Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone http://screencomment.com Movie news, reviews and interviews | Where intelligent cinema lives. Wed, 23 Apr 2014 08:15:43 +0000 en-US hourly 1 http://wordpress.org/?v=3.9 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 Young & Beautiful http://screencomment.com/2014/04/young-beautiful/ http://screencomment.com/2014/04/young-beautiful/#comments Wed, 23 Apr 2014 05:21:02 +0000 http://screencomment.com/?p=18747

Four songs and four seasons provide the pace of “Young and beautiful” (title in French: “Jeune et Jolie”), the absorbing new film by France’s Francois Ozon (“The swimming pool”) which comes out this week. But the film’s neat organization serves another purpose: to make the whiplash effect that will be felt later on even cruder.

As he’s done in previous films Ozon frames family life carefully: he plies us with all its clichés but doesn’t ever make his characters trivial. We know these people on a first-name basis but there’s a part of mystery about them, especially where Isabelle, played by newcomer Marine Vacth, is concerned.

Vacth reminds me of a Laetitia Casta, Maiwenn and Arianna Nastro of Saverio Costanzo’s “The Solitude of Prime Numbers” (2010) all mixed together. Bearing the humanoid-like physique of a model (this is actually her main métier) Vacth shows emotion only sparingly. And yet she carries the entire film on her frail shoulders.

Isabelle and her family are taking their summer vacation in the south of France. A beachside town, an awkward encounter between two teenagers. Ozon is a master at making us slide into conventional bliss. We gobble up the clichés since they make us nostalgic, but they’ll be just as destabilizing, later on.

Isabelle meets Max and a tryst between them that probably never stood a chance falls apart after Isabelle suddenly withdraws into herself, leaving the boy befuddled. The family returns to Paris and life starts again anew. In the very next scene Isabelle walks into a fancy hotel room and talks with a man sitting on a bed, about forty years older than her and who declares that she doesn’t look like in the pictures she posted online.

Reading between the lines of “Young & Beautiful” will provide the less romantic viewer with an acute commentary on sexting and hypersexualized adolescents getting it on more than ever before thanks to the internet. But “Young & Beautiful” is first of all a cinematic story, a film (it could’ve been called “L’histoire d’Isabelle”) that once more establishes François Ozon as an outstanding filmmaker.

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Marine Vacth and Francois Ozon

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KURDISH WESTERN: My sweet pepper land http://screencomment.com/2014/04/golshifteh-farahani-sweet-pepper/ http://screencomment.com/2014/04/golshifteh-farahani-sweet-pepper/#comments Tue, 22 Apr 2014 10:18:29 +0000 http://screencomment.com/?p=19380

After “If you die, I’ll kill you” (“Si tu meurs, je te tue” in French) Kurdish filmmaker Huner Saleem has teamed up with Golshifteh Farahani again in this modern-day western set in a Kurdistan that’s emerging from years of civil warring. In this second film with the Iranian actress Saleem subtly juggles epic with intimate, the tragic with the comical. And while he borrows from the genre’s archetypes he also manages to avoid its pitfalls.

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Saleem focuses primarily on the encounter between the two main characters, characters who themselves symbolize the two pillars needed to rebuild the state: Baran (played by Korkmaz Arslan) represents justice, and Govend (Farahani) education. In fact it’s thanks to these two actors’ terrific performances that the larger debate about the difficulties of a state in recovering from the ravages of a civil war is energized and can thrive.

Beyond the foundations of society lie individuals–women, in particular. “My sweet pepper land” is a declaration of love to these women who are determined to find their place in a patriarchal and oppressive society such as Kurdistan. But instead of fanning the flames of injustice Saleem prefers to ask questions.

Things are happening in the Middle East, and the seventh art that is cinema is a powerful medium to raise awareness and stir up an intelligent debate. “My sweet pepper land” and its unforgettable story context helps feed another strand of world cinema; beautiful and politically-conscious films like these help us take the planet’s temperature by telling stories that are actually worth bringing to the screen. Farahani wisely picked this part, proving yet again her high standards and the respect she has toward her craft.


Our interview with Golshifteh Farahani in Paris





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CANNES FESTIVAL – The selection in pictures http://screencomment.com/2014/04/cannes-festival-the-selection-in-pictures/ http://screencomment.com/2014/04/cannes-festival-the-selection-in-pictures/#comments Mon, 21 Apr 2014 12:41:54 +0000 http://screencomment.com/?p=19340

This year’s selection in Cannes, while not being particularly exceptional in terms of big-name wattage, could lead to some interesting results. For example, this marks Xavier Dolan’s first year bringing a film to the competition series (he’s been at Cannes before, but was never in line to compete for the Palme D’Or). A win for Dolan would validate years of efforts and progress. This year also marks Jean-Luc Godard’s return, so to speak. Not to be outdone, the French new wave director has shot his “Adieu au langage” (“A farewell to language,” would be my best translation of it) in 3D. Here’s the entire selection (competition and Un Certain Regard) in images:

































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Young and beautiful http://screencomment.com/2014/04/young-and-beautiful-2/ http://screencomment.com/2014/04/young-and-beautiful-2/#comments Sun, 20 Apr 2014 17:32:44 +0000 http://screencomment.com/?p=19335


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OUR NEW POSTER IS OUT http://screencomment.com/2014/04/cannes-2014-2/ http://screencomment.com/2014/04/cannes-2014-2/#comments Sun, 20 Apr 2014 17:00:58 +0000 http://screencomment.com/?p=19331 more >]]>

Buspirone And Cymbalta (Duloxetine/Antidepressants, Analgesics), cymbalta and buspirone has an official poster for Cannes (and we will be doing this every year). We chose the better-known filmmakers out of this year’s competition program and created a lightstream that carries the names from bottom to top. The names are in no particular order, except that Americans were given priority at the top (but this is all open to interpretation).





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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 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.


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.”

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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.


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.


“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 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 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 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 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.


Sam Weisberg’s REVIEW of NEBRASKA

The Wolf of Wall Street

Blue Jasmine

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