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Old Joy
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Directed by Kelly Reichardt.
Old Joy is writer/director Kelly Reichardt's long-awaited follow-up to her revered but underseen 1994 feature debut, River of Grass. (She directed a couple of shorts in the interim, including Ode, a Super-8 film inspired by the song "Ode to Bill.") Daniel London and cult folksinger Will Oldham star in the film as two old friends who go on a camping trip to a hot springs in the Cascade mountain range of Oregon. London's Mark is the responsible one with the modest house, the wife (who resents his gallivanting off), the dog (who comes along), and the baby on the way. He listens to Air America, and makes all the right liberal noises. Oldham's Kurt is the free-spirit type with the untamed facial hair and the junker car that looks more lived-in than vehicular. Kurt suggests the trip, and they take Mark's car. Kurt has the directions to the place, and they get lost ("I think we're somewhere...in the area") and spend the night at a garbage-strewn campsite, where they discuss their lives, and Kurt laments the apparent dissolution of their friendship. In the morning, they have breakfast in a diner, and Mark apologizes to Tanya (Tanya Smith) over the phone, explaining that he'll be home later than expected. In the daylight, they find the hot springs, and spend the afternoon quietly unwinding. Reichardt co-wrote Old Joy with Jonathan Raymond, adapting his short story, which was originally written as a collaboration with photographer Justine Kurland. It was shot (on Super-16) by Peter Sillen and features a soundtrack by Yo La Tengo. The film was selected by the Film Society of Lincoln Center and the Museum of Modern Art for inclusion in the 2006 edition of New Directors/New Films. ~ Josh Ralske, All Movie Guide
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KarinaKarina Cannes Diary: The Spotlight and ...
by Karina in Karina on SpoutBlog
hasn't rated it.
1 out of 1 people found this review helpful. [What do you think?]
"Who would have thought, in 2006, when Old Joy spent a year slowly gathering critical steam after having been all but ignored at Sundance, that Kelly Reichardt’s next film would occasion an item in PEOPLE Magazine? “Michelle Williams Dazzles at Cannes Film Festival,” goes the headline of the story by Brenda Rodriguez. Last night’s Wendy & Lucy red carpet was the first that the actress walked since the death of former partner Heath Ledger, and for the tabloids that’s a major hook. Looking down from the balcony last night at the Debussy, it was a trip to watch the Chanel-clad former Dawson’s Creek star stand on the stage at one end of a line that included Reichardt, Old Joy/Wendy & Lucy producer Anish Savjani, and filmmaker/Wendy & Lucy producer and co-star Larry Fessenden. When a film this small gets thrust under a spotlight this bright, you worry about that the movie itself will be overwhelmed. I do hope this unlikely attention helps Wendy & Lucy get seen, but coming in with high e ... " [More]
SpoutBlogSpoutBlog Cannes Diary: The Spotlight and ...
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
Was this review helpful? [Be the first to tell us!]
"Who would have thought, in 2006, when Old Joy spent a year slowly gathering critical steam after having been all but ignored at Sundance, that Kelly Reichardt’s next film would occasion an item in PEOPLE Magazine? “Michelle Williams Dazzles at Cannes Film Festival,” goes the headline of the story by Brenda Rodriguez. Last night’s Wendy & Lucy red carpet was the first that the actress walked since the death of former partner Heath Ledger, and for the tabloids that’s a major hook. Looking down from the balcony last night at the Debussy, it was a trip to watch the Chanel-clad former Dawson’s Creek star stand on the stage at one end of a line that included Reichardt, Old Joy/Wendy & Lucy producer Anish Savjani, and filmmaker/Wendy & Lucy producer and co-star Larry Fessenden. When a film this small gets thrust under a spotlight this bright, you worry about that the movie itself will be overwhelmed. I do hope this unlikely attention helps Wendy & Lucy get seen, but coming in with high e ... " [More]
lopezdashlopezdash Women Under-represented at Cannes
by lopezdash in The Movie Blog
hasn't rated it.
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"I was surprised to see this reported over at Women & Hollywood: "[at Cannes] only 1.5 films out of 19 are directed by women." They include: La Mujer Sin Cabeza directed by Argentine Lucrecia Martel and Linha de Passe which is co-directed by Daniela Thomas and Walter Salles.Un Certain Regard is a bit better with 2.5 out of 19. Palestinian director Annemarie Jacir's film debut Milh Hadha Al-Bahr (Salt of the Sea) is in the lineup along with and Kelly Reichardt, (Old Joy) with Wendy and Lucy starring Michelle Williams. Joana Hadjithomas co-directed Jeveux Voir with Khali Joreige.Other women directed films include: Jennifer Lynch's Surveillance; Marina Zenovich's Roman Polanski: Wanted and Desired and Alison Thompson's The Third Wave. " [More]
KarinaKarina Moving Image Institute: The Deal
by Karina in Karina on SpoutBlog
hasn't rated it.
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"Over our five days at the Institute, we kept returning to serious of binary oppositions: print versus online; doing it for the passion versus doing it for the pay; criticism as consumer reporting versus advocacy for artists. With such circular questions, it’s hard to get anywhere, making it easy to lapse into what filmmaker Kelly Reichardt jokingly referred to at one point as “glass half full of shit” thinking. But out of the morass of questions and unresolvable clashes came an emphasis on compromise and balance: nearly every guest speaker made some mention of making trade offs, of covering for noble failures with less-noble successes. This seemed most prevalent on Saturday, with Reichardt and Tom Kalin’s independent filmmaker panel; Ryan Werner of IFC and Don Krim from KINO representing indie distribution; and, particularly, the online film criticism panel, featuring Eugene Hernandez (indieWIRE), Michael Koresky (Reverse Shot), Matt Zoller Seitz (The House Next Door and The New Yo ... " [More]
SpoutBlogSpoutBlog Moving Image Institute: The Deal
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
Was this review helpful? [Be the first to tell us!]
"Over our five days at the Institute, we kept returning to serious of binary oppositions: print versus online; doing it for the passion versus doing it for the pay; criticism as consumer reporting versus advocacy for artists. With such circular questions, it’s hard to get anywhere, making it easy to lapse into what filmmaker Kelly Reichardt jokingly referred to at one point as “glass half full of shit” thinking. But out of the morass of questions and unresolvable clashes came an emphasis on compromise and balance: nearly every guest speaker made some mention of making trade offs, of covering for noble failures with less-noble successes. This seemed most prevalent on Saturday, with Reichardt and Tom Kalin’s independent filmmaker panel; Ryan Werner of IFC and Don Krim from KINO representing indie distribution; and, particularly, the online film criticism panel, featuring Eugene Hernandez (indieWIRE), Michael Koresky (Reverse Shot), Matt Zoller Seitz (The House Next Door and The New Yo ... " [More]
SpoutBlogSpoutBlog The New Naturalists
by SpoutBlog in SpoutBlog on spout.com
hasn't rated it.
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"Yet another gem from the Silent Movie’s stellar fall schedule that I somehow forgot to mention: The New Naturalists, with Saturdays in December devoted to a handful of works from “America’s new-fly-on-the-wall auteurs.” The Puffy Chair, Mutual Appreciation, Frownland and Old Joy and will be joined by Jennifer Shainin and Randy Walker’s Apart From That. All that, and not an M-word in sight. Originally posted on:SpoutBlog " [More]
JimBellJimBell Old Joy
by JimBell in JimBell Blog
liked it.
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"Old Joy is such a minimalist film--and I liked it--that it raises the question, “How minimalist can a film go?” Maybe more importantly, who will this film appeal to? A late-30s family man (Daniel London) and his old friend (Will Oldham) go on a weekend camping trip. End of story. But the chasm that has grown between the old counter-culture friends is great. While the London character has accepted the responsibility of a wife and son and listens to political talk-radio, the Oldham character is still doing too much drugs and is subtly dissatisfied beyond help. While this is a minimalist film, someone (in my opinion) had to make it, and this is a superb job of it. " [More]
analogzombieanalogzombie Old Joy
by analogzombie in analogzombie Blog
liked it.
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"Kelly Reichardt’s third film, Old Joy, is at once, both a celebration, and a requiem for the long friendship of Mark (Daniel London) and Kurt (Will Oldham aka Bonnie ‘Prince‘ Billy). The heart of the film is that point in many friendships when it all falls apart. The precise moment when time and personal changes overcome shared views and tastes is captured and sustained for the length of the entire movie. Old Joy is a subtle, yet powerful, meditation on friendship and adulthood.The film begins with Mark getting a call from his old friend who is in town and wants to take an impromptu camping trip to an almost mythical hot springs deep in the Oregon woods. As the two meet up and begin their trek, the back-story unfolds in languid camera movements, elegiac music provided by Yo La Tango, and the knowing conversation of two people who are so comfortable with each other they may as well be family. Much of the film plays out in these conversations amid the scenery of nor ... " [More]
wongawonga old joy
by wonga in wonga's filmblog
is neutral about it.
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"has anybody else seen this? maybe you could explain it to me! after all the rapturous reviews i was expecting something else i guess. " [More]
Review by All Movie Guide
All Movie Guide
liked it.
Kelly Reichardt makes a triumphant return to feature filmmaking with the gorgeously elegiac road movie, Old Joy. Collaborating with writer Jonathan Raymond, cinematographer Peter Sillen, and actors Will Oldham and Daniel London, and utilizing and perfectly attuned original score by Yo La Tengo, Reichardt has crafted a deeply intimate, personal, and true-to-life story of two estranged friends on a camping trip. Even more remarkably, Old Joy subtly delivers a devastatingly incisive political message that speaks volumes about the failures of liberalism in the age of "Dubya." In the end, Mark (London) clings to his virtuous ideology (look at the pleasure he gets in listening to Air America, or in his own outrage at an overheard comment about the war) much more tightly than he clings to his friendship with Kurt (Oldham), who actually lives his life by those ideals, and suffers for it. But the characters are far from mere symbols. Much of the film's dry humor and poignancy derives from the extent to which London and Oldham individuate them and flesh them out. With its long tracking shots across the backwoods mountain roads of Oregon, Old Joy could be mistaken for a landscape film, but the landscape it maps is as much spiritual as it is physical, and the personal story it tells is inescapably political, just as the form of Reichardt's quiet, deliberate, and beautifully shot movie, with its abundance of visual and verbal wit, perfectly suits the slow burn of its content -- its achingly exquisite tale of reconciliation and abandonment. ~ Josh Ralske, All Movie Guide
 



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