In Contention

Tag: Catherine Breillat

  • VENICE: ‘The Sleeping Beauty,’ ‘Silent Souls’

    Blame Sofia Coppola. Or at least blame Los Angeles. For immediately after the former’s summery, sun-bleached “Somewhere” kicked off this morning’s activity, the Lido clearly decided to rebel against Coppola’s aesthetic and started gathering its clouds. Shortly before noon, the beachfront was a mere blur under a torrential downpour of rain, robust sponsors’ umbrellas blown heedlessly across the red carpet.

    The storm ended as abruptly as it began, though I couldn’t help wondering if it was an instruction of sorts from the festival gods. “Okay, dilettantes, you’ve had the three name American auteurs,” they seemed to be saying. “Now feel free to hop on over to Telluride or Toronto; you won’t even be missing out on the weather.”

    I was indoors when the gusts began whipping against the windows of the press room, but was affected by the storm nonetheless: largely because a leak in the ceiling necessitated the shutdown of the room’s wi-fi network for over two hours, handily erasing half the “Somewhere” review I’d already written and throwing my day’s screening schedule out of whack. Venice’s slightly bumpy administration can be endearing sometimes; this was not one of those times.

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  • LONDON: Exploding girls on trains

    Zoe Kazan in The Exploding GirlNot my most successful day at the London Film Festival today, as a communication error kept me out of the fest’s final “Samson and Delilah” screening — vexing partly because it leaves a significant gap in the collective review I had planned to do of multiple foreign Oscar contenders next week, but more simply because it was one of my most anticipated films of the festival. Can’t win ’em all, I suppose.

    Meanwhile, the Surprise Film screening, usually my favorite night of the festival, proved slightly anti-climactic for yours truly as the selection turned out to be Michael Moore’s “Capitalism: A Love Story” — a respectable enough choice on fest director Sandra Hebron’s part, but a film I’d already dug into at Venice. (Meanwhile, it marks the first time in four years that I hadn’t correctly anticipated the ‘surprise.’)

    In keeping with the theme of the day, then, I thought this as good a time as any to briefly round up five of the fest’s more disappointing efforts so far.

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