Necessary Readjustment

I was somewhere between faintly bored and nodding out as I read various N.Y. Times articles answering the question “How Can Women Gain Influence in Hollywood?” Okay, Martha Coolidge wrote a pretty good one (called “Our Entire Belief System Must Change“) but the only piece I really liked was by recently-appointed San Francisco Film Festival honcho Ted Hope, called “Get With The Times.” Here’s a portion:

“The film business should redesign itself to process the abundance of and access to hugely varied content, much of it made by women.

“Leadership is required to recognize that When Harry Met Sally, Bridesmaids and Lost in Translation are not outliers, but clear indicators of vast communities of underserved audiences. Unfortunately, the movie industry is designed to follow the competitor, creating perpetually redundant stories, creators and executives. The entire film business remains predicated on antiquated concepts of scarcity of content and control thereof. It should instead get ambitious and start to redesign itself for today’s reality of super-abundance of — and total access to — hugely varied content.

“I am hopeful that the excess of leisure options will dictate that we all reduce our impulse buys and move toward informed choice of what we actually desire. This should presumably lead to a vast change in infrastructure and leadership. As we shift our entertainment economy away from the mass market to niche communities, we should finally see that we need producers and executives who deeply understand those who have long been neglected. Often these artists — many of them women — remain incredibly passionate about intelligent stories that sing with emotional truth.

“When Hollywood’s business side finally and consistently matches women’s storytelling prowess with a recognition of and commitment to the evolving communities that engage around their story worlds, women will rise everywhere as a result.”

NYFF Smorgasbord

Scratch the three big New York Film Festival debuts — Ang Lee‘s Life of Pi, David Chase‘s Not Fade Away and Robert Zemeckis‘s Flight — and a lot of what’s left are films that first screened at last May’s Cannes Film Festival and/or will show at the Toronto Film Festival.

Among the Cannes hand-me-downs are Michael Haneke‘s Amour, Cristian Mungiu‘s Beyond The Hills, Paolo and Vittorio Taviani‘s Ceasar Must Die, Leo Carax‘s Holy Motors, Pablo Larrain‘s No and Abbas Kiarostami‘s Like Someone In Love. The Toronto-first titles include Noah Baumbach‘s Frances Ha, Sally Potter‘s Ginger and Rosa, Roger Michell‘s Hyde Park on Hudson and Brian De Palma‘s Passion.

This is just a slapdash reaction. I haven’t really sunk into the slate. For those who didn’t attend Cannes or who won’t be in Toronto, it’s a very strong roster. But for me, the only NYFF films I’m really cranked about are Not Fade Away, Flight and Olivier Assayas‘s Something In The Air, which will debut at the 2012 Venice Film Fesitval.

The 50th annual New York Film Festival runs from 9.28 through Sunday, 10.14.

Too Damn Many

As usual, there will be somewhere between 35 and 40 films at the Toronto Film Festival that sound like (or are at least being described as) either must-sees or highly intriguing. This will probably be my most productive TIFF yet as it ‘ll be my first without nightly libations, but even sober I’ll still wind up seeing maybe 26 or 27 of them, if that. Nine days, three or sometimes four per day but more often three…that’s it.

There’s always a chance I might luck into one of those impromptu wildcat screenings of The Master that Paul Thomas Anderson is staging around the country, but if I don’t here are the Toronto films that I’m planning on for sure, and more or less in this order of importance. I’ll be most grateful to hear anything from HE readers that persuades me to eliminate one of these or add a title that I’ve omitted, or which persuades me to move a title sitting in the top 20 down to a lower slot or vice versa.

(1) Paul Thomas Anderson‘s The Master.

(2) Ben Affleck‘s Argo.

(3) Terrence Malick‘s To The Wonder.

(4) Lana and Andy Wachowki & Tom Tykwer‘s Cloud Atlas.

(5) Joe Wright‘s Anna Karenina.

(6) David O. Russell‘s The Silver Linings Playbook.

(7) Juan Antonio Bayona‘s The Impossible.

(8) David AyersEnd of Watch.

(9) Roger Michell‘s Hyde Park on Hudson.

(10) Derek Cianfrance‘s The Place Beyond The Pines.

(11) Pablo Larrain‘s No.

(12) Noah Baumbach‘s Frances Ha.

(13) Martin McDonagh‘s Seven Psychopaths.

(14) Rian Johnson‘s Looper.

(15) Billy Bob Thornton‘s Jayne Mansfield’s Car.

(16) Robert Redford‘s The Company You Keep.

(17) Stephen Chobosky‘s The Perks Of Being A Wallflower.

(18) Susanne Bier‘s Love is All You Need.

(19) Brian De Palma‘s Passion.

(20) Peter Webber‘s Emperor.

(21) Neil Jordan‘s Byzantium.

(22) Dustin Hoffman‘s Quartet.

(23) Sally Potter‘s Ginger And Rosa

(24) Laurent Cantet‘s Foxfire

(25) Paul Andrew WilliamsSong for Marion.

(26) Spike Lee‘s Bad 25.

(27) Francois Ozon‘s In The House.

(28) Costa-GavrasCapital.

(29) Ziad Doueiri‘s The Attack.

(30) Shola Lynch‘s Free Angela And All Political Prisoners.

(30) Mike Newell‘s Great Expectations (Dickens),

(31) Sergio Castellitto‘s Twice Born

(32) Mira Nair‘s The Reluctant Fundamentalist.

(33) Robert Puccini and Shari Spring Berman‘s Imogene.

(34) Joss Whedon‘s Much Ado About Nothing.

(35) Harmony Korine‘s Spring Breakers.

(36) Josh Boone‘s Writers.

(37) Chen Kaige‘s Caught In The Web.

(38) Marco Bellochhio‘s Dormant Beauty

(39) Joachim Roenning and Espen Sandberg‘s Kon-Tiki.

(40) Nick CassavettesYellow.

(41) Scott McGehee‘s What Maisie Knew.

Race-Baiting “Dog Whistle”

It’s seemed obvious that Mitt Romney was stoking racial animus among the Republican base (i.e., resentful bubbas) when he said that President Obama should “take [his] campaign of division and anger and hate back to Chicago.” (Hint, hint — where Rev. Jeremiah Wright lives.) Today Toure, the co-host of MSNBC’s “The Cycle,” said Romney is “trying to use racial coding and access some really deep stereotypes about the angry black man.

“This is part of the playbook against Obama, the ‘otherization,’ he’s not like us. I know it’s a heavy thing, I don’t say it lightly, but this is niggerization. You are not one of us, you are like the scary black man who we’ve been trained to fear.”

Toure’s conservative co-host S.E. Cupp flipped out and said “certainly you were implying that Mitt Romney and the base will respond to this dog-whistle, racially-charged coding, and hate Obama, the angry black man?” “Absolutely,” Toure replied. “This is not a revolutionary comment. This is a constituency all-white party that rejects the black vote. [Romney is] using the playbook Republicans have been using for decades now.”

[Quotes lifted from a summary piece by Medialite‘s Andrew Kirell.]

Get Ready For It

Disney has confirmed that sometime in late April 2015, or roughly five to ten days before May 1, 2015, I will attend a screening of Joss Whedon‘s The Avengers 2 and just sit there and die of pique, the boredom plateauing and my soul dtopping out of me and seeping onto the carpet. I actually might not die if Whedon shoots it in 48 frames per second, but will he and Disney have the balls to grab the steer by the horns and man up and do the technological thing that needs to be done?

Master In Chicago

If I was half-mad and possessed of unlimited funds, I’d be on my way right now to LAX and a flight to Chicago for a special 70mm screening of Paul Thomas Anderson‘s The Master at the Music Box Theater. If I know Roger Ebert, Michael Phillips, Mark Caro, Ray Pride, Michael Wilmington and Jonathan Rosenbaum, they’ll all be there. The gate will go to The Film Foundation, “a nonprofit organization dedicated to protecting and preserving motion picture history.”