Without the messy murders, of course!
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Rome Film Festival Diaries: 'Judy', Renée Zellweger and the wonder of fashion in cinema
I had a craving for ‘Judy’ ever since I heard the project announced. Renée Zellweger as Judy Garland on the big screen seemed extraordinary to me. And yet, I also wondered if it would satisfy my cravings. Would it focus on the camp, would it give me the fashionista angle I craved or feature tired old costumes that made La Zellweger seem like a caricature of the great, albeit lost diva?
Well, ‘Judy’, directed by Rupert Goold, with original music by Gabriel Yared, featuring Zellweger herself singing and wearing some beautifully modern costumes by Jany Temime and wigs plus makeup by Jeremy Woodhead was everything I wanted it to be — beautiful, glamorous, sad and poignantly modern.
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Inspired: Highlights from the 2019 International Film Festival Rotterdam
I’d long heard about the Rotterdam International Film Festival and yet had never personally been here. IFFR will hereafter be a much craved stop on my itinerary of world cinema events. I can’t wait to see what next year has in store.
So what makes this cinephiles’ festival filled with independent gems, languid culture-filled days and inspiring evening talks by the masters so addictive? Well, that — what I just said. Turns out there is no festival in the world quite like IFFR.
And here are a few favorites of mine from this year’s edition.
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The Rome Diaries: The OnStage! Festival features Aizzah Fatima's perfect show and a play about Hedy Lamarr
In a 2014 article in The Guardian, Pakistani-American comedian Aizzah Fatima described one of her first auditions. “One of the roles I auditioned for was ‘Terrorist No 2’s girlfriend,” she admitted tongue in cheek.
Of course, that’s the destiny of most actors who don’t fulfill the blue-eyed-blond-hair requirements of playing your average “as good as apple pie” American. Yet time and time again, while our leaders fight it and even try to build up walls to prevent it, the very greatness of our good ol’ U.S. of A. lies in its immigrant population as well as its indigenous tribes. And the culture that is most often exported and celebrated around the world as “American” is a mixture of African, tribal, native and otherwise ethic music, dance and art. And that’s never vanilla in flavor now, is it?!
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Photo by © Massimo Sestini
The Rome Diaries: Photographer Massimo Sestini at WeGil shows us humanity, from above
Back in the fascist era of the 30s, an Italian Youth Center was opened in Trastevere, these days considered a cool, but also touristic side of Rome. Then a more popular neighborhood, which also consisted of housing projects. Architect Luigi Moretti was in charge of the structure and what is today the WeGil was inaugurated in 1937. Imposing and clearly fascist look and feel, the structure was supposed to house equipment to train Italian youths for sports but also battle. WeGil therefore has a strange, complicated background to contend with and the feel within the structure is at once one of awe and discomfort.
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A still from 'Ray & Liz' courtesy of Locarno Festival
The Locarno Diaries: 'Ray & Liz'', #Female Pleasure' and 'Likemeback'
The greatest thing about the Locarno Festival is how accessible their venues are and how organic an experience watching great cinema becomes here. As author and filmmaker Emmanuel Carrère pointed out earlier, he is in Locarno on Jury duty, while at other festival you basically know what you can expect, here it's wonderful because the discoveries you make are completely unexpected.
Personally, I find it perfect to get up in the morning and catch the press screening of competition films at 9 a.m. at the Kursaal cinema and return there after lunch for more great things. Also sprinkled around town and culminating in the Piazza Grande screening each night, there are many wonderful films to be discovered. I mean, like Meg Ryan said during our public chat this past Saturday, the "Piazza Grande has 8,000 seats!" Now wrap your head around that.
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COURTESY OF THE VENICE FILM FESTIVAL
A still from Lucrecia Martel’s ‘Zama’
The Venice Film Festival Diaries: ‘The Shape of Water’, the Wonder of Netflix and Lucrecia Martel’s ‘Zama’
While my first 36 hours at the Venice Film Festival were filled with impossible sunshine and balmy heat, with the morning’s thunderstorms came both barometric relief but also some much needed introspection. I found myself in a deep, thoughtful place thanks to a beautiful meeting with Argentinian filmmaker Lucrecia Martel and a morning screening of Netflix’s ‘Our Souls at Night’.
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