There are names that you hear growing up while studying journalism, reagrdless of the specific area or field of journalism you decide to station yourself in. In entertainment journalism, although hardly ever really dangerous (with the exception of some volatile celebrities), the truth matters almost as much as our opinion, after all, film is art; and art is as objective as, well, perhaps the most objective thing in the world. Yet, studying journalism in any field, its hard not to come across the name of Marie Colvin, one of, if not the most celebrated war correspondent in the world.
Scorching with the dry and arid heat of the desert land, an aerial view of Phoenix, Arizona fills the opening screen of French Canadian director Denis Villenueve’s newest feature Sicario. Sweaty, pulsating with uncanny tension and trumpeting with constant uncertainty, it seems that the land in which Sicario is based on is inhabited solely by the ravenous animals of the desert; and no, it isn’t referring to the four-legged desert beasts hungry for blood.
Toronto–One of the many advantages to watching films being premiered at film festivals is hearing a little bit of back story and reasoning as to how and why they are made. At the North American premiere of this year’s Palme D’Or winner Dheepan, held in the elegant Elgin Theatre in the heart of Toronto, acclaimed writer/director Jacques Audiard told the audience, “I wanted to make a film that would allow you to never look at those guys selling you roses at your dinner tables again”. Perhaps one of the best moments for the film altogether, Dheepan is one story that will surely change your perception of those gentlemen forever; however not necessarily in the most realistic or believable ways.
Becoming a trend-setter in the fashion industry can be quite the challenge, but making a fashion movie with some cinematic and historical merit is the real challenge many have been willing to accept, and have failed miserably. Even though there are so many irreplaceable names within fashion with such interesting stories to tell (Dior, Arden, Versace, Ford, Varvatos, Gucci and Chanel to name a few), director Jalil Lespert chooses Yves Saint Laurent; one of the few fashion icons to have his pieces of high fashion and considerably iconic art pieces displayed in museums and prestigious art galleries around the world. Yet, with Yves Saint Laurent, we aren’t quite sure if that is simply enough for a biopic of this stature.
One of the many ingredients that so many romantic-comedies are missing today is the element of truth: truth in the dialogue, truth in its characters and truth in the scenarios the characters are put in. If there is one thing that is obvious about Gillian Robespierre debut feature film Obvious Child, it is that the truth be the guiding light for characters in the film and the film itself.