There’s a documentary aspect to every film, whether it’s a home movie, a commercial or even the glossiest tentpole: The images and sounds capture transient moments that memorialize people, animals, places. They give permanence to the impermanent. But imagine a world in which those films have disappeared — as an estimated 80 percent of silent films and half of sound films already have. In the robust and incisive Film: The Living Record of Our Memory, Inés Toharia, a documentarian specializing in film preservation, invites us to consider the ways movies have become essential to the human experience.
The director spends quality time with a few well-known filmmakers and many of the “backstage people,” as one interviewee puts it, who devote their energies to safeguarding a vast array of moving images from the ravages of time, neglect and climate, not to mention obsolescence in the wake of ever-evolving formats and technology.
The director spends quality time with a few well-known filmmakers and many of the “backstage people,” as one interviewee puts it, who devote their energies to safeguarding a vast array of moving images from the ravages of time, neglect and climate, not to mention obsolescence in the wake of ever-evolving formats and technology.
- 3/5/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
Fernando Trueba's meditation upon the nature of art offers few surprises, but is easy on the eye
Spanish director Fernando Trueba has an extraordinarily eclectic back catalogue, ranging from the twisted Peter Pan weirdness of The Mad Monkey (featuring Jeff Goldblum's most underrated performance) through the lush Oscar-winning charm of Belle Epoque, to the sensual jazz-inflected animation of Chico & Rita. His latest is a whimsical black-and-white meditation upon the nature of art, set in rural southern France during the second world war.
Here, sculptor Marc Cros (octogenarian Jean Rochefort, who came so close to playing Don Quixote for Terry Gilliam – a marriage made in heaven) takes in Spanish political refugee Mercè (Aida Folch) on the understanding that she will pose for him, reigniting his flagging artistic passion. With Jean-Claude Carrière sharing screenwriting credits, this holds few surprises in its revelatory conclusions about old men and young women, war and peace,...
Spanish director Fernando Trueba has an extraordinarily eclectic back catalogue, ranging from the twisted Peter Pan weirdness of The Mad Monkey (featuring Jeff Goldblum's most underrated performance) through the lush Oscar-winning charm of Belle Epoque, to the sensual jazz-inflected animation of Chico & Rita. His latest is a whimsical black-and-white meditation upon the nature of art, set in rural southern France during the second world war.
Here, sculptor Marc Cros (octogenarian Jean Rochefort, who came so close to playing Don Quixote for Terry Gilliam – a marriage made in heaven) takes in Spanish political refugee Mercè (Aida Folch) on the understanding that she will pose for him, reigniting his flagging artistic passion. With Jean-Claude Carrière sharing screenwriting credits, this holds few surprises in its revelatory conclusions about old men and young women, war and peace,...
- 9/14/2013
- by Mark Kermode
- The Guardian - Film News
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