Film Journal: April 2020

Day For Night

Honestly, few films I’ve viewed in this second month of quarantine have provided as much pleasure as the first two seasons of Succession, which I binged after HBO made it and a few other shows temporarily free to non-subscribers. Epic, hilarious, nasty and blatantly (and effectively) Shakespearean, it’s both a balm to and a mirror of these times.

Still, as I work through my various streaming queues, a few close contenders emerge. Day For Night, the first post-Jules and Jim Truffaut I’ve seen is one of the great movies-about-movies in part because it delves so deeply into process without seeming too inside-baseball; it also reactivated my interest in the Antoine Doinel films, so Antoine and Colette, the first one after The 400 Blows is a trifle by design (thirty minutes, part of a multi-director anthology), but Truffaut’s perfectly suited for crafting trifles with heft and weight.

Also pretty good: that long-unreleased Orson Welles film on Netflix, which is a mess at first but eventually stumbles upon the genius you’d expect from the man; a Mike Leigh short that neatly condenses material for a feature-length film into a compact frame; Fleck/Boden’s best effort since Half-Nelson; Beineix’s ultra-stylish-and-just-as-moving early ‘80s thriller (which I tried watching once years before but must’ve dozed off pretty early into it, because I didn’t remember a thing about it); and, a relatively late Powell/Pressburger flick that’s unlike anything else they did and, simultaneously, something that could come from no one else.

I last saw Scenes From A Marriage more than two decades ago in a film class and it remains my favorite Bergman (television origins and all) for its surgical focus, wringing so much thought and emotion out of such bare essentials. Stories We Tell, which I rewatched for a work project, also remains the most innovative documentary from the past decade, while Klute also holds up nicely though this time I was more in thrall to Gordon Willis’ cinematography than Jane Fonda’s admittedly iconic performance.

Biggest letdowns included Hale County This Morning This Evening, especially after all the raves it received at the end of 2018 (“Pretty but aimless” is my three-word review) and Kinetta, an early film from the director of Dogtooth and The Favourite (a case of not-quite-there-yet.) As for most notable What-Did-I-Just-Watch titles, Greener Grass is silly but almost enchantingly weird at times for its commitment to such weirdness, while Bunny Lake Is Missing starts off as Hitchcock before turning into proto-Haneke in the last half hour—if you think of Keir Dullea as something of an automaton based on 2001: A Space Odyssey, well, this will irrevocably change that.

Films viewed in April in chronological order, with director, year of release and my rating (out of 10.)

The Booksellers (D.W. Young, 2019) 6
Hale County This Morning, This Evening (RaMell Ross, 2018) 4
Welcome To L.A. (Alan Rudolph, 1976) 5
The Small Back Room (Michael Powell and Emeric Pressburger, 1949) 8
Trixie Mattel: Moving Parts (Nicholas Zeig-Owens, 2019) 7
The Short & Curlies (Mike Leigh, 1987) 8
The Hunger (Tony Scott, 1983) 7
Day For Night (Francois Truffaut, 1973) 9
The Queen (Frank Simon, 1968) 6
Isn’t It Romantic (Todd Strauss-Schulson, 2019) 5
Mississippi Grind (Ryan Fleck and Anna Boden, 2015) 8
Scenes From A Marriage (Ingmar Bergman, 1974)* 10
Sissy-Boy Slap-Party (Guy Maddin, 2004)* 8
Stories We Tell (Sarah Polley, 2012)* 10
The Wonders (Alice Rohrwacher, 2014) 6
The Last Waltz (Martin Scorsese, 1978) 7
Kinetta (Yorgos Lanthimos, 2005) 5
Klute (Alan J. Pakula, 1971)* 8
The Sapphires (Wayne Blair, 2012) 6
Cinema Verite (Shari Springer Berman and Robert Pulcini, 2011) 5
Bunny Lake Is Missing (Otto Preminger, 1965) 8
Antoine and Colette (Truffaut, 1962) 7
The Other Side Of The Wind (Orson Welles, 2018) 8
Circus of Books (Rachel Mason, 2019) 6
Hector and The Search For Happiness (Peter Chelsom, 2014) 3
Diva (Jean-Jacques Beineix, 1981) 8
Greener Grass (Jocelyn DeBoer and Dawn Luebbe, 2019) 6