list http://www.spout.com/ Recent community activity around The Pleasure of Being Robbed on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Pleasure_of_Being_Robbed/365101/default.aspx Title: The Pleasure of Being Robbed
Year: 2008
Director: Eleonore Hendricks
Plot: A free-spirited thief touches the lives of everyone she steals from in director Josh Safdie's tale of loneliness in the big city. Eleonore (Eleonore Hendricks) is attractive, fearless, and stealthy enough to lift the wallet of even the most alert and aware citizens of New York City. But while most folks view thieves as inherently selfish, Eleonore has a generous streak a mile wide. One day, after nabbing the purse of an unsuspecting stranger and adopting a litter of kittens she finds in an abandoned laundry bag, the pretty young thief enlists the aid of her friend Josh (Safdie) in locating the car that corresponds to a set of keys she recently stole. Once they find the car, Eleonore realizes that she doesn't even know how to drive it. But that small detail won't prevent the brash young criminal from chauffeuring Josh back to his home in Boston. ~ Jason Buchanan, All Movie Guide
Times Tagged: 5
Number of Lists: 2
Number of blog posts: 7
SpoutRating: 4
]]>Mon, 06 Oct 2008 19:01:15 GMTThe Pleasure of Being Robbed2008Eleonore HendricksA free-spirited thief touches the lives of everyone she steals from in director Josh Safdie's tale of loneliness in the big city. Eleonore (Eleonore Hendricks) is attractive, fearless, and stealthy enough to lift the wallet of even the most alert and aware citizens of New York City. But while most folks view thieves as inherently selfish, Eleonore has a generous streak a mile wide. One day, after nabbing the purse of an unsuspecting stranger and adopting a litter of kittens she finds in an abandoned laundry bag, the pretty young thief enlists the aid of her friend Josh (Safdie) in locating the car that corresponds to a set of keys she recently stole. Once they find the car, Eleonore realizes that she doesn't even know how to drive it. But that small detail won't prevent the brash young criminal from chauffeuring Josh back to his home in Boston. ~ Jason Buchanan, All Movie Guide5Slightly Tagged (1-5)274http://www.spout.com/ProductImages/s365101.jpghttp://www.spout.com/films/The_Pleasure_of_Being_Robbed/365101/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/10/6/35942.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/6/2008 3:01:15 PM
Body: As the hipster kleptomaniac at the center of Josh Safdie’s adorable debut feature The Pleasure of Being Robbed, Eleonore Hendricks steals a lot of things, but mainly the audiences’ hearts. The twentysomething actress, despite her newfound indie cinema fame, still works at the video store Cinema Nolita and binges on way too much Lukas Moodysson. After just wrapping Eric Juhola’s short film The Nowhere Kids (a fictional speculation on Gotham Award nominee and Slamdance winner Off the Grid: Life on the Mesa), Hendricks is getting ready to begin production on Safdie’s new project, Go Get Some Rosemary. In the meantime, I caught up with her to chat about Barbara Loden’s Wanda, her extra special week of moviegoing and why she gave up listening to WFMU. What films or television shows have you seen recently? This past week was pretty unique, maybe the most special week for movie watching in all my life. Movie is life and life is movie. On Monday I ached with laughter watching two movies at Anthology Film Archives made by close girlfriends of mine, Creative Non-Fiction by Lena Dunham and a documentary called The Making Of Dealing by Sara Rossein. Then on Tuesday I worked at the video store, Cinema Nolita, where I celebrated the life one of our country’s finest men. Popped in a couple of Paul Newman movies, Sweet Bird Of Youth, and Cool Hand Luke, I watched these in intervals and side glances as I rung up my customers with their rentals. He deserves a full few days in front of the tube. On Thursday I kicked myself for missing a rerun screening of Ronnie Bronstein’s movie Frownland at BAM because of that damn Palin and Biden debate. I would have much rather agonized over Dore Mann’s character. Then on Friday at the IFC Center I watched, Benny Safdie’s Acquaintances of a Lonely John, along with the first and last 10 minutes of the movie I’m in, The Pleasure of Being Robbed by Josh Safdie - so those two are movies by my boyfriend and his brother, ok. To boot, through out the week I’ve been working on some production stuff for Josh and Benny’s next movie, Go Get Some Rosemary which starts filming Oct. 20th- I’ll also be in that one, so will Ronnie. Trippy week, and right now I’m not quite straight on where the movie begins and where my life ends - or where the movie ends or where my life begun. But gosh, it feels good to be amongst friends and film. What have you seen recently, other than films by your friends and collaborators, that stuck with you? I recently watched Wanda, Barbara Loden is actor and director - her first and last film. Well, she had acted in other movies before but sadly she passed away before she could direct her next. Phew, this movie took my breath away. I’ll start crying and stop typing if I go too much into it. This movie struck a chord. Loden describes the life of a lost and wandering woman - it’s beautiful and ugly, simple and real - She’s one gutsy dame. How do the films that you think of as “influences” affect your own style when acting? This is something I’ve just realized, at the video store, my employee’s picks self features these movies: Wanda, Baby Doll by Elia Kazan, Streetwise by Martin Bell, Lilja 4-Ever, by Lukkas Moodyson, and Ladies and Gentlemen the Fabulous Stains and Out of the Blue by Dennis Hopper. All of these movies star some poignant or powerful young female character or female actor- I feel a kinship to these young female actors right now in my life, I hope they’ve influenced my acting style. Later in life, if my acting career develops, and if I’m still a video clerk I hope to replenish that shelf with movies like Gloria, A Woman Under the Influence by Cassevettes, Scorsese’s, Alice Doesn’t Live Here Anymore, Felini’s La Strada, and Bergman’s Summer with Monika. How often do you read fiction? Do you wish you read more? Not nearly enough. But I have excuses: I have a finicky attention, I live close enough not to take a subway regularly, recently started riding my bicycle everywhere so when I could be home staying put - reading - I’d rather be out whizzing through the streets not reading traffic signals. Right now is a good time to read but I’m answering these questions. I probably won’t even proof read this interview. Yes, I wish I read more. What would be your ideal literary adaptation and why? I tend not to idealize literary adaptations. How, if at all, has reading informed your acting? It would be very difficult to act if I couldn’t read. What are you listening to recently? For the past several months I’ve put aside my love for WFMU, I’ve given up Shuffle, all I listen to is “Chances With Wolves” - hosted by yet another NYC comrade. It’s weekly 2 hour broadcast and pod cast on East Village Radio, provides you, the listener with the most beautifully haunting and hauntingly beautiful music ever made. http://chanceswithwolves.blogspot.com/. Check it out or check your head. If you could collaborate with one musician on a film, who would it be and why? I suppose it would have to be Penn Sultan, with anyone of his wonderful bands, “There Are Some Who Call Us Tim”, “Doggie, Hi Yippee” or “Last Good Tooth”. He is my best friend’s young brother, I love his music and I’ll allow the theme to come full circle - ‘family and friends making together makes it better’. What would be the ideal pairing of filmmaker and musician for a concert film? Bob Fosse and Black Flag. Originally posted on:SpoutBlog
]]>Mon, 06 Oct 2008 19:01:15 GMTSpoutBlogSpoutBlog on spout.com10/6/2008 3:01:15 PM As the hipster kleptomaniac at the center of Josh Safdie’s adorable debut feature The Pleasure of Being Robbed, Eleonore Hendricks steals a lot of things, but mainly the audiences’ hearts. The twentysomething actress, despite her newfound indie cinema fame, still works at the video store Cinema Nolita and binges on way too much Lukas Moodysson. After just wrapping Eric Juhola’s short film The Nowhere Kids (a fictional speculation on Gotham Award nominee and Slamdance winner Off the Grid: Life on the Mesa), Hendricks is getting ready to begin production on Safdie’s new project, Go Get Some Rosemary. In the meantime, I caught up with her to chat about Barbara Loden’s Wanda, her extra special week of moviegoing and why she gave up listening to WFMU. What films or television shows have you seen recently? This past week was pretty unique, maybe the most special week for movie watching in all my life. Movie is life and life is movie. On Monday I ached with laughter watching two movies at Anthology Film Archives made by close girlfriends of mine, Creative Non-Fiction by Lena Dunham and a documentary called The Making Of Dealing by Sara Rossein. Then on Tuesday I worked at the video store, Cinema Nolita, where I celebrated the life one of our country’s finest men. Popped in a couple of Paul Newman movies, Sweet Bird Of Youth, and Cool Hand Luke, I watched these in intervals and side glances as I rung up my customers with their rentals. He deserves a full few days in front of the tube. On Thursday I kicked myself for missing a rerun screening of Ronnie Bronstein’s movie Frownland at BAM because of that damn Palin and Biden debate. I would have much rather agonized over Dore Mann’s character. Then on Friday at the IFC Center I watched, Benny Safdie’s Acquaintances of a Lonely John, along with the first and last 10 minutes of the movie I’m in, The Pleasure of Being Robbed by Josh Safdie - so those two are movies by my boyfriend and his brother, ok. To boot, through out the week I’ve been working on some production stuff for Josh and Benny’s next movie, Go Get Some Rosemary which starts filming Oct. 20th- I’ll also be in that one, so will Ronnie. Trippy week, and right now I’m not quite straight on where the movie begins and where my life ends - or where the movie ends or where my life begun. But gosh, it feels good to be amongst friends and film. What have you seen recently, other than films by your friends and collaborators, that stuck with you? I recently watched Wanda, Barbara Loden is actor and director - her first and last film. Well, she had acted in other movies before but sadly she passed away before she could direct her next. Phew, this movie took my breath away. I’ll start crying and stop typing if I go too much into it. This movie struck a chord. Loden describes the life of a lost and wandering woman - it’s beautiful and ugly, simple and real - She’s one gutsy dame. How do the films that you think of as “influences” affect your own style when acting? This is something I’ve just realized, at the video store, my employee’s picks self features these movies: Wanda, Baby Doll by Elia Kazan, Streetwise by Martin Bell, Lilja 4-Ever, by Lukkas Moodyson, and Ladies and Gentlemen the Fabulous Stains and Out of the Blue by Dennis Hopper. All of these movies star some poignant or powerful young female character or female actor- I feel a kinship to these young female actors right now in my life, I hope they’ve influenced my acting style. Later in life, if my acting career develops, and if I’m still a video clerk I hope to replenish that shelf with movies like Gloria, A Woman Under the Influence by Cassevettes, Scorsese’s, Alice Doesn’t Live Here Anymore, Felini’s La Strada, and Bergman’s Summer with Monika. How often do you read fiction? Do you wish you read more? Not nearly enough. But I have excuses: I have a finicky attention, I live close enough not to take a subway regularly, recently started riding my bicycle everywhere so when I could be home staying put - reading - I’d rather be out whizzing through the streets not reading traffic signals. Right now is a good time to read but I’m answering these questions. I probably won’t even proof read this interview. Yes, I wish I read more. What would be your ideal literary adaptation and why? I tend not to idealize literary adaptations. How, if at all, has reading informed your acting? It would be very difficult to act if I couldn’t read. What are you listening to recently? For the past several months I’ve put aside my love for WFMU, I’ve given up Shuffle, all I listen to is “Chances With Wolves” - hosted by yet another NYC comrade. It’s weekly 2 hour broadcast and pod cast on East Village Radio, provides you, the listener with the most beautifully haunting and hauntingly beautiful music ever made. http://chanceswithwolves.blogspot.com/. Check it out or check your head. If you could collaborate with one musician on a film, who would it be and why? I suppose it would have to be Penn Sultan, with anyone of his wonderful bands, “There Are Some Who Call Us Tim”, “Doggie, Hi Yippee” or “Last Good Tooth”. He is my best friend’s young brother, I love his music and I’ll allow the theme to come full circle - ‘family and friends making together makes it better’. What would be the ideal pairing of filmmaker and musician for a concert film? Bob Fosse and Black Flag. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/10/3/35863.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/3/2008 12:01:08 PM
Body: This review originally ran during the SXSW Film Festival. The Pleasure of Being Robbed opens in NY today and is available on IFC Video on Demand. What a lark this film is, what a caustic joy! As with his shorts, Josh Safdie’s first feature film, The Pleasure Of Being Robbed, is too articulate a work to describe as whimsical, turning into a pejorative what would seem to be the best adjective with which to describe it. I could describe it as entirely unique, but then I couldn’t discuss its cinematic precedents, which are probably myriad but which I’d narrow down to the one that keeps springing to mind: Bresson. It’s like nothing Bresson has ever made, but the entire film, with its heightened naturalism and precise spontaneity, seems possessed by Bresson’s notion of cinematography - not the lighting and photography, but the art of cinematography with which he delineated between those films that elevate the medium and those that are restrained by the trappings of the theater. I guess means that the best compliment I can pay Safdie is that his work makes film better. And it’s here that I feel the need to quote his own synopsis of the film, which ends with this quizzical postulation: “It’s a comedy?” Indeed it is, although its cheerful properties mask a certain foreboding fatalistic sensibility. This is the story of Eleonore (played by Eleonore Hendricks, who also co-wrote the film with Safdie), a young woman with an acute case of philanthropic kleptomania. We meet her as she simultaneously imparts a hug and lifts a purse, and later watch as she steals DVDs, cars and a basket of kittens. She never offers a reason for her behavior, nor does she seem to acknowledge anything wrong with it. It’s simply what she does. She and her friend Josh (Josh Safdie, natch) steal a Volvo from the streets of Manhattan so that she can give him a ride home, never mind the fact that she’s never driven an automobile in her life. “Where do you live now?” she asks him as she veers awkwardly through traffic. “Boston,” he replies. That’s the kind of comedy this is. It’s also the kind of comedy that can set up an extended physical gag with a mens’ room cologne dispenser worthy of Jacques Tati, and take off on a romp with a fake polar bear that somehow ends up being very sad. All of this is captured on super16mm, which shouldn’t mean anything but somehow does; its grain and color saturation, in concert with the fact that Hendricks seems plucked straight from the streets of 1960s Paris, impart a marvelous sense of antiquity while never belying any actual time period or cinematic movement. Like Safdie’s acclaimed short We’re Going To The Zoo (which gets a reference here that delivers one of the biggest laughs for folks in the know), the film is both extremely tactile and remarkably fleeting; Safdie’s a very precise stylist, but he hides it all beneath a thick layer of seeming innocuousness; the entire film feels happened-upon, which is why it’s almost a surprise that it ends up feeling so moody and repressed. There’s something seriously wrong with Eleonore, and while, in the narrative sense, the film exalts in her behavior, its very form acknowledges otherwise. The Pleasure Of Being Robbed has no statement to make, no morals to impart, which is precisely why it’s so legitimately meaningful and melancholy. It’s pure cinema, and as such it’s one of the best films I’ve seen this year. Originally posted on:SpoutBlog
]]>Fri, 03 Oct 2008 16:01:08 GMTSpoutBlogSpoutBlog on spout.com10/3/2008 12:01:08 PMThis review originally ran during the SXSW Film Festival. The Pleasure of Being Robbed opens in NY today and is available on IFC Video on Demand. What a lark this film is, what a caustic joy! As with his shorts, Josh Safdie’s first feature film, The Pleasure Of Being Robbed, is too articulate a work to describe as whimsical, turning into a pejorative what would seem to be the best adjective with which to describe it. I could describe it as entirely unique, but then I couldn’t discuss its cinematic precedents, which are probably myriad but which I’d narrow down to the one that keeps springing to mind: Bresson. It’s like nothing Bresson has ever made, but the entire film, with its heightened naturalism and precise spontaneity, seems possessed by Bresson’s notion of cinematography - not the lighting and photography, but the art of cinematography with which he delineated between those films that elevate the medium and those that are restrained by the trappings of the theater. I guess means that the best compliment I can pay Safdie is that his work makes film better. And it’s here that I feel the need to quote his own synopsis of the film, which ends with this quizzical postulation: “It’s a comedy?” Indeed it is, although its cheerful properties mask a certain foreboding fatalistic sensibility. This is the story of Eleonore (played by Eleonore Hendricks, who also co-wrote the film with Safdie), a young woman with an acute case of philanthropic kleptomania. We meet her as she simultaneously imparts a hug and lifts a purse, and later watch as she steals DVDs, cars and a basket of kittens. She never offers a reason for her behavior, nor does she seem to acknowledge anything wrong with it. It’s simply what she does. She and her friend Josh (Josh Safdie, natch) steal a Volvo from the streets of Manhattan so that she can give him a ride home, never mind the fact that she’s never driven an automobile in her life. “Where do you live now?” she asks him as she veers awkwardly through traffic. “Boston,” he replies. That’s the kind of comedy this is. It’s also the kind of comedy that can set up an extended physical gag with a mens’ room cologne dispenser worthy of Jacques Tati, and take off on a romp with a fake polar bear that somehow ends up being very sad. All of this is captured on super16mm, which shouldn’t mean anything but somehow does; its grain and color saturation, in concert with the fact that Hendricks seems plucked straight from the streets of 1960s Paris, impart a marvelous sense of antiquity while never belying any actual time period or cinematic movement. Like Safdie’s acclaimed short We’re Going To The Zoo (which gets a reference here that delivers one of the biggest laughs for folks in the know), the film is both extremely tactile and remarkably fleeting; Safdie’s a very precise stylist, but he hides it all beneath a thick layer of seeming innocuousness; the entire film feels happened-upon, which is why it’s almost a surprise that it ends up feeling so moody and repressed. There’s something seriously wrong with Eleonore, and while, in the narrative sense, the film exalts in her behavior, its very form acknowledges otherwise. The Pleasure Of Being Robbed has no statement to make, no morals to impart, which is precisely why it’s so legitimately meaningful and melancholy. It’s pure cinema, and as such it’s one of the best films I’ve seen this year. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/4/28/27890.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 4/28/2008 10:01:03 AM
Body: Baby Mama had a big weekend. The Tina Fey comedy made $18 million dollars, beating Harold and Kumar’s take by about $4 million and easily enough for the top box office slot. Still, the stoner comedy more than made back its production budget in its first weekend, and that’s cause enough for Warner execs to take credit for handling their first post-merger New Line release successfully. The Hollywood Reporter says IFC is in “final negotiations” to distribute The Pleasure of Being Robbed, the Josh Safdie feature which has been the subject of much chatter since it was announced as the only American film to screen at the Directors’ Fortnight at Cannes.THR’s Gregg Goldstein is calling this turn of events ” a final triumph for SXSW producer Matt Dentler,” who selected the film for his final Emerging Visions sidebar before departing for Cinetic. Idiocracy is not even mentioned in this Variety story about Mike Judge’s next project, a workplace comedy called Extract which is set to star Jason Bateman. Pay no attention to the political satire which spawned an energy drink even though the film itself was barely released––me want more Office Space!!! Originally posted on:SpoutBlog » Karina Longworth
]]>Mon, 28 Apr 2008 14:01:03 GMTKarinaKarina on SpoutBlog4/28/2008 10:01:03 AM Baby Mama had a big weekend. The Tina Fey comedy made $18 million dollars, beating Harold and Kumar’s take by about $4 million and easily enough for the top box office slot. Still, the stoner comedy more than made back its production budget in its first weekend, and that’s cause enough for Warner execs to take credit for handling their first post-merger New Line release successfully. The Hollywood Reporter says IFC is in “final negotiations” to distribute The Pleasure of Being Robbed, the Josh Safdie feature which has been the subject of much chatter since it was announced as the only American film to screen at the Directors’ Fortnight at Cannes.THR’s Gregg Goldstein is calling this turn of events ” a final triumph for SXSW producer Matt Dentler,” who selected the film for his final Emerging Visions sidebar before departing for Cinetic. Idiocracy is not even mentioned in this Variety story about Mike Judge’s next project, a workplace comedy called Extract which is set to star Jason Bateman. Pay no attention to the political satire which spawned an energy drink even though the film itself was barely released––me want more Office Space!!! Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/4/28/27889.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 4/28/2008 10:00:54 AM
Body: Baby Mama had a big weekend. The Tina Fey comedy made $18 million dollars, beating Harold and Kumar’s take by about $4 million and easily enough for the top box office slot. Still, the stoner comedy more than made back its production budget in its first weekend, and that’s cause enough for Warner execs to take credit for handling their first post-merger New Line release successfully. The Hollywood Reporter says IFC is in “final negotiations” to distribute The Pleasure of Being Robbed, the Josh Safdie feature which has been the subject of much chatter since it was announced as the only American film to screen at the Directors’ Fortnight at Cannes.THR’s Gregg Goldstein is calling this turn of events ” a final triumph for SXSW producer Matt Dentler,” who selected the film for his final Emerging Visions sidebar before departing for Cinetic. Idiocracy is not even mentioned in this Variety story about Mike Judge’s next project, a workplace comedy called Extract which is set to star Jason Bateman. Pay no attention to the political satire which spawned an energy drink even though the film itself was barely released––me want more Office Space!!! Originally posted on:SpoutBlog
]]>Mon, 28 Apr 2008 14:00:54 GMTSpoutBlogSpoutBlog on spout.com4/28/2008 10:00:54 AM Baby Mama had a big weekend. The Tina Fey comedy made $18 million dollars, beating Harold and Kumar’s take by about $4 million and easily enough for the top box office slot. Still, the stoner comedy more than made back its production budget in its first weekend, and that’s cause enough for Warner execs to take credit for handling their first post-merger New Line release successfully. The Hollywood Reporter says IFC is in “final negotiations” to distribute The Pleasure of Being Robbed, the Josh Safdie feature which has been the subject of much chatter since it was announced as the only American film to screen at the Directors’ Fortnight at Cannes.THR’s Gregg Goldstein is calling this turn of events ” a final triumph for SXSW producer Matt Dentler,” who selected the film for his final Emerging Visions sidebar before departing for Cinetic. Idiocracy is not even mentioned in this Variety story about Mike Judge’s next project, a workplace comedy called Extract which is set to star Jason Bateman. Pay no attention to the political satire which spawned an energy drink even though the film itself was barely released––me want more Office Space!!! Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/4/25/27793.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 4/25/2008 10:01:28 AM
Body: Despite (or, perhaps, in reaction to) grumblings in France that too few of the home country’s filmmakers had found a slot on the schedule for the Cannes Film Festival, the just-announced Directors’ Fortnight sidebar is overwhelmingly made up of French co-productions. Oh, and the closing Fortnight film? Josh Safdie’s The Pleasure of Being Robbed. Baby Mama will compete at the box office this weekend from its comic polar opposite, Harold and Kumar Escape From Guantanamo Bay. As keeping a notebook puts it, it’s like “a psychic microcosm of the democratic primary. Baby Mama is to Hillary as Harold and Kumar: Escape from Guantanamo is to Barack!” Jimmy Fallon, having apparently abandoned his movie career after Factory Girl, will soon be announced as Conan O’Brien’s replacement as host of NBC’s 12:30 pm chat show. Originally posted on:SpoutBlog » Karina Longworth
]]>Fri, 25 Apr 2008 14:01:28 GMTKarinaKarina on SpoutBlog4/25/2008 10:01:28 AM Despite (or, perhaps, in reaction to) grumblings in France that too few of the home country’s filmmakers had found a slot on the schedule for the Cannes Film Festival, the just-announced Directors’ Fortnight sidebar is overwhelmingly made up of French co-productions. Oh, and the closing Fortnight film? Josh Safdie’s The Pleasure of Being Robbed. Baby Mama will compete at the box office this weekend from its comic polar opposite, Harold and Kumar Escape From Guantanamo Bay. As keeping a notebook puts it, it’s like “a psychic microcosm of the democratic primary. Baby Mama is to Hillary as Harold and Kumar: Escape from Guantanamo is to Barack!” Jimmy Fallon, having apparently abandoned his movie career after Factory Girl, will soon be announced as Conan O’Brien’s replacement as host of NBC’s 12:30 pm chat show. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/4/25/27791.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 4/25/2008 10:01:19 AM
Body: Despite (or, perhaps, in reaction to) grumblings in France that too few of the home country’s filmmakers had found a slot on the schedule for the Cannes Film Festival, the just-announced Directors’ Fortnight sidebar is overwhelmingly made up of French co-productions. Oh, and the closing Fortnight film? Josh Safdie’s The Pleasure of Being Robbed. Baby Mama will compete at the box office this weekend from its comic polar opposite, Harold and Kumar Escape From Guantanamo Bay. As keeping a notebook puts it, it’s like “a psychic microcosm of the democratic primary. Baby Mama is to Hillary as Harold and Kumar: Escape from Guantanamo is to Barack!” Jimmy Fallon, having apparently abandoned his movie career after Factory Girl, will soon be announced as Conan O’Brien’s replacement as host of NBC’s 12:30 pm chat show. Originally posted on:SpoutBlog
]]>Fri, 25 Apr 2008 14:01:19 GMTSpoutBlogSpoutBlog on spout.com4/25/2008 10:01:19 AM Despite (or, perhaps, in reaction to) grumblings in France that too few of the home country’s filmmakers had found a slot on the schedule for the Cannes Film Festival, the just-announced Directors’ Fortnight sidebar is overwhelmingly made up of French co-productions. Oh, and the closing Fortnight film? Josh Safdie’s The Pleasure of Being Robbed. Baby Mama will compete at the box office this weekend from its comic polar opposite, Harold and Kumar Escape From Guantanamo Bay. As keeping a notebook puts it, it’s like “a psychic microcosm of the democratic primary. Baby Mama is to Hillary as Harold and Kumar: Escape from Guantanamo is to Barack!” Jimmy Fallon, having apparently abandoned his movie career after Factory Girl, will soon be announced as Conan O’Brien’s replacement as host of NBC’s 12:30 pm chat show. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/3/14/26235.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/14/2008 7:01:16 PM
Body: What a lark this film is, what a caustic joy! As with his shorts, Josh Safdie’s first feature film, The Pleasure Of Being Robbed, is too articulate a work to describe as whimsical, turning into a pejorative what would seem to be the best adjective with which to describe it. I could describe it as entirely unique, but then I couldn’t discuss its cinematic precedents, which are probably myriad but which I’d narrow down to the one that keeps springing to mind: Bresson. It’s like nothing Bresson has ever made, but the entire film, with its heightened naturalism and precise spontaneity, seems possessed by Bresson’s notion of cinematography - not the lighting and photography, but the art of cinematography with which Bresson delineated between those films that elevate the medium and those that are restrained by the trappings of the theater. I guess means that the best compliment I can pay Safdie is that his work makes film better. And it’s here that I feel the need to quote his own synopsis of the film, which ends with this quizzical postulation: “It’s a comedy?” (more…) Originally posted on:SpoutBlog
]]>Fri, 14 Mar 2008 23:01:16 GMTSpoutBlogSpoutBlog on spout.com3/14/2008 7:01:16 PMWhat a lark this film is, what a caustic joy! As with his shorts, Josh Safdie’s first feature film, The Pleasure Of Being Robbed, is too articulate a work to describe as whimsical, turning into a pejorative what would seem to be the best adjective with which to describe it. I could describe it as entirely unique, but then I couldn’t discuss its cinematic precedents, which are probably myriad but which I’d narrow down to the one that keeps springing to mind: Bresson. It’s like nothing Bresson has ever made, but the entire film, with its heightened naturalism and precise spontaneity, seems possessed by Bresson’s notion of cinematography - not the lighting and photography, but the art of cinematography with which Bresson delineated between those films that elevate the medium and those that are restrained by the trappings of the theater. I guess means that the best compliment I can pay Safdie is that his work makes film better. And it’s here that I feel the need to quote his own synopsis of the film, which ends with this quizzical postulation: “It’s a comedy?” (more…) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/SXSW/MemberTagFilms.aspxSXSW
Number of films tagged: 213

Number of people who tagged: 14

Number of times used: 274

]]>Thu, 02 Apr 2009 02:26:40 GMT21314274Tag http://www.spout.com/members/0/tags/cannes/MemberTagFilms.aspxcannes
Number of films tagged: 9

Number of people who tagged: 9

Number of times used: 10

]]>Fri, 18 Jul 2008 15:53:47 GMT9910Tag http://www.spout.com/members/0/tags/sxsw-film-festival/MemberTagFilms.aspxsxsw-film-festival
Number of films tagged: 182

Number of people who tagged: 5

Number of times used: 230

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