From the Summer 2010 issue of Film Quarterly (vol. 63, no. 4). — J.R.
The typical challenge of any film festival report is to create a fictional narrative out of thin air, or a meaningful proposition out of chaos. And this becomes even harder in an era when layoffs of various film reviewers have coincided with a continuing erasure of any clear line separating criticism from advertising in most mainstream venues. The task isn’t far removed from the sort of pretense routinely made by reviewers, myself included, who presume to write ten-best round-ups at year’s end, overlooking the pre-selections already made by distributors and marketers and often arriving at unwarranted global conclusions based on the very finite sampling of what one has seen. This becomes only more obvious and arbitrary when it comes to generalizing about the handful of films one sees at a festival out of several dozens or hundreds, and then creating a narrative thread or some sort of thesis that can connect them all like beads on a string — a process that for me stands out in even greater relief since I retired from regular reviewing in early 2008.South
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1. The Turin Horse (Béla Tarr, 2011)
2. Margaret (186-minute version, Kenneth Lonergan, 2011)
3. The Other Side of the Wind (Orson Welles, 2018)
4. Adieu au Langage (Jean-Luc Godard, 2014)
5. Holy Motors (Leos Carax, 2012)
6. Horse Money (Pedro Costa, 2014)
7. Bernie (Richard Linklater, 2011)
8. A Bread Factory (Patrick Wang, 2018)
9. Certified Copy (Abbas Kiarostami, 2010)
10. I, Dalio (or The Rules of the Game) (Mark Rappaport, 2015)
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This was written in September 2010 to introduce the Czech translation and edition of my book about Dead Man (BFI, 2000). — J.R.
During the fifteen years that have passed since Jim Jarmusch’s sixth and most ambitious feature premiered in Cannes, it’s been gratifying to see its critical reputation steadily rising, especially in the U.S.And during the last two-thirds of this period, after this book made its first appearance, I’ve been pleased to see its constituency growing. It has subsequently had a second edition in English, which appeared in 2008, and a French translation, by Justine Malle (a daughter of Louis Malle), published by Les Éditions de la Transparence in 2005. Now that it’s coming out in a Czech edition, it’s worth mentioning (but not dwelling too much on) the fact that Jarmusch’s paternal grandparents were Bohemian, although they never spoke any Czech in his presence. (He also told me, with some hesitation, that his mother’s parents may have been Irish; he isn’t even sure about this.) I was in Cannes in 1995, and the several walkouts during the picture that I witnessed were hardly unprecedented, especially for a demanding film of this kind at this festival. But for many years afterwards, the film qualified as a film maudit, and not only because its own American distributor, Miramax, appeared to want it to fail, after it became clear that Jarmusch had no intentions of following any of its suggestions for re-editing (specifically, those of Harvey Weinstein) — an attitude in striking contrast to that of Weinstein protégé Quentin Tarantino, misleadingly identified as an independent filmmaker, who seemed quite happy to forego final cut in exchange for getting Weinstein’s unlimited support. Read more
