Image of the Day

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Cecilia Roth in the Spanish film Arrebato ("Rapture"), featured in Spanish Cinema of the Early Post-Franco Era (1975–83), a ten-film series opening tonight at Anthology Film Archives in New York. From the Times:

The flowering of film after [Franco's] death in 1975 . . . was something of a coming-out party for all things underground and repressed: drugs, raucous experimentation and, of course, sex. A gay sensibility flourished, not only in the films of Pedro Almodóvar, represented here by Pepi, Luci, Bom y Otras Chicas del Montón and Laberinto de Pasiones, but also in movies like Ventura Pons’s Ocaña, a 1978 documentary portrait of José Pérez Ocaña, an artist who walked around Barcelona in a peek-a-boo dress.

Info at anthologyfilmarchives.org.

Life Is Only On Earth...and The Skin I Live In

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Trailer for Lars von Trier's Melancholia – seeing it tonight.

Comments on YouTube, reading of which is a little like staring directly into the sun, include the following:
-can sum1 plz explain the movie 2 me.....lol
-looks pretty fuckin stupid just from the trailer
-I laughed, I cried, I fapped. Great film.

Anyway I'm looking forward to seeing it.

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UPDATE!
The Harvard Exit theater canceled the screening of Melancholia that we were planning to see, so instead we saw Pedro Almodóvar's latest, The Skin I Live In:



Picky typography complaint: why, when the title of the film at the end of the trailer is nicely styled Futura...


...would they use compressed Arial or whatever this is for the typography in the middle of the trailer?:


Actually, I hate to say this but it might be Akzidenz, which I love – uncompressed of course. [UGH, here we go, type nerd-out and I'm not even a type nerd.] I think they didn't use Futura because it would have seemed too kitschy for what they wanted to convey with these titles. But then maybe they should have thought about not using it for the final title. Or they could have used Akzidenz (uncompressed) for these, and then use something entirely different for the final title, like Didot. Okay, you know what? They should have used Optima for everything – it would have made at least plausible conceptual sense with the movie and would have looked nicer. Case closed.

Anyway. Nowhere close to Almodóvar's best, but an entertaining diversion, I still love the Harvard Exit, and the company was top notch.