Daniel Nolasco’s Dry Wind and Gil Baroni’s Alice Júnior, both screening in the international section at this year’s NewFest, are refreshing in no small part because they find two Brazilian filmmakers telling stories set in regions of their country that are cinematically underrepresented and largely unknown to international audiences. Our conversation covered what the documentary might have looked like without Fox Rich’s video archives, why she didn’t feel the need to explain racism in the film, as well as how the forces of collaboration and intuition inform her filmmaking process. At times she’s a woke warrior, and at times she’s a helpless little girl. I n the woeful blue light of a New Mexican moon, sometime in the year 1871, Jane Ballard (Natalie Portman) recounts the trials of the past decade to her former intended, Dan Frost (Joel Edgerton). On There Will Be Blood, he notably writes the following: “Emerging and descending at his own methodical pace, he’s an infernal figure moving in a Sisyphean rhythm, and the trajectory of his movements—grueling ascents and sudden, punishing drops along a vertical axis, punctuating an otherwise steady horizontal forward progress—establishes the visual and narrative patterning of the film to come.”. And the camera lingers on details that indicate the ecstasies and miseries lingering underneath this suburban mirage, such as a shot of trash in a yard that suggests the aftermath of either indifference or violence, or of a postcard sent to a girl from her sister in college, which is written in an unnaturally, over-compensatingly proclamatory style that implies desperation while serving as a mockery of the girls’ simplified visions of future adulthood. I think it changes from one project to the next. Most immediately, it’s a pure, visceral pleasure simply to read Nayman’s descriptions of imagery. Jane Got a Gun Synopsis. Such “patterning” is an obsession of Nayman’s, as it should be given the films under consideration, and he shows how Anderson buried the overt psychosocial daddy and women issues of Boogie Nights and 1999’s Magnolia into an intricate formalism that’s complemented by a new kind of instability: unconventional, unexpected ellipses in the narratives that underscore a sense that we’re missing something in the psychology of the protagonists, in the America that contains the characters, and perhaps even in Anderson’s understanding of his own work. An interview with an Instagram influencer who preaches the gospel of feminine weakness and subservience to men is on point as topical satire though not as cringe-inducingly funny as the best Cohen material. Like Glenn Kenny’s Made Men: The Story of Goodfellas, Masterworks pushes back against the simplistic, bro-ish language of adulation, and attending backlash, that often obscures a major artist’s achievements. What I can say is it was, to my knowledge, the last day of shooting. I wish I could say something more profound than that, but it was just pure instinct. James has the more difficult job of the two, needing to seem sympathetic even as Mrs. de Winter lurches from one clueless encounter to the next; the actress spends much of Rebecca blushing in joy or biting her lip while on the verge of tears, neither delivering much in the way of depth. Basically, it’s like, how do you make something good or bad, right? Cast: Anthony Mackie, Jamie Dornan, Ally Ioannides, Katie Aselton Director: Justin Benson, Aaron Moorhead Screenwriter: Justin Benson Distributor: Well Go USA Running Time: 96 min Rating: R Year: 2019. Handsome but not quite seductive, loyal but not to a fault, he seems an emissary from the film that might have been, willing to dispense with the past when the moment demands it, despite the allure of the grudge. The film reaches for pathos only to find tinsel instead. It’s the sound of agony and ecstasy intertwined—a form of sonic transcendence that is, for Ruben, every bit as alluring as the heroin addiction that he kicked some four years earlier. But Alice Júnior visibly struggles to differentiate itself from a soap opera. (All this before eagerly agreeing with Borat on the subject of executing gay people.). So, I didn’t feel that we had to do that. Because it was really at a point in the editorial process where we were just working off of instinct and emotion. Elsewhere, a group of men, visually coded as old-school stoner types, drive around ready to raise hell, which also doesn’t come to pass. More often, though, Borat Subsequent Moviefilm teases big, wild comedic set pieces that end up deflating almost instantly. Anderson’s films toggle between valorizing and criticizing men of industry who’ve, with a few exceptions, made America in their own neurotic image. At every turn, people remind Mrs. de Winter of how little she measures up to her predecessor, some more intentionally than others, from Max’s kindly sister, Beatrice (Keely Hawes), remarking about Rebecca being one of those “annoying people everyone loves,” to Danvers rhapsodizing in openly romantic terms about her late lady being “the most beautiful creature I ever saw in my life,” to Rebecca’s rascally cousin, Jack (Sam Riley), making snide innuendos about Rebecca’s horse-taming skills. There are other projects that I’m working on or thinking about where I’m coming at it actually from a larger scale first. The colorfully coordinated precision of the mise-en-scène and campy over-acting all point toward satire. They’re all victims of Synchronic, a designer drug that literally sends young people, with their soft pineal glands, into the past—and just how far depends randomly on where they are in the present. In another moment of poetic-pornographic license, an evident nod to Alain Guiraudie’s Stranger by the Lake, a generically bearded hunk (Marcelo D’Avilla) with chained nipple clamps comes out of a man-made lake, ready to take Sandro into the water for an ecstatic drowning. It is, briefly, Jane Got a Gun’s most restrained and captivating moment, her face hard and still while tears well in his eyes, but as befits the film’s tortured journey to the screen, any force it gathers is quickly interrupted. Synchronic echoes Richard McGuire’s 2014 graphic novel Here and David Lowery’s 2017 film A Ghost Story, exploring a physical location by journeying across time but not space. It would have been very different, that’s for sure. Bad Hair can feel overstuffed at times, as Anna shares scenes with an ever-increasing range of characters, including her family, friends, an ex, and her skeevy landlord, but the details give the film an exciting, lived-in quality that elevates what are otherwise some markedly unsteady attempts at horror. Did it just dawn on her that they might make a great addition to the film? As fun as Alice Júnior can be, it’s at its core a typical Brazilian kids’ movie, in the vein of on-the-nose fare about enjoying life but not doing drugs that Brazilian megastar Xuxa put out in the 1980s and ‘90s, except queered by its trans protagonist and the visual language of the times. At least from a filmmaker’s perspective, you’ve got all sorts of reasons why, eventually, you have to walk away from production. Later on, Joe tells Ruben that “those moments of stillness, that place, that’s the kingdom of God. All rights reserved. With the vengeful crew hot on Ham's trail, Jane has nowhere to turn but to her former fiancé Dan Frost (Joel Edgerton) for help in defending her family against certain destruction. We have our individual lives, but we’re a part of a larger system. Cast: Fionn O’Shea, Lola Petticrew, Sharon Horgan, Barry Ward, Simone Kirby, Evan O’Connor Director: David Freyne Screenwriter: David Freyne Distributor: Samuel Goldwyn Films Running Time: 92 min Rating: NR Year: 2020. The staff member, thinking she’s pregnant and asking for an abortion, firmly assures her that the baby is in fact a blessing, even when he’s under the impression that it was the result of incestuous rape. The wrenching ambiguity of 2014’s Inherent Vice, in which Anderson fluidly dramatizes the psychosexual ecstasy, despair, and hilarity of corrosive commercialist annihilation, gives way in the book to Anderson’s 1997 breakthrough, Boogie Nights, which Nayman astutely sees as a virtuoso primitive work, an epic that (too) neatly bifurcates pleasure and pain into two distinct acts while disguising its sentimentality with astonishing camera movements and a tonal instability that’s probably equal parts intended and inadvertent. About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes, making what might otherwise be delightfully strange into something too pat and easy. I remember getting in the car, shipping it out to get transcoded and being so incredibly nervous about the fact that there were no backups for it. Too often, the film teases big, wild comedic set pieces that end up deflating almost instantly. The strangeness of this arrangement, like the general timelessness of the setting, underscores the arbitrary ornateness of real ceremonies—prom, homecoming, graduation—that insidiously serve the purpose of conditioning us to become well-behaved cogs in the social machine, like all the disappointed parents who lurk in the periphery of the film.

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