Trailer: Miss Violence

In a post-Dogtooth world, New Greek cinema has come to be represented by a disturbing deadpan absurdity, where violence and nonsense culminated to say something profound. It appears that Alexandros Avranas’ Miss Violence is certainly going to continue that trend. Kudos to finding another innovative way to use a Leonard Cohen song in here, that task is getting harder and hard. The film gets its world premiere at the Venice Film Festival, and hopefully, it’ll end up in TIFF (and other festival programmes in the near future.)

On the day of her birthday, eleven-year-old Angeliki jumps off the balcony and falls to her death with a smile on her face. While the police and Social Services try to discover the reason for this apparent suicide, Angeliki’s family keep insisting that it was an accident. What is the secret that young Angeliki took with her? Why does her family persist in trying to “forget” her and to move on with its life? These are the answers that the people from Social Services look for when they visit the family’s clean and orderly home. The father has made sure nothing is missing and that everything is where it belongs. It seems as if nothing can betray them. But Angeliki’s younger brother unintentionally reveals clues which will gradually shatter the family’s well polished world, forcing them to come face to face with that which, for so many years, they have been hiding or could not bear to see. One by one they will break down, until finally violence will once again offer the solution, keeping the family united and the secret safe.

Sunday Bookmarks: March 14-20


  • Why see ‘Don’t Look Now’?
    Coming to BluRay and rep screenings in the UK: “In hindsight, ‘Don’t Look Now’ is the perfect mixture of Roeg’s abilities as a teller of mysterious stories and as one of the most accomplished cinematic stylists ever to peep through a viewfinder. The film smashes up chronology and pieces it back together in a deviously strange order, so we get constant hints and suggestions of dark events to come. Donald Sutherland and Julie Christie are utterly convincing as the central couple who flee to Venice to retain a focus on their messed-up lives.”
  • Notes on Charlie Sheen and the End of Empire
    “No, what this moment is about is Charlie Sheen solo. It’s about a well-earned mid-life crisis played out on Sheen’s Korner instead of in a life coach’s office somewhere in Burbank. The mid-life crisis is the moment in a man’s life when you realize you can’t (won’t) maintain the pose that you thought was required of you any longer—you’re older and you have a different view of life and this is when the bitterness and acceptance blooms. Tom Cruise had a similar meltdown at the same age in the summer of 2005, but his was more politely manufactured (and, of course, he was never known as an addict). Cruise had his breakdown while smiling and he couldn’t get loose, he couldn’t be natural about it. He’s always essentially been the good boy who can’t say “Fuck You” the way Sheen can.”
  • An Interview with Greta Gerwig at SxSW
    Greta Gerwig is no stranger to SXSW. Her new film, “The Dish & the Spoon,” marks the sixth time she has had a movie in the festival in an film career that has stretched the same number of years. This new film, directed by Alison Bagnall, about a woman and a young man (Olly Alexander) who bond during a tumultuous time in their lives. Ms. Gerwig’s acting style, which A.O. Scott lauded for its “apparent absence of any method,” is employed in this intimate, primarily two-character study.
  • Bernardo Bertolucci has a 3D Project
    “Cult Italian film director Bernardo Bertolucci said in an interview for his 70th birthday on Wednesday that he will be making his first 3D film this year saying it was like riding on a “flying carpet” […] “I want to use 3D in a different way from what we have seen in films like ‘Avatar’ or other films characterised by special effects,” he said.”
  • Is Netflix Abandoning Its Business Model Again?
    With the production of David Fincher/Kevin Space HBO-styled TV DRAMA, It looks like a new strategy is here. In the great tradition of the network and cable game, make themselves a “must carry.” I wouldn’t be shocked to see them in the bidding for hockey or trying to make a deal to stream Major League Baseball or something like that before long. If they are going this way, no one show “airing” 13 times a year is going to keep customers paying $8 or more a month. If Netflix becomes a thrift shop, with content here and there and everywhere, the churn will get worse […] This choice, combined with the exit of Criterion and the abandonment of Red Envelope, their previously stab at original content, clearly tells us that Netflix sees no future in quality film lovers as a primary audience for the service. Fair enough. But it will be interesting to see when the cineastes get the message.”
  • Zediva – A Clever End Run Around the Movie-Streaming Gremlins
    “It lets you listen to the director’s commentary, turn on subtitles and change languages. It lets you enjoy your movie for two weeks instead of 24 hours, starting and stopping at will. It offers the 100 biggest movies for streaming on the very same day the DVD comes out. It sidesteps any meddling by the movie companies, HBO contracts and studio lawyers. And here’s the best news of all — are you sitting down on your favorite movie couch? The price is only $2 for one movie or $1 if you buy a 10-pack. There’s no signup fee, no monthly fee, no hardware to buy. Zediva’s secret is so outrageous, you may think it’s an early April Fool’s prank. But it’s no joke.”
  • Is Matthew McConaughey Really Shirtless in Every Movie?
    “Conventional wisdom likes to assume that Matthew McConaughey has taken his shirt off in every single one of his movies. True, McConaughey is not shy when it comes to going bare chested on-screen and in public, but is he really sans shirt in every one of his movies?” Yes, Movieline actually checks out each and every one of them to be sure.


You can now take a look at RowThree’s bookmarks at any time of your choosing simply by clicking the “delicious” button in the upper right of the page. It looks remarkably similar to this:


Trailer: Balada Triste (A Sad Trumpet Ballad)


A number of us here at Row Three caught Álex De La Iglasia’s Grand Guignol of Circus performers and crazy violence (as a quite satirical metaphor for the Franco Years, naturally), Balada Triste, at TIFF. I believe the love was unanimous. Here is a teaser from the film which features three of its signature images: A gorgeous Trapeze Artist, simply put, one of the most beautiful women on the planet; A disfigured clown with two Machine Guns (a selling point to most adventurous folks of good humour) and just for overkill (and there is plenty of that in the film, in a good way) a clown with a Machete.

Or for the those wanting to sink more into the mood and extravagance of the film, and more footage of disfigured clowns, there is the lengthier and more poetic and disturbing Italian Trailer which is in a word: AWESOME.

Seek this one out on the big screen for all the reasons above, and one of the best opening credits sequences of the year!

Would you like to know more…?

Bookmarks for September 8th through September 24th


What we’ve been reading – September 8th through September 24th:

  • David Lynch art installation: "Machines, Abstraction and Women"
    Hmmmm, who came up with the idea of having David Lynch speak out for Violence against women? "Shut up! It's Daddy, you shithead! Where's my bourbon? Can't you fucking remember anything?"
  • When have we not been in the midst of a vampire craze?
    Slate thinks it is better to look at the few periods of Vampire droughts as there is almost always a Vampire craze going on
  • Joe Dante on Roger Corman’s Lifetime Achievement Oscar
    “It’s about time,” says Dante, whose 3-D horror film The Hole is debuting at TIFF. “But it’s the one year they decided not to include that award in the telecast. He and (legendary cinematographer) Gordon Willis and Lauren Bacall. Three of the most interesting people, and they’re not going to be on the show. And all because they want to nominate 10 movies for Best Picture. “Why? So Transformers can get a nomination? This is an attempt to try to keep this fairly moribund idea of the Oscars alive, but it’s staid and it’s serious and it’s competing with 100 other awards shows where people get drunk and say interesting things.”
  • How to Sell a Guilty Pleasure: The CW and Its Posters | MediaCommons
    A look at CW's poster campaigns for its crop of guilty-pleasure teens-behaving-badly shows, from Gossip Girl to the Melrose Place reboot.
  • The 50 Greatest Directorial Debuts of All Time? – Cinematical
    Cinematical looks at, and generally approves of, London Time Out's recent list of the 50 Greatest Directorial Debuts of all time.
  • Charlie Kaufman talks Charlie Kaufman
  • Let’s Dance like it was 1989!
    Last Toronto After Dark 2009 Item. An interview with Romanian vampire black comedy, Strigoi, director Faye Jackson. Check out the radically new Twitch while you are at it.
  • Sadly, Tetsuo: The Bullet Man Stinks
    Reviews from around the blogosphere are not kind for Shinya Tsukamoto's third Tetsuo film. Sad, but hopefully the director will lay the franchise to rest and make more films like Vital and A Snake of June
  • The TIFF Tel Aviv Controversy
    A nice starting point to the Grayson protest on the Toronto International Film Festivals " City to City: Tel Aviv" Spotlight this year. Protests to follow.

Bookmarks for September 4th


What we’ve been reading – September 4th:

  • Early Reactions to John Hillcoat’s adaptation of THE ROAD
    "What a haunting, harrowing, powerful film this is," writes the Guardian's Xan Brooks. "Admittedly, in dramatising McCarthy's bare-bones prose, Hillcoat sometimes runs the risk of over-dramatising (I could have done without the plaintive music and the unnecessary slabs of explanatory voice-over). But no amount of window-dressing can distract from the tale's pure, all-consuming horror."
  • Bad Lieutenant 2: Reaction in Venice
    "Did you hear the one about the German maverick who signed on to remake a notorious existential American policier and turned it into a stuffy, if pleasingly ridiculous b-picture?" asks Time Out London's David Jenkins. "Werner Herzog's curious take on Abel Ferrara's Bad Lieutenant received its premiere at the Venice Film Festival this morning, and as the curtains came down, there was the faint sound of booing to be heard amid the polite, cricket match-style applause. It's certainly not a terrible film, but you get the sense that were Herzog's (currently invulnerable) name not attached, it would have been prime grist for the straight-to-DVD mill."
  • District 9 Gets its own Slumdog Millionaire social story
    "The convoy of trailers is now long gone and there are mixed feelings about the experience. Some residents were grateful for the diversion and the money they received as extras. They hope the film will raise awareness of their plight and force the government to help them. Others, such as Sydney Mofokeng, 32, say they are bitter and feel exploited. Mofokeng, a sangoma – traditional healer – lives in a tiny one-room shack amid heaps of discarded shoes, toilet pipes and shredded mattresses. He is unlikely to ever see the film."