: Survival
Apollo 13: Survival is a documentary film that uses original footage and interviews to tell the story of NASA’s Apollo 13 mission, what went wrong, and how the astronauts returned safely to Earth. It’s now playing on Netflix.
The Prince Documentary You Might Never See
Ezra Edelman’s OJ: Made in America is probably the best documentary I’ve ever watched — it’s a powerful and illuminating work. For the past five years, Edelman has been working on a documentary about Prince for Netflix that aimed to understand an artist who resisted being known for much of his life and career. Edelman got access to Prince’s archive and talked to many of the people closest to him.
But now Prince’s estate is objecting to the portrait of Prince painted by the film: a man of “multiplying paradoxes” who was a “creature of pure sex and mischief and silky ambiguity [but] also dark, vindictive and sad”. Sasha Weiss wrote a fantastic article about the documentary, Edelman, and Prince for the New York Times Magazine.
When the screening ended, after midnight, Questlove was shaken. Since he was 7 years old, he said, he had modeled himself on Prince — his fashion, his overflowing creativity, his musical rule-breaking. So “it was a heavy pill to swallow when someone that you put on a pedestal is normal.” That was the bottom line for him: that Prince was both extraordinary and a regular human being who struggled with self-destructiveness and rage. “Everything’s here: He’s a genius, he’s majestical, he’s sexual, he’s flawed, he’s trash, he’s divine, he’s all those things. And, man. Wow.”
I called Questlove a few months later, to see how it had all settled in his mind. He said he went home that night and spoke to his therapist until 3 a.m. He cried so hard he couldn’t see. Watching the film forced him to confront the consequences of putting on a mask of invincibility — a burden that he feels has been imposed on Black people for generations. “A certain level of shield — we could call it masculinity, or coolness: the idea of cool, the mere ideal of cool was invented by Black people to protect themselves in this country,” he said. “But we made it sexy. … We can take dark emotion and make that cool, too.”
The night of the screening, he said he told his therapist, was a wake-up call: “I don’t want my life to be what I just saw there.” It was painful, he said, to “take your hero and subject him to the one thing that he detests more than life, which is to show his heart, show his emotion.”
Ever if you’re not a particular fan of Prince, it’s worth reading the whole thing.
🚨 New Every Frame a Painting!! 🚨
I just got back from the XOXO Festival and one of things that happened was that Taylor Ramos and Tony Zhou showed their new short film The Second and their first new Every Frame A Painting video essay in eight years!! And now the video essay is on YouTube:
It’s a quick one about the sustained two-shot, a type of shot that was used a lot in the olden days but still has its uses today — and gives actors room to actually act.
So happy to see Ramos and Zhou back at it. I’m not sure if I should even say this, but they indicated during their XOXO appearance that there will be more to come (in fewer than 8 years).
Here’s my post about them shuttering the channel and a few of my favorite videos of theirs.
Mapping Cinematic Paths
Artist and illustrator Andrew DeGraff makes maps that show where the characters travel during movies — imagine Billy’s trail maps from Family Circus but for films like Back to the Future, The Breakfast Club, Pulp Fiction, and Mad Max: Fury Road.
DeGraff collected these maps into a book called Cinemaps: An Atlas of 35 Great Movies.
Saturday Night
Saturday Night is a forthcoming movie directed by Jason Reitman about the premiere of Saturday Night Live.
At 11:30pm on October 11, 1975, a ferocious troupe of young comedians and writers changed television — and culture — forever. Directed by Jason Reitman and written by Gil Kenan & Reitman, Saturday Night is based on the true story of what happened behind the scenes in the 90 minutes leading up to the first broadcast of Saturday Night Live. Full of humor, chaos, and the magic of a revolution that almost wasn’t, we count down the minutes in real time until we hear those famous words…
According to Wikipedia, Succession’s Nicholas Braun (Cousin Greg) plays both Andy Kaufman and Jim Henson in the film. (via @ernie.tedium.co)
Point Break & Kathryn Bigelow’s Revolutionary POV Shots
In this video, Evan Puschak takes a close look at the iconic chase scene in Point Break to see how director Kathryn Bigelow uses POV shots to help put the viewer right into the action in a way that is incredibly immersive. Oh, and there a surprise appearance by Disneyland’s Mr. Toad’s Wild Ride.
Confession: I have never seen Point Break. Guess I should watch it now?
How Sci-Fi Movies Have Changed Since the 50s
In this visual essay (and video embedded above), Alvin Chang shows how science fiction movies have gotten darker and more complex since the 1950s, when many movies were set in the present with a clear existential threat that was then overcome.
But these days, it’s much more likely that protagonists also have to overcome societal forces — political movements, systemic inequality, rampant capitalism. These are basically things that seem too big to fix.
It’s also far more likely that the narrative explores inner conflicts — moral dilemmas, identity crises, and wrestling with our understanding of what it means to be human. We don’t just face outside threats; we also face threats within ourselves.
Ultimately, today’s sci-fi stories are far more likely to be a commentary on current social issues. These might be critiques of political ideologies, runaway capitalism, irresponsible innovation, human apathy, or eroding mental health.
(via studio d)
Moving Posters for Studio Ghibli Films
British designer Hayden Wills has created some cool moving posters for Studio Ghibli films like Howl’s Moving Castle, Spirited Away, and The Wind Rises.
You can see more of Wills’ posters on Behance, download the collection on Steam, or learn how to make your own moving posters in Photoshop.
See also Moving Film Posters. (via @0xjessel)
Ayo Edebiri Browses the Criterion Collection
As if we needed more reasons to love her, Ayo Edebiri is a total film dork. First, there’s the account on Letterboxd — her review of Empire Strikes Back: “this movie is great but I was really shocked by how ugly Yoda was sorry if that pisses anybody off but I had only seen baby Yoda and adult Yoda is fucking busted”. And recently, she totally nerded out in the Criterion Collection closet.
The actor shares her love for sexy and stylish heist movies like Charade and Thief; praises the work of Juzo Itami (whom she calls “the G.O.A.T.”) and his wife, Nobuko Miyamoto; and talks about the African American surrealist imagery in To Sleep with Anger.
So infectiously joyful! As one of the YT commenters said:
Between the prepared list on her phone and the Radiohead t-shirt I feel like this was the closest the comments section has been to having one of us in the closet
The Science Behind the Emotions in Inside Out 2
For National Geographic, Tony Hale (who played Fear in Inside Out 2) talks to psychologist and author Dr. Lisa Damour about Pixar’s new film, her role as a consultant for the filmmakers, and what science says about the emotions in the movie. From The Kid Should See This:
By blending Pixar’s storytelling with scientific expertise, the Inside Out films and this discussion help make the complex topic of emotional development approachable and more familiar. They offer viewers of all ages vocabulary to better understand and express their feelings, while normalizing the intricate emotional experiences we encounter throughout life.
I have heard a lot of good things about Damour’s books from other parents, particularly Untangled: Guiding Teenage Girls Through the Seven Transitions into Adulthood and The Emotional Lives of Teenagers: Raising Connected, Capable, and Compassionate Adolescents.
Vox also has a really interesting article on the science of the emotions of Inside Out 2, with quotes from Damour and emotion scientist Dacher Keltner.
One of the things that happens when people become teenagers is that their brain becomes more sophisticated, and it allows for self-conscious emotions. Before age 13, kids are concrete in their thinking. They can’t always see things from another perspective. Then around 13 or 14, the ability to picture oneself on the outside, to imagine different scenarios, arrives as a result of brain development.
With that arrival comes the ability to be embarrassed and to imagine what other people think of you. Or to have envy, to want something somebody else has and to want to know why you don’t have it. Ennui is so funny and wonderful and really maps onto the natural disdain and over-it-ness teenagers can have for everything. Then, of course, anxiety is a major player in this movie. What anxiety requires is the ability to imagine and anticipate. Fear is our response to the threat right in front of us, whereas anxiety is picturing things that might happen.
See also The Making of “Inside Out 2” episode of Damour’s podcast.
As the parent of two teens and also as someone who perhaps remembers a little too much what it felt like to be a teenager, I found Inside Out 2’s portrayal of the emotions (and how to manage them) to be really convincing. (via the kid should see this)
Gladiator II
Ok, this trailer for Ridley Scott’s Gladiator II really got me wound up. Denzel Washington, Paul Mescal, Pedro Pascal, Connie Nielsen — I am here for all of it. November 22 can’t come soon enough (for several reasons…)
The Avengers Assemble for Lakota Dub
Members of the original cast of The Avengers (Robert Downey Jr., Scarlett Johansson, Chris Hemsworth, Chris Evans, Jeremy Renner, and Mark Ruffalo) reunited to dub the movie in the Lakota language.
Mark Ruffalo and members of the initiative sit down with us to share the story of this amazing reunion and its very special cause. From the recording studio to the big screen, we explore this important cinematic milestone and celebrate the release that took over 15 months, 62 Lakota-Dakota language speakers, and the original Avengers team to come together and Assemble!
More details from the Lakota Times:
On June 14th, 2024, Disney plus will release the Avengers film that will be dubbed in Lakota. Cyril “Chuck” Archambault, Ray Taken Alive, Dallas Nelson, Lawrence Archambault along with the Lakota Reclamation Project, Grey Willow Studios, students from McLaughlin school, elders from the Standing Rock community and many others have all worked very hard together to complete this project.
A couple of years ago, Ray and Chuck talked about the idea of dubbing the Avengers movie. From there, Chuck spoke with Mark Ruffalo about the idea and Ruffalo said he will get back to them about it. Several months later, a meeting was set up with Marvel and Disney to discuss this idea. Not only did they approve of the project, but Marvel and Deluxe studios helped them through it.
From there, they were able to receive a grant to help with funding, within the budgets they made sure that the Elders would be the highest paid in the project.
Here’s the poster for the Lakota dub, which is now streaming on Disney+ (change the language option to Lakota).
Anxiety in Inside Out 2 Is Too Real
NY Times critic Maya Phillips wrote about seeing her anxiety reflected in Pixar’s Inside Out 2.
When an emotion takes over in the “Inside Out” movies, a control board in Riley’s mind changes to that feeling’s color; Anxiety’s takeover, however, is more absolute. She creates a stronghold in Riley’s imagination, where she forces mind workers to illustrate negative hypothetical scenarios for Riley’s future. Soon, Riley’s chief inner belief is of her inadequacy; the emotions hear “I’m not good enough” as a low, rumbling refrain in her mind.
I’m familiar with anxiety’s hold on the imagination; my mind is always writing the script to the next worst day of my life. It’s already embraced all possibilities of failure. And my anxiety’s ruthless demands for perfection often turn my thoughts into an unrelenting roll-call of self-criticisms and insecurities.
And yet — Anxiety isn’t the villain of this movie.
A cursory spin around social media reveals many other people who identified with that aspect of the film.
I really enjoyed this movie and loved that they didn’t make Anxiety the villain. It would have been so easy to do so — Hollywood has a habit of really dumbing things down, especially in movies aimed at kids. The filmmakers seemed to understand that anxiety is the flip-side of a coin that includes some mixture of watchfulness, anticipation, and exhilaration. That emotion can be useful to people, until it spins out of the control as in the movie and then it wreaks havoc.
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