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- #Maquia when the promised flower blooms theater series
Watching McCarthy in grouch mode is entrancing, not the least because she’s so good at nodding to Lee’s innermost insecurities without ever showing them. She’s aided by her friend, Jack Hock (Grant), a bon vivant bordering on sociopathic in his disregard for the severity of Lee’s circumstances. Andy CrumpĬan You Ever Forgive Me? is the tale of Leonore Carol “Lee” Israel (McCarthy), celebrity biographer, who in the 1990s found herself broke and so in need of work that she turned to forgery, penning fake letters by dead authors and selling them off to a tidy sum per piece. Simon hasn’t just captured La Fémis’ enrollment philosophy in The Competition, she’s captured its would-be students’ hopes and ambitions, and treated them with loving care. There are too many waiting their turn for Simon to chronicle all of them, but those that do make in front of her camera give context and rationality to their seemingly irrational bid for a spot at La Fémis: Cinema, to them, is everything, whatever side of the industry they’re interested in taking. Simon’s fly-on-the-wall approach functions as an investment in the process, and in the outcome of the process for the select few students we get to meet. Surprise: Putting a bunch of French folks in one room and letting their passions and tempers flare makes for good filmgoing! Watching the observers’ various subjectivities collide turns out to be a hoot at times, a learning experience at others, or just good drama at others still. Film, after all, and arts criticism writ large, is a subjective gig. The school’s hopefuls number in the hundreds, vying for just 40 slots the observers in charge of their fates range from theater managers to filmmakers to critics and editors and everything else in between, and they, too, number on such a scale that objectivity becomes a joke. That The Competition’s narrative is so cohesive belies the absence of cohesion in La Fémis’ examinations.
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#Maquia when the promised flower blooms theater series
Her film condenses the demanding application process at La Fémis, the most prestigious film school in all Paris, into just under 120 minutes, providing only the bare necessities for context and comprehension before launching into a series of tests and interviews, corralled as vignettes. “Sit around and listen to French people argue about students of cinema for two hours” sounds like a drag, but Claire Simon’s The Competition doesn’t drag at all. Frankly, the answer doesn’t much matter, because we’re stuck with them. Whose perspective is the film actually couched in? We’re given cause to eventually question whether Daphne’s the only delusional one, or if Tilda and Petula are just as stuck in arrested development as she is. Braid plays like a Möbius strip, looping back on itself repeatedly, bending audience perception of its events and its objective reality.
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But Daphne’s lunacy requires patience to pierce, so Tilda and Petula must subject themselves to her twisted make believe games. In Braid, Brewer plays Daphne, wealthy and absolutely bonkers Sarah Hay and Imogen Waterhouse play her two old friends, Tilda and Petula, whose names invoke the dark whimsies of Willy Wonka and the Chocolate Factory, and who wish to rob Daphne blind. Rather, she’s off her rocker because she’s stuck living out her childhood well into her adulthood, or maybe she’s living out her childhood well into her adulthood because she’s off her rocker. Now, in Mitzi Peirone’s Braid, she’s somewhere in the middle, mad once more but not so much as a consequence of male intervention. In Cam she plays a sweet, and playful, and ultimately baffled to the point of, again, madness, camgirl replaced by a malevolent lookalike on her own stream. In The Handmaid’s Tale, she plays manic, a woman made mad by the crushing psychic weight of patriarchal domination.
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Someone ought to give Madeline Brewer an award for the work she’s done carving out a niche playing young women either troubled or utterly broken by the circumstances of their lives. To help those interested in putting their viewing habits to good use, Paste is highlighting some of February’s best new movies in theaters, as well as on home video, directed by women. Today, it’s a means of pushing back against rampant gender bias in the film industry. Most years, completing that pledge would be the least one could do.
#Maquia when the promised flower blooms theater movie
Created and disseminated by Women in Film, a nonprofit outlet established to "achieve parity and transform culture," the tag translates into a simple pledge: Watch one movie directed by a woman each week for an entire year. The "52FilmsByWomen" hashtag isn’t a new invention, but in the last few years, and especially 2017, it’s gained increasingly urgent relevance.