Oscar night has arrived. And with the Oscar recipients this year being all but a foregone conclusion, I post an alternative to the conversation happening throughout the rest of the film blogosphere.
Here are the best films of the 00s...
Showing posts with label The White Ribbon. Show all posts
Showing posts with label The White Ribbon. Show all posts
Sunday, March 7, 2010
The Best Films of the 00s
by Tony Dayoub
Oscar night has arrived. And with the Oscar recipients this year being all but a foregone conclusion, I post an alternative to the conversation happening throughout the rest of the film blogosphere.
Here are the best films of the 00s...
Oscar night has arrived. And with the Oscar recipients this year being all but a foregone conclusion, I post an alternative to the conversation happening throughout the rest of the film blogosphere.
Here are the best films of the 00s...
Thursday, October 8, 2009
NYFF09 Movie Review: Das weisse band (The White Ribbon)
by Tony Dayoub
The best new work I've seen at the festival so far is Michael Haneke's Das weisse band (The White Ribbon). That shouldn't surprise me too much since it did win the Palme d'Or at Cannes this year. The film is a meditation on the cycle of violence that begets more violence in a small German village just after the turn of the (20th) century. Handsomely mounted in crisp black and white, part of the reason it is so remarkable is because of Haneke's deftness at eliciting consistently strong performances from his entire cast. Not that one shouldn't expect it from a major director, but when the cast is as large as this one, and a significant portion of the actors are very young children, it is even more conspicuous.
The best new work I've seen at the festival so far is Michael Haneke's Das weisse band (The White Ribbon). That shouldn't surprise me too much since it did win the Palme d'Or at Cannes this year. The film is a meditation on the cycle of violence that begets more violence in a small German village just after the turn of the (20th) century. Handsomely mounted in crisp black and white, part of the reason it is so remarkable is because of Haneke's deftness at eliciting consistently strong performances from his entire cast. Not that one shouldn't expect it from a major director, but when the cast is as large as this one, and a significant portion of the actors are very young children, it is even more conspicuous.
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