I appreciated many individual films - but here I would like to highlight "favorite ways to appreciate the adroit, almost magical editorial and curatorial process" of FSLC in creating the 2010 New York Film Festival:
-Shinoda series of twelve films.
I made a comment here as the series started; I managed to see eleven of the twelve films -- stunned by the range of subjects and techniques in Shinoda's work, from almost early-Almodovar-like brilliant color and corrosive irreverence in the early 1960s to formally elegant presentations on classical Japanese themes.
-Special events of real resonance --
Director Mike Leigh really investing himself wholly in the exploration of issues connected with his work -- Nuremberg restoration with actual participants joining us almost sixty-five years after their partcicipation
-The multiple opportunities to savor the Portuguese language in film --
-Shinoda series of twelve films.
I made a comment here as the series started; I managed to see eleven of the twelve films -- stunned by the range of subjects and techniques in Shinoda's work, from almost early-Almodovar-like brilliant color and corrosive irreverence in the early 1960s to formally elegant presentations on classical Japanese themes.
-Special events of real resonance --
Director Mike Leigh really investing himself wholly in the exploration of issues connected with his work -- Nuremberg restoration with actual participants joining us almost sixty-five years after their partcicipation
-The multiple opportunities to savor the Portuguese language in film --
Many participants looked forward to seeing Manoel de Oliveira's latest work - but who knew that his 1963 Rite of Spring would show up in the middle of the "Views from the Avant-garde" program. This Lusitanian thread triumphed on closing day this past weekend with Raoul Ruiz's Mysteries of Lisbon -- based in the 19th Century but shaped by the director's unique palette of surrealistic and non-linear techniques.
