That's right, Reverse Shot is legal today! It's our 21st symposium, and just to give you a sense of how masochistic we've grown in the past five years (five years!!), we've devoted it to a filmmaker we're not entirely convinced about. That said, we're endlessly fascinated by the career ups, downs, and sideways trails of Gus Van Sant, who's been a near-constant in our generation's evolution as film watchers and lovers, for better or for worse.

So, why wait, go right to our introduction and dive into Vague Recollections: Van Sant, an attempt to get at what makes this unique, odd filmmaker tick that ranges from the intensely personal to the staunchly agnostic, with many inquisitive pit-stops in between.

A Lion in the House, the devastating, cleansing documentary that Reverse Shot helped to secure theatrical distribution in 2006, has won the Exceptional Merit in Nonfiction Filmmaking award at the Emmys. Congratulations to filmmakers Steve Bognar (fourth from the left) and Julia Reichert (fifth from the right) for their hugely deserved prize.
And as if to sweeten the deal, their toughest competitor, Spike Lee, didn't go home empty-handed either, tying with them for his immensely worthy epic When the Levees Broke.

Congratulations to all, from Reverse Shot.

From today's story announcing that Ang Lee's Lust, Caution is getting slapped with the "dreaded" NC-17:

"Sources who have seen the film said it contains at least three scenes -- one a long montage -- featuring multiple acts of aggressive sexual activity in different positions. There's no full-frontal male nudity (the source of some NC-17 rulings when shown in sex scenes), but male-on-female oral sex, non-S&M restraints and several nontraditional sexual positions are depicted, conveying the aggression and emotional conflict between the main characters."

Whew. Sounds more like Mr. Skin than Wolf Blitzer. Though this kind of story reeks of a certain familiarity, the bigger question now becomes: where do we turn for news if CNN is no longer safe for work?

The experts at the American Film Institute have issued a 10th anniversary edition of their 100 years...100 movies poll of the best American movies ever made. This year's list is a significant improvement. Making the cut for the first time: F.W. Murnau's Sunrise at 82. A solid showing, just a bit behind such equally accomplished masterworks as Rocky (57), American Graffiti (62), and Forrest Gump (62). Did I mention this list is better than the last one? See the list (as an animated poster gallery!) here.

Say it ain't so!

If you've seen even one frame of The Innocents, you know that it's one of the best shot films in Hollywood history...screen so wide it seems to go on forever, every nook and cranny expressively crammed or drained, always reflective of its characters' inner torments and external fears. The film's brilliant director of photography, Freddie Francis, Academy Award winner for 1960's DH Lawrence adaptation Sons and Lovers and 1989's Glory, has died this week at age ninety. With a distinctive and varied career as both a cinematographer of some of the world's best loved, most visually memorable films of the British New Wave (Saturday Night and Sunday Morning, Room at the Top) and beyond (The Elephant Man, The French Lieutenant's Woman), and as a director in his own right for Hammer Films and then at the Hammer-esque horror production company Amicus (Torture Garden, Tales from the Crypt), Francis proved himself one of our most adept film stylists. I'm unlikely to ever forget those shattering final moments in the The Innocents' gothic statue garden, the opening drift down from the tree brances of The Straight Story, or even Robert DeNiro's lightning and fire-streaked face as he blathers in tongues at the end of Cape Fear.

Some images to remember.

Eleven months ago, I posted on this blog about a Museum of Modern Art screening of a superb Canadian film called Six Figures; the problem was, I waited until the day before the movie was set to play to get the word out.

Well, now I’ve gone and done it again – War Hospital, co-directed by Six Figures helmer David Christensen, shows tomorrow night (Saturday February 17) at 6:15 pm, and then again on Wednesday, February 28 at 830 PM as part of MOMA’s annual documentary showcase. (Christensen will be on hand for a Q & A after the Saturday night screening.) Most of you probably have weekend plans – and I’m guessing Ghost Rider is involved – but having seen both films, I can safely say that War Hospital is the better choice (even if it doesn’t feature Nic the Tic pathologically swigging jelly beans around in a martini glass while watching a monkey practice kung-fu on television).

If the elegantly allusive mise-en-scène and creeping middle-class unease of Six Figures (which still hasn’t popped up on DVD) suggested a fruitful union between Edward Yang and Michael Haneke, War Hospital reminds strongly of Frederick Wiseman: it’s a nimble yet substantive slice of institutional verité set in the world’s largest field hospital in Northern Kenya. Lopiding Hospital, founded and staffed, by the International Committee of the Red Cross, is the main destination for victims of the Sudanese Civil war; depending on where you stand on its sprawling grounds, the place is either a teeming hive of activity or a deathly silent tomb.

The film’s impact lies in Christensen and Lewis’s understanding of exactly when and where to shoot. The texture is absolutely riveting, alternately fly-on-the-wall and on-the-fly. The lack of a narrator or talking heads gives War Hospital the feeling of a headlong plunge, but there’s no sense of obfuscation for its own sake: the compassion and curiosity underpinning the project are palpable in every frame. Christensen himself calls the film “cubist, but its multiplicity of perspectives are amazingly clear-eyed.

…and congratulations to Click on this glorious Oscar morn, for its recognition in best achievement in makeup.

And, oh yeah, some other stuff got nominated, too.

Sorry for the delay folks, but as you'll see when you go to our main page at Reverse Shot, we've been pretty busy. Not only are we very excited about our new Spring issue--featuring symposium pieces on everything from A Woman Under the Influence to Killer of Sheep to Eyes Wide Shut, reviews of scores of new films and DVDs, and exclusive interviews with Terry Zwigoff and Nicole Holofcener--we're thrilled to present our new look.

In addition to the design,for which we thank our new friends at Dtek Digital Media, we are also pleased to encourage you to check back for more frequent updates of new releases, interviews, and thoughts on DVDs, as they come down the pipeline. For now, though dig into "Reverse Shock" to find out what really alarms us Reverse Shotters. And as always, let us know what you think.

In the category of putting our money where our mouths are:

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REVERSE SHOT ACQUIRES AWARD-WINNING DOCUMENTARY
A LION IN THE HOUSE.

New York, New York, May 9, 2006 – Online film journal Reverse Shot announced today its first foray into theatrical distribution with the acquisition of Steven Bognar and Julia Reichert’s critically acclaimed documentary A Lion in the House. The film saw its world premiere in the Documentary Competition at the 2006 Sundance Film Festival and has since gone on to share the Best Documentary Prize at the Nashville Film Festival and earn Special Jury Prizes at both the Full Frame Documentary Film Festival and the Cleveland International Film Festival and win the Audience Award at Hot Docs. It will see television broadcast on PBS’ Independent Lens in late June.

Offering a sense of scope and an unflinching humanity comparable to Hoop Dreams, A Lion in the House is a remarkable journey that provides an unprecedented look at the struggles with cancer of five young people and their families over a six-year period. Filmmakers Steven Bognar (Personal Belongings) and Julia Reichert (Seeing Red, Union Maids) bring audiences face to face with the uncertainty of the entire cancer experience and its rippling effects on family, community, and professional caregivers.

“My familial connection to the filmmakers aside, I think if 2006 sees the release of a better documentary than A Lion in the House then it will be a watershed year for the form. Though on paper the film may sound like rough viewing, watching it with an audience at Sundance was truly an illuminating and inspiring experience,” said Reverse Shot co-editor Jeff Reichert.

"We've long hoped and believed that this film would be a powerful theatrical experience. The response at Sundance and festivals around the country has validated that hope and we are very excited to be working with Reverse Shot to make this a reality. We are proud that the film works with such force as a collective movie-going experience and so are the families in the film, who have been traveling with us to festivals around the country," said Steven Bognar and Julia Reichert.

The deal was negotiated by Neal Block and Jeff Reichert of Reverse Shot with the filmmakers and Jan Rofekamp and Diana Holtzberg of Films Transit International, Inc. Films Transit is selling the film worldwide. A Lion in the House is a co-production of the filmmakers and ITVS, the Independent Television Service.

Reverse Shot has already scheduled engagements in ten markets including New York, Boston, San Francisco and Seattle with plans to add between 10 and 20 more before and after the June broadcast.

“We’re going to take our time, and really seek out ideal screening environments. Venues are interested in making each Lion showing a true event, and we’re excited by the initial response,” said Reverse Shot’s Head of Business Affairs, Neal Block.

“The reason we began Reverse Shot was to help bring audiences to just this kind of movie. To be able to start bringing this movie to audiences is merely an extension of that mission. Our main focus will be to continue fostering great writing, but when the opportunity arises, we’d like to be able to showcase great films as well,” said Reverse Shot co-editor Michael Koresky.

Reverse Shot (www.reverseshot.com) was founded in 2003 as an outlet for the next generation of film writers. Currently run by Block, Koresky, and Reichert, Reverse Shot, with a rotating cast of 30 writers, publishes new issues quarterly, handles weekly reviewing duties for indieWIRE, and maintains the popular ReverseBlog (blogs.indiewire.com/Reverseshot).

Julia Reichert is a two-time Academy Award Nominee for Best Feature Documentary, for Seeing Red and Union Maids. These films and two others, Growing Up Female and Methadone – An American Way of Dealing, all screened nationally in the U.S. on PBS. Reichert wrote, produced, and directed the feature film Emma & Elvis (which screened at numerous international film festivals), and produced (with Steven Bognar) The Dream Catcher, a feature film directed by Ed Radtke.

Steven Bognar’s first feature documentary Personal Belongings premiered at the Sundance Film Festival, and went on to screen in 27 other festivals, including IDFA, San Francisco, Gen Art, and Atlanta, where it won the audience award. Steven Bognar’s documentary short Picture Day also premiered at Sundance, screened at 19 other film festivals, including IDFA, DoubleTake and the British Short Film Festival. Gravel, his experimental narrative short, played many festivals after its Sundance premiere and can be seen on the Sundance Channel. Bognar has worked for 12 years as a media arts educator in schools, teaching media literacy to thousands of kids.

Seanmcavoy: Did you see the new Village Voice article on the "cult" of The New World?
clarencecarter: Yeah, I'm trying to think of what/how to blog it. It's pretty bizarro that liking a good movie a lot makes it worthy of cult status.
Seanmcavoy: Ahh. I was thinking about doing it, too.
Seanmcavoy: But you can do it.
clarencecarter: Do you have an angle on it? Nothing's coming to me readily. And people read enough of me on that rag.
Seanmcavoy: Though it's rife w/ the Voice's requisite snark, I appreciated its somewhat humble premise -- that maybe J's just sort of missed the boat from a jaded lack of that old cinema loving magic.
Seanmcavoy: It was almost a crow-eating.
clarencecarter: Kinda, though I picked up more on the snark than the crow.
clarencecarter: I could use more humility from J in general
Seanmcavoy: Sure. Me too. But the ending was so sentimental and acquiescing in a way.
clarencecarter: Going to read it again right now.
Seanmcavoy: Truly someday it will join the hallowed ranks of Showgirls and Rocky Horror. (I actually like the former but c'mon)
clarencecarter: Yeah, ok – you’re right: J. does get a little wistful towards the end. I still think he paints us all as a hair too naïve.
Seanmcavoy: Now that you mention it, I think I am glossing over his condescension.
Seanmcavoy: I was mostly just psyched to see Nick's quotes.
clarencecarter: yeah, finally some good writing in the Voice
Seanmcavoy: Ha. Someone's forgetting Nick Sylvester.
clarencecarter: Poor Nicky Sylvester. Though I am somewhat sad about this whole merger thing - we may not have Jessica Winter to kick around each week anymore.
Seanmcavoy: Oh right, she does two time.
clarencecarter: Actually - we should just post this conversation on the blog.
clarencecarter: "NEWSFLASH: J. Hoberman Acknowledges Others Love The New World, Grows Briefly Sentimental Over Death of His Soul, Wildly Lashes Out in Fit of Condescension."
Seanmcavoy: Fine with me.
Seanmcavoy: Please correct my spelling errors.
Seanmcavoy: Wait, did I use any ethnic slurs?

UPDATE: We Are Back

Hello loyal readers. As some of you may have noticed our main site is currently taking a bit of a break. We're working on this with all the necessary technicians and hope to have things resolved shortly. Our apologies.

And for those slavering for our 2005 year in review, you won't have much longer to wait. We promise.

The new issue of Reverse Shot is up, and it's easily our biggest yet.

In this issue:

RS Fesses Up: In which Reverse Shot writers tackle that canonical film they'd just never gotten around to.
Spotlight on Kiyoshi Kurosawa: Interview and commentary on a handful of his films.
They Came From Memphis: Interviews with and reviews of work by William Eggleston and Ira Sachs
New York Film Festival coverage
Two new Shot/Reverse Shot duels: Oliver Twist and Three Times
Plus: New releases, DVD reviews, and three new Reverse Shot interviews.

Enjoy...and if you're so inclined, swing back here and let us know what you think.

I haven't seen History of Violence yet, but if this nugget is true...I have new favorite filmmaker.

Judging from the hosannas offered George Clooney's Good Night, and Good Luck at Wednesday's press screening, we're in for months and months of hype and supposed buzz and "preliminary Oscar talk" and general disconnection with whatever this modest film has to offer.

GN&GL, which opens the New York Film Festival this Friday, is a very slim affair, but effective at meeting its socio-political objectives. That, for a frustrated, Bush-beaten population of New York liberals (of which the packed press screening is somewhat representative), is all that's required for instant, rapturous genuflection (and having a dashingly good-looking director/writer/actor who's on our side doesn't hurt). As polemic, GN&GL is understated, responsible and focused, taking a counterpath of sorts from last year's Fahrenheit 9/11. And the path is made clear for Edward R. Murrow's editorials, which well function as unforced prophesies of these wintry media times. All else is smoke-filled staccato buildups and smoke-filled back-slapping releases, always looking good and always feeling slim. Which really isn't a problem except for that prolonged overpraise we're in for.

It reminds me of Quiz Show, another wildly overpraised examination of fifties television directed by an A-list movie star. Good Night, and Good Luck might be a better and ultimately more politically useful film, but it'll likely be as inessential ten years from now as that Rob Morrow vehicle. But today all I've got to report is a thin little watchable argument for the need for an adversarial American press, well shot and well acted in ways that any American moviegoer can latch onto and report to friends, "the acting was great - the cinematography was great too," and wholly undeserving of the pavlovian, publicly professed praise it received from pre-eminent film scholars and critics at the ensuing press conference. A particular Columbia University Professor/Author/ubiquitous DVD Commentator lept from her seat to thank Clooney for "one of the best films of the year." Wow. Well, you know, it's only September. And, well, I haven't seen her at any other NYFF screening. Death of Mr. Lazarescu? L'Enfant? Sure, she and we and I should all be forgiven our spontaneous excitement, and we all want a tougher press corps, and there's something intriguing about this ex-TV actor turned international star directing movies about faded TV personalities, and we all think more movies should be shot in black and white, but how much do we really care about film if this slim picture with the big names gets all our love?

We like movies. At least most of the time.

And that photo of Christian Slater is freaking me out so I'm trying to get it off the top of the blog. Anyone care to help out?

DEVLOPING STORY

Inside sources on the ground at the Toronto Film Festival have just reported that Roger Ebert slept through nearly twenty minutes of Steve Martin's 104 minute Shopgirl which screened for press there today. Upon waking, Ebert left the theatre, and returned a few minutes later.

We smell "three star review." Stay tuned for updates.

The non-controversy surrounding Canadian auteur Atom Egoyan reached a gentle simmer today as Mullah Omar, new head of the MPAA, refused to lift the NC-17 smack-down put on his new film Where the Truth Lies. Egoyan went back and made several efforts to trim for a more teen-internet-porno-fanboy-friendly R-rating, but the board still wasn�t pleased by the amount of pokage shown in its central m�nage � trios featuring Kevin Bacon, Rachel Blanchard and (ew) Colin Firth.

"We just couldn't trim any more pubes without destroying the heart of the movie," Egoyan told the Hollywood Reporter Thursday. But all is not lost; distributor ThinkFilm has announced it will shun the censors and release the film UNRATED.

"The good news is the film will go out as it was originally intended, with little adverse consequence, and coast on a wave of free mainstream-media publicity it would never have received otherwise. Given the reviews thus far�we need all the help we can get." said Egoyan.

A senior ThinkFilm executive commented, "We look forward to capitalizing on this publicity stunt to bring the work of a world-class filmmaker like Atom Egoyan to audiences who thought Ararat just sounded too boring, or might have never heard of him at all."

The publishers of papers in Montana, North Dakota, and Oklahoma that refuse to accept advertising for films bearing the NC-17 rating, and are generally blamed for the adverse conditions under which NC-17 movies find release, are already planning a protest to coincide with the film�s opening in neighboring states.

We're certainly intrigued, and awful or awesome, if there's a film out with Egoyan's name on it, the Reverse Blog will be there.