Nate Silver, proprietor of FiveThirtyEight, calls the Oscars using his patented blend of lies, damn lies, statistics and logistic regression.
All kidding aside, Nate pretty much nailed the Presidential election and most of the Senate races. This isn’t a bad place to start for those working on their office Oscar pools.
FLAHERTY NYC
Monday, February 9, 7:30 pm
Filmmaker Jim Finn in person.
For its February installment Flaherty NYC will present Jim Finn’s latest feature film, The Juche Idea. Robert Koehler of Variety writes, “The evidence that current filmmaking is brimming with original, standard-breaking creations has to include the work of Jim Finn, whose brilliant The Juche Idea is the latest in a growing filmography without precedent or category.”
Finn, a critically acclaimed filmmaker who uses humor and historical fiction to examine communist ideology, capitalism and revolutionary art practices, will be participating in a post-screening discussion moderated by Penny Lane of Hampshire College. To purchase your tickets and ensure your seat for the event please visit www.flahertyseminar.org.
The Juche Idea (Jim Finn, 2008, 62min); Translated as self-reliance, Juche is a hybrid of Confucian and authoritarian Stalinist pseudosocialism, and a philosophy which Kim Jong Il adapted from his father to apply to propaganda, film, and art. Inspired by the real-life story of the South Korean director kidnapped in the Seventies to invigorate the North Korean film industry, the film follows Yoon Jung Lee, a young video artist invited to work at a Juche art residency on a North Korean collective farm.
TICKET INFORMATION:
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General admission tickets to the Flaherty NYC series at the Anthology Film Archives are $10. Tickets are $8.00 for Anthology members and students with valid I.D.
Tickets can be purchased online by clicking HERE. You can also purchase tickets at the Anthology box office the day of the show. For more information, call the Flaherty at 212-448-0457.
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Anthology Film Archives is located in the old Second Avenue Courthouse building in the East Village at 32 Second Ave. at the corner of 2nd Street.
Contact Information
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The Flaherty/International Film Seminars
email: (JavaScript must be enabled to view this email address)
phone: 212-448-0458
web: www.flahertyseminar.org
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Christopher Nolan’s new movie about Batman and Big Themes, like Duality, The Dark Knight took the nation’s movie houses and film critics by storm this weekend. Words like “operatic” and “Shakespearean” were bandied about by moviegoers and online film writers whose background in opera and Shakespeare is limited at best, but who prefer their “classical, serious” films with a dose of cool gadgets. When asked about the success of the latest film in the franchise which transformed him from a mediocre, strictly technical indie actor to a mediocre, strictly technical Hollywood star, reclusive Christian Bale responded in a gruff, gravely, very masculine voice not unlike that of the muppet Dr. Teeth, “I think moviegoers were just really hungry for something that would challenge their preconceived notions of good and evil, right and wrong, all that stuff; but they prefer to have that message delivered by a comic book superhero that they’ve admired since they were children.” Cinema-lovers have responded in droves, especially males, who have already helped catapult Nolan’s sequel to the much coveted number one spot of all-time movies on the IMDb top 250 films list—not bad for a film that has been in general release for only three days. Especially pleased with the success of the film are all those adult Americans who have never seen a film made outside of this country and who have never attended the theater. When asked the source of the film’s magic, superfan Jim Cherrystone, of Somerville, MA, responded, “I think people are just relieved that there’s still serious films being made. I haven’t been this excited about true art since reading about Harry Potter and his little witch friends casting spells. With JK Rowling’s last Potter installment, books may be over, but it looks like movies got a stay of execution.” Film critics were just as jazzed as the film’s makers and its boyish fans, even proud to consider themselves part of the film’s creation, in a way. “I think it’s the critic’s duty to tell people how awesome this movie is,” said Insert-Pullquote Pete, of the Toulane Tribune. “Thank God there’s finally a movie that audiences and critics can agree on, cause it makes our job so much easier.”
New York’s Museum of the Moving Image has launched its major new film site, Moving Image Source. According to the museum’s press release, Moving Image Source will be “devoted to the history of film, television, and digital media,” and will feature “original articles by leading critics, authors, and scholars; a calendar that highlights major retrospectives, festivals, and gallery exhibitions at venues around the world; and a regularly updated guide to online research resources.” Congratulations to editor-in-chief Dennis Lim in pulling together this massive project, and a special shout-out to Reverse Shot staff writers Chris Wisniewski (the Museum’s Director of Education) for his work with Lim in developing the site’s Research Guide, and Leo Goldsmith, who also helped out on the Research Guide.
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