Click to Skip Ad
Closing in...

Telluride Day Three: The Teaser/Trailer

Photo of Meredith Brody By Meredith Brody | Thompson on Hollywood September 5, 2011 at 6:25AM

Meredith Brody continues her reports from Telluride.Something had to give. All movies and no play (!) makes me cranky, so the flesh is weak: after a full and satisfying day of Wim Wenders’ Pina; The House on Trubnaya Square (1928) by Boris Barnet, with a new score performed by Dennis James and the Filmharmonia Ensemble; Glenn Close and the crème de la crème of British, Irish, and Australian actors in Albert Nobbs, directed by Rodrigo Garcia; and a Tribute to Tilda Swinton with a half-hour of clips, an onstage interview conducted by The New Yorker’s Hilton Als, a screening of Lynne Ramsay’s We Need to Talk About Kevin, followed by a Q and A with Ramsay, Swinton, and co-scenarist Rory Kinnear, I, uh, went to a party instead of coming home and diarying it up. (Not the fancy-schmancy Vanity Fair party, at which I’m sure AT of TOH was present and taking notes. But a nice soiree nonetheless.)
0
Thompson on Hollywood

Meredith Brody continues her reports from Telluride.

Something had to give. All movies and no play (!) makes me cranky, so the flesh is weak: after a full and satisfying day of Wim Wenders’ Pina; The House on Trubnaya Square (1928) by Boris Barnet, with a new score performed by Dennis James and the Filmharmonia Ensemble; Glenn Close and the crème de la crème of British, Irish, and Australian actors in Albert Nobbs, directed by Rodrigo Garcia; and a Tribute to Tilda Swinton with a half-hour of clips, an onstage interview conducted by The New Yorker’s Hilton Als, a screening of Lynne Ramsay’s We Need to Talk About Kevin, followed by a Q and A with Ramsay, Swinton, and co-scenarist Rory Kinnear, I, uh, went to a party instead of coming home and diarying it up. (Not the fancy-schmancy Vanity Fair party, at which I’m sure AT of TOH was present and taking notes. But a nice soiree nonetheless.)
Even though I left the party before I wanted to, here it is, it’s 2 a.m., I have a date to meet my old Village Voice colleague Hilton A. at a 9:15 screening of Diana Vreeland: The Eye Has to Travel, and I have barely enough strength to download Monday’s more than two dozen To Be Announced slots and try to figure out a strategy for Day Four.

Stop the presses: in addition to repeats of already-shown movies, Monday adds yet another Pierre Etaix film, never released in America, Le Grand Amour; and a screening of another sneak preview (i.e. not listed in the program book), Frederick Wiseman’s take on Paris’ bare-breasted Crazy Horse, his 41st documentary and, at only 134 minutes, a mere snip for him.

So many movies, so little time. About which more anon.

[Screen still from Pina]

This article is related to: Directors, Festivals, Telluride


E-Mail Updates






Festivals on TOH



Thompson on Hollywood

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.