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Telluride XL Day 2: 'Ida,' 'Labor Day,' Coens Music Tribute, 'Natan'

Photo of Meredith Brody By Meredith Brody | Thompson on Hollywood August 31, 2013 at 2:05PM

Here's my recap of a long and rather unbelievably rich festival day at Telluride.
'Inside Llewyn Davis'
'Inside Llewyn Davis'

Here's my recap of a long and rather unbelievably rich festival day at Telluride.

9:15 AM: Maurice Pialat's "L'enfance nu" ("Naked Childhood") and a short by Pialat, "Love Exists," critic Phillip Lopate's choice as Guest Director. A large part of me yearns to be in the huge comfortable Palm theater next door, where Alexander Payne's "Nebraska" is screening, with a Q & A afterwards. But it turns out that "Love Exists," Pialat's take on the boredom of late-50s life in the suburbs of Paris, is a small masterpiece: exquisitely shot in black, white, and silver-grey, cleverly cut, wittily narrated.  It immediately becomes the best thing I've seen so far at Telluride.  And "L'enfance nu" is also a small masterpiece; people are weeping all over the theater.  Afterwards I am happy to be able to introduce Phillip to the man who was seated next to me, who came to the program by default when he was shut out of "Nebraska" and loved both the movies and Phillip's introduction. He says he'll have lots of chances to see "Nebraska," but these happy accidents are what makes Telluride, Telluride.


I get ecstatic reactions from pals exiting "Nebraska," which is in black and white.  Payne's joke answer to why he shot it that way: "The studio made me do it."  Bruce Dern gets a round of applause when he exits the theater en route to his waiting van.

Noon:  Two quirky oddities programmed by Le Maitre, Pierre Rissient: a short, "Muscle Beach," dirtied by Irving Lerner and Joseph Strick, but chosen by Pierre because the musical accompaniment are songs composed by Edwin Robinson with lyrics by Edwin Rolfe, a poet whose life and work interests him; and a TV episode of Alfred Hitchcock Presents, "A Piece of the Action," written by the prolific American expatriate writer Alfred Hayes, screenwriter of some Italian neo-realist films as well as others, and author of many books, among them two novels that have just been re-issued by the publishing arm of the New York Review of Books. I've seen both of these -- "Muscle Beach" years ago in Los Angeles, and the Hitchcock on TV -- but I'm happy to see them again.  The Hitchcock (well, he wasn't present during the filming -- it was directed by Bernard Girard and produced by the amazing Norman Lloyd, still compos mentis in his 90s) looks great on the big screen, coincidentally stars a young, gorgeous, and very good Robert Redford, the underrated Gig Young, and a stalwart supporting cast of character actors.  Young Sammy Pressman buys Mr. Lopate a hot dog, in homage to the dinners at the Hotel du Cap in Cannes that his father Ed treated Phillip to in the gilded past.

2 p.m.: "Ida," a film in Polish by Pawel Pawlikowski, whose earlier films were all in English ("Last Resort," "My Summer of Love," "The Woman in the Fifth"). I adore the film, a deceptively simple period piece, set in 1961, about an orphan about to take the veil as a Catholic nun when she meets her aunt and learns that she is Jewish.  The wild aunt and the pious niece (played by a beautiful young girl Pawlikowski discovered in a cafe) go on a road trip to discover how her parents died. Again shot in beautiful black-and-white. I cry at the end. 

4:30 p.m.documentary "Natan," about a Romanian Jew who became one of the most influential movie producers in Paris in the 30s (after a murky arrest, much earlier, for possibly distributing "immoral" films), before being arrested for fraud and sent by the Germans to Auschwitz, where he died.  But first another oddity, which I watch with open-mouthed amazement: a twenty-minute mutual love-fest between two sacred monsters, John Berger and Tilda Swinton, who share a birthday -- November 5, Guy Fawkes day, and military fathers, and have now filmed themselves chatting away while Berger draws Swinton, Swinton reads Berger's poetry to him, and Swinton makes an apple crumble.  "Stars!  They're just like US!," I mutter to myself.  I revere them both -- I have a shelf-full of Berger's books, I think Swinton is an amazing actress, but this little number does neither of them any favors. I had thought to stay in the same theater to see guest director Don DeLillo deconstruct the Zapruder film, but on only 3 1/2 hours of sleep, I'm feeling groggy and I rush out again.

This article is related to: Festivals, Telluride Film Festival, Telluride, Reviews, Coens, IDA, Labor Day, Jason Reitman, Jason Reitman, Jason Reitman

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Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.