David Bordwell's website on cinema   click for CV

Home

Blog

Books

On the History of Film Style pdf online

Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling

Film Art: An Introduction

Christopher Nolan: A Labyrinth of Linkages pdf online

Pandora’s Digital Box: Films, Files, and the Future of Movies pdf online

Planet Hong Kong, second edition pdf online

The Way Hollywood Tells It pdf online

Poetics of Cinema pdf online

Figures Traced In Light

Ozu and the Poetics of Cinema pdf online

Exporting Entertainment: America in the World Film Market 1907–1934 pdf online

Video

Hou Hsiao-hsien: A new video lecture!

CinemaScope: The Modern Miracle You See Without Glasses

How Motion Pictures Became the Movies

Constructive editing in Pickpocket: A video essay

Essays

Lessons with Bazin: Six Paths to a Poetics

A Celestial Cinémathèque? or, Film Archives and Me: A Semi-Personal History

Shklovsky and His “Monument to a Scientific Error”

Murder Culture: Adventures in 1940s Suspense

The Viewer’s Share: Models of Mind in Explaining Film

Common Sense + Film Theory = Common-Sense Film Theory?

Mad Detective: Doubling Down

The Classical Hollywood Cinema Twenty-Five Years Along

Nordisk and the Tableau Aesthetic

William Cameron Menzies: One Forceful, Impressive Idea

Another Shaw Production: Anamorphic Adventures in Hong Kong

Paolo Gioli’s Vertical Cinema

(Re)Discovering Charles Dekeukeleire

Doing Film History

The Hook: Scene Transitions in Classical Cinema

Anatomy of the Action Picture

Hearing Voices

Preface, Croatian edition, On the History of Film Style

Slavoj Žižek: Say Anything

Film and the Historical Return

Studying Cinema

Articles

Book Reports

Observations on film art

Some highlights of Venice appear at last

Friday | May 10, 2019   open printable version open printable version

Sunset (2018).

Kristin here:

Going to the Venice International Film Festival in 2017 and 2018 has been a joy. Still, there’s a downside for our readers. We write about the films that premiere there in early September, but the films themselves appear months–sometimes many months–after the festival ends.

Of course, two titles, Roma and The Ballad of Buster Scrugges, appeared fairly soon on Netflix, and First Man had an October opening. After a delay, one of David’s recommended films, Dragged Across Concrete, had a quick, spotty theatrical release and is now available on several streaming platforms, as well as DVD and Blu-ray.

Two others of our Venice favorites are in narrow theatrical release only now, and we think you should seek them out.

 

The other Manson film to see this year

One film is Mary Harron’s Charlie Says, about the lead-up to and aftermath of the Manson killings. David wrote about it in a report on crime-related films at the festival. We both liked it very much, as a very original approach to the subject. Now Manohla Dargis has published an enthusiastic review, calling the film “powerful and deeply affecting.” Critics have split in their opinions, but we’re with Manohla on this one.

In all the complaints last year over Venice only having one female-directed film in competition, the many women whose films premiered in other threads were largely overlooked. I saw several of them, and I was very glad I put Harron’s film on my viewing schedule.

 

Seeking out Sunset

My favorite film from the festival was Lázló Nemes’s Sunset. Yes, I loved First Man, Roma, and The Ballad of Buster Scruggs, but Sunset was an instant classic, a film I wanted to see again while I was only a third of the way through the initial viewing.

Usually at festivals we have to include groups of films in each blog entry, even though they deserve more attention. In Sunset‘s case, I waited until I could see a screener and read the interviews with the filmmakers in the special Hungarian journal issue devoted to the film. I devoted a single analytical post to it (which links to an online version of that journal issue).

Without serious spoilers, since it’s a film of mystery and suspense, I tried to convey its unconventional approach to extremely restricted point of view and its brilliant camerawork and design. Many reviewers, however, have dismissed it as baffling or incomprehensible. I obviously disagree. It’s a challenging film, there’s no question about that. But aren’t there great artworks that are challenging in various ways? Works that mystified their original audiences? In order to appreciate them, don’t we expect that we’ll need to experience them more than once or twice? Of course, most reviewers don’t have that option before publishing their responses, but all the more reason to be cautious about condemning something because it’s thoroughly unconventional.

We looked forward to another chance to see Sunset on the big screen, and now it is in release. Its only local venue was at the AMC Classic Desert Star 15 just north of Baraboo, on the edge of the Wisconsin Dells. About 40 minutes of driving brought us to an impressive multiplex from 1999 with a desert theme. The Desert Star name comes from the fact that the theater is located in a much larger Kalihari entertainment complex, with indoor miniature golf, an amusement park with Ferris wheel, and other attractions. An odd venue, but a pleasant one.

For me, on third viewing, the film held up entirely, and I think I figured out a few of the things that had been unclear to me before. I’m sure another viewing will be illuminating as well, though there are clearly ambiguities that can never be resolved, intendedly so. David, seeing it for the second time, was even more impressed than at Venice.

Sunset is not coming out in the UK until May 31. Nemes himself is currently touring theaters showing the film on 35mm (schedule here). It was shot in 35mm and looked great on the huge screen of the Lido’s Sala Grande. Artificial Eye has announced that a Blu-ray will be released in the UK later this year.


Thanks as ever to Michael Barker of Sony Pictures Classics for his help with this and our earlier entry.

AMC Classic Desert Star 15, Baraboo Wisconsin.

Comments are closed.

David Bordwell
top of page

have comments about the state of this website? go here