Filmmaker Jonathan Nossiter weighs in on shifting terrains in the industry. The so-called “crisis” in Europe and North America is a euphemism, peddled by those who have lost nothing in the past few years, to soften the unacceptable shock of the new social-economic order. Among other victims, the culture of the artisanal gesture—authentic, free, and as old as our civilization—has been damaged as never before. Miraculously, in the world of wine, there is a group uniting rich and poor, Left and Right (though mostly Left and middle class) that has resisted with astonishing success. For years, I’ve wondered if my filmmaking colleagues would follow their lead. So I feel deeply relieved and excited to see that a growing number of my fellow filmmakers, consciously and unconsciously, are starting to follow the winemakers’ resistance to a cynical, corrupt, and wholly outdated system of production, distribution, and marketing with their own refusal of cinema’s systems of regulation and self-censorship.
Brigitta B. Wagner reports from the 2012 Berlin International Film Festival, reviewing Farewell My Queen, Sister, Jaurès, Revision, Barbara, and Our Homeland.
The Ghost Writer concludes like Chinatown: a traffic accident, curious passersby, a mood of fatalism. Private detective Jake Gittes intends to do good in Roman Polanski’s 1974 thriller– “I want the big boys that are making the payoffs”–but it all goes wrong.