New York Film Festival
In Story: WeProduce – The Production Company we want to talk about New York City International Film Festival.   New York City International Film Festival has a well earned reputation, nationally and internationally, as one of the most respected events of the film festival year. The organization is committed to bringing the best of the world’s cinematography to New York City and to provide a platform for talented domestic and international filmmakers to showcase their work. The opportunity to attend the Cannes Film Festival. They were incredibly impressed with the organization, as well as quality and glamour of the festival; they had an immense respect for the film community. NYCIFF with the purpose of giving filmmakers a high profile platform in the states to showcase their work to a vast and diverse audience. NYCIFF is in the business of theatrical film distribution. Through its annual black tie festival, as well as anxiously anticipated screenings throughout the year, NYCIFF connects with a loyal and discerning New York fan base. This commitment to excellence from Founder, differentiates NYCIFF from any other film organization. With distribution of films more difficult than ever, the NYCIFF’s mission catapults relationships with some of the most innovative and cutting edge filmmakers from around the world.
Brief thoughts on all the titles that didn’t get full reviews and a ranking of everything we saw from NYFF 2014.
It has been over one year NYFF’s 52nd year of films has wrapped. Now we want to show a few titles and review some of them. Two Days, One Night is the latest feature from the peerless Dardenne brothers and starring Marion Cotillard, making it their first film with a ‘star’. Nothing is compromised, as you’d expect, and it is as harrowing as anything that the brothers have gifted (or burdened) us with thus far. A simple tale of a factory worker put into a position of needing to save her job, all while forcing her co-workers to place value on her position of employment over their own financial needs (or non-needs), it’s anchored by Cotillard’s subtle performance and the uncanny ability of the Dardenne brothers to make even the most trivial moments feel rife with tension. It releases in the US on December 24th and deserves your holiday cheer. Foxcatcher is likely the most attention getting title that I didn’t review in full, and mainly because I was just so taken aback by it. Directed by Bennett Miller of Capote and Moneyball, it’s a true-crime story that saves the crime for the final minutes with everything leading up to it serving as the bulk of the film. The leads are Steve Carell (with a prosthetic nose) and Channing Tatum (with prosthetic ears) and both give rather uncomfortable, borderline haunting performances. This isn’t an easy movie to shake and might be a hard one to recommend, but don’t be surprised to see it popping up come awards season. It’s a strange one though. Listen Up Philip is the latest from Alex Ross Perry, who gave us the twee-incest-rom-com The Color Wheel a few years back. I wasn’t a fan of his previous film, finding the humor a bit too self aware and sardonic for my taste but this one is vastly more accessible and features an enjoyably deadpan performance by Jason Schwarzman. The humor is still rather dry, and can likely be alienating, but it felt more sincere this time around. I’m not sure how likable a movie can be that goes so far out of its way to make its title character a complete asshole, but this seems to find a balance. Even if it’s about a half hour too long. Whiplash has been getting a ton of attention post-Sundance and I’m not really sure why. Directed by Damien Chazelle who previously gave us the rather wonderful Guy and Madeline on a Park Bench, it’s saving grace is a performance from J.K. Simmons that manages to out R. Lee Ermy R. Lee Ermy. Jazz heads will surely get more out of it than I did but its narrative contrivances are hard to overlook and Miles Teller is just fucking annoying. Life of Riley is the final film from the great Alain Resnais. Unfortunately, it’s also a lot like the last one he made: You Ain’t Seen Nothin’ Yet. Both are basically plays made for the screen and they feel just like that. Life of Riley is amusing and the cast is game for what Resnais is trying to do, but it overstays its welcome by almost half of its runtime and rather than feeling fresh and experimental like the former film did, it just comes off as a bit stale and recycled. Two Shots Fired is an Argentinian attempt at deadpan comedy that just fell completely flat for me. Starting out with the attempted suicide of its lead character and becoming progressively more dark as it goes on, it seems to want to be transgressive and daring, but for what? This feels like Todd Solondz-lite and insincere at even being that. The opening is attention getting and the cast have screen presence to spare, but it never managed to be more than a fleeting curiosity to me. And I wasn’t even all that curious. Princess of France is the latest from Matias Pineiro who seems to be one of the contemporary festival love him or hate him filmmakers. I certainly fall into the latter category as I just can’t for the life of me get into his work. This one involves Love’s Labours Lost and most of its charm will likely be lost on anyone who isn’t familiar with that. It runs a brisk 70 minutes, but if you aren’t fully on board with what Pineiro is doing (I’m still not sure what that is), it will likely feel double that length. It sure does look nice though.