Picasso goes to the movies

I'm continuously looking for opportunities to watch films that we may not necessarily have great access to in DVD or theatrical release, especially older classics from our yesteryear. The Art Gallery of New South Wales is great for this, and I felt I needed to share with you their fantastic free film events.

The gallery regularly program films around their current exhibitions. They have recently opened a huge exhibition of Picasso's works called Picasso: Masterpieces from the Musée National Picasso, Paris, and with this is a selection of films from the 20th Century that span alongside Picasso's ground-breaking, revolutionary career. Here are some of my picks:


Bicycle Thieves (1949)

This is one of those seminal films we are taught about in film studies. Directed by Vittoria de Sica, this film is at the front of Italian Neorealism, a film movement characterised by stories about the poor and working classes. The story follows a billposter whose bicycle is stolen as he is on the job. How he relies on this bicycle is close to heartbreaking, as without it he cannot work and support his family. I never had the chance to see at uni (as I was probably sleeping through that 10am film lecture), and I think now is my chance. 

Screening: Wednesday 30 November (2pm, 7:15pm), Sunday 4 December (2pm)

Mr. Hulot's Holiday (1952)

I once saw a documentary on Jacques Tati, and it was ever since then that I was adamant to see what he was all about. Madman Entertainment released many of Tati's classics including Mon Oncle, but at hefty prices. It's not unusual as many foreign films distributed here are simply hard to get, hard to sell and therefore come at a 'hard' price. Tati is one of the great masters of humour, through the use of tightly choreographed comedy skits and sound effects, I have a feeling Mr. Hulot's Holiday will bring me back to the roots of comedy in film.

Screening: Wednesday 14 December (2pm, 7:15pm), Sunday 18 December (2pm)

Breathless (1959)

Ah, finally something I've seen, and love. This is Jean Luc-Godard's first feature film, and has become one of the most influential films in history. You could argue that this was the film that set off the French New Wave, a new breed of filmmaking. It was 'the anti', the movement that completely disregarded the structure of the film narrative, and was the true rebel without a cause in low budget, no rules filmmaking. And it's for this very reason that Breathless is a favourite and must-see for anyone.

Screening: Wednesday 15 February (2pm, 7:15pm), Sunday 19 February (2pm)

2001: A Space Odyssey (1968)

How I got away with not having seen this film, I don't know and am incredibly embarrassed about it. This is the film that defines all film experiences, I've been told. 2001: A Space Odyssey is Stanley Kubrick's most famous and influential film and again challenges the science-fiction genre. This is said to be a highly transcendental experience for any one, film enthusiast or not. This - is a must.

Screening: Wednesday 21 March (2pm, 7:15pm), Sunday 25 March (2pm)

See the rest of the Picasso goes to the movies film program as part of the exhibition here. Don't forget that these are free screenings!

"The goodbye scene of the would-be lovers is over-the-top romantic. Nevertheless, or maybe because of that, it, too works. In the slightest of slow-motion, Mo-wan lets go of Li-zhen's hand (her wedding ring, ironically, in full view), and the camera stays on her face in extreme close-up as he remains far away in the background, out of focus. Then we discover, once again, that they are only rehearsing a separation that has not yet taken place and that, in fact, we never see. They playact through their emotional crisis, as if trying to manage it theatrically, and thus never reach their innermost selves, if such a place can be said to exist. They live within quotation markers and pre-written lines of dialogue. They put on an act because reality itself is too hard to bear. She sobs, and the strings reach a crescendo."

- Peter Brunette on "In The Mood For Love", Wong Kar-Wai

A Semi-Retrospective: Spike Jonze

For my birthday, Kieran bought me Spike Jonze themed presents, including Volume 1 of the Directors Label series - the Spike Jonze collection. It includes a selection of his music videos, interviews, audio commentaries, rarities, documentaries and shorts. I was going through it yesterday and decided to also put on Being John Malkovich as a way to start my Spike Jonze retrospective. Having already seen Where The Wild Things Are, I thought I'd start some sort of a marathon of his work to see what he has to offer.

I think as a music video director, Jonze is highly versatile in his style. I felt that there was no definitive style I could put his name to. On one hand, you have the very elaborately choreographed video of Fatboy Slim's Weapon Of Choice (an old favourite of mine, too), featuring Christopher Walken; and on the other hand, you have the very simple, long shot music video of Weezer's Undone (The Sweater Song). However, I do believe that there is a distinct 'urban' feeling behind his videos. It could just be the type of music he creates videos for, or perhaps something deeper than that.

In terms of film, I do believe the partnership he has with Charlie Kaufman is one to be reckoned with. Being John Malkovich, to me, was similar to that of Michel Gondry's work - just brought down to a lower level of intensity compared to Eternal Sunshine of a Spotless Mind or The Science of Sleep. Kaufman comes back to work with Jonze in Adaptation, a film I haven't seen yet, but will do in due time when I get my hands on the DVD.

Ten years later, we see Jonze taking on Maurice Sendak's Where The Wild Things Are. The film bore some similarities to Jonze's unidentifiable style through his music videos, yet it's so different to Being John Malkovich or anything else that he's ever done (not including Adaptation since I haven't see it yet). And I guess that's what I'm beginning to love about Spike Jonze. I love his ability to change his styles and experiment with different ways of telling a story, while keeping the 'urban' aspect throughout - some more subtle than others.

I will keep following and watching Jonze's films till I find that definitive style, and until then, I'm going to explore the Jonze-Kaufman/Gondry-Kaufman partnerships, and snuff out the greatness behind Charlie Kaufman.

Till next time.