Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone http://screencomment.com Movie news, reviews and interviews | Where intelligent cinema lives. Sun, 20 Apr 2014 17:49:33 +0000 en hourly 1 http://wordpress.org/?v=3.3 Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone’s Ali Naderzad comments not your average movie soundtracks. Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone clean Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone aureliecomboul@gmail.com aureliecomboul@gmail.com (Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone) Movie Tracks! Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone http://screencomment.com/site/sc-site-layout-uploads/MOVIETRACKS_podcast_logo_305x305.jpg http://screencomment.com TV-G GREEK CINEMA, Panos Koutras http://screencomment.com/2014/04/panos-koutras-cannes/ http://screencomment.com/2014/04/panos-koutras-cannes/#comments Sun, 20 Apr 2014 08:50:05 +0000 Ali Naderzad http://screencomment.com/?p=19249

My knowledge of Greek cinema is imperfect, I admit–but am I alone? Greek cinema has historically suffered from a lack of promotional support abroad, which leaves moviegoers with scant information about the Greek canon. I remember watching Yorgos Lanthimos’s “Dogtooth” in Cannes a few years ago and feeling unnerved but also strangely delighted. Lanthimos took risks by putting characters that were not likable in a situation so unusual, and extreme, that their vulnerability made them compelling.

I’m still groping through the Angelopoulos cannon to find my treasure and I’m pretty sure that Costa-Gavras cannot be considered a Greek filmmaker anymore. Michael Cacoyannis’s “Zorba the Greek” remains a reference, one which should not be overlooked.

Athens-born Panos H. Koutras was first noticed in 2000 with the off-kilter “Attack of the Giant Moussaka,” a cheeky and hilarious spoof of disaster movies that claims direct lineage to John Waters and Pedro Almodovar. In 2009′s “Strella” a man comes out of prison and visits a prostitute who he falls in love with, only to have his past catch up with him. The film has been noted as being Koutras’s best work. He’s been forging ahead since, and this in spite of enormous difficulties finding funds to complete his films.

attack-giant-moussaka

Koutras’s film “Xenia” (123 minutes) has been chosen as part of the Un Certain Regard this year. In an interview he’s described it as a kind of farewell to his youth. “As I approach my fifties I thought, the time has come to make my teenage movie,” he said. Previous themes like the quest for identity and brotherhood are also present here. “I deeply believe in brotherly love,” he states. “It’s a very important love, where I’m concerned.”

Trending the Cannes Festival on Twitter – Lock #SCannes2014 for our daily updates

He professes an admiration for the films of Fassbinder, Bresson, Sirk and Minelli, and knows his three Rs: Ray, Renoir, and Rossellini. But he also cites the foreign TV series of the sixties and seventies he grew up with as an influence.

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In “Xenia” two brothers, Danny, sixteen, and Odysseas, eighteen, embark on a journey from Crete to Thessaloniki to find their father after their Albanian mother passes away. Their father abandoned them when they were very young. Foreigners in their own country, they are determined to find their father and be recognized by him officially in order to obtain Greek citizenship.

In the film’s subplot the brothers prepare for an appearance in a talent show, with its promise of a better life. As the two brothers travel together they discover what binds them together, come to terms with the violence of growing up and try to make their dream come true, while Greece refuses to follow them on their journey. ”Xenia” was my most difficult shoot,” Koutras has commented.

On getting the news that his film would be screened in the official selection at the Cannes Festival Koutras said, “just like its heroes did, the film came up against the harsh contemporary realities of [directing and producing a film in] Greece, the inherent difficulties that come with any co-production notwithstanding. I’m hoping that this wonderful break, which fills all of us with joy, will mark the beginning of the end of all the film’s difficulties.”

Post-screening comments and impressions about “Xenia” to be posted here during the Cannes Festival.

SEE ALSO:

“Strella” (full movie; subtitled)

“Attack of the Giant Moussaka” (full movie; with French subtitles)

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Dior and I http://screencomment.com/2014/04/dior-and-i/ http://screencomment.com/2014/04/dior-and-i/#comments Sat, 19 Apr 2014 17:34:39 +0000 TRAILERS http://screencomment.com/?p=19309


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Nas in Tribeca http://screencomment.com/2014/04/nas-in-tribeca/ http://screencomment.com/2014/04/nas-in-tribeca/#comments Sat, 19 Apr 2014 17:26:24 +0000 TRAILERS http://screencomment.com/?p=19302


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Revisiting ANNIE HALL http://screencomment.com/2014/04/calling-all-cinephiles/ http://screencomment.com/2014/04/calling-all-cinephiles/#comments Sat, 19 Apr 2014 17:05:17 +0000 Ali Naderzad http://screencomment.com/?p=19272

Here is one of the best (and most discomfiting) scenes from “Annie Hall” (1977) in which the funny conversation isn’t the one taking place between the two protagonists Alvy Singer and Annie Hall but rather the one that’s overheard between some holier-than-thou faux-cinephile who spends the whole scene shooting down Fellini and his companion.

Alvy and Annie are standing in line to go watch “The Sorrow and the Pity” at the New Yorker theater and the guy holding court behind them is a professor at Columbia University. The passive-aggressiveness, the sexually-centered dynamics and the spirit of Freud weighing heavily over the deliberations make this such a terrific scene of a great film (a film which is listed in our 100 Years of Must-See Movies available in the sidebar, in fact). And then, Marshall McLuhan in the flesh makes a cameo appearance which makes the moment of catharsis complete.

What was the moral of “Annie Hall”? Date your own kind?


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NEBRASKA: We had more to say about it http://screencomment.com/2014/04/nebraska-review/ http://screencomment.com/2014/04/nebraska-review/#comments Sat, 19 Apr 2014 06:22:06 +0000 Fred Pieters http://screencomment.com/?p=19116 this is Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone's second review of "Nebraska") American indie cinema also has its giants. Just like his cohorts Wes Anderson and Jason Reitman Alexander Payne has, after directing only a few movies, spearheaded this other cinema in which America and its history fill the screen and the script. As it were in “Nebraska” America is the focus. Not the one that’s portrayed by superheroes but indeed the one that we've come to gradually forget.]]>

(this is Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone’s second review of “Nebraska“) American indie cinema also has its giants. Just like his compadres Wes Anderson and Jason Reitman Alexander Payne has, after directing only a few movies, spearheaded this other cinema in which America, and its history, fill the whole screen. As it were, in “Nebraska” America is hiding in plain sight. Not the one where superheroes save humanity but indeed the one that we’ve come to forget about over time.

In penetrating black and white imagery Payne shoots simply and with great accuracy the bittersweet tribulations of a father and his son deciding to, and then going on, a roadtrip. Payne, somewhat torn between being funny and serious (he’s said in interviews that comedy is his primary influence in how to approach story), surprises us where we least expect him to and places himself entirely in service of story. The elegance of the script, a sparseness which literally jumps at us from the screen, is a treat (this is the first film for which Payne did not also author the screenplay–he did do a rewrite in this case, however).

Stream NEBRASKA on Amazon 

Bruce Dern is extraordinary in the role of a father in the winter of his life who’s convinced he won big at lottery and who’s suffering from early-stage senile dementia (or Alzheimer’s, but can one ever tell the difference?). The rest of the cast isn’t disappointing, either, including June Squibb as the wife and mother, who’s slightly koo-koo herself, but that’s her personality. And let’s not forget Bob Odenkirk, who plays the brother, Ross Grant (you may remember him from that barely-noticed series “Breaking Bad,” in which he plays the wonderfully odious ambulance-chaser).

At the fore of the screen lies the American landscape in its grandeur, from wide expanses where epicness is underplayed to towns eroded by time and the change of epoch: Payne delivers a beautiful immersion into the lands of Uncle Sam. Across this geographic and temporal journey, he succeeds in providing a very compelling variation on the father-son relationship while indulging himself in directing his best film to date. It’s cinema like this that we want more of.

Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone’s Ali Naderzad will be in Cannes during May 14-25 to cover the world’s best film festival. Lock #SCannes2014 on Twitter to follow his updates.

READ MORE:

Sam Weisberg’s REVIEW of NEBRASKA

The Wolf of Wall Street

Blue Jasmine

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Thierry Frémaux http://screencomment.com/2014/04/thierry-fremaux/ http://screencomment.com/2014/04/thierry-fremaux/#comments Fri, 18 Apr 2014 17:19:36 +0000 admin http://screencomment.com/?p=19068


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Maps to the stars http://screencomment.com/2014/04/maps-to-the-stars-2/ http://screencomment.com/2014/04/maps-to-the-stars-2/#comments Fri, 18 Apr 2014 09:14:35 +0000 admin http://screencomment.com/?p=19053


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Map to the Stars trailer RELEASED http://screencomment.com/2014/04/robert-pattinson-david-cronenberg/ http://screencomment.com/2014/04/robert-pattinson-david-cronenberg/#comments Fri, 18 Apr 2014 09:05:38 +0000 Ali Naderzad http://screencomment.com/?p=19046

It’s been about two years now since Robert Pattinson slipped his fangs back in and ended his career as a gentleman-vampire. Two years, therefore, since we haven’t heard about him on the cover of magazines, leaving the popular press with a 90% space shortfall to fill with other things between 2008 and 2012.

Fans (and they are legion) who’ve been mourning him are now breathing a collective sigh of relief : Pattinson isn’t dead yet, and in fact, he’s back, as a newly-released trailer of “Maps to the Stars,” the latest film by David Cronenberg which will be a part of the 67th Cannes Festival, would lead us to believe. Pattinson is not in a leading role, but is this going to keep the ink from flowing? We think not.

[Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone will be in Cannes for the duration of the festival. Lock #SCannes2014 on Twitter]

Clearly won over by Pattinson’s muted interpretation of clueless millionaire Eric Packer in “Cosmopolis” (from the 2012 Cannes selection), Cronenberg wrote his new screenplay with Pattinson in mind. This time, Pattinson plays the driver of a family of millionaires, also known as “the archetypal Hollywood dynasty” according to the official synopsis.

Namely, a father who’s a self-help guru (played by John Cusack) who’s amassed his fortune by writing books for better living, a mother (Olivia Williams) obsessed by her son Benjie’s career (he’s thirteen and a child star just coming out of a detox program), and an illegitimate daughter (Mia Wasikowska) who was recently released from a mental health clinic where she was treated for criminal arson.

SEE: the full list of films selected this year at Cannes

Add to this fun bunch an actress (played by Julianne Moore) who is haunted by the ghost of her mother, a star of the sixties. In short, your typical fun-loving family.

Cronenberg has shot this quaint family’s life with the care and precision of a swiss watchmaker, unearthing the darkest and most disturbing corners of his characters’ psyches. The new trailer does not tell us much about “Maps to the Stars” itself, except that Robert Pattinson and Juliane Moore know how to enjoy the comforts of a stretch limo and Mia Wasikowska manifestly has potential for psychopathy.

IN COMPETITION

 

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Grace of Monaco http://screencomment.com/2014/04/grace-of-monaco-2/ http://screencomment.com/2014/04/grace-of-monaco-2/#comments Fri, 18 Apr 2014 08:28:37 +0000 TRAILERS http://screencomment.com/?p=19030


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CANNES FESTIVAL – selection announced http://screencomment.com/2014/04/cannes-2014-selection/ http://screencomment.com/2014/04/cannes-2014-selection/#comments Thu, 17 Apr 2014 07:32:36 +0000 Ali Naderzad http://screencomment.com/?p=18997

PARIS - A kind of good-humored anticipation is manifest inside UGC’s Normandie movie theater on the Champs Elysées: today we find out who the Cannes nominees are. I plop into a chair next to a friend, who, punctual as always, already found his seat. We come out of the theater about an hour later, our marching orders in hand. Eighteen films in the competition series, and eighteen other ones in the Un Certain Regard program.

I wondered as I scanned the large theater how many people seated inside it were privy ahead of time to the selection. Knowing programmer Thierry Frémaux’s (pictured) penchant for extreme discretion, they number in the very few.

[Lock #SCannes2014 on Twitter]

The official Cannes program includes two lineups, the competition films which go for a Palme D’Or win, and Un Certain Regard, “another look” at cinema that includes first works by schoolyard cinéastes just as probably as films by veteran lensmen. The series, a creation of Gilles Jacob’s, was launched in 1978 to help the winning films tap into France’s rich and diverse financing ecosystem. In my opinion, this particular series has lost its focus long ago but the films, they’re good, most of the time, and I’ve discovered some extraordinary (if not always enduring) filmmakers there–Mattheus Nachtergaele, for example (now you see him, now you don’t).

This year marks Gilles Jacob’s last go-around as festival president. Next month he will take his final bow after thirty-seven years at the presidency. CanalPlus’s co-founder Pierre Lescure will be taking over in 2015, as was decided by the festival’s board of trustees earlier this year. During this morning’s conference Frémaux marked the passing of the Jacob era with a generous, but noticeably brief, tribute to Jacob’s tenure.

Jacob, an avid user of Twitter who’s been known for the occasional leak waxed philosophical on the unequal process of selecting movies, his presentation as generous and compelling as usual (Jacob is a terrific narrator) mixing the right amount of wit with ambassadorial flair. He paid touching tribute to Frémaux’s efforts in carving out this year’s selection (and the job of short-listing the forty or so movies must be very difficult, so give credit where credit is due).

The Cannes Festival celebrates two things, cinema’s continuity and new talent. This year’s program appears–challenging, generous and diverse–appears to do just that, with two women filmmakers showing films in competition, Naomi Kawase and Alice Rohrwacher, and a very heterogeneous and cosmopolitan group of filmmakers.

Jean-Luc Godard will make a comeback in the competition section (he was in Cannes in 2010 with “Film Socialisme”) with “Adieu au langage” (“Goodbye language,” in French).

One announced film that will likely result in many Twilight fans traveling down to the French Riviera to catch a glimpse of their idols is Olivier Assayas’s “Sils Maria,” (AKA “Clouds of Sils Maria”) which stars Kristen Stewart and Juliette Binoche. David Cronenberg’s “Maps to the stars,” stars none other than Robert Pattinson. Assayas has already been to Cannes a number of times to present films. In 2007 he was presenting “Boarding Gate,” which stars Asia Argento.

Argento, a regular in Cannes herself who has several movies under her belt and recently released her first full-length L.P., will be presenting her first movie in the official selection this year. She previously brought “The Heart is deceitful above all things,” which she directed, to Critics’ Week.

During this morning’s presentation the Télérama journalist (tweets in French) asked for an update concerning Terrence Malick’s movie. According to Frémaux, Malick told him, “I’m still tinkering with it,” which leaves the door open for an appearance in Cannes next year, perhaps?

Turkey was supposed to be represented by two Cannes frequent-flyers, Nuri Bilge Ceylan and Fatih Akin. The former will be presenting “Kis Uykusu” (“Winter sleep”), which clocks in at three hours and sixteen minutes. But the latter retracted his movie”The Cut” from the selection for “personal reasons.” No more is known about this. Could it be that Akin became offended after finding out that Atom Egoyan will be presenting a film (“Captives”) in the same year as he? It turns out that this particular hypothesis is wrong, according to a reliable source (more information will be made available later).

As was previously announced, Olivier Dahan‘s “Grace Of Monaco” starring Nicole Kidman (and co-starring Frank Langella and Tim Roth) will open the 2014 line. The closing film has not been announced yet. Whatever it will be, the selection as it stands now is already filled with the promise of a great 2014 Cannes Film Festival.

Below is the full list of this year’s movies to be presented in Cannes:

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Naomi Kawase's "Futatsume No Mado"

COMPETITION SECTION

“Grace of Monaco,” by Olivier Dahan (OPENING MOVIE)

“Sils Maria,” Olivier Assayas

“Saint Laurent,” Bertrand Bonello

“Kis Uykusu,” Nuri Bilge Ceylan

“Maps to the stars,” David Cronenberg

“Two days, one night,” Jean-Pierre Dardenne and Luc Dardenne

“Mommy,” Xavier Dolan

“Captives,” Atom Egoyan

“Adieu au langage,” Jean-luc Godard

“The Search,” Michel Hazanavicius

“The Homesman,” Tommy Lee Jones

“Futatsume no mado,” Naomi Kawase

“Mr. Turner,” Mike Leigh

“Jimmy’s Hall,” Ken Loach

“Foxcatcher,” Bennett Miller

“Le Meraviglie,” Alice Rohrwacher

“Timbuktu,” Abderrahmane Sissako

“Relatos Salvajes,” Damian Szifron

“Leviathan,” Andrey Zvyagintsev

 

UN CERTAIN REGARD

“Party Girl,” by Marie Amachoukeli, Claire Burger and Samuel Theis

“Sin Titulo,” Lisandro Alonso

“Incompresa,” Asia Argento

“Titli,” Kanu Behl

“Eleanor Rigby,” Ned Benson

“Bird People,” Pascale Ferran

“Lost River,” Ryan Gosling

“Amour Fou,” jessica Hausner

“Charlie’s Country,” Rol De Heer

“Snow in Paradise,” Andrew Hulme

“Dohee-Ya,” July Jung

“Xenia,” Panos Koutras

“Run,” Philippe Lacôte

“Turist,” Ruben Oestlund

“Hermosa Juventud,” Jaime Rosales

“Fantasia,” Wang Chao

“The salt of the earth,” Wim Wenders, Juliano Ribeiro Salgado

“Harcheck mi headro,” Keren Yedaya

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