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<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b><span
style='font-size:20.0pt;font-family:"Arial","sans-serif"'>NEW YORK FILM
FESTIVAL</span></b><span style='font-size:20.0pt;font-family:"Arial","sans-serif"'><o:p></o:p></span></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b><span
style='font-family:"Arial","sans-serif"'><o:p> </o:p></span></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><b><span
style='font-size:18.0pt;font-family:"Arial","sans-serif"'>2013 � 51<sup>st</sup>
Festival<o:p></o:p></span></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span
style='font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"'>The
<a href="http://www.filmlinc.com/nyff2013"><b style='mso-bidi-font-weight:normal'>2013
NYFF</b></a> ended on 14 October.<span style='mso-spacerun:yes'>� </span>This
excellent Festival�the <b style='mso-bidi-font-weight:normal'>51<sup>st</sup>
edition</b>�was the first under the expert leadership of <b style='mso-bidi-font-weight:
normal'>Kent Jones</b>�and what a <i style='mso-bidi-font-style:normal'>spectacular</i>
festival it was!<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'>Kent</b> and the <b style='mso-bidi-font-weight:normal'>Selection
Committee</b> (<b style='mso-bidi-font-weight:normal'>Kent</b> has been a
member of the Selection Committee for as long as I can remember; but, in his
new role as<b style='mso-bidi-font-weight:normal'> Director of Programming for
the NYFF</b>,<span style='mso-spacerun:yes'>� </span>this was his first year as
<b style='mso-bidi-font-weight:normal'>Chairman of the Committee</b>) put
together an incredible<b style='mso-bidi-font-weight:normal'> <a
href="http://www.filmlinc.com/nyff2013/series/nyff51-main-slate-official-selection">Main
Slate</a></b> of 36 wonderful selections, two fabulous <b style='mso-bidi-font-weight:
normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-main-slate-gala-tributes">Gala
Tributes</a></b> (one to <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/cate-blanchett-nyff-gala-tribute">Cate
Blanchett</a></b>, followed by a surprise screening of Woody Allen�s<i
style='mso-bidi-font-style:normal'> Blue Jasmine</i>; and the other to <b
style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/ralph-fiennes-nyff-gala-tribute">Ralph
Fiennes</a></b>, followed by a screening of his new film, </span><span
class=MsoHyperlink><span style='mso-no-proof:yes'><a href="#_Toc371270184"><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Invisible Woman</span></i></b></a></span></span><span style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif"'>), an amazing <b style='mso-bidi-font-weight:
normal'><a href="http://www.filmlinc.com/nyff2013/series/nyff51-revivals">Revivals<span
style='font-weight:normal'> </span></a></b>series (including the only one we
were able to get to see, a recently restored print of the marvelous 1997 <b
style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/providence"><i style='mso-bidi-font-style:
normal'>Providence</i><span style='font-weight:normal'> </span></a></b>by <b
style='mso-bidi-font-weight:normal'>Alain Resnais</b>), a series called <b
style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-how-democracy-works-now">How
Democracy Works Now</a></b> (ten superb feature-length films by <b
style='mso-bidi-font-weight:normal'>Michael Camerini</b> and <b
style='mso-bidi-font-weight:normal'>Shari Robertson</b> getting inside the
process of the Senate dealing with the immigration bill from 2001-2007), and a <b
style='mso-bidi-font-weight:normal'>Godard</b> retrospective entitled <strong><span
style='font-family:"Arial","sans-serif"'><a
href="http://www.filmlinc.com/films/series/nyff51-jean-luc-godard-the-spirit-of-the-forms"><span
style='mso-fareast-font-family:"Times New Roman"'>Jean-Luc Godard - The Spirit
of the Forms</span></a></span></strong> (consisting of 45 features, 11
medium-length movies, many shorts, and 3 TV series).<span
style='mso-spacerun:yes'>� </span>It was an overwhelmingly wonderful 17
days�during which time Nancy and I saw 26 films!<o:p></o:p></span></p>
<p class=MsoNormal><span style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"'>So
as not to bury the lead, I�m going to put a list of the <b style='mso-bidi-font-weight:
normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-main-slate-official-selection">Main
Slate</a></b> films I saw here, as well as before the reviews of them which
follow further on in this piece (the name of each film is linked to my review
of it, below, if you�d like to jump ahead):<o:p></o:p></span></p>
<p class=MsoNormal><span style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p align=center style='margin-top:0in;margin-right:0in;margin-bottom:3.0pt;
margin-left:0in;text-align:center'><b style='mso-bidi-font-weight:normal'><u><span
style='font-family:"Arial","sans-serif"'>THE MAIN SLATE of FILMS IN THE
FESTIVAL<o:p></o:p></span></u></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span
style='font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273892"><b>The Wind Rises
(Kaze Tachinu)</b></a></span></span><span style='font-size:11.0pt;font-family:
"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273893"><b>Nebraska</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273894"><b>Only Lovers Left
Alive</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273895"><b>Jimmy P:
Psychotherapy of a Plains Indian</b></a></span></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273896"><b>Inside Llewyn
Davis</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273897"><b>Real</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273898"><b>Captain Phillips</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273899"><b>Stray Dogs</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273900"><b>Nobody�s Daughter
Haewon</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273901"><b>American Promise</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273902"><b>Blue Is the
Warmest Color (La Vie d�Ad�le)</b></a></span></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273903"><b>Bastards (Les
Salauds)</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273904"><b>At Berkeley</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273905"><b>Gloria</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273906"><b>Alan Partridge</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273907"><b>Her</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273908"><b>Jealousy (La
Jalousie)</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273909"><b>The Invisible
Woman</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273910"><b>The Secret Life of
Walter Mitty</b></a></span></span><span style='font-size:11.0pt;font-family:
"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273911"><b>Le Week-End</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273912"><b>All Is Lost</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273913"><b>Omar</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273914"><b>The Immigrant</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1><span lang=EN><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>In
the end, of the 23 Main Slate films I saw, there were 11 that I thought were
wonderful, four I felt were really good, two I thought were good films, and all
of the remaining six, all were quite enjoyably watchable and at very least
OK�there was not a single really bad experience in the lot.<span
style='mso-spacerun:yes'>� </span>This is pretty amazing for a festival that is
dedicated to taking chances and that tries to present a broad range of films it
deems to have artistic merit in a number of directions.<span
style='mso-spacerun:yes'>� </span>(That�s 65% that were films I�d thoroughly
recommend as being between �really good� and �wonderful,� and 100% that I felt
were at the very least �quite watchable�!)<span style='mso-spacerun:yes'>�
</span>And the 3 non-Main Slate films (<b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Providence</i></b>, <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>The Senate Speaks</i></b> (from <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>How
Democracy Works</i></b>)<i style='mso-bidi-font-style:normal'> <span
class=GramE>Now<span style='font-style:normal'>,</span></span></i> and <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Hmm�</i></b>)
were all wonderful.<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>There
were two <a href="http://www.filmlinc.com/nyff2012/series/nyff50-gala-tributes"><b
style='mso-bidi-font-weight:normal'>Gala Tributes</b></a> in this year�s NYFF,
and we were able to attend both.<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>The
first honored <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/cate-blanchett-nyff-gala-tribute">Cate
Blanchett</a></b>, and began with clips from her many amazing films (including
two long segments I had been hoping they would include�a long bit of her
playing Bob Dylan in Todd Haynes 2007<i style='mso-bidi-font-style:normal'> I�m
Not There</i>, and a large segment of her playing both herself and her
down-and-out cousin opposite one another in Jim Jarmusch�s 2003 <i
style='mso-bidi-font-style:normal'>Coffee and Cigarettes</i>), followed by a
simply ecstatic interview of her done by <b style='mso-bidi-font-weight:normal'>Kent
Jones</b>.<span style='mso-spacerun:yes'>� </span>I have always known <b
style='mso-bidi-font-weight:normal'>Blanchett</b> was a superb actress, and I
have always thought she was extremely beautiful, but I was surprised to learn
how extremely intelligent, funny, and witty she is!<span
style='mso-spacerun:yes'>� </span>The Tribute was followed by an unannounced
screening of Woody Allen�s <i style='mso-bidi-font-style:normal'>Blue Jasmine</i>,
in which Blanchett stars and does an extraordinary performance.<span
style='mso-spacerun:yes'>� </span>You are probably aware that I have sworn off
Woody Allen films, after four consecutive <span class=GramE>times</span> friends
insisted that <i style='mso-bidi-font-style:normal'>this</i> next one <i
style='mso-bidi-font-style:normal'>really</i> was worth seeing�only to be
sorely disappointed.<span style='mso-spacerun:yes'>� </span>Nancy wanted to
stay to see it; I absolutely did not.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Arnaud Desplechin</b> (whose films we love
and whose <span class=MsoHyperlink><span style='mso-no-proof:yes'><a
href="#_Toc371273895"><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;
mso-ansi-language:EN'>Jimmy P: Psychotherapy of a Plains Indian</span></i></b></a></span></span></span><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-font-kerning:
18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'> </span></i><span
lang=EN style='font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:
bold'>was one of the Main Slate films in the NYFF this year) insisted we should
stay and watch it with him and his wife Florence, and I gave in.<span
style='mso-spacerun:yes'>� </span>It was better than I had feared, but not
great. (As Alex had insisted to me, �it�s not great; but, if you were simply to
come across it as a film in the NYFF and had no idea who the director was,
you�d think it was a pretty good film.<span style='mso-spacerun:yes'>�
</span>He is correct that my real problem is that Woody Allen was one of my
heroes, and that I have not resigned myself to the fact that he has not made a
masterpiece of the caliber he was rather <i style='mso-bidi-font-style:normal'>regularly</i>
capable of�nowhere even close�since the end of the last millennium.)<span
style='mso-spacerun:yes'>� </span><b>Cate Blanchett</b> does give an incredible
performance.<span style='mso-spacerun:yes'>� </span>Nevertheless, the film
suffers from exactly what I have been unhappy about in this 21<sup>st</sup>
century filmmaking:<span style='mso-spacerun:yes'>� </span>it has no real soul.
Woody Allen used to have a deep insight into the human condition, and all his
films therefore had a profound humanity in them that allowed them to be funny�even
to make fun of people�and still convey a soulful respect for people�s humanity;
and he has lost that connection to humanity.<span style='mso-spacerun:yes'>�
</span>In</span><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>,
<i style='mso-bidi-font-style:normal'>Blue Jasmine</i> everyone is stereotyped
and disdainfully made fun of.<span style='mso-spacerun:yes'>� </span>This is
perhaps most uncomfortably obvious in his stereotyping of the lower class
characters, but it is also true in his view of the wealthy.<span
style='mso-spacerun:yes'>� </span>The script�and I assume the direction�insists
on ruining what could have been a great performance by <b style='mso-bidi-font-weight:
normal'>Bobby <span class=SpellE>Cannavale</span></b>, an actor I think has
great talent.<span style='mso-spacerun:yes'>� </span><i style='mso-bidi-font-style:
normal'>Blue Jasmine</i> is better than the other films Allen has been making,
but it is still very much more in tune with the better of them than it is with
any of his earlier, profoundly wonderful works.<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>The
second honored <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/ralph-fiennes-nyff-gala-tribute">Ralph
Fiennes</a></b>, and it was followed by a screening of his new film, <span
class=MsoHyperlink><span style='mso-no-proof:yes'><a href="#_Toc371270184"><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>The Invisible
Woman</span></i></b></a></span></span>.<span style='mso-spacerun:yes'>�
</span>The format was the same as that of the<span style='mso-spacerun:yes'>�
</span>other Gala Tribute�beginning with clips from the many wonderful films in
which <b style='mso-bidi-font-weight:normal'>Fiennes</b> has acted, but also
including clips from the other film he directed, his 2011 <i style='mso-bidi-font-style:
normal'>Coriolanus</i>, followed by an interview of done by <b
style='mso-bidi-font-weight:normal'>Kent Jones</b>.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Fiennes</b>
is definitely an accomplished actor, and it was interesting to hear him speak
about his work; but the onstage performance of Cate <span class=SpellE>Blanchett</span>
was an <span class=SpellE>ectremely</span> hard act to follow.<span
style='mso-spacerun:yes'>� </span>The screening, however, was of a film that <b
style='mso-bidi-font-weight:normal'>Fiennes</b> not only starred in, but
directed�and it was one of the selections for the Main Slate of this year�s
NYFF (<i style='mso-bidi-font-style:normal'>q.v.</i>, <a href="#_Toc371270184">my
review</a>, below).<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>We
were only able to see one film from the ten in the series called <b
style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-how-democracy-works-now">How
Democracy Works Now</a></b> by <b style='mso-bidi-font-weight:normal'>Michael
Camerini</b> and <b style='mso-bidi-font-weight:normal'>Shari Robertson</b>,
but what an incredible film it was!<span style='mso-spacerun:yes'>�� </span>The
series examines the process of the Senate�s dealing with the immigration bill
from 2001-2007.<span style='mso-spacerun:yes'>� </span>There are three things
about the one we saw, <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>The Senate Speaks</i></b>, that struck me as
profoundly true:<span style='mso-spacerun:yes'>� </span>first, the film was
able to make the issue of immigration more powerfully clear than one usually
see it presented (and clarity on the crucial issue is a very pressing necessity
in our country at the moment); second, while I am not unfamiliar with how the
US Senate operates, this film was able to bring me inside the actual machinery
of that body and provide make more tangibly real and explicit insight into the
inner mechanics of the Senate processes in a way that was thrilling to me; and,
third�and perhaps least expected�it was totally enjoyable, good
filmmaking!<span style='mso-spacerun:yes'>� </span>What a treat to find an
engaging, interesting, and even entertaining piece of documentary cinema that
was also able to do the first two things I have mentioned as well.<span
style='mso-spacerun:yes'>� </span>I intend to see the entire rest of the
series.<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>I
was particularly disappointed that we were unable to schedule any of the
tantalizing films in <span class=GramE>the<span style='mso-spacerun:yes'>�
</span></span><b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-revivals">Revivals<span
style='font-weight:normal'> </span></a></b>series other than the recently
restored print of the marvelous 1997 <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/providence"><i style='mso-bidi-font-style:
normal'>Providence</i><span style='font-weight:normal'> </span></a></b>by <b
style='mso-bidi-font-weight:normal'>Alain Resnais</b>, which we did get to
see.<span style='mso-spacerun:yes'>� </span>And what a treat it was!<span
style='mso-spacerun:yes'>� </span>Neither of us had ever seen this film,
Resnais� first English-language film.<span style='mso-spacerun:yes'>�
</span>The film seems to follow the relationship of a husband and wife,
prosecutor Claude (<b style='mso-bidi-font-weight:normal'>Dirk <span
class=SpellE>Bogarde</span></b>) and Sonia (<b style='mso-bidi-font-weight:
normal'>Ellen Burstyn</b>); but soon we realize that the narrator (<b
style='mso-bidi-font-weight:normal'>John Gielgud</b>) is actually so much more
than that: he is Claude�s father, Clive; he is an ailing old author, mostly
lying in bed in his country mansion; but it gradually becomes clear that he is
also the author of the tale that we are watching of the relationship between
Claude and Sonia and various other characters�every so often, he stops the
narrative and re-arranges some element in it, often restarting an altered
version of the story.<span style='mso-spacerun:yes'>� </span>It is an amazing
piece of artistic construction, presaging some of what Dennis Potter will be
doing a decade later in his magnificent <i style='mso-bidi-font-style:normal'>The
Singing Detective</i>�which Resnais then himself picks up on another decade
later with his <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><a href="http://www.rlrubens.com/nyff-99.html">Same Old Song (On <span
class=SpellE>connais</span> la chanson)</a></i></b>, which was in the 1999 NYFF.<span
style='mso-spacerun:yes'>� </span>With the slight exception of the military
death/afterlife metaphor�which seems now very dated and trite, and certainly
overly belabored in this film�this film is a totally enjoyable masterpiece.<span
style='mso-spacerun:yes'>� </span>In classic Alain Resnais fashion, there is
layer upon layer of reality; and we are happy to find ourselves immersed in the
delicious complexity of it all. <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'><a
href="http://www.filmlinc.com/nyff2013/films/providence">Providence </a></i></b>was
one of the very favorites of my films that we saw as part of this year�s NYFF.<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'>The
only �problem� with this year�s NYFF was that there was <i style='mso-bidi-font-style:
normal'>such</i> a profusion of treasures, it was impossible�even for us�to
avail ourselves of all of them.<span style='mso-spacerun:yes'>� </span>There
were the usual wonderful talks (<b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-hbo-directors-dialogues">HBO
Directors Dialogues</a></b>, with<b style='mso-bidi-font-weight:normal'> Paul
Greengrass</b>, <b style='mso-bidi-font-weight:normal'>Fred Wiseman</b>, <b
style='mso-bidi-font-weight:normal'>Richard Curtis</b>, and <span class=SpellE><b
style='mso-bidi-font-weight:normal'>Agnieszka</b></span><b style='mso-bidi-font-weight:
normal'> Holland</b>; and an <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-hbo-on-cinema">HBO ON
Cinema</a></b> session with <b style='mso-bidi-font-weight:normal'>James Gray</b>),
the<b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-views-from-the-avant-garde">
Views from the Avant-Garde</a></b> (with 45 programs in glorious Super-8, 16mm
and 35mm film and HD formats), a <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-convergence">Convergences</a></b>
program (focused on the intersection of technology and storytelling), a <b
style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/series/nyff51-shorts-programs">Shorts</a></b>
program, a <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/12-years-a-slave">Film Comments
Magazine Presents</a></b> screening of <b style='mso-bidi-font-weight:normal'>Steve
McQueen</b>�s new <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>12 Years a Slave</i></b>, and a <b style='mso-bidi-font-weight:normal'><a
href="http://www.filmlinc.com/nyff2013/films/dazed-and-confused">20<sup>th</sup>
Anniversary Screening</a></b> of <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Dazed and Confused</i></b>.<o:p></o:p></span></p>
<p class=MsoPlainText><span style='font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt'><span style='font-family:"Arial","sans-serif"'>For
those who are interested, the <span class=GramE>entire<span
style='mso-spacerun:yes'>� </span>Main</span> Slate of the 2012 NYFF and the
Film Society descriptions of each event can be found at <a
href="http://www.filmlinc.com/nyff2013/series/nyff51-main-slate-official-selection">http://www.filmlinc.com/nyff2013/series/nyff51-main-slate-official-selection</a>.<span
style='mso-spacerun:yes'>�� </span>My reviews of past years of the NYFF can be
found at <a href="http://www.rlrubens.com/nyff.html">www.RLRubens.com/nyff.html</a>.<o:p></o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt'><span style='font-family:"Arial","sans-serif"'><span
style='mso-spacerun:yes'>�</span><o:p></o:p></span></p>
<p class=MsoToc1><span lang=EN>For those of you who over the years have not
noticed my subtlety in this�and who can be blamed for not looking to me to be
subtle about my judgments about anything�I thought I might mention again that I
have always placed my reviews of these films in approximately descending order
of how much I liked them.<span style='mso-spacerun:yes'>� </span>(Had I chosen
to include it along with those in the Main Slate, <b><a
href="http://www.filmlinc.com/nyff2013/films/providence"><span
style='font-style:normal'>Providence</span><span style='font-weight:normal;
mso-bidi-font-weight:bold'> </span></a><span style='mso-spacerun:yes'>�</span></b>and<b>
The Senate Speaks</b> [from <b>How Democracy Works</b>]</span><span
class=mediumc3><b><span lang=EN style='font-style:normal'> </span></b></span><span
lang=EN>would have been high on this list<span class=mediumc3><b>.</b>) This year
some of the differences in rankings are ambiguous and insignificant: the
relative positions with in the top four, and within the next seven, the
following four, and even within the six after that are all almost impossible to
decide clearly.</span></span></p>
<p style='margin:0in;margin-bottom:.0001pt'><span style='font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt'><span style='font-family:"Arial","sans-serif"'>The
list is composed of active links, and clicking on a title will take one to the
review of that film.<span style='mso-spacerun:yes'>� </span>All films are dated
2013.<o:p></o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt'><span style='font-size:16.0pt;
font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p align=center style='margin-top:0in;margin-right:0in;margin-bottom:3.0pt;
margin-left:0in;text-align:center'><b style='mso-bidi-font-weight:normal'><u><span
style='font-family:"Arial","sans-serif"'>THE MAIN SLATE of FILMS IN THE
FESTIVAL<o:p></o:p></span></u></b></p>
<p align=center style='margin:0in;margin-bottom:.0001pt;text-align:center'><span
style='font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><!--[if supportFields]><span
lang=EN><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'>�</span>TOC \f \n \p " " \h \z <span
style='mso-element:field-separator'></span></span><![endif]--><span lang=EN><span
class=MsoHyperlink><a href="#_Toc371273892"><b>The Wind Rises (Kaze Tachinu)</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273893"><b>Nebraska</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273894"><b>Only Lovers Left
Alive</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273895"><b>Jimmy P:
Psychotherapy of a Plains Indian</b></a></span></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273896"><b>Inside Llewyn
Davis</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273897"><b>Real</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273898"><b>Captain Phillips</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273899"><b>Stray Dogs</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273900"><b>Nobody�s Daughter
Haewon</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273901"><b>American Promise</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273902"><b>Blue Is the
Warmest Color (La Vie d�Ad�le)</b></a></span></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273903"><b>Bastards (Les
Salauds)</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273904"><b>At Berkeley</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273905"><b>Gloria</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273906"><b>Alan Partridge</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273907"><b>Her</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273908"><b>Jealousy (La
Jalousie)</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273909"><b>The Invisible
Woman</b></a></span></span><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
mso-ascii-theme-font:minor-latin;mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273910"><b>The Secret Life of
Walter Mitty</b></a></span></span><span style='font-size:11.0pt;font-family:
"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;mso-fareast-font-family:
"Times New Roman";mso-fareast-theme-font:minor-fareast;mso-hansi-theme-font:
minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273911"><b>Le Week-End</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273912"><b>All Is Lost</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273913"><b>Omar</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoToc1 align=center style='text-align:center'><span
class=MsoHyperlink><span lang=EN><a href="#_Toc371273914"><b>The Immigrant</b></a></span></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-font-kerning:0pt;mso-ansi-language:EN-US'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-bottom:3.0pt;text-align:center'><!--[if supportFields]><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold;mso-no-proof:yes'><span style='mso-element:field-end'></span></span><![endif]--><span
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Wind Rises (<span class=SpellE>Kaze</span> <span class=SpellE>Tachinu</span>)</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273892'><span style='mso-bookmark:_Toc371271838'><span style='mso-bookmark:
_Toc371270168'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>The Wind Rises
(Kaze Tachinu)</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270168"></a><a name="_Toc371271838"></a><a name="_Toc371273892"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span>(Japan; <b>release
date: 8 November</b><span class=GramE>)<span style='mso-spacerun:yes'>�
</span>The</span> great creator of beloved Japanese anime feature films (<i
style='mso-bidi-font-style:normal'>e.g.</i>, the 2008 <i style='mso-bidi-font-style:
normal'>Ponyo</i>, and <i style='mso-bidi-font-style:normal'>Princess Mononoke </i>from
the 1997 NYFF), writer-director </span><b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Hayao Miyazaki</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN;mso-bidi-font-weight:bold'> has announced </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>that <b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>The
Wind Rises</span></i></b> will be his final film.<span
style='mso-spacerun:yes'>� </span>I simply was not prepared for the emotional
depth, visual beauty, and compelling story telling of this amazing film: the
fact that it was an animation prejudiced me in a totally incorrect
direction.<span style='mso-spacerun:yes'>� </span>It is a love story that is
sophisticated beyond all expectation.<span style='mso-spacerun:yes'>�
</span>Essentially the story of Jiro Horikoshi, the man who designed the
Japanese Zero�the Mitsubishi A6M Zero fighter plane used, among other things,
to attack Pearl Harbor.<span style='mso-spacerun:yes'>� </span></span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>Miyazaki</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>�s own father had been in the aviation industry, and
there is obviously a deep, personal identification with Jiro�s deep love for
flight and passionate devotion to aeronautical engineering�as well as for his
humanity and kindness.<span style='mso-spacerun:yes'>�� </span>The story starts
in</span><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> Jiro�s youth,
and progresses through his experience as a young man during the </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>earthquake of 1923, in which he first meets the young
woman who is to become the love of his life.<span style='mso-spacerun:yes'>�
</span>Jiro is completely absorbed in the poetic beauty of the airplanes he is
creating�and yet this is always against the backdrop of knowing that they are intended
as instruments of destruction.<span style='mso-spacerun:yes'>� </span>And
against this external world tension, the rending internal tensions of his love
play out.<span style='mso-spacerun:yes'>� </span>There is something extremely
literary in the poetic beauty of the story and its multiple levels of
meaning.<span style='mso-spacerun:yes'>� </span>There are also very directly
literary elements within the film: there are many references to Thomas Mann,
and to <i style='mso-bidi-font-style:normal'>The Magic Mountain</i>, in
particular (tuberculosis plays a major role in the film); but the very title of
the film is from a poem by Paul Val�ry, �Le cimeti�re marin� (�The Graveyard by
the Sea�)�and the first line of its final stanza is oft-repeated throughout the
film: �Le vent se l�ve! . . . <span class=GramE>il</span> faut tenter de
vivre!� (�The wind is rising! . . . We must try to live!�); and the entire poem
is worth reading in connection with the film.<span style='mso-spacerun:yes'>�
</span>In many ways, </span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Wind Rises </span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>is about living,
although it is full of death. Similarly, it is an anti-war film, even though it
is about the creation of a weapon of war.<span style='mso-spacerun:yes'>�
</span>But it is the mark of how great the filmmaking is that I found myself
rooting for Jiro to succeed in realizing his design for the Zero!<span
style='mso-spacerun:yes'>� </span>(It is an interesting sidelight that I�d love
to know more about from any of you who have knowledge in the area, but while
the film acknowledges that the Japanese borrowed heavily from the advances in
aviation by the Germans�and even the Italians�it does not make any mention of
the often-made assertion that the Zero was heavily based on earlier American
fighter plane technology.<span style='mso-spacerun:yes'>� </span>None of this
in any way detracts from what is thought to be the original genius that also
went into the Zero�s design.)<span style='mso-spacerun:yes'>� </span>The film
is also visually a most striking and beautiful experience: the settings are
wonderfully painterly�at times feeling like light-infused impressionist
landscapes by Monet, at times darkly realistic like street scenes from
Hopper.<span style='mso-spacerun:yes'>� </span></span><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Wind Rises</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> was one of the truly
incredible experiences of the Festival!<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoToc1><b><span lang=EN>Nebraska</span></b><!--[if supportFields]><b><span
lang=EN><span style='mso-element:field-begin'></span></span></b><span lang=EN>
TC "<span style='mso-bookmark:_Toc371273893'><span style='mso-bookmark:
_Toc371271839'><span style='mso-bookmark:_Toc371270169'><b>Nebraska</b></span></span></span>"
\f C \l "1" </span><![endif]--><b><span lang=EN><![if !supportNestedAnchors]><a
name="_Toc371270169"></a><a name="_Toc371271839"></a><a name="_Toc371273893"></a><![endif]></span></b><!--[if supportFields]><b><span
lang=EN><span style='mso-element:field-end'></span></span></b><![endif]--><span
lang=EN><span style='mso-spacerun:yes'>�</span>(US; Paramount Vintage; <b>release
date: 15 November</b>)<span style='mso-spacerun:yes'>�� </span><b>Alexander
Payne</b> is a regular at the NYFF: and, although I did not much like his last
film (<a href="http://www.rlrubens.com/nyff-11.htm#_Toc307171729"><span
style='font-style:normal'>The Descendants</span></a> at the 2011
Festival�well-directed and acted, but badly written),<b> </b><a
href="http://www.rlrubens.com/nyff-04.html#_Toc117093872"><span
style='font-style:normal'>Sideways</span> </a>was one of my favorites of the
2004 NYFF, and </span><span style='mso-ansi-language:EN-US'><a
href="http://www.rlrubens.com/nyff-02.html"><span style='font-style:normal'>About
Schmidt</span></a> </span><span lang=EN>was one of my favorites from the 2002
NYFF.<span style='mso-spacerun:yes'>� </span>In directing <b>Nebraska</b>,
Payne has created a masterpiece.<span style='mso-spacerun:yes'>� </span>It
opens with an old man, Woody (played magnificently by <b>Bruce Dern</b>)
walking down a highway in Billings, Montana.<span style='mso-spacerun:yes'>�
</span>The police stop him, and Woody tells them he is going to Lincoln,
Nebraska, to collect the million dollar prize he believes he has won in a
publishing sweepstakes.<span style='mso-spacerun:yes'>� </span>The police
return the clearly disoriented, dementing old man to his family�his hilariously
angry wife Kate (<b>June Squibb</b>), his sons David (<b>Willl Forte</b>) and
Ross (<b>Bob Odenkirk</b>)�who do not know what to do with Woody, no less what
to do about his obsession about getting to Lincoln to collect his prize.<span
style='mso-spacerun:yes'>� </span>Filmed powerfully and beautifully in black
and white by <b>Phedon Papamichea</b>, <b>Nebraska</b> moves back and forth
between the comic and the melancholic, but it is movingly gripping and emotionally
intense throughout.<span style='mso-spacerun:yes'>� </span><b>Payne</b> and his
excellent actors capture specific aspects of midwestern life, while at the same
time exploring profoundly universal themes.<span style='mso-spacerun:yes'>�
</span><b>Dern</b> gives a truly bravura performance�and if there is justice in
the world of cinema, he should be an Oscar contender.<span
style='mso-spacerun:yes'>� </span>It is also just an incredibly
well-constructed, well-executed piece of filmmaking.<span
style='mso-spacerun:yes'>� </span>This one is a must-see.</span></p>
<p class=MsoNormal><span lang=EN style='font-family:"Arial","sans-serif";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Only Lovers Left Alive</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273894'><span style='mso-bookmark:_Toc371271840'><span style='mso-bookmark:
_Toc371270170'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Only Lovers
Left Alive</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270170"></a><a name="_Toc371271840"></a><a name="_Toc371273894"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(US; </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>A Sony Pictures Classics release)<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Jim Jarmusch</b>
has written and directed some of my favorite films, and this latest, </span><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Only Lovers Left Alive</span></i></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>, is right up there,<span style='mso-spacerun:yes'>�
</span>Early in the film, DP <b style='mso-bidi-font-weight:normal'>Yorick Le
Saux</b> films a beautifully dark sequence driving along the nighttime streets
of Detroit that is resoundingly reminiscent of the incredible sequence Robby
M�ller filmed of the streets of New Orleans for <b style='mso-bidi-font-weight:
normal'>Jarmusch</b>�s fabulous <i style='mso-bidi-font-style:normal'>Down By
Law</i> (which was in the 1986 NYFF).<span style='mso-spacerun:yes'>�
</span>Historically, <b style='mso-bidi-font-weight:normal'>Jim</b> has
expressed his unique and coherent vision across a myriad of genres: his magnificent
1995 <i style='mso-bidi-font-style:normal'>Dead Man</i> was a Western; his 1999
<i style='mso-bidi-font-style:normal'>Ghost Dog: The Way of the Samurai</i> was
something of a cross between a gangster film and a samurai film.<span
style='mso-spacerun:yes'>� </span>But just as these masterpieces are in no way
adequately described by�or contained within�the genres he was utilizing, so,
too, it is both simultaneously true and inadequate to consider </span><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Only Lovers Left Alive</span></i></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> to be a vampire movie.<span style='mso-spacerun:yes'>�
</span>Nevertheless, while it is <i style='mso-bidi-font-style:normal'>not</i>
a horror movie, it most assuredly <i style='mso-bidi-font-style:normal'>is </i>a
film about two vampires, Eve (<b style='mso-bidi-font-weight:normal'>Tilda
Swinton</b>) and Adam (<b style='mso-bidi-font-weight:normal'>Tom Hiddleston</b>),
who have been lovers and partners down through the centuries.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Swinton</b>
and <b style='mso-bidi-font-weight:normal'>Hiddleston</b> give two most
unbelievably extraordinary performances: against the slow-paced movement of the
film and the ageless evenness of their �dead� existences, they provide an
understated but enormous sense of power and a pale but almost electric
vitality.<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'>Swinton</b>, who is always astounding, is used by <b style='mso-bidi-font-weight:
normal'>Jarmusch</b> to the greatest depth imaginable (and actually made me
wonder for the moment whether, indeed, she might in real life actually <i
style='mso-bidi-font-style:normal'>be</i> one of the creatures which the film
is about!)<span style='mso-spacerun:yes'>� </span>It is the �Zombies� of the
world (as we humans are humorously referred to by the vampires) who are
actually lifeless and forces of death�poisoning our experience, our environment,
and�most ironically�our own blood.<span style='mso-spacerun:yes'>� </span>And
these vampires do live on blood�although they feel far safer ingesting pure
blood from tested hospital sources than risking the potentially tainted blood
from random humans.<span style='mso-spacerun:yes'>� </span>But what they <i
style='mso-bidi-font-style:normal'>really</i> live on, what really gives life
and meaning to their existence is culture�art, music, literature, and science
(the expressions of the human creative urge and relationship)�and the people
with whom they lovingly share this�those others who create, and those others
who are really open to let in the fullness of experience.<span
style='mso-spacerun:yes'>� </span>On the deepest level, this is a film about
human experience�only it is the vampires who are the most profoundly human in
this regard.<span style='mso-spacerun:yes'>� </span>As always in a <b
style='mso-bidi-font-weight:normal'>Jarmusch</b> film, there are delightfully
humorous moments intertwined with the deeper levels of what is going on. There
are fun elements that are added by their friendship in Tangiers with fellow
vampire Christopher Marlowe (played by <b style='mso-bidi-font-weight:normal'>John
Hurt</b>): for example, his remark to Adam, �If only I had known you before I
wrote <i style='mso-bidi-font-style:normal'>Hamlet</i>.�<span
style='mso-spacerun:yes'>� </span>And, as always, there is a profound beauty
and richness to the cinematographic experience.<span style='mso-spacerun:yes'>�
</span></span><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Only Lovers
Left Alive</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> is a most unusual, most
rewarding film.<span style='mso-spacerun:yes'>� </span>I cannot wait to see it
again!<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Jimmy P: Psychotherapy of a Plains Indian</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273895'><span style='mso-bookmark:_Toc371271841'><span style='mso-bookmark:
_Toc371270171'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Jimmy P:
Psychotherapy of a Plains Indian</span></i></b></span></span></span>" \f C
\l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270171"></a><a
name="_Toc371271841"></a><a name="_Toc371273895"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(France:
release date in early 2014)<span style='mso-spacerun:yes'>�� </span>Allow me to
begin by saying this is a most enjoyable, involving, and interesting film.<span
style='mso-spacerun:yes'>� </span></span><b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Arnaud Desplechin</span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-weight:bold'> has made
many wonderful movies, many of which have been in the NYFF (most recently </span><span
class=MsoHyperlink><i style='mso-bidi-font-style:normal'><span
style='font-family:"Arial","sans-serif"'><a
href="http://www.rlrubens.com/nyff-08.html#_Toc369603772">A Christmas Tale (<span
class=GramE>Un</span> conte de No�l)</a></span></i></span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-weight:bold'> in the 2008
NYFF), but <b><i style='mso-bidi-font-style:normal'><span style='mso-font-kerning:
18.0pt'>Jimmy P: Psychotherapy of a Plains Indian</span></i></b><span
style='mso-font-kerning:18.0pt'> is by far his most interesting, successful
film to date.<span style='mso-spacerun:yes'>� </span><b>Arnaud</b> co-wrote
this terrific film with <b>Kent Jones</b> (Director of Programming for the
NYFF) and <b>Julie Peyr</b>, and it is the riveting story of a Blackfoot
Indian, Jimmy Picard (played in extraordinary fashion by </span></span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Benecio del Toro</span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>) who is brought to a hospital in
Topeka, Kansas, because ever since his skull fracture sustained during his
service in WWII, he has been suffering from debilitating headaches, visual
distortions, and blackouts.<span style='mso-spacerun:yes'>� </span>The
hospital, which is, of course, the Menninger Clinic, recognizes that his
problems are not the result of a traumatic brain injury.<span
style='mso-spacerun:yes'>� </span>They enlist the aid of <b style='mso-bidi-font-weight:
normal'>George Devereux</b> (played with incredible depth, intensity, and
energy by <b style='mso-bidi-font-weight:normal'>Desplechin</b> regular, <b
style='mso-bidi-font-weight:normal'>Mathieu Amalric</b>), who journeys across
the country specifically to help out�on a temporary basis�with this enigmatic
patient and his diagnostic situation, which the hospital suspects may be being
confused by culturally specific issues.<span style='mso-spacerun:yes'>�
</span>The actual <b style='mso-bidi-font-weight:normal'>Devereux</b>, upon
whose important book, <i style='mso-bidi-font-style:normal'>From Anxiety to
Method in the Behavioral Sciences</i>, the story�and the screenplay created
from it�is based, was an unusual maverick: he was a Hungarian Jew who became a
Christian in France, and later came to America and studied Mohave Indians; he
was a musician, who became an ethnographer and then an anthropologist,
and�after the time of this film�a psychoanalyst. (It is far from accidental
that <b style='mso-bidi-font-weight:normal'>Mathieu Amalric</b>�s performance
reminded me repeatedly of Peter Lorre!)<span style='mso-spacerun:yes'>�
</span>Whereas the doctors at the hospital had found Jimmy uncommunicative and
unreachable, Devereux forms a very personal and mutual deep relationship with
Jimmy�in part through his knowledge of Indian culture, and in part because of
the humanity of his relating.<span style='mso-spacerun:yes'>� </span>From a
psychoanalytic perspective, there is a fascinating tension between the
outdated, classical concepts Devereux keeps spouting to his colleagues and the
extremely modern, interpersonal style of his actual interaction with his
patient.<span style='mso-spacerun:yes'>� </span>(It intrigued me that someone
in the psychoanalytic world of the 40s would have felt free to work in that
mode, until I later learned that Devereux had been close friends with G�za
R�heim, <span class=GramE>whose</span> having been analyzed by Ferenczi would
explain it.)<span style='mso-spacerun:yes'>� </span>Although the ideas in this
film are extremely deep and sophisticated psychoanalytically, <b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>Jimmy
P</span></i></b> is not about psychoanalytic theory.<span
style='mso-spacerun:yes'>� </span>Rather it is a deeply human story; and it
concerns the humanity of both this patient <i style='mso-bidi-font-style:normal'>and</i>
of this therapist.<span style='mso-spacerun:yes'>� </span>Every aspect of the
story is charged and intense�including Devereux�s love life; every character is
deep and rich; and every emotion is real and meaningful.<span
style='mso-spacerun:yes'>� </span>This is a most unusual and successful film of
a most unusual and important story.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Inside <span class=SpellE>Llewyn</span> Davis</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273896'><span style='mso-bookmark:_Toc371271842'><span style='mso-bookmark:
_Toc371270172'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Inside Llewyn
Davis</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270172"></a><a name="_Toc371271842"></a><a name="_Toc371273896"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span
style='mso-spacerun:yes'>�</span></span></i></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'>(USA;
CBS Films; <b>release date: 6 December</b>) This new film, jointly written and
directed by </span><b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Joel </span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN;mso-bidi-font-weight:bold'>and</span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'> <b>Ethan Coen</b>, is quite good, but
it will not go down as being among my favorites of their works (in that
category are their 2009 <i style='mso-bidi-font-style:normal'>A Serious Man</i>,
the 2000 <i style='mso-bidi-font-style:normal'>O Brother Where Art Thou</i>,
and the1998<i style='mso-bidi-font-style:normal'> The Big Lebowski</i>). Although
I think they are quite brilliant filmmakers, I am not a big�or typical�fan of
their works: I have <i style='mso-bidi-font-style:normal'>not</i> particularly
liked <i style='mso-bidi-font-style:normal'><a
href="http://www.rlrubens.com/nyff-07.html">No Country for Old Men</a></i>
(from the 2007 NYFF), the 1996 <i style='mso-bidi-font-style:normal'>Fargo</i>,
or many of their earlier works.<span style='mso-spacerun:yes'>� </span><b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>Inside
Llewyn Davis</span></i></b> is mid-range for me in their oeuvre�I enjoyed it,
but I did not love it.<span style='mso-spacerun:yes'>� </span>I have always
assumed that it is the violence that puts me off�as I am very negatively
sensitive to violence in movies; but, after seeing <b><i style='mso-bidi-font-style:
normal'><span style='mso-font-kerning:18.0pt'>Inside Llewyn Davis</span></i></b>,
I suspect that it may also be a certain cruelty in their vision that I find
difficult.<span style='mso-spacerun:yes'>� </span>(One film writer friend said
of this film: �It is funny and it is cruel; I like funny, and I don�t mind
cruelty; but in this film I�m not always sure which is which, and that bothers
me.�)<span style='mso-spacerun:yes'>� </span>I would have thought I would have
liked <b><i style='mso-bidi-font-style:normal'><span style='mso-font-kerning:
18.0pt'>Inside Llewyn Davis</span></i></b> much more than I did: it is about a
young folksinger (played very effectively by <b style='mso-bidi-font-weight:
normal'>Oscar Isaac</b>�and roughly based on <b style='mso-bidi-font-weight:
normal'>Dave Von Ronk</b>), whose record�after which the film is named (and, in
addition to its title, is also roughly visually modeled on the cover of the
1962 album, �Inside Dave Von Ronk,� right down to the presence of a tabby cat
[which, BTW, was among the best characters in the film])�has been a big commercial
failure.<span style='mso-spacerun:yes'>� </span>Through the beautiful black and
white images of 1962 NYC (the DP was <b style='mso-bidi-font-weight:normal'>Bruno
Delbonnel</b>, rather than <b style='mso-bidi-font-weight:normal'>Coen <span
class=GramE>brothers</span></b> regular Roger Deakins), we follow Llewyn back
and forth in time during a dark week in his attempt to survive in the Greenwich
Village folk world, scrounging off his friends and admirers.<span
style='mso-spacerun:yes'>� </span>It has a generally excellent cast,</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> including a pair of �successful� folk duo friends
(played by<b style='mso-bidi-font-weight:normal'> Carey Mulligan</b> and <b
style='mso-bidi-font-weight:normal'>Justin Timberlake)</b>, and a folk star
wannabe played by <b style='mso-bidi-font-weight:normal'>Adam Driver</b>; and talented
(and uncredited �cats��not of the �hip� [or even �hep�] variety, but rather of
the furry sort);<b style='mso-bidi-font-weight:normal'> </b>but the show is <i
style='mso-bidi-font-style:normal'>stolen</i> by an amazing�albeit
brief�performance by <b style='mso-bidi-font-weight:normal'>F. Murray Abraham</b>,
who has the single best line in the movie�and perhaps in the NYFF. <span
style='mso-spacerun:yes'>�</span>I generally liked the film, although the only
part that truly resonated with me was the tension between the folk world of
Llewyn and the Beat generation, jazz, hard drug world of Roland Turner (played
amazingly by <b style='mso-bidi-font-weight:normal'>John Goodman</b>) and his
driver/sidekick Johnny Five (well-played by <b style='mso-bidi-font-weight:
normal'>Garrett Hedlund</b>, who appropriately has just come from playing
Kerouac�s Dean Moriarty/Neal Cassady Beat icon in Walter Salles� 2012 film
version of <i style='mso-bidi-font-style:normal'>On the Road</i>): I remember
well how these two sides vied disdainfully with each other for top �outsider�
status, and this competitive tension is evocatively captured.<span
style='mso-spacerun:yes'>� </span>The end of the film subtly but wryly gestures
at where the competition will end up�and with whom.<span
style='mso-spacerun:yes'>� </span>The folk music score was effectively overseen
by co-Executive Producer <b style='mso-bidi-font-weight:normal'>T. Bone Burnett</b>.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Real</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273897'><span
style='mso-bookmark:_Toc371271843'><span style='mso-bookmark:_Toc371270173'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Real</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270173"></a><a
name="_Toc371271843"></a><a name="_Toc371273897"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-spacerun:yes'>�</span>(Japan) Kiyoshi Kurosawa</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>is a filmmaker whose works we have deeply appreciated (<i
style='mso-bidi-font-style:normal'>e.g.</i>, </span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>his <em><span style='font-family:"Arial","sans-serif";font-style:normal;
mso-bidi-font-style:italic'><a
href="http://www.rlrubens.com/nyff-08.html#_Toc369603769"><i style='mso-bidi-font-style:
normal'>Tokyo Sonata</i></a> from the </span></em>2008 NYFF).<span
style='mso-spacerun:yes'>� </span></span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Real</span></i></b><b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'> </span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>is a complicated work to classify:<span style='mso-spacerun:yes'>�
</span>it is a romantic love story; it is a story about technology,
development, and human values; and, most apparently (or, <i style='mso-bidi-font-style:
normal'>apparently</i> apparently), it is a science-fiction film.<span
style='mso-spacerun:yes'>� </span>It centers on a couple, one of whom has been
in a coma for a year.<span style='mso-spacerun:yes'>� </span>The central
science fiction conceit is that the other is going to attempt to reach his
beloved�s inner psychological experience by using some new medical
technology�merging with each other�s conscious and unconscious psychological
states, and perhaps be able eventually to awaken the other from the coma.<span
style='mso-spacerun:yes'>� </span></span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Real</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> is clever, suspenseful,
and moving�and quite visually beautiful.<span style='mso-spacerun:yes'>�
</span>There are unsuspected elements�some <i style='mso-bidi-font-style:normal'>wildly</i>
unexpected�and turns that keep the viewer off-balance, but deeply involved.
Nevertheless, as with all </span><b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Kurosawa</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'> </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>films (BTW, <b
style='mso-bidi-font-weight:normal'>Kiyoshi </b>is unrelated to the more famous
Akira Kurosawa), there are increasing levels of depth and meaning.<span
style='mso-spacerun:yes'>� </span>It is one aspect of <b style='mso-bidi-font-weight:
normal'>Kurosawa</b>�s genius that his films are watchable and entertaining on
a popular culture level, while they at the same time have a level of
intellectual sophistication and unusual sensibility that make them particularly
appeal to me as well. <o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Captain Phillips</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273898'><span style='mso-bookmark:_Toc371271844'><span style='mso-bookmark:
_Toc371270174'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Captain
Phillips</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270174"></a><a name="_Toc371271844"></a><a name="_Toc371273898"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span>(<b>Opening
Night</b>; USA; </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>Sony Pictures; <b
style='mso-bidi-font-weight:normal'>opened 11 October</b>)<span
style='mso-spacerun:yes'>� </span></span><b style='mso-bidi-font-weight:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Paul Greengrass</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> did the rather
compelling <i style='mso-bidi-font-style:normal'><a
href="http://www.rlrubens.com/nyff-02.html">Bloody Sunday</a></i> (which was in
the 2002 NYFF), and he is clearly a great director of action films (<i
style='mso-bidi-font-style:normal'>viz</i>., 2004 <i style='mso-bidi-font-style:
normal'>The Bourne Supremacy</i>, and 2007 <i style='mso-bidi-font-style:normal'>The
Bourne Ultimatum</i>).<span style='mso-spacerun:yes'>� </span>I, however, am
not a great fan of action films�and I had a lot of discomfort in advance of
having this one,<b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'> Captain Phillips</span></i></b>, as Opening
Night of the NYFF.<span style='mso-spacerun:yes'>� </span>And, while I have
always really liked <b style='mso-bidi-font-weight:normal'>Tom Hanks</b> in
comedies (I loved him in <i style='mso-bidi-font-style:normal'>Splash</i> in
1984 and in <i style='mso-bidi-font-style:normal'>Big</i> in 1988�and even 10
years later in his Nora Ephron stuff like <i style='mso-bidi-font-style:normal'>You�ve
Got Mail</i>; and, if you�ve never seen it, check out [on <a
href="http://www.youtube.com/watch?v=ACF4XDznGEs">YouTube</a>] my favorite early
appearance of his in the hilarious <i style='mso-bidi-font-style:normal'>Taxi</i>
episode, �<a href="http://www.youtube.com/watch?v=ACF4XDznGEs">The Road Not
Take: Part I</a>� ), I really <i style='mso-bidi-font-style:normal'>never</i>
have liked him much in serious roles.<span style='mso-spacerun:yes'>� </span>So
I was rather dreading seeing <b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'>Captain Phillips</span></i></b> on Opening
Night of this year�s Festival.<span style='mso-spacerun:yes'>� </span>And the
first few terrible minutes setting a domestic background for Captain Richard
Phillips, the title character <b style='mso-bidi-font-weight:normal'>Tom</b> <b
style='mso-bidi-font-weight:normal'>Hanks</b> was playing (not mitigated by the
presence�unrecognized by me at the time�of <b style='mso-bidi-font-weight:normal'>Catherine
Keener</b>, whom I usually love, as Phillip�s wife, Andrea)�with its
unnecessarily jerky, hand-held camera work, and <b style='mso-bidi-font-weight:
normal'>Hank</b>s� terrible attempt at a Vermont accent�made me fear I�d have
to gnaw my own arm off before the film was over.<span
style='mso-spacerun:yes'>�� </span>Nevertheless, once the scene shifted to the
village in Somalia, all began to change.<span style='mso-spacerun:yes'>�
</span>And before long, I was so absorbed in this edge-of-your-seat thriller,
that the film absolutely <i style='mso-bidi-font-style:normal'>had</i> me.<span
style='mso-spacerun:yes'>� </span>The story (screenplay by <b style='mso-bidi-font-weight:
normal'>Billy Ray, </b>based on the 2010 book by <b style='mso-bidi-font-weight:
normal'>Captain Richard Phillips, </b><i style='mso-bidi-font-style:normal'>A
Captains Duty</i>) is based on the actual story�which I, and most of the folks
I�ve talked with, actually remember from the news in 2009�of </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>four young Somali pirates (wonderfully played by
first-time actors <b style='mso-bidi-font-weight:normal'>Barkhad Abdi</b>, <b
style='mso-bidi-font-weight:normal'>Faysal Ahmed</b>, <b style='mso-bidi-font-weight:
normal'>Barkhad Abdirahman</b>, and <b style='mso-bidi-font-weight:normal'>Mahet
M. Ali</b>) who seized the Maersk Alabama, a large, US-registered container
ship bound for Mombasa.<span style='mso-spacerun:yes'>� </span>At Opening
Night, director </span><b style='mso-bidi-font-weight:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Paul Greengrass</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> introduced on stage </span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Tom Hanks</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> and three of the actors who played the pirates�followed
by the real-life <b style='mso-bidi-font-weight:normal'>Captain Phillips</b> himself
(and several of his crew members who were in the audience were asked to stand,
as were some of the naval officers [in full dress regalia] from the US Navy
rescue ship).<span style='mso-spacerun:yes'>� </span>Neither my knowing the
actual story, nor <b style='mso-bidi-font-weight:normal'>Phillip</b>�s physical
presence on stage kept me from being <i style='mso-bidi-font-style:normal'>terrified</i>
during the film that the pirates were going to kill him!<span
style='mso-spacerun:yes'>� </span><i style='mso-bidi-font-style:normal'>That</i>
is pretty powerful and successful filmmaking.<span style='mso-spacerun:yes'>�
</span></span><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Captain
Phillips</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> is a totally successful
film, <b style='mso-bidi-font-weight:normal'>Tom Hanks</b> was wonderful in the
role�and it was a fun Opening Night!<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Stray Dogs</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273899'><span
style='mso-bookmark:_Toc371271845'><span style='mso-bookmark:_Toc371270175'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Stray Dogs</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270175"></a><a
name="_Toc371271845"></a><a name="_Toc371273899"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>�</span>(Taiwan/France<span class=GramE>)<span
style='mso-spacerun:yes'>� </span>I</span> love the films of </span><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Tsai Ming-liang</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>.<span
style='mso-spacerun:yes'>� </span>I think my all-time favorite is his amazing <i
style='mso-bidi-font-style:normal'><a
href="http://www.rlrubens.com/nyff-01.html">What Time Is It There?</a></i> (<span
class=GramE>from</span> the 2001 NYFF); but I also loved his <i
style='mso-bidi-font-style:normal'><a
href="http://www.rlrubens.com/nyff-03.html">Goodbye, Dragon Inn</a></i> (from
the 2003 NYFF), and his 1988, <i style='mso-bidi-font-style:normal'>The Hole</i>.<span
style='mso-spacerun:yes'>� </span><b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'>Stray Dogs</span></i></b> opens with two young
children, sleeping in a dilapidated room, with an unidentified woman seated
next to them, brushing her hair slowly.<span style='mso-spacerun:yes'>�
</span>She leaves�and, while she is not to be seen again, we are led to
conclude she was their mother.<span style='mso-spacerun:yes'>� </span>For the
rest of the film, they are�at least in the nights, sleeping in the ruins of an
abandoned modern building in the decay of Taipei�in the care of their father, <b>Tsai
Ming-liang</b> regular, </span><b style='mso-bidi-font-weight:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>Lee Kang-sheng</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>.<span
style='mso-spacerun:yes'>� </span>The father earns his meager living by
standing all day (pictured in the cold of the wind and rain) holding up an
advertising sign in the middle of a busy highway intersection, along with a
throng of similarly employed men. </span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Stray Dogs</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> is the story of all of
these various �stray dogs� (occasionally punctuated with some actual stay
dogs), trying to survive and have lives in the cruel deprivation of poverty�on
the edges of the modern urban world.</span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Tsai</b>�s films are not for everyone:<span
style='mso-spacerun:yes'>� </span>among other things, his pacing can be
extremely slow; and he has a penchant for holding shots for an unusually long
time.<span style='mso-spacerun:yes'>� </span>Before this screening of <b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>Stray
Dogs</span></i></b>, I was telling/warning one of the friends we had brought to
see it that in <i style='mso-bidi-font-style:normal'><a
href="http://www.rlrubens.com/nyff-03.html">Goodbye, Dragon Inn</a> </i>Tsai
had an almost 6 minute unbroken shot of an old women slowly limping down a long
corridor toward the camera.<span style='mso-spacerun:yes'>� </span>It turned
out that the penultimate scene in <b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'>Stray Dogs</span></i></b> is actually an
unbroken <i style='mso-bidi-font-style:normal'>15</i> minute shot of a man
standing behind a woman, both motionlessly staring in the direction of the
camera.<span style='mso-spacerun:yes'>� </span>You should know that this
actually was a deeply moving and intensely emotional scene: when a single tear
runs down her motionless cheek, it reverberated in every nerve in my body.<span
style='mso-spacerun:yes'>� </span>This film is as powerful and moving as it is
strange and odd; but I loved it.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoToc1><b><span lang=EN>Nobody�s Daughter Haewon</span></b><!--[if supportFields]><b><span
lang=EN><span style='mso-element:field-begin'></span></span></b><span lang=EN>
TC "<span style='mso-bookmark:_Toc371273900'><span style='mso-bookmark:
_Toc371271846'><span style='mso-bookmark:_Toc371270176'><b>Nobody�s Daughter
Haewon</b></span></span></span>" \f C \l "1" </span><![endif]--><b><span
lang=EN><![if !supportNestedAnchors]><a name="_Toc371270176"></a><a
name="_Toc371271846"></a><a name="_Toc371273900"></a><![endif]></span></b><!--[if supportFields]><b><span
lang=EN><span style='mso-element:field-end'></span></span></b><![endif]--><b><span
lang=EN><span style='mso-spacerun:yes'>�</span>(Nugu-Ui Ttal-Do Anin Haewon)</span></b><span
lang=EN><span style='mso-spacerun:yes'>� </span>(South Korea)<span
style='mso-spacerun:yes'>� </span><b>Hong Sang-soo</b> has created an amazing
body of films, which, rather incredibly, are more-or-less continuations and
variations on each other�and many of which have been in the NYFF: <a
href="http://www.rlrubens.com/nyff-02.html"><span style='font-style:normal'>Turning
Gate</span></a> (2002), <span class=MsoHyperlink><a
href="http://www.rlrubens.com/nyff-04.html#_Toc117093880"><span
style='font-style:normal'>Woman is the Future of Man</span></a></span></span><span
lang=EN style='mso-font-kerning:0pt;mso-no-proof:no'> (2004), </span><span
class=MsoHyperlink><span lang=EN><a
href="http://www.rlrubens.com/nyff-05.html#_Toc117094483"><span
style='font-style:normal'>Tale of Cinema</span></a></span></span><span
class=MsoHyperlink><span lang=EN style='text-decoration:none;text-underline:
none'> (2005), </span><span lang=EN><a
href="http://www.rlrubens.com/nyff-06.html#_Toc148886869"><span
style='font-style:normal'>Woman on the Beach</span></a></span></span><span
class=MsoHyperlink><span lang=EN style='color:black;mso-themecolor:text1;
text-decoration:none;text-underline:none'> (2006), </span><span lang=EN><a
href="http://www.rlrubens.com/nyff-08.html#_Toc369603774">Night and Day (Bam
Guan Nat</a>)</span></span><span lang=EN style='color:black;mso-themecolor:
text1'> (2008), and </span><span class=MsoHyperlink><span lang=EN
style='mso-bidi-font-weight:normal;font-style:normal'><a
href="http://www.rlrubens.com/nyff-10.html#_Toc275199363">Oki�s Movie (Ok hui
ui yeonghwa)</a></span></span><span lang=EN style='color:black;mso-themecolor:
text1'> (2010);<span style='mso-spacerun:yes'>� </span>as the Film Society
write-up put it, �</span><span lang=EN>each new film building on the overtones
and ramifications of the one preceding it.<span style='mso-spacerun:yes'>�
</span>In this,<b> Hong</b>�s 14<sup>th</sup> film, a beautiful young film
student named Haewon (<b>Jeong Eun-Chae</b>), already somewhat alienated from
her classmates by her psychological distance from them and by the fact that she
has had an affair with their filmmaker-professor (<b>Lee Sun-Kyun</b>), is set
further adrift by her mother�s departure for Canada to live with her
brother.<span style='mso-spacerun:yes'>� </span>In dream and in fantasy, she
tries to make her way�although whether she is attempting to solidify an
identity for herself or trying to avoid doing so is not so clear.<span
style='mso-spacerun:yes'>� </span>She has her passions and her resentments, her
aspirations and her fears, and her vitality and her pathology.<span
style='mso-spacerun:yes'>� </span>It has been called �a chamber piece,� and
that seems appropriate since it is in one way very small and personal, and yet
in another very broad and universal, and it has simple themes and melodies that
intertwine and interact with an elegance and complexity that create harmonies
and undercurrents of special resonance.</span></p>
<p class=MsoNormal><span lang=EN style='font-family:"Arial","sans-serif";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>American Promise</span></i></b><!--[if supportFields]><b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'><span
style='mso-element:field-begin'></span></span></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273901'><span
style='mso-bookmark:_Toc371271847'><span style='mso-bookmark:_Toc371270177'><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>American Promise</span></b></span></span></span>" \f C \l
"1" <![endif]--><b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270177"></a><a name="_Toc371271847"></a><a name="_Toc371273901"></a><![endif]></span></b><!--[if supportFields]><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-end'></span></span></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(USA; <b>opened
18 <span class=SpellE>Ocotber</span></b><span class=GramE>)<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'><span
style='mso-font-kerning:0pt'>Joe</span></b></span></span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> Brewster</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> and <b
style='mso-bidi-font-weight:normal'>Mich�le Stephenson</b>, two Black professionals
(the former a psychiatrist, the latter a lawyer) turned professional
filmmakers, have created one of the most important, thought-provoking,<span
style='mso-spacerun:yes'>� </span>and enjoyable documentaries I have ever seen.<span
style='mso-spacerun:yes'>� </span><b><span style='mso-font-kerning:18.0pt'>American
Promise</span></b><span style='mso-font-kerning:18.0pt;mso-bidi-font-weight:
bold'> chronicles the twelve year journey of their son <b>Idris</b> and his
close childhood friend <b>Seun</b> from kindergarten through graduation from
high school and transition to college.<span style='mso-spacerun:yes'>�
</span>The two boys journeyed through <b>Dalton</b> together; and <b>Joe</b>
and <b>Mich�le</b> filmed them doing it.<span style='mso-spacerun:yes'>�
</span>These two wonderful, smart, talented Black kids made their way through
this rigorous and excellent�but essentially White, upper-crust, East
Side�private educational institution.<span style='mso-spacerun:yes'>� </span>To
me, the film raised�in every dimension imaginable (educational, parental,
societal, racial, <i style='mso-bidi-font-style:normal'>et al</i>.)�profound
questions about the spectrum of possibilities from support on the one end to
expectation on the other; and it explored the implications, advantages, and
dangers of every place along that spectrum, including the dire consequences of
the overly extreme.<span style='mso-spacerun:yes'>� </span>It is on one level
about these two very individual boys and their very specific families; it is,
on another level, about the question of Black boys in a White school�and, on
another, about being Black in American society; but, on yet another level, it
is about maintaining identity in general�ethnic, cultural, and individual�and
fitting into larger societal groups, and into society as a whole.<span
style='mso-spacerun:yes'>� </span>You are certain to disagree with some things,
and even to be angered by some things; although you certainly will be left
pondering many, many things.<span style='mso-spacerun:yes'>� </span>It had <i
style='mso-bidi-font-style:normal'>all</i> of us talking at first for <span
class=GramE>hours,</span> and ultimately for <i style='mso-bidi-font-style:
normal'>days</i>, about the issues it raised and our reactions�emotional as
well as intellectual�to them.<span style='mso-spacerun:yes'>� </span>But do not
be misled: this is not a dry, intellectual documentary, but rather a totally
engaging, entertaining piece of filmmaking that will keep you riveted! It is
funny;</span></span><span lang=EN style='font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'> it is at times infuriating;</span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:
bold'> it is heart-warming; it is heart-breaking.<span
style='mso-spacerun:yes'>� </span><b>Brewster</b> and <b>Stephenson</b> were
amazingly candid and brave about what they kept in the final product: it
contains elements that reveal some of their deepest wisdom and humanity, but it
also contains some of what must be for them painful failings and mistakes.<span
style='mso-spacerun:yes'>� </span>(It was also obviously extremely brave of <b>Dalton</b>
to allow them to do this film.) It is one hell of a great film.<span
style='mso-spacerun:yes'>� </span>It should be mandatory viewing for any
parent�as well as for anyone interested in education, or individual growth.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Blue Is the Warmest Color (La Vie <span class=SpellE>d�Ad�le</span>)</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273902'><span style='mso-bookmark:_Toc371271848'><span style='mso-bookmark:
_Toc371270178'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Blue Is the
Warmest Color (La Vie d�Ad�le)</span></i></b></span></span></span>" \f C
\l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270178"></a><a
name="_Toc371271848"></a><a name="_Toc371273902"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-spacerun:yes'>�</span></span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:
bold'>(France; </span><span lang=EN style='font-family:"Arial","sans-serif";
mso-ansi-language:EN'>Sundance Selects;</span><b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'> opened</span></b><b
style='mso-bidi-font-weight:normal'><span lang=EN style='font-family:"Arial","sans-serif";
mso-ansi-language:EN'> 25 <span class=SpellE>Ocotober</span></span></b><span
lang=EN style='font-family:"Arial","sans-serif";mso-ansi-language:EN'>)</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'> </span><span class=SpellE><b style='mso-bidi-font-weight:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Abdellatif</span></b></span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>, whose <i
style='mso-bidi-font-style:normal'>Black Venus</i> was in the 2010 NYFF,
directed and co-wrote (with <b style='mso-bidi-font-weight:normal'>Ghalia
Lacroix</b>)<b style='mso-bidi-font-weight:normal'> </b>this film (based on </span><span
lang=EN style='font-family:"Arial","sans-serif";mso-ansi-language:EN'>based on
a graphic novel by <b style='mso-bidi-font-weight:normal'>Julie Maroh</b></span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>) which won
this year�s Palme d�Or at Cannes.<span style='mso-spacerun:yes'>� </span>Given
the advanced descriptions, all of the ballyhoo about how explicitly sexual it
is, and the fact that it is three hours long, I had expected not to like
it.<span style='mso-spacerun:yes'>� </span>We were told we should see it,
however, and we were surprisingly glad we did: it is actually a quite good
film!<span style='mso-spacerun:yes'>� </span>It is the story of the sexual
awakening of a 17 year old high school student, </span><span lang=EN
style='font-family:"Arial","sans-serif";mso-ansi-language:EN'>Ad�le</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> </span><span
lang=EN style='font-family:"Arial","sans-serif";mso-ansi-language:EN'>(played
to beautiful perfection by </span><b style='mso-bidi-font-weight:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Ad�le
Exarchopoulos</span></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>).<span style='mso-spacerun:yes'>� </span>We follow her
longings and ecstasies across the period of several years�from her masturbation
experiences, through her adolescent attempt at heterosexual sex, to her
discovery of her deep passion for lesbian sex.<span style='mso-spacerun:yes'>�
</span>Through every stage, </span><span lang=EN style='font-family:"Arial","sans-serif";
mso-ansi-language:EN'>Ad�le�s childlike innocence (and </span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Kechiche</span></b><span lang=EN style='font-family:"Arial","sans-serif";
mso-ansi-language:EN'> makes this a <i style='mso-bidi-font-style:normal'>major</i>
visual focus of the film, spending long periods of time focusing on the
youthful look of Ad�le�s face�even repeatedly having close-ups of her face for
extended periods as she sleeps [something that contributes to the three-hour
length of the film]) is juxtaposed to her intensely passionate sexuality; but
it is only when she forms a relationship with a slightly older university art
student, Emma (Ad�le is 17, and one presumes Emma is in her early
twenties�although the Film Society description of the latter is �the older
woman�), that she achieves an unbounded level of intensity�that is not only
sexual, but also includes a loving connection.<span style='mso-spacerun:yes'>�
</span>Emma (extremely well-acted by <b style='mso-bidi-font-weight:normal'>L�a
Seydoux</b>), has blue-dyed hair, exudes an air of self-confidence, and is
already comfortable in her place in the lesbian world; she is also sensitive
and patient with Ad�le, in a very loving way (not unlike the slow, loving way
the director focuses on images of Ad�le throughout the film); but the level of
the incredible sexual passion between the two clearly represents something
unique for both of them.<span style='mso-spacerun:yes'>� </span>And we <i
style='mso-bidi-font-style:normal'>do</i> get to see very extended and explicit
examples of their passionate love making�and it <i style='mso-bidi-font-style:
normal'>is</i> extremely erotic (and, I have been told, <i style='mso-bidi-font-style:
normal'>not</i> simulated).<span style='mso-spacerun:yes'>� </span>I have
nothing against this, of course (although it was fun to watch some of the NYFF
audience in Alice Tully Hall have difficulty with it�and angrily [and
hilariously] walk out at various moments); I actually quite enjoy it!<span
style='mso-spacerun:yes'>� </span>Nevertheless, scenes of explicit, erotic, sex
alone do not make a movie�and </span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Blue Is the Warmest Color</span></i></b><span lang=EN style='font-family:
"Arial","sans-serif";mso-ansi-language:EN'> <i style='mso-bidi-font-style:normal'>is</i>
a movie, and a relatively good one, and that.<span style='mso-spacerun:yes'>�
</span>It has its shortcomings�not least of which being the extremely
stereotypic reactions of her high school classmates; and there are some
questions that have been raised about how much the film represents the male
bias of the perspective of its director.<span style='mso-spacerun:yes'>�
</span>Nevertheless, there is an emotional and psychological complexity in this
film, and even a rather sophisticated central theme about the question of
Ad�le�s emotional maturation�and lack thereof.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Bastards (Les <span class=SpellE>Salauds</span>)</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273903'><span style='mso-bookmark:_Toc371271849'><span style='mso-bookmark:
_Toc371270179'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Bastards (Les
Salauds)</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270179"></a><a name="_Toc371271849"></a><a name="_Toc371273903"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(France;
Sundance Select; <b>opened 23 October</b>) This latest work by the amazing </span><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Claire Denis</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> (whose
incredibly powerful </span><span class=MsoHyperlink><span style='font-family:
"Arial","sans-serif";mso-no-proof:yes'><a
href="http://www.rlrubens.com/nyff-09.html#_Toc245911497"><b><i
style='mso-bidi-font-style:normal'>White Material</i></b></a></span></span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> was a favorite
of ours in the 2009 NYFF) is a rather brutal, dark, emotionally devastating
story about a commercial ship�s captain Marco (played by the very intense<b
style='mso-bidi-font-weight:normal'> </b></span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>Vincent Lindon</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>) who, after his brother-in-law�s
suicide, precipitously leaves command of his vessel to go to the rescue of his
beautiful but deeply troubled teenaged niece (<b style='mso-bidi-font-weight:
normal'>Lola Cr�ton</b>), who has been hospitalized after a suicide
attempt.<span style='mso-spacerun:yes'>� </span>The tale unfolds in a
non-linear fashion, but includes: the niece�s having been compelling involved
in a viciously sexual situation; a horrible, powerful, financially successful
businessman-villain (played by <b style='mso-bidi-font-weight:normal'>Michel
Subor</b>); his beautiful woman Raphaelle (<b style='mso-bidi-font-weight:normal'>Chiara
Mastroianni</b>); and the myriad of complex and unexpected interconnections
between all of their lives�including an affair between Marco and
Raphaelle.<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'>Denis</b> and her long-time DP <b style='mso-bidi-font-weight:normal'>Agn�s
Godard</b> give an entrancing visual beauty to this disturbingly ugly
story.<span style='mso-spacerun:yes'>� </span>It is powerful and gripping, and
incredibly well-done; but it is <i style='mso-bidi-font-style:normal'>extremely</i>
difficult.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>At Berkeley</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273904'><span
style='mso-bookmark:_Toc371271850'><span style='mso-bookmark:_Toc371270180'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>At Berkeley</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270180"></a><a
name="_Toc371271850"></a><a name="_Toc371273904"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(USA; <b>opened
8 November</b>) <span class=GramE>This</span> <i style='mso-bidi-font-style:
normal'>four hour </i>documentary by the legendary documentarian </span><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Frederick
Wiseman</span></b><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN;mso-bidi-font-weight:bold'> takes us </span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>inside the current workings of the University of California,
Berkeley.<span style='mso-spacerun:yes'>�� </span>We are brought into
everything from meetings of the cabinet of the Chancellor of the University,
through meetings of faculty committees, classes, labs, and social gatherings,
down to the maintenance department caring for the beautiful grounds.<span
style='mso-spacerun:yes'>� </span>We see things from multiple perspectives�that
of administrators, of students, and those of the surrounding community�and the
result is a picture that is as rich in its detail as it is grand in its scope.<span
style='mso-spacerun:yes'>� </span>Wiseman at times evocatively focuses on
images of minutia (<i style='mso-bidi-font-style:normal'>e.g.</i>, the arm of a
female student repeatedly paying with a water bottle as she listens to her
professor in class); but he also presents a deep understanding of the mission
and nature of this excellent, high level and quintessentially <i
style='mso-bidi-font-style:normal'>public</i> university. We are drawn into the
financial and political pressures that are currently being dealt with to make
Berkeley function.<span style='mso-spacerun:yes'>� </span>We see people whom we
like and admire, and some whom we doubt and even dislike; but, at all times, we
feel a real and direct connection to what we are seeing.<span
style='mso-spacerun:yes'>� </span>This is a rather amazing piece of filmmaking,
and an incredible insight into the way this institution functions on every
level and from every angle.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Gloria</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273905'><span
style='mso-bookmark:_Toc371271851'><span style='mso-bookmark:_Toc371270181'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Gloria</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270181"></a><a
name="_Toc371271851"></a><a name="_Toc371273905"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>�</span>(Chile/Spain; Roadside Attractions)<span
style='mso-spacerun:yes'>� </span></span><b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Sebasti�n L�lio</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'>
directed and co-wrote (with <b>Gonzalo Maza</b>) this funny, poignant film
about an attractive, divorced, middle-aged woman, Gloria </span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>(wonderfully portrayed by <b style='mso-bidi-font-weight:normal'>Paulina
Garc�a</b>).<span style='mso-spacerun:yes'>� </span>Gloria rather bleakly frequents
dance clubs, but eventually she meets an older man, Rodolfo (<b
style='mso-bidi-font-weight:normal'>Sergio Hern�ndez</b>), with whom she begins
to form a relationship.<span style='mso-spacerun:yes'>� </span>The hopes and
fears, connections and disconnections, passions and disappointments all are
woven into the fabric of this entertaining but not unrealistically optimistic
film.<span style='mso-spacerun:yes'>� </span>There is vibrancy and energy,
illusion and distortion; but there is also a frankness and complexity to this
look at romantic relationships in middle (and late-middle) age.<span
style='mso-spacerun:yes'>� </span>(We should be encouraged not to forget,
however, Churchill�s adage that, �Second marriages represented the triumph of
hope over experience.�)<span style='mso-spacerun:yes'>� </span></span><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Gloria</span></i></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'> is enjoyable and entertaining�and even uplifting
at moments; but it does not shy away from recognizing the persistence of
people�s problems in dealing with the realities of their lives, practical as
well as psychological.</span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Alan Partridge</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273906'><span
style='mso-bookmark:_Toc371271852'><span style='mso-bookmark:_Toc371270182'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Alan Partridge</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270182"></a><a
name="_Toc371271852"></a><a name="_Toc371273906"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>��</span>(UK/France; </span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Magnolia Pictures</span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'>)<span
style='mso-spacerun:yes'>� </span>This big-screen adventure of <b>Alan
Partridge</b>, the narcissistic, bumbling, obnoxious, but hilarious character
created by </span><b style='mso-bidi-font-weight:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Steve Coogan</span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'> in a set of comic </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>BBC </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>television series (</span><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>The Day Today</span></i><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>, <i
style='mso-bidi-font-style:normal'>Knowing Me Knowing You</i>, I�m <i
style='mso-bidi-font-style:normal'>Alan Partridge</i>, and I)</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'> was written by
<b style='mso-bidi-font-weight:normal'>Coogan</b> and a team of four others,
and directed by <b style='mso-bidi-font-weight:normal'>Declan Lowney</b>.<span
style='mso-spacerun:yes'>� </span>I have enjoyed this character in the past,
and I enjoyed the film; but it is definitely <i style='mso-bidi-font-style:
normal'>not</i> a great film.<span style='mso-spacerun:yes'>� </span>It <i
style='mso-bidi-font-style:normal'>is</i> an extremely funny film,
however.<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'>Partridge</b> (played, as always, to silly perfection by <b
style='mso-bidi-font-weight:normal'>Steve Coogan</b>), is a radio </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>broadcaster, working in for �Radio Norwich,� which has
just been taken over by a big corporation.<span style='mso-spacerun:yes'>�
</span>The plot involves the downsizing of the staff, and the resulting armed
reaction of one of the DJs, Pat Farrell (<b style='mso-bidi-font-weight:normal'>Colm
Meaney</b>), who was let go in the process. <span
style='mso-spacerun:yes'>�</span>A hostage scenario�described by the Film
Society as �somewhere between Dog Day Afternoon and Die Hard��ensues, in which
Alan Partridge serves�in a characteristically self-serving way�as the
intermediary with the police, in the midst of heavy media coverage that can
only be described as a circus.<span style='mso-spacerun:yes'>� </span>It is a
deeply silly story, and plot and the situations within it are inane; which
meant I at times felt guilty at how hard I was laughing throughout the film.<span
style='mso-spacerun:yes'>� </span>I deem </span><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Alan Partridge</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> to be a guilty
pleasure; but, as most guilty pleasures, it is a lot of fun!<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Her</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273907'><span
style='mso-bookmark:_Toc371271853'><span style='mso-bookmark:_Toc371270183'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Her</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270183"></a><a
name="_Toc371271853"></a><a name="_Toc371273907"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-spacerun:yes'>�</span></span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:
bold'><span style='mso-spacerun:yes'>�</span>(</span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Closing Night</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>;<span
style='mso-font-kerning:18.0pt;mso-bidi-font-weight:bold'> USA; Warner Brothers
Pictures; <b>release date: 18 December</b><span class=GramE>)<span
style='mso-spacerun:yes'>� </span>Set</span> in LA in the near future, <b><i
style='mso-bidi-font-style:normal'>Her</i></b> stars </span></span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>Joaquin Phoenix</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'><span style='mso-spacerun:yes'>� </span>as Theodore, an
isolated, lonely man, whose divorce is about to become finalized, and who makes
his living as a successful writer for a company that provides the service of
creating "personal" letters for its customers to send to people in
their lives.<span style='mso-spacerun:yes'>� </span>Theodore purchases and
installs the latest operating system for his home computer:<span
style='mso-spacerun:yes'>� </span>software that has learning <span class=GramE>capabilities,</span>
and right from boot-up begins to establish an evolving, increasingly
personalized relationship with its user.<span style='mso-spacerun:yes'>�
</span>The voice of the program (provided in the film by <b style='mso-bidi-font-weight:
normal'>Scarlett Johansson</b>) is the manifestation of the growing virtual
personality the program is learning to create from interaction with
Theodore.<span style='mso-spacerun:yes'>� </span>As <span class=GramE>an</span>
mutual decision, the two of them decide this virtual personality should be
named Samantha.<span style='mso-spacerun:yes'>� </span>Surprise, surprise,
Theodore begins to fall deeply in love with Samantha.<span
style='mso-spacerun:yes'>� </span>It is actually a very clever premise, and
there are many elements in the story�especially early on�that work quite
effectively, and with some warm and funny level of psychological
sophistication. Unfortunately, it seems that writer-director <b
style='mso-bidi-font-weight:normal'>Spike Jonze</b> may have spent too much
time working with his former writing associate Charlie Kaufman:<span
style='mso-spacerun:yes'>� </span>the two of them have been involved in a
couple of reasonably wonderful films (the 2002 <i style='mso-bidi-font-style:
normal'>Adaptation</i>, and [which was in the 1999 NYFF]).<span
style='mso-spacerun:yes'>� </span>Kaufman, who brilliantly wrote both of those
films, has for me one glaring flaw: he does not seem to know how to end his
films�and the incredibly clever <i style='mso-bidi-font-style:normal'>Being
John Malkovich</i> was particularly problematic in this sense. <span
style='mso-spacerun:yes'>�</span>In </span><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Her</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>, <b style='mso-bidi-font-weight:
normal'>Jonze</b> has creating a potentially interesting film that ends up
going nowhere; and the fact that it seems so obviously heading in such an
unfortunately empty direction started to bedevil me watching it from about
midway through the film.<span style='mso-spacerun:yes'>� </span>There were all
sorts of rather profound and interesting issues potentially raised by </span><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Her</span></i></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>: the question of relationships in a technological world, and the question
of technology in a relational world; the underlying nature of relationships
themselves; the role and meaning of narcissism; the possible scope of
Artificial Intelligence: and possibly even issues about the nature of
personality in general.<span style='mso-spacerun:yes'>� </span>Unfortunately,
the film never fully delivers on any of this.<span style='mso-spacerun:yes'>�
</span>It is pleasant and entertaining enough, and engaging for a while�and I
liked <b style='mso-bidi-font-weight:normal'>Scarlett Johansson</b> as a
disembodied voice far more than I have as an on-screen presence (even if some
of my friends think this to be strange); but it just ends up flat.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Jealousy (La Jalousie)</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273908'><span style='mso-bookmark:_Toc371271855'><span style='mso-bookmark:
_Toc371270187'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>Jealousy (La
Jalousie)</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270187"></a><a name="_Toc371271855"></a><a name="_Toc371273908"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>��</span>(France)<span style='mso-spacerun:yes'>��
</span><b><i style='mso-bidi-font-style:normal'>Jealousy</i></b> is the story
of two young theater actors, Louis (played by </span><b style='mso-bidi-font-weight:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Louis Garrel</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>, <b
style='mso-bidi-font-weight:normal'>Philippe</b>�s son) and Claudia (played by
the entrancing </span><b style='mso-bidi-font-weight:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Anna Mouglalis</span></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>), who are lovers,
attempting to find a way to make things work�in their careers, in their relationship,
and in their lives.<span style='mso-spacerun:yes'>� </span>I found the
characters (with the exception of the truly wonderful little girl, who
basically stole the show for me) to have been annoying (especially the
character of Claudia, whose late adolescent angst bothered me) in a way that
reflects a view of love relationships that is prevalent in a certain brand of
French filmmaking.<span style='mso-spacerun:yes'>� </span>In many ways I
enjoyed the process of watching the film, and there are moments in it and
things about it that are quite wonderful; but ultimately something about it
left me quite cold. </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>�</span>I am not familiar with the many films of </span><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Philippe Garrel</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN;mso-bidi-font-weight:
bold'>, and I am afraid this one is not going to make me go back and explore
what I might have missed.<span style='mso-spacerun:yes'>� </span>But this is a
gorgeous film, visually:<span style='mso-spacerun:yes'>� </span>it powerfully
and elegantly captures faces and settings in beautiful back and white images;
and the DP was </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>the great <b
style='mso-bidi-font-weight:normal'>Willy Kurant</b> (who filmed Godard�s 1966 <em><span
style='font-family:"Arial","sans-serif"'>Masculine Feminine</span></em>).</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN;mso-bidi-font-weight:
bold'><o:p></o:p></span></p>
<p class=MsoNormal><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Invisible Woman</span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273909'><span style='mso-bookmark:_Toc371271854'><span style='mso-bookmark:
_Toc371270184'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>The Invisible
Woman</span></i></b></span></span></span>" \f C \l "1" <![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270184"></a><a name="_Toc371271854"></a><a name="_Toc371273909"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span
style='mso-spacerun:yes'>�</span></span></i></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'>(UK;
Sony Pictures Classics; <b>release date: 25 December</b>)<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in;mso-outline-level:1'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:
bold'>The screening of this film was preceded by a tribute to </span><b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>Ralph Fiennes</span></b><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'>, which included clips from his films and an
interesting onstage interview of</span><b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'> Fiennes</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'> by <b>Kent
Jones</b>.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>Two decades ago,
a sensational investigative biography by <b style='mso-bidi-font-weight:normal'>Claire
Tomalin</b> of the young actress <b style='mso-bidi-font-weight:normal'>Nelly
Ternan</b> revealed that the great <b style='mso-bidi-font-weight:normal'>Charles
Dickens</b> had a </span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>secret 13-year affair with her�beginning</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> in 1857,</span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'> when he was 45 and she was18. <b>Fiennes</b> directed
this screenplay adaptation (by <b style='mso-bidi-font-weight:normal'>Abi
Morgan</b>) of that story, and he stars in it as Dickens.<span
style='mso-spacerun:yes'>� </span><b>Fiennes</b> gives a very convincing,
lively performance as Dickens, and <b style='mso-bidi-font-weight:normal'>Felicity
Jones</b> is both lovely and effective as Nelly.<span
style='mso-spacerun:yes'>� </span>I agree with the Film Society that <b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>The
Invisible Woman</span></i></b> presents �</span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>a fresh, vivid
sense of daily life in late 19th-century London; and it is fun to see Dickens
at work writing some of the stories we all know and love (although there is
rather less of that than I might have liked).<span style='mso-spacerun:yes'>�
</span>I had trouble accepting the importance in his life and work that the
film attributed to Nelly, however.<span style='mso-spacerun:yes'>� </span>While
it <i style='mso-bidi-font-style:normal'>may</i> even be historically true that
she played such a role, the film does not convince me in any way of this; and,
without that, there is very little import to the story, and the film,
therefore, left me rather flat.<span style='mso-spacerun:yes'>� </span>It was
beautifully filmed, and clearly DP <b style='mso-bidi-font-weight:normal'>Rob
Hardy</b> (whose work I do not know) is quite talented.<span
style='mso-spacerun:yes'>� </span>The other characters�and especially Dickens�
wife, Catherine (<b style='mso-bidi-font-weight:normal'>Joanna Scanlan</b>) and
Nelly�s mother and sisters�were basically undeveloped and shallow.<span
style='mso-spacerun:yes'>� </span>In the end, </span><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Invisible Woman</span></i></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'> felt like much
ado about nothing.</span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'><o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Secret Life of Walter <span class=SpellE>Mitty</span></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-begin'></span></span></i></b><span
lang=EN style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:
_Toc371273910'><span style='mso-bookmark:_Toc371271858'><span style='mso-bookmark:
_Toc371270188'><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'>The Secret Life
of Walter Mitty</span></i></b></span></span></span>" \f C \l "1"
<![endif]--><b><i style='mso-bidi-font-style:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:EN'><![if !supportNestedAnchors]><a
name="_Toc371270188"></a><a name="_Toc371271858"></a><a name="_Toc371273910"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(<b>Centerpiece</b>;
USA; Twentieth Century Fox; <b>release date: 25 December</b><span class=GramE>)<span
style='mso-spacerun:yes'>� </span>Alas</span>, what has been done to the
wonderful little 1939 short story by James Thurber on which this film was
based?<span style='mso-spacerun:yes'>� </span>Ah, for the 1947 Danny Kaye film,
of the same name.<span style='mso-spacerun:yes'>� </span>I had not expected too
much from </span><b><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-ansi-language:
EN'>Ben Stiller</span></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'> as the
director, but the NYFF <i style='mso-bidi-font-style:normal'>did</i> <span
class=GramE>chose</span> it to be its Centerpiece�<span
style='mso-spacerun:yes'>� </span><b>Stiller</b> actually did not do a bad a
job directing; it was <i style='mso-bidi-font-style:normal'>what</i> he was
directing that was the problem.<span style='mso-spacerun:yes'>� </span><b><i
style='mso-bidi-font-style:normal'>The Secret Life of Walter Mitty</i></b>
starts out well enough:<span style='mso-spacerun:yes'>� </span>Walter Mitty
(played quite well by </span><b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Ben Stiller</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN;mso-bidi-font-weight:bold'> (who seemed quite perfect for this
role<span style='mso-font-kerning:18.0pt'>) is an appropriately milquetoast-ish
</span></span><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'>photo editor at the soon to be defunct <i
style='mso-bidi-font-style:normal'>Life Magazine</i>, and he intersperses his
tongue-tied moments of inability to speak when confronted by the new manager (<b
style='mso-bidi-font-weight:normal'>Adam Scott</b>, who has come to downsize
the staff and close down the print edition) with wild flights of action-filled
fantasy.<span style='mso-spacerun:yes'>� </span>While this is all a quite
reasonable updated take on the original story, there is something about the
comic book super-hero, action film version of his fantasies that seems a quite
a bit too much.<span style='mso-spacerun:yes'>� </span>There are moments that
are quite wonderful: there are some very funny moments with <b
style='mso-bidi-font-weight:normal'>Patton Oswald</b>; and the very pinnacle is
the one brief on-camera appearance by photographer Sean O�Connell (one of the
most perfect little performances I have ever seen <b style='mso-bidi-font-weight:
normal'>Sean Penn</b> deliver, by the way), whose off-camera presence is an
ongoing factor throughout the film.<span style='mso-spacerun:yes'>�
</span>There are some sweet moments in the film, and there are some fun moments
as well.<span style='mso-spacerun:yes'>� </span>But there was no reason for the
film to go where it ultimately does�the globe-trotting, adventurous hunt Mitty
goes on to find the missing negative Sean O�Connell sent to Mitty as the
perfect photograph for the magazines final cover; and that is a place
completely different from the Thurber story, full of tritely predictable turns
of plot, and extremely pedestrian.<span style='mso-spacerun:yes'>� </span>I
guess the real villain here was Steve Conrad, who wrote the screenplay,
although the <span class=GramE>producers</span> likely bear a great deal of the
blame as well.</span><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:
"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";mso-font-kerning:
18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Le Week-End</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273911'><span
style='mso-bookmark:_Toc371271859'><span style='mso-bookmark:_Toc371270189'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Le Week-End</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270189"></a><a
name="_Toc371271859"></a><a name="_Toc371273911"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span>(UK; Music
Box Films<span class=GramE>)<span style='mso-spacerun:yes'>� </span>I</span>
didn�t pay close enough attention: I had assumed that <b><i style='mso-bidi-font-style:
normal'>Le Week-End</i></b> was a <i style='mso-bidi-font-style:normal'>French
comedy</i>!<span style='mso-spacerun:yes'>� </span>The fact that it was
directed by <b>Robert Michell</b> (whose </span><span class=MsoHyperlink><i
style='mso-bidi-font-style:normal'><span style='font-family:"Arial","sans-serif"'><a
href="http://www.rlrubens.com/nyff-12.htm#_Toc339139283">Hyde Park On Hudson</a></span></i></span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'> was in the 2012 NYFF last year), and that it
starred </span><b style='mso-bidi-font-weight:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Jim Broadbent</span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'> and <b style='mso-bidi-font-weight:
normal'>Lindsay Duncan</b> should have been a <i style='mso-bidi-font-style:
normal'>big</i> hint that it was, in fact, British�although I suspect it was
meant to be far more of a comedy than I found it to be.<span
style='mso-spacerun:yes'>� </span><b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'>Le Week-End</span></i></b> is the story of Nick
and Meg, </span><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:
"Arial","sans-serif";mso-ansi-language:EN'>a middle-aged, middle-class couple (</span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Broadbent</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'> and </span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Duncan</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'>) who decide to
do a weekend in Paris in the hope of dealing with the problems in their
moribund marriage.<span style='mso-spacerun:yes'>� </span>At some point during
this trip, Meg asks why Nick has been so testy and horrible to her recently,
and he confesses that it is because, as he has been unable to tell her for
weeks, he had been forced into early retirement from his position at a very
mediocre college (where he had spent his career teaching) for telling a Black
woman in one of his classes (who had come to complain about a grade) that if
she spent half as much time on her studies as she did on her hair (shades of
Henry Higgins), she might be able to rise above her situation!<span
style='mso-spacerun:yes'>� </span>(Unfortunately, this may be the funniest
thing in the film.)<span style='mso-spacerun:yes'>� </span>There are some other
lighthearted moments in </span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Le Week-End</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>, some sweet moments,
and even some moving moments; but, in general, it feels that the story-line has
just been thrown together from such moments in a way that lacks any real
coherence or which would lend any forward movement to developments.<span
style='mso-spacerun:yes'>� </span>Perhaps worst in this regard is the character
of Nick�s old American friend�and now a popularly successful author�Morgan
(played <i style='mso-bidi-font-style:normal'>dreadfully</i> by <b
style='mso-bidi-font-weight:normal'>Jeff Goldblum</b>�whom I usually really
like).<span style='mso-spacerun:yes'>� </span>Moreover, there is more
depression and sadness in this story than anything else.<span
style='mso-spacerun:yes'>� </span>In its overall effect, it is quite dreary.</span><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><o:p></o:p></span></i></b></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><o:p> </o:p></span></i></b></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>All Is Lost</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273912'><span
style='mso-bookmark:_Toc371271856'><span style='mso-bookmark:_Toc371270185'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>All Is Lost</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270185"></a><a
name="_Toc371271856"></a><a name="_Toc371273912"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>��</span>(USA;
Roadside Attractions; <b>opened 18 October</b>)<span style='mso-spacerun:yes'>�
</span>I had really been looking forward to this one�I had liked director </span><b
style='mso-bidi-font-weight:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>J.C. Chandor</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>�s first film (the 2011 <i style='mso-bidi-font-style:
normal'>Margin Call</i>), I like <b style='mso-bidi-font-weight:normal'>Robert
Redford</b>, and it�s about a sailing�<i style='mso-bidi-font-style:normal'>and</i>
I had heard it was astounding.<span style='mso-spacerun:yes'>� </span>Alas, I
was very disappointed.<span style='mso-spacerun:yes'>� </span><b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>All Is
Lost</span></i></b> is about a man (identified in the credits only as �Our
Man,� and played by the only person in the film, <b style='mso-bidi-font-weight:
normal'>Robert Redford</b>, who is sailing single handed his sailboat in the
middle of the Indian Ocean.<span style='mso-spacerun:yes'>� </span>We learn
nothing about the man�s life, his history, or the purpose or nature of his
journey; and the fact that the film is totally and starkly about the man in
relation to his immediate situation is an extremely powerful and appealing
aspect of the drama.<span style='mso-spacerun:yes'>� </span>The action begins
with him awakening to find his boat is taking on water, and he discovers that
his hull has been holed by a metal shipping container, apparently gone
overboard from a container ship at some point.<span style='mso-spacerun:yes'>�
</span>The man frees his vessel from the container�which is leaking its cargo
of sneakers into the water�and makes a fiberglass repair to his damaged hull.<span
style='mso-spacerun:yes'>� </span>(He is revealed as knowledgeable, prepared,
and competent�although, to a boater�s eye, the repair he makes to this large
hole, right at the boat�s waterline, seems worryingly insubstantial.)<span
style='mso-spacerun:yes'>� </span>The man attempts, unsuccessfully, with the
little power left in his water-damaged batteries and radio, to make a distress
call; and these are the only few words of dialogue in the story�with the
exception of an occasional expletive or rare scream of anguish.<span
style='mso-spacerun:yes'>�� </span>He then proceeds to contend with storms,
further damage, and all the imaginable elements of the ensuing struggle for
self-preservation.<span style='mso-spacerun:yes'>� </span>Given <b
style='mso-bidi-font-weight:normal'>Redford</b>�s talent�and his strong,
weathered visage�this could have been an amazingly powerful study of man alone
against nature; and its wordlessness could have enhanced the effect.<span
style='mso-spacerun:yes'>� </span>The film did so for a while. Unfortunately, <b><i
style='mso-bidi-font-style:normal'><span style='mso-font-kerning:18.0pt'>All Is
Lost</span></i></b> did not live up to its potential; instead, it sank.<span
style='mso-spacerun:yes'>� </span>The initial hint was the uncomfortably
maudlin feel of the prologue spoken by Redford before the visuals began: a
soliloquy one could only assume was his last thoughts to whomever he had left
behind in the world. But, once the action began, I began to forget the
uncomfortable warning of its tone.<span style='mso-spacerun:yes'>�
</span>Until, that is, somewhere well into the film, when the mawkish music
began to play an increasingly large role in the experience.<span
style='mso-spacerun:yes'>� </span>Once it began to include the ultimate in
saccharine sentimentality of the rise and fall of choral moaning, I began to
become nauseated in a way that had nothing to do with the Indian Ocean. The
film proceeded to sink thematically into a similarly maudlin emotional visual
tone, as well.<span style='mso-spacerun:yes'>� </span>In the end, I fear All <i
style='mso-bidi-font-style:normal'>WAS</i> Lost.<span
style='mso-spacerun:yes'>� </span>What a shame, as it could have been quite
wonderful film.<b> </b><span style='mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>�</span>And since </span><b style='mso-bidi-font-weight:
normal'>J.C. Chandor</b> wrote this as well as directed it, the blame is
totally on his shoulders for this shipwreck.<o:p></o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Omar</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273913'><span
style='mso-bookmark:_Toc371271857'><span style='mso-bookmark:_Toc371270186'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>Omar</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270186"></a><a
name="_Toc371271857"></a><a name="_Toc371273913"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>�</span>(Palestinian Territories)<span
style='mso-spacerun:yes'>� </span>I really liked </span><b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Hany Abu-Assad</span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-weight:bold'>�s<span
style='mso-font-kerning:18.0pt'> </span></span><span class=MsoHyperlink><span
style='font-family:"Arial","sans-serif";mso-no-proof:yes'><a
href="http://www.rlrubens.com/nyff-05.html#_Toc117094481"><i style='mso-bidi-font-style:
normal'>Paradise Now</i></a></span></span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN;mso-bidi-font-weight:bold'><span
style='mso-spacerun:yes'>� </span>when</span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'> it played in the 2005 NYFF, and I was therefore eagerly
looking forward to <b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'>Omar</span></i></b>.<span
style='mso-spacerun:yes'>� </span>The title character, </span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Omar (<b style='mso-bidi-font-weight:normal'>Adam Bakri</b>), is an
appealing young Palestinian man who routinely�and innocently�climbs over the
Israeli separation wall to see his girlfriend Nadja (<b style='mso-bidi-font-weight:
normal'>Leem Luban</b>y); but he is also involved with her brother in a plot to
murder members of the occupying Israeli army.</span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'><span style='mso-spacerun:yes'>�
</span>Unfortunately, <b><i style='mso-bidi-font-style:normal'><span
style='mso-font-kerning:18.0pt'>Omar</span></i></b> lacks all of the beautiful
balance and immediate reality that made </span><span class=MsoHyperlink><span
style='font-family:"Arial","sans-serif";mso-no-proof:yes'><a
href="http://www.rlrubens.com/nyff-05.html#_Toc117094481"><i style='mso-bidi-font-style:
normal'>Paradise Now</i></a></span></span><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'> so importantly special.</span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'><span style='mso-spacerun:yes'>�� </span>Here the Israelis are
unmitigatedly brutal and horrible�simply caricatures which leave no room for
any subtlety or complexity in attempting to understand the difficult realities
involved.<span style='mso-spacerun:yes'>� </span></span><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>Omar</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> is b</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>illed as a</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> �tense, gripping thriller about betrayal, suspected and
real, in the Occupied Territories,� and the film does have many of those
elements�and </span><b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN'>Abu-Assad</span></b><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-ansi-language:EN;mso-bidi-font-weight:bold'> knows how to present them in
an effective visual fashion</span><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>.<span
style='mso-spacerun:yes'>� </span>Unfortunately, </span><b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN'>Abu-Assad</span></b><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:
"Times New Roman";mso-ansi-language:EN;mso-bidi-font-weight:bold'>�s</span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-ansi-language:EN'> screenplay wreaks havoc with these elements�the plot
moves through a series of frankly unbelievable twists that are at the same time
totally improbable and completely predictable, and this ultimately undermines
the very tensions he wished to create.</span><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><o:p></o:p></span></i></p>
<p class=MsoNormal><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:
"Arial","sans-serif";mso-ansi-language:EN'><o:p> </o:p></span></p>
<p class=MsoNormal style='mso-outline-level:1'><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Immigrant</span></i></b><!--[if supportFields]><b><i style='mso-bidi-font-style:
normal'><span lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><span style='mso-element:field-begin'></span></span></i></b><span lang=EN
style='mso-ansi-language:EN'> </span>TC "<span style='mso-bookmark:_Toc371273914'><span
style='mso-bookmark:_Toc371271860'><span style='mso-bookmark:_Toc371270190'><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'>The Immigrant</span></i></b></span></span></span>"
\f C \l "1" <![endif]--><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'><![if !supportNestedAnchors]><a name="_Toc371270190"></a><a
name="_Toc371271860"></a><a name="_Toc371273914"></a><![endif]></span></i></b><!--[if supportFields]><b><i
style='mso-bidi-font-style:normal'><span lang=EN style='mso-bidi-font-size:
12.0pt;font-family:"Arial","sans-serif";mso-fareast-font-family:"Times New Roman";
mso-font-kerning:18.0pt;mso-ansi-language:EN'><span style='mso-element:field-end'></span></span></i></b><![endif]--><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN;mso-bidi-font-weight:bold'><span style='mso-spacerun:yes'>�</span>(USA;
Radius-TWC)<span style='mso-spacerun:yes'>� </span>This period piece directed
and co-written (with <b>Richard Menello</b>) by <b>James Gray</b>, set in </span><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-ansi-language:EN'>sepia-toned
1920s Manhattan, is the story of a young Polish woman</span><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'> Ewa (<b style='mso-bidi-font-weight:normal'>Marion Cotillard</b>), who we see
arriving at Ellis Island with her coughing, obviously ill, sister Magda (<b
style='mso-bidi-font-weight:normal'>Angela Sarafyan</b></span><span
class=itemprop><span style='font-family:"Arial","sans-serif"'>).<span
style='mso-spacerun:yes'>� </span>Magda is predictably put into medical
quarantine, and Ewa is being denied entry because of her �questionable
morals��having<span style='mso-spacerun:yes'>� </span>to do with something that
has occurred on her voyage to America�and the fact that the address of her
sponsoring family member has been declared invalid.<span
style='mso-spacerun:yes'>� </span>Enter the well-dressed American Bruno Weiss
(played by </span></span><b style='mso-bidi-font-weight:normal'><span lang=EN
style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-ansi-language:
EN'>Joaquin Phoenix</span></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'>), who is obviously a
regular figure at Ellis Island, and whom Ewa begs to help her.<span
style='mso-spacerun:yes'>� </span>He decides to intervene on her behalf, and
ends up bringing her home to his family.<span style='mso-spacerun:yes'>�
</span>It turns out that Bruno is a shady burlesque hall manager/pimp who may
or may not be extremely kind-hearted.<span style='mso-spacerun:yes'>�
</span>Ewa, is willing go to any extreme and to do anything to try to help get
her sister Magda released from Ellis Island and brought into the country.<span
style='mso-spacerun:yes'>� </span>The plot thickens when a magician Orlando
(Jeremy Renner) appears on the scene, in some sort of a historically contentious
relationship with Bruno, and, eventually, who becomes a competitor for Ewa�s
affections.<span style='mso-spacerun:yes'>� </span>I suppose this could have
been a very powerful and moving story, but I am afraid it is not.<span
style='mso-spacerun:yes'>� </span>In fact, to be extremely cruel (and even more
extremely politically incorrect), </span><b><i style='mso-bidi-font-style:normal'><span
lang=EN style='mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";
mso-fareast-font-family:"Times New Roman";mso-font-kerning:18.0pt;mso-ansi-language:
EN'>The Immigrant</span></i></b><span lang=EN style='mso-bidi-font-size:12.0pt;
font-family:"Arial","sans-serif";mso-ansi-language:EN'> is really more of an
extended Polish joke about the incredibly simple-mindedness and gullibility of
Ewa.<span style='mso-spacerun:yes'>� </span>The plot gets progressively more
unbelievable and contrived, the acting is quite bad, the directing is dreadful,
and the end result quite bad.<o:p></o:p></span></p>
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