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The Lost City of Z is featured in the March edition of SO FILM magazine
Translation via Google
Darlingof movie-goers,JamesGrayhasmanagedtofinish his most ambitiousproject,thedoorofheaventohim– the United Artistsreadytoruntohimandless.Thejourneyofthislittle delicateintelligent redhead fromQueensinthedepthsof the jungle deservestotake stock, looking carefullyatthemap, toask yourself:what exactlyis the cinema ofGray?
Thefilms of JamesGray are alwayscharacterisedby agreatrighteousness.His moviesare straight lines indeed likethoseofthesubwaytracks sabotagedinTheYards,hissecond achievementin2000.That isthe firstrectitude,thattragicrail, thatoftenseems to slidewithout tofindthegoodturnoutfor changeof itinerary.Ifthereareflights, spirals ofaccelerationor hot flashes excitement,Grayisnaturally onframesveryposedandcomposed. And If heis a cinephile,he is empoweredasaneoclassical :itdoesn’tslicereferences, Hereplaysthemtohim suffocated,macerated intheimpeccablegrey-brown,thegreys, hisphoto.Strengthandlimitedfirst so:thatunstoppablesideinelegance andalsoseriously.Thelipsare still alsostraightGray’sHouse:not humorandlittlesmilesathim–ifthis isinthesingularTwoLovers(2008). WhenJoaquinPhoenixplayedanendearing ninnywideshoulders,tornbetweentwo women,finallyintheforegroundwithout being mothers. BecausethisrighteousnessofGrayisofcoursebefore allmale:forthemostpart,.hischaractersaretheavatarsof a manhoodbittalky,cut offfromhisdesires, making suretogivethe appearanceof ablock Whenitis,inalllikelihood, crackedeverywhere.Anoldmodel, whichfilmhaswornandwornuntil therope.Unabletogrant thecircumstancesandunreadablehearts, Theseguyshereclingtorigidity, whetherconqueringorscowling. Westicktoasingleline,andonthe decreedright,persiststothe end theendandwhenyoucaremore, jump onanotherline–whereasrighteousness Paradoxically, eventuallyseemtwisted: Graymenarecapableof abrupt,unexplainedreversals.This snot a caseofduplicity:maybe theysimplylackimagination. Alsouncontrollablemaytheyseem, maddogsmostoftenalignthe familyhome. Inthesecircumstances,Graydoesnot.He mustinsteadstatethatit isinevitable whoalwayslandshimtop–thisarea greybetweenrealismandrefusalofthe elucidation psychological,silenceandtemptationof emphasis:bulliesalwaysend byquitabigstatement solemnlove,attheedgeof the religiousrevelation.The filmmakeris toosmartnottounderstandthat Thismanhoodthereispossibly only renunciation,blindnessorsimply comfort. So far,Grayisitself stayedhome,filmingonlysound NewYorknativeandfamilyexecutives, In additiontwiceanchoredin hiscommunityof origin,thatofthe Jews Russians.Fromthispointofview,itisalso rightinthesense ofhonest:hedoes not hide homebodiesinclinations.Besincere, however,doesnotprotectcompletely from the Ronron.WeOwntheNight(2007)in wasthecuriousallegory:at Trac,aparty animalbecamea COPlike of othermeninhisfamily,asis it wasonlycelebratethestrength (includingneoclassical)order.
Percy Fawcett is a recognized British Colonel and a loving husband. In 1906, when he was about to become a father, the Royal Geographical Society offers him to go to the Amazon in Bolivia. At the site, the man, who has a passion for exploration, discovers traces of what he thinks is a very old lost city. Back in England, Fawcett constantly thinks of this mysterious civilization, tugging between his love for his family and his thirst for exploration and glory… (Translated via Google)
It appears Cahiers du Cinéma has featured Robert Pattinson “Good Time” as part of their most anticipated films of 2017.
Thanks to Posh who translated for us: Josh Safdie sent them the picture and he explains that they were shooting in a real prison in Queens with friends who had friends with criminal records that had been in jail only a few weeks before the shooting. They also cast previous guards to play the prison guards. They recreated Rikers Island the biggest prison in New York. The photo was taken in the Day Room with a general des sangs 3 stars – the most notorious one from american gangs who was kind and charismatic and named Jerome.