tag:blogger.com,1999:blog-58848465764492420732024-03-12T21:39:55.886-07:00Christopher Munch | FilmmakerOfficial portal to his major works and press coverage. Also the official website of Antarctic Pictures LLC.Unknownnoreply@blogger.comBlogger6125tag:blogger.com,1999:blog-5884846576449242073.post-84487724031093987832021-01-01T17:33:00.008-08:002024-02-09T12:27:05.540-08:00About the Filmmaker<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://2.bp.blogspot.com/-BYVFtcYNzBM/V29PvclvMrI/AAAAAAAAB6Y/dWUYJ7BunDwp9IxFmA1l-D85ORkarkEpACLcB/s1600/Chris_biscuit_camera_sq_lomo_1021.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Christopher Munch on location during Letters From the Big Man" border="0" height="320" src="https://2.bp.blogspot.com/-BYVFtcYNzBM/V29PvclvMrI/AAAAAAAAB6Y/dWUYJ7BunDwp9IxFmA1l-D85ORkarkEpACLcB/s320/Chris_biscuit_camera_sq_lomo_1021.jpg" title="Christopher Munch" width="320" /></a></div>
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<span face=""verdana" , sans-serif">Critic <a href="https://theculturetrip.com/authors/graham-fuller/" target="_blank">Graham Fuller</a> summed up the work of writer-director CHRISTOPHER MUNCH by stating that his films “meditate quietly on the perennial struggle people face in communicating with those they love, on mortality, on the role of memory in the mosaic of consciousness, and the evanescence that drives his restless protagonists to grasp futilely, and often nobly, at impossible dreams.” Critic and cinema historian <a href="http://www.amazon.com/Jonathan-Rosenbaum/e/B001IODKPY" target="_blank">Jonathan Rosenbaum</a> called him “one of America’s most gifted independent filmmakers.” </span><br />
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<span face=""verdana" , sans-serif"><br />Munch’s most recent picture, <i>The 11th Green</i>, was a <a href="https://www.nytimes.com/2020/06/25/movies/the-11th-green-review.html" rel="nofollow" target="_blank"><i>New York Times </i>Critic's Pick</a>, as was his previous feature, the wilderness drama <a href="https://www.nytimes.com/2011/11/11/movies/letters-from-the-big-man-stars-lily-rabe-review.html" rel="nofollow" target="_blank"><i>Letters from the Big Man</i> </a>(2011). Several of his features have played at Sundance, and his first, <i>The Hours and Times</i> (1992), a speculative biopic about Beatles’ manager Brian Epstein, won a special jury prize there. An impossible dream was the overarching theme of Munch’s second feature, the period drama <i>Color of a Brisk and Leaping Day</i> (1996), based on the true story of a young trolley mechanic who tries to save a doomed short-line railroad to Yosemite National Park. Munch then undertook the sprawling, unconventional mother-daughter story <i>The Sleepy Time Gal</i> (2002), which <a href="http://www.lafca.net/members/kevin_thomas.html" target="_blank">Kevin Thomas</a> in the <i>Los Angeles Times</i> wrote “has a depth, range and subtlety far greater than most American films” and which <a href="https://en.wikipedia.org/wiki/David_Ansen" target="_blank">David Ansen</a> of <i>Newsweek</i> upon its release stated was <a href="http://www.imdb.com/name/nm0000302/" target="_blank">Jacqueline Bisset’s</a> “finest performance.” Munch followed this with another unconventional family dissection, <i>Harry and Max</i> (2004), about two pop star brothers. </span></div>
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<span face=""verdana" , sans-serif"><br />He is a past Guggenheim fellow, </span><span face=""verdana" , sans-serif">recipient of the Wolfgang Staudte Prize at Berlin, winner of two Independent Spirit Awards, including the “Someone To Watch” Award, </span><span face=""verdana" , sans-serif">
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</style></span>and has been featured in two Whitney Biennial exhibitions. He has received competitive awards from the Alfred P. Sloan Foundation (for science in film), Creative Capital Foundation, and the American Film Institute, among others.<br />
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<span face=""verdana" , sans-serif"><br />Writing in the magazine <a href="http://cinema-scope.com/" target="_blank"><i>CinemaScope</i></a>, critic <a href="https://24700.calarts.edu/2023/09/18/in-memory-berenice-reynaud/" rel="nofollow" target="_blank">Bérénice Reynaud</a> described Munch’s cinema as “like an echo chamber, painstakingly recreating the most minute aspects of our existences . . . moments of private longing that we cannot describe even to ourselves. . . . [H]is cinema explores the traces left by forgotten (or not-so-forgotten) lives, their often-secret impact on the lives of others and their intricate contradictions; he poetically recreates what made them unique rather than generic.” </span><br />
<span face=""verdana" , sans-serif"><br /><br /><b><span style="color: #f6b26b;">Filmography</span></b><br />2020 The 11th Green - writer, director, producer <a href="https://vimeo.com/383020922" target="_blank">Trailer</a></span><br />
<span face=""verdana" , sans-serif">2013 Return to Elektra Springs (short) – writer, director <a href="https://www.youtube.com/watch?v=5EhcuqfdyGU" target="_blank">Trailer</a><br />2011 Letters from the Big Man – writer, director, producer <a href="https://vimeo.com/28976912" target="_blank">Trailer</a><br />2004 Harry and Max – writer, director, producer <a href="https://www.youtube.com/watch?v=XBFMs1NDMaU" target="_blank">Trailer</a><br />2001 The Sleepy Time Gal – writer, director, producer <a href="https://www.youtube.com/watch?v=cjzH9lj6fVw" target="_blank">Trailer</a><br />1996 Color of a Brisk and Leaping Day – writer, director <a href="https://www.youtube.com/watch?v=6juRVsqfgnQ" target="_blank">Trailer</a><br />1991 The Hours and Times – writer, director, producer, cinematographer <a href="https://www.youtube.com/watch?v=kLdRuojpwZU" target="_blank">Trailer</a> </span></div>
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<span face=""verdana" , sans-serif"><b><span style="color: #f6b26b;">Select feature articles, interviews, and essays</span></b></span><br /></div><div><span face=""verdana" , sans-serif"><a href="https://www.talkhouse.com/filling-in-the-blanks/" target="_blank">"Filling In the Blanks,"</a> Munch discussing speculative history in <i>Talkhouse.com</i>, Mar. 1, 2019</span></div><div><span face=""verdana" , sans-serif"><a href="https://drive.google.com/file/d/1SyangDhVdkAYKt1VbR6_CDAVFiQDgZeB/view?usp=sharing" target="_blank">"President Eisenhower and Extraterrestrials?,"</a> Greg Archer writing in <i>The Desert Sun</i>, Jan. 9, 2020 </span><span face=""verdana" , sans-serif"> </span><span face=""verdana" , sans-serif"> </span><span face=""verdana" , sans-serif"><br /><a href="http://www.nytimes.com/2011/11/06/movies/letters-from-the-big-man-starring-lily-rabe.html?_r=0" target="_blank">”Sporting Big Feet and a Heart to Match,”</a> Dennis Lim writing in the <i>New York Times</i>, Nov. 4, 2011</span></div><div><span face=""verdana" , sans-serif"><a href="http://filmmakermagazine.com/34126-christopher-munch-letters-from-the-big-man/#.V27zoa46P08" target="_blank">Munch interviewed by Damon Smith</a> in <i>Filmmaker</i> Magazine, Nov. 9, 2011</span><br /><span face=""verdana" , sans-serif"><a href="http://www.nytimes.com/2002/02/10/movies/film-adventures-of-an-indie-gem-on-its-way-to-the-screen.html" target="_blank">”Adventures of an Indie Gem on Its Way to the Screen,”</a> B. Ruby Rich writing in the <i>New York Times</i>, Feb. 10, 2002<br /><a href="https://drive.google.com/open?id=0B2QXxZPD-N6sSjBseUZ1VkRBSWM" target="_blank">”Unanswered Questions: The Life and Times of Christopher Munch,”</a> Bérénice Reynaud writing in <i>CinémaScope</i> Magazine, Spring 2001<br /><a href="http://filmmakermagazine.com/archives/issues/spring1997/station.php#.V28L6q46P08" target="_blank">“Station to Station,”</a> Munch interviewed by Paul Harrill and Chris Cagle in <i>Filmmaker</i> Magazine, Spring 1997<br /><br /><b><span style="color: #f6b26b;">Select feature credits as film editor</span></b><br />2016 Search Engines (dir. Russell Brown) <a href="https://vimeo.com/129744216" target="_blank">Trailer</a><br />2014 Redemption Trail (dir. Britta Sjogren) <a href="https://www.youtube.com/watch?v=vM8_fHXeTVk" target="_blank">Trailer</a><br />2008 The Blue Tooth Virgin (dir. Russell Brown) <a href="https://www.youtube.com/watch?v=2mb5DbqFzaM" target="_blank">Trailer</a><br />2002 La Presenza (dir. James Herbert, Italy)</span><br />
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<span face=""verdana" , sans-serif"><b><span style="color: #f6b26b;">Prizes, honors, and special exhibitions</span></b><br />2010 Museum of Modern Art, New York, <i>The Sleepy Time Gal</i> (special screenings as part of Creative Capital retrospective)<br />1999 The American Century (Group Exhibition), Whitney Museum of American Art, New York, <i>The Hours and Times</i> <br />1997 Biennial Exhibition, Whitney Museum of American Art, New York, <i>Color of a Brisk and Leaping Day</i></span><br />
<span face=""verdana" , sans-serif">1996 Someone to Watch Award, FIND/Independent Spirit Awards <br />1993 Biennial Exhibition, Whitney Museum of American Art, New York, <i>The Hours and Times</i> <br />1993 Award of Special Distinction, FIND/Independent Spirit Awards, <i>The Hours and Times</i> <br />1992 Wolfgang Staudte Filmpreis, The Berlin International Film Festival, International Forum, <i>The Hours and Times </i><br />1992 Special Jury Prize for Artistic Achievement, Sundance Film Festival, <i>The Hours and Times </i></span>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5884846576449242073.post-13379461853793793502020-01-01T11:31:00.000-08:002024-02-09T13:01:12.157-08:00The 11th Green<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://1.bp.blogspot.com/-HUjeNdY61Zc/XmaJLlNEleI/AAAAAAAACsA/BzTFhimhMhAMVywrO3VeJOy7WesopsjigCLcBGAsYHQ/s1600/The11thGreen_GeorgeGerdes_sm_for_website.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="865" data-original-width="1600" height="173" src="https://1.bp.blogspot.com/-HUjeNdY61Zc/XmaJLlNEleI/AAAAAAAACsA/BzTFhimhMhAMVywrO3VeJOy7WesopsjigCLcBGAsYHQ/s320/The11thGreen_GeorgeGerdes_sm_for_website.jpg" width="320" /></a></div>
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<span face=""><span style="font-size: xx-small;"><b><span face="" style="font-size: medium;">A respected journalist uncovers the truth behind the folklore of President Eisenhower's long-alleged involvement in UFO events.</span></b></span></span></div>
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<h4 style="text-align: left;"><span face="" style="font-size: small;"><span><a href="https://www.amazon.com/s?k=the+11th+green&ref=nb_sb_noss_1" target="_blank"><span>Watch Film on Amazon–U.S.</span></a></span></span></h4></div><div style="text-align: left;" trbidi="on"><h4><span face="" style="font-size: small;"><span><span><a href="https://www.amazon.co.uk/s?k=the+11th+green&ref=nb_sb_noss_2" rel="nofollow" target="_blank">Watch Film on Amazon–U.K.</a></span></span></span></h4></div><div style="text-align: left;" trbidi="on"><h4><span face="" style="font-size: small;"><span><span><a href="https://itunes.apple.com/us/movie/the-11th-green/id1549728492" rel="nofollow" target="_blank">Watch Film on iTunes</a></span></span></span></h4><h4><span face="" style="font-size: small;"><span><span> </span></span></span><span face="" style="font-size: x-small;"><span><span>(search if available in your country – 4K streaming available through Apple TV)</span></span></span></h4><h4><span face="" style="font-size: small;"><span><span><a href="https://www.youtube.com/watch?v=gQ2e4u0UMBI" rel="nofollow" target="_blank">Watch Film on YouTube </a></span></span></span></h4></div><div style="text-align: left;" trbidi="on"><h4><span face="" style="font-size: small;"><span><span><a href="https://vimeo.com/ondemand/the11thgreen" rel="nofollow" target="_blank">Watch Film on Vimeo-on-Demand</a></span></span></span></h4></div><div dir="ltr" style="text-align: left;" trbidi="on"><h4 style="text-align: left;"><span face="" style="font-size: x-small;"><span><span><span>(all regions available to rent through Vimeo-on-Demand) </span> </span></span></span></h4>
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<span face=""><span><a href="https://www.youtube.com/watch?v=2uV3m2qYtFA" target="_blank">Watch Trailer</a></span></span></span></h4><div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face="">USA 2020, 109 minutes, Antarctic Pictures, Destination Maitland LLC</span></span></span><br />
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<span style="color: #f6b26b;"><span style="color: #990000;"><span face=""><span face="" style="font-size: x-small;"><span style="font-size: x-small;"><span face="" style="color: #f6b26b;">Origi<span face="">nation format: </span>Red 5K and film</span></span></span></span></span></span></div>
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<span style="color: #f6b26b;"><span style="color: #990000;"><span face=""><span face="" style="font-size: x-small;"><span style="font-size: x-small;"><span face="" style="color: #f6b26b;">Exhibition format: DCP 4K</span></span></span></span></span></span></div>
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<span style="color: #990000;"><span face=""><span face="" style="color: #f6b26b; font-size: x-small;">Major festival
showings:<span style="mso-spacerun: yes;"> </span>Palm Springs International Film Festival 2020 (premiere), Maine International Film Festival.</span></span></span><br />
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<span style="color: #990000;"><span face=""><span face="" style="color: #f6b26b; font-size: x-small;">Principal Cast: CAMPBELL SCOTT, AGNES BRUCKNER, GEORGE GERDES, LEITH BURKE, TOM STOKES, APRIL GRACE, IAN HART, CURRIE GRAHAM.</span></span></span><br />
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<span face=""><span face="" style="font-size: small;">“The bottom line: a thoughtful and compelling what-if starring a never-better Campbell Scott. . . . A bracing example of Munch’s fearless knack for casting a new light on official stories. . . . that information unwinds with a provocative and illuminating slant, and in combination with the film’s eccentric mix of genres, time periods and SoCal desert atmosphere, it makes for a heady revisionist saga. . . . Munch’s premise rests on the two prexies’ assumed integrity, and their flawed humanity. Well past his personal expiration date, a prescient Ike longs to see the release of closely guarded information that would affect the well-being of humankind and the planet. The Obama-like character is on the cusp of realizing Eisenhower’s wish, but the drama’s idealism is tempered by an understanding of the ways that matters of national security, not to mention personal safety, can trump the best intentions. . . . For all the story’s machinations and dark doings, <i>The 11th Green</i> is concerned not with narrowly defined party politics but the power of cabals, and the relative powerlessness of figureheads. . . . [I]n its precision and poetry, the language is alive, and Munch gives each character a distinctive voice. A particularly choice line, delivered with emotion by the usually even-tempered Ike, spins around a colorful turn of phrase that could also describe this odd and elegant mongrel of a movie: 'We’re all,' the long-dead president says, 'cosmic mutts.'" </span></span><br />
<span face=""><span face="" style="font-size: small;"><a href="https://www.hollywoodreporter.com/review/11th-green-1268764" target="_blank">Sheri Linden, <i>The Hollywood Reporter</i></a></span></span><br />
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<a href="https://drive.google.com/file/d/1_L5EKDRnDE4_MBMbzd2IylJSeUpxB-c4/view" target="_blank">ONE OF THE BEST MOVIES OF 2020</a>. “Extraordinarily imaginative. . . . Munch plays these elaborate games of historical impersonation and
speculation with a restrained, poker-faced delight. His wry,
sophisticated, and tight-lipped mimicry captures, in tone, style, and
detail, a world of brute power masked by byzantine diplomatic ruses and
military discipline, the crude threats and psychological maneuvers of
cloak-and-dagger operatives, and the range of manners—from reserved to
chipper, from beefy to brassy—that go with it. . . . Munch has the daring to yoke this world-menacing science fiction and
world-historical politics to peculiarly intimate settings. The drama is
filmed, in images of tightly restrained giddy delight, as high-stakes
face-offs of duos and scrums of trios and quartets, and even a set of
solo scenes in which private calculation resonates with mighty
implications. The results never seem trivial or petty, however, because
the characters are fittingly grand and forceful, and the vast views of
empty deserts and skies provide a mighty natural setting for
supernatural wonders. What’s more, the intergalactic forces that Munch marshals have a
metaphysical dimension, which bends time to bring about a remarkable
series of intergenerational meetings of the minds. These revelatory
sequences explore inaccessible recesses of psychic experience while,
nonetheless, exposing seventy-five years of political verities as
reckless shams—and questioning the very nature of life on Earth."</div>
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<a href="https://www.newyorker.com/culture/the-front-row/the-11th-green-reviewed-a-wild-fantasy-of-us-history-conspiracy-and-ufos?irclickid=WIC1ZETuexyOTxPwUx0Mo36gUkiyfd3JITtLSk0&irgwc=1&source=affiliate_impactpmx_12f6tote_desktop_adgoal%20GmbH&utm_source=impact-affiliate&utm_medium=123201&utm_campaign=impact&utm_content=Online%20Tracking%20Link&utm_brand=tny" target="_blank">Richard Brody, <i>The New Yorker</i></a><br />
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“[B]oth whimsical and dark. . . .
Christopher Munch has a near-unique filmmaking voice, possessed of an
understatement that can register either as droll or profound, and
sometimes as both. . . . The measured tone with
which the movie presents its ostensible revelations is more than half
the fun;
nothing that comes up is ever played as a twist.”<br />
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<a href="https://www.nytimes.com/2020/06/25/movies/the-11th-green-review.html" target="_blank">Glenn Kenny,<i> New York Times</i><span style="mso-bidi-font-style: italic;"> (Critic’s Pick)</span></a><br />
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“We often hear there are no new movie ideas, but I beg to
differ. . . . Suggestion: If you’re the type of individual
inclined to ingest a marijuana edible now and then, a perfect time to do
so would be about 45 minutes before watching 'The 11th Green,' a trippy
and mind-bending deadpan indie gem from writer-director Christopher
Munch. . . . I won’t divulge any more so you can experience the cool madness of 'The
11th Green' for yourself. Suffice to say it’s out of this world.” </div>
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<a href="https://chicago.suntimes.com/movies-and-tv/2020/6/25/21300584/11th-green-review-eisenhower-movie-campbell-scott-christopher-munch" target="_blank">Richard Roeper, <i>Chicago Sun-Times</i></a><br />
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5884846576449242073.post-74965361223542858642016-06-16T23:01:00.007-07:002024-02-09T13:06:45.897-08:00Letters from the Big Man<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://2.bp.blogspot.com/-ia3-MYXW7tU/V23uSzhkd-I/AAAAAAAAB2o/lMGT2qCOYx4a6VlPunkID850dJ7gm6GWACLcB/s1600/LFTBM_splitscreen_1500x1000.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Lily Rabe and Isaac C. Singleton Jr. in Letters from the Big Man" border="0" height="213" src="https://2.bp.blogspot.com/-ia3-MYXW7tU/V23uSzhkd-I/AAAAAAAAB2o/lMGT2qCOYx4a6VlPunkID850dJ7gm6GWACLcB/s320/LFTBM_splitscreen_1500x1000.jpg" title="Letters from the Big Man" width="320" /></a></div>
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<span face=""verdana" , sans-serif" style="font-size: xx-small;"><span face=""verdana" , sans-serif" style="font-size: medium;"><b>Against
the backdrop of a controversial fire salvage in the Oregon wilderness, an
artist-forester un<span style="background-color: black;"></span>wittingly <span face=""verdana" , sans-serif">finds herself</span> interacting with a mythic creature who
changes her life profoundly.</b></span></span></div>
<br />
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<span face=""verdana" , sans-serif"><a href="https://vimeo.com/28976912" rel="nofollow" target="_blank">Watch Trailer</a></span></div>
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<span face=""verdana" , sans-serif">Home<span face=""verdana" , sans-serif"> V</span>ideo: <a href="https://www.amazon.com/Letters-Big-Man-Bonus-Documentary/dp/B00BQ364PA/ref=sr_1_3?dchild=1&keywords=letters+from+the+big+man&qid=1603263717&sr=8-3" target="_blank">Amazon</a><a href="http://www.lettersfromthebigman.com/p/order-dvd.html" rel="nofollow" target="_blank"><br /></a></span></div>
<div style="text-align: left;">
<span face=""verdana" , sans-serif">VOD: <a href="https://www.amazon.com/Letters-Big-Man-Lily-Rabe/dp/B08NFMM3RV/ref=sr_1_1?dchild=1&keywords=letters+from+the+big+man&qid=1607117727&s=instant-video&sr=1-1" rel="nofollow" target="_blank">Amazon (U.S.)</a></span></div><div style="text-align: left;"><span face=""verdana" , sans-serif"><a href="https://www.amazon.co.uk/Letters-Big-Man-Lily-Rabe/dp/B08NFPWK75/ref=sr_1_1?crid=34U47F4W3H2WG&keywords=letters+from+the+big+man+bigfoot&qid=1707512742&sprefix=letters+from+the+big+man+bigfoo%2Caps%2C276&sr=8-1" target="_blank">Amazon (U.K.) </a></span></div><div style="text-align: left;"><span face=""verdana" , sans-serif"><a href="https://vimeo.com/ondemand/lettersfromthebigman2" target="_blank">Vimeo-On-Demand</a> (all regions)<br /></span></div>
<span face=""verdana" , sans-serif"><a href="http://www.lettersfromthebigman.com/" target="_blank">Website of the Film</a></span><br /></div>
<span face=""verdana" , sans-serif" style="font-size: x-small;"><br /><br /><span style="color: #f6b26b;">USA 2011, 104 minutes, MBG Art and Film, Antarctic Pictures<br />Origination format: Red 4K<br />Exhibition format: DCP</span></span><br />
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<span face=""verdana" , sans-serif" style="color: #f6b26b; font-size: x-small;"><br /></span></div>
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<span face=""verdana" , sans-serif" style="color: #f6b26b; font-size: x-small;">Major festival showings: Sundance Film Festival, Park City, Utah (2011); San Francisco, Seattle, Los Angeles, Vancouver, and Sydney International Film Festivals (2011); BAM Cinemafest, Brooklyn, NY (2011); Biografilm-Bologna (2012).</span></div>
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<span face=""verdana" , sans-serif" style="color: #f6b26b; font-size: x-small;"><br /></span></div>
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<span face=""verdana" , sans-serif" style="color: #f6b26b; font-size: x-small;">Principal cast: LILY RABE, JASON BUTLER HARNER, ISAAC C. SINGLETON, JR., JIM CODY WILLIAMS, FIONA DOURIF, DON McMANUS, and KAREN BLACK.</span><br />
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<span face=""verdana" , sans-serif">“Lovely, delightfully idiosyncratic.” <a href="http://movies.nytimes.com/2011/11/11/movies/letters-from-the-big-man-stars-lily-rabe-review.html" target="_blank">Manohla Dargis, New York Times (Critics' Pick)</a></span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif"></span><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">“</span>A remarkable film. . . . </span><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">[t]</span>he gradually spiralling construction is the heart of the film, and it’s ingenious; the narrative result—an opening-out onto a moment of a potentially historic import—is up to the audacity of Munch’s ambition.<span face=""verdana" , sans-serif">”</span> <a href="http://www.newyorker.com/online/blogs/movies/2011/11/letters-from-the-big-man-at-ifc.html" target="_blank">Richard Brody, The New Yorker</a></span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">“‘Letters From the Big Man’ Presents an Evolved Sasquatch Rendered with Earnestness and Filmmaking Skill. The Bottom Line: Original and affecting take on the sasquatch legend. . . . This is clearly not a film made for everyone, but for a fortunate few, it will feel like a cleansing in nature. . . . The exquisite natural light captured by cinematographer Rob Sweeney and a sweeping score by the chamber group Ensemble Galilei helps make the magic seem plausible. But it’s Rabe who you really can’t take your eyes off of.”<span face=""verdana" , sans-serif"> </span><a href="http://www.hollywoodreporter.com/review/sundance-review-letters-big-man-97249" target="_blank">James Greenberg, The Hollywood Reporter</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Among other must-sees: Chris Munch’s <i>Letters from the Big Man</i>, a fairy tale for adults about a young woman who encounters a bigfoot in the deep forests of southwestern Oregon and forms a mutually protective relationship with him (I believed every minute of it).”<span face=""verdana" , sans-serif"> </span><a href="http://artforum.com/film/id=28484" target="_blank">Amy Taubin, Artforum</a></span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">“</span><i>Letters from the Big Man</i> will mystify some, please others with its serenity, and be unlike any Bigfoot movie you have ever imagined.” <a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20111130/REVIEWS/111209999" target="_blank">Roger Ebert, Chicago Sun-Times</a></span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif"></span><span face=""verdana" , sans-serif">“Graceful, uncynical and transporting,</span><span face=""verdana" , sans-serif"> </span><i style="font-family: verdana, sans-serif;">Letters</i><span face=""verdana" , sans-serif"> </span><span face=""verdana" , sans-serif">is an original and a beauty.” </span><span face=""verdana" , sans-serif"> </span><a href="http://newcityfilm.com/2011/11/30/review-letters-from-the-big-man/" style="font-family: verdana, sans-serif;" target="_blank">Ray Pride, New City-Chicago</a><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">“</span><i>Letters from the Big Man</i> sustains its deeply felt love of nature’s mystery – and majesty.<span face=""verdana" , sans-serif">”</span> <a href="http://artforum.com/film/id=29343" target="_blank">Melissa Anderson, Artforum</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“[P]leasurably eccentric. . . . the kind of off-Hollywood production that still makes Sundance surprising.”</span><span face=""verdana" , sans-serif"> </span><a href="http://www.nytimes.com/2011/02/06/movies/06dargis.html" style="font-family: verdana, sans-serif;" target="_blank">Manohla Dargis, New York Times (Sundance Roundup)</a><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Rest assured that <i>Big Man</i> is open-ended and gently playful throughout.
. . . Its quiet plea for reconnection with the non-human world is
persuasive, and the engaged, agile meditation on the limits of
communication at its center aligns it with Munch's earlier work.
Oregon's million-dollar scenery, a sweet cameo by Karen Black, and
Rabe's tough/tender performance sweeten the pot. . . . Its inspired
alignment of personal and ecological loss will disrupt someone's
serenity at least a little.”<span face=""verdana" , sans-serif"> </span><a href="http://www.villagevoice.com/2011-11-09/film/letters-from-the-big-man/" target="_blank">Mark Holcomb, Village Voice</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“This oddball take on a naturalist (Lily Rabe) surveying the local woods
and the sasquatch who silently surveys her shows Munch returning to
form in a big way; its deadpan take on mythic creatures and the messy
business of love harkens back to the days before outside-the-studio
moviemaking became the province of pop-culture referencing hit men and
twee twentysomethings. See it.”<span face=""verdana" , sans-serif"> </span><a href="http://newyork.timeout.com/arts-culture/film/1554899/brooklyn-and-beyond-bamcinemafest-2011" target="_blank">David Fear, Time Out New York</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“[E]motionally involving. . . . Big Man mashes a few genre moves (the
title refers to a soulful sasquatch) against complex political concerns
(forest conservation and logging) to cross-pollinate a field in which
some new form of emo-indie intimacy can take root. . . . Christopher
Munch’s hybrid winds up feeling like an authentic discovery of indie
territory left unexplored since John Sayles’s 1984 <i>Brother From Another
Planet</i>.”<span face=""verdana" , sans-serif"> </span><a href="http://www.villagevoice.com/2011-06-15/film/bamcinemafest-plays-to-its-audience-of-city-weary-art-strivers/" target="_blank">Seth Colter Walls, Village Voice</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“I can't imagine a moviemaker other than Munch bringing so much
conviction to such a wigged-out premise. <i>Letters</i> isn’t a spoof, a horror
movie or a new-age metaphor. . . . It’s closer to a fairy tale that
retains its hold on the adult imagination, even though one might feel
silly admitting it... Shot with the RED–a great camera with which to
capture the deep green of the forest by day and by night–Letters
reverences the natural world, finding in its beauty and order a way to
fulfill one’s life.”<span face=""verdana" , sans-serif"> </span><a href="http://www.filmcomment.com/article/sundance-1" target="_blank">Amy Taubin, Film Comment</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Shot in the sprawling forests of southern Oregon, <i>Letters From The Big
Man </i>has the novelty value to achieve profile in today’s marketplace and
could easily tap into a grass-roots appetite for well-told
environmentally conscious stories. . . . Munch explores both the scenery
and the character’s calm within it with sometimes mesmerising grace.”<span face=""verdana" , sans-serif"> </span><a href="http://www.screendaily.com/reviews/latest-reviews/-letters-from-the-big-man/5022923.article" target="_blank">Mike Goodridge, Screen International</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Director-writer Christopher Munch just wants to tell a light-handed,
low-key story about several people who like the woods, while he
photographs those woods lovingly enough to make us fall for them as
well. There happens to be a sasquatch in the background, but he never
channels King Kong.” <a href="http://blogs.theprovince.com/2011/10/03/viff-mini-review-letters-from-the-big-man/" target="_blank">The Province-Vancouver</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“[A] powerful meditation on the environment without the heavy handedness of a Greenpeace ad.”<span face=""verdana" , sans-serif"> </span><a href="http://brooklynbased.net/blog/2011/06/five-must-see-films-at-this-weeks-bamcinemafest/" target="_blank">Brooklyn Based</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Another under-appreciated Sundance selection, Christopher Munch’s
contemplative tale about a wildlife researcher (Lily Rabe) studying
forest fire damage in Southern Oregon takes on a surreal<span face=""verdana" , sans-serif"> </span>twist when the character forms a mystical bond with a furry Sasquatch
tracking her every move. More metaphor than man, the creature symbolizes
the love affair that all creatures share with the nature surrounding
them. With the creature’s livelihood threatened by invasive government
agents, Munch heightens the fragility of that relationship. An
unwillingness to take the movie seriously, as impatient viewers might,
only strengthens its keen ecological message.”<span face=""verdana" , sans-serif"> </span><a href="http://www.indiewire.com/article/5_must-see_films_at_bamcinemafest/" target="_blank">Eric Kohn, IndieWire</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Christopher Munch’s latest feature explores the odd, mystical
connection between a relationship-phobic wilderness expert (the
excellent Lily Rabe) and an earnest sasquatch (featuring first-rate
makeup effects). There is an environmental theme afloat in this
beautifully shot film, but Munch isn't in the mood to big-foot us with a
message.”<span face=""verdana" , sans-serif"> </span><a href="http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/04/15/PK711IPQ99.DTL" target="_blank">David Lewis, San Francisco Chronicle</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“Lily Rabe manages to command our attention in scene after scene without
dialogue. Munch just has her work, exercise, and paint while we (and
the sasquatch) develop a silent bond with Sarah.”<span face=""verdana" , sans-serif"> </span><a href="http://www.seattleweekly.com/2011-06-01/calendar/letters-from-the-big-man/" target="_blank">Brian Miller, Seattle Weekly</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“[A] willfully naive poetic reverie about lost souls trying to get close
to nature in the Pacific Northwest and about the giant man-beasts who
watch over them – and, by extension, us – like hairy angels. The star is
Lily Rabe (daughter of the late Jill Clayburgh and playwright David
Rabe); she plays an Amazonian US Forestry Dept. surveyor who finds her
deepest peace camping out in the backcountry. Munch’s film touches on
many things, including the logging/ preservation debate (the director
finds room for the people on both sides), idealism, young lust, CIA
advanced-weaponry programs, and Native American animism.”<span face=""verdana" , sans-serif"> </span><a href="http://www.boston.com/ae/movies/blog/2011/01/sundance_day_6_4.html" target="_blank">Ty Burr, Boston Globe</a></span><br />
<span face=""verdana" , sans-serif"></span><br />
<span face=""verdana" , sans-serif">“[A] strange dance of love with a sasquatch, handled with just the right
touch. . . . Well played by the entire cast, beautifully shot, and,
although a mite goofy, delicate, haunting and sweet.”<span face=""verdana" , sans-serif"> </span><a href="http://blog.oregonlive.com/madaboutmovies/2011/01/sundance_day_five_quick_hits.html" target="_blank">Shawn Levy, The Oregonian</a></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5884846576449242073.post-57857739511143392572016-06-15T23:01:00.002-07:002024-02-09T13:17:31.660-08:00The Sleepy Time Gal<div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif"><a href="https://1.bp.blogspot.com/-2fks1FOMo8Q/V2zHaP3AikI/AAAAAAAAB08/2rSE5PqblNoqywon_ykku3QB9h-2TVOHACLcB/s1600/STG%2Bsplitscreen.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Martha Plimpton and Jacqueline Bisset in The Sleepy Time Gal" border="0" height="212" src="https://1.bp.blogspot.com/-2fks1FOMo8Q/V2zHaP3AikI/AAAAAAAAB08/2rSE5PqblNoqywon_ykku3QB9h-2TVOHACLcB/s320/STG%2Bsplitscreen.jpg" title="The Sleepy Time Gal" width="320" /></a></span></div>
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<b><span face=""verdana" , sans-serif" style="font-size: medium;">Two women search for meaning in lost loves and missed chances. As one mother looks to her past to gain strength to face the future, a daughter investigates the emotional wounds which have kept her from finding love.</span></b><br />
<b><span face=""verdana" , sans-serif"><br /></span></b>
<span face=""verdana" , sans-serif"><a href="https://www.youtube.com/watch?v=8R3KgkPGe4g" rel="" target="_blank">Watch Remastered Trailer</a></span><br />
<span face=""verdana" , sans-serif">DVD (poor-quality standard-def): <a href="https://www.amazon.com/Sleepy-Time-Gal-John-Arkoosh/dp/B00080ZGKG/ref=sr_1_1?ie=UTF8&qid=1466746916&sr=8-1&keywords=the+sleepy+time+gal+dvd" rel="" target="_blank">Amazon</a></span> <br />
<span face=""verdana" , sans-serif">VOD: Remastered Edition Coming Fall 2024 to Criterion Channel </span><br />
<br />
<span style="color: #f6b26b;"><br /><span style="font-size: x-small;"><span face=""verdana" , sans-serif">USA 2001, 94 minutes (final released length), C-Hundred Film Corp, Antarctic Pictures, Sundance Channel Home Entertainment</span></span></span><br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Origination format: 35mm color</span></span></span><br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Exhibition format: Print (1.85/Dolby SR)</span></span></span><br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Archival Print Source: Academy Film Archive </span></span></span><br />
<br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Major festival showings: Sundance Film Festival, Park City, Utah (2001, competing); Filmfest München (2001, special tribute); Edinburgh International Film Festival (2001); Vancouver International Film Festival (2001); Rencontres internationales de cinéma à Paris (2001, three-film retrospective); MIFF Milano Film Festival (2001); London International Film Festival (2001); Moscow International Film Festival (2002).</span></span></span><br />
<br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Principal cast: JACQUELINE BISSET, MARTHA PLIMPTON, NICK STAHL, AMY MADIGAN, FRANKIE R. FAISON, CARMEN ZAPATA, PEGGY GORMLEY, and SEYMOUR CASSEL as Bob.</span></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif"> </span></span></span><br />
<span face=""verdana" , sans-serif">“In ‘The Sleepy Time Gal,’ Munch daringly portrays the mysterious crisscrossings of destinies and the seemingly metaphysical echoes of distant lives as matter-of-fact occurrences. Yet he avoids exaggerations, guiding his actors to embody the characters’ actions with a similarly modest but emotionally engaged vigor.” <a href="https://drive.google.com/file/d/1gwqrnddDm_1x4f-v8svICIWGPgR8ldmf/view" target="_blank">Richard Brody, The New Yorker</a> (2023 retrospective assessment)<br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face=""verdana" , sans-serif"> </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face=""verdana" , sans-serif">“<i>The Sleepy Time Gal</i> exerts a gentle but definite narrative pull, with a style that immerses us so fully in every scene that they seem absolutely flooded with life.”<span face=""verdana" , sans-serif"> <a href="https://drive.google.com/file/d/17nFEZgnijbX5qtkmltrbFQ2xGZdRQhVz/view" target="_blank">Caryn James, New York Times</a></span></span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">“It’s thanks in no small part to Jacqueline Bisset’s candid and complex performance that for all its gossamer, death-haunted poetics, <i>The Sleepy Time Gal </i>in the end conveys the irreducible weight of a singular life.”<span face=""verdana" , sans-serif"> <a href="https://drive.google.com/file/d/1-crDH7A0P7F5EyAFLTTSFpKRTjf0Mreb/view" target="_blank">Dennis Lim, Village Voice</a></span></span><br />
<br />
<span face=""verdana" , sans-serif">“Munch’s
screenplay is tenderly observant of his characters. He watches them as
they float within the seas of their personalities. His scenes are short
and often unexpected. The story unfolds in sidelong glances. His people
are all stuck with who they are and speak in thoughtful, well-considered
words, as if afraid of being misquoted by destiny.”<span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif"> </span><a href="https://drive.google.com/file/d/1lqc1cw5-ZQit0c33Xfa5JIww9za2Slpy/view" target="_blank">Roger Ebert, Chicago Sun-Times</a></span></span><br />
<br />
<span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">“</span>As usual, Münch is chasing down something exceedingly delicate.
Distances across time are linked to distances in space, and characters
are dispersed both emotionally and geographically, but it's all handled
softly, without emphatic prodding. The final effect of <i>Sleepy Time Gal</i> is of a lovingly crafted patchwork quilt, sewn by hand, billowing as it falls over the bed. . . . <i>Sleepy Time Gal</i> is about searching, trying to complete one’s self, not as a quest but as a biological urge." <a href="https://drive.google.com/file/d/1CbhxZ6Ye3HWB-EGOax4QbxwsSfDI4X9C/view" target="_blank">Kent Jones, Film Comment </a></span><span face=""verdana" , sans-serif"></span></span></span><br />
<br />
<span face=""verdana" , sans-serif">“I’ve called Munch’s style neat and decorous, but the way this movie — a
period piece, like his other two features — leaps about in time and
space may initially seem restless and unsettled. It starts off with
Frances in New York City in the summer of 1982, moves to Frances in San
Francisco six months later, leaps to Rebecca in New York, lurches
forward another year to Frances in San Francisco, switches to Rebecca in
Boston, then follows her as she boards a plane for Daytona Beach. Yet
the persistence of feelings and personalities registers more than the
temporal and spatial shifts — becoming a duet between mother and
daughter, many miles and lives apart, singing in perfectly staggered
harmony.” <a href="https://jonathanrosenbaum.net/2022/09/the-screening-process-no-such-thing-the-sleepy-time-gal/" target="_blank">Jonathan Rosenbaum, Chicago Reader</a> </span><br />
<br />
<span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">“<i>The
Sleepy Time Gal</i> has a depth, range and subtlety far greater than most
American films . . . Bisset’s superb, unsparing portrayal. . . .” <a href="https://drive.google.com/file/d/1YgefL9D3tAzLi3HBSLmVmZ1HQMUPGGgU/view" target="_blank">Kevin Thomas, Los Angeles Times</a></span><span face=""verdana" , sans-serif"><br /></span> </span></span><br />
<span face=""verdana" , sans-serif"><span face=""verdana" , sans-serif">“</span>[D<span face=""verdana" , sans-serif">]<span face=""verdana" , sans-serif">elicate,
haunting and sultry. At times, it seems so diaphanous that it<span face=""verdana" , sans-serif">’</span>s about
to slip into the ether, made weightless by its own clandestine
longings.” <a href="https://drive.google.com/file/d/1EPS1x-Mk-oYtqE742C_tqDo9qgqBaqCl/view" target="_blank"> Ge<span face=""verdana" , sans-serif">ne Seymour, New York Newsday</span></a></span></span></span><br />
<br />
<span face=""verdana" , sans-serif">“There’s a wistful poetry and dramatic clarity about Munch’s work that matches the sensitive acting.”<span face=""verdana" , sans-serif"> </span>(Michael Wilmington, Chicago Tribune)</span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">“The richest and most distinguished effort to date from a major independent talent, <i>The Sleepy Time Gal</i> may seem ‘European’ in sensibility, but only because there’s so little room for American films of its kind.” (Scott Tobias, The Onion)</span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">“Munch provides wonderful counterpoints to the entwined stories – each bound by variations of pain and reconciliation, doubt and discovery. He moves through time and space with preternatural ease, drawn to setting and location, architecture and landscape. He locates symmetries and reversals, the search for origins against a deeper plea for understanding, the shared characteristics and the similarities of their pursuits.”<span face=""verdana" , sans-serif"> <a href="http://www.indiewire.com/2001/01/park-city-2001-review-color-of-a-brisk-and-sleepy-gal-munchs-poetic-return-81171/" target="_blank">Patrick Z. McGavin, Indiewire</a></span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5884846576449242073.post-26412010203439257402016-06-14T00:10:00.000-07:002020-04-11T11:04:07.881-07:00Color of a Brisk and Leaping Day<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://4.bp.blogspot.com/-xNwy8RAbZm4/V24ogFknj_I/AAAAAAAAB5E/xw8KlOiEBBE36vPIrFs3aZ87rA9Efp0hgCKgB/s1600/Brisk2_1500x1000.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Peter Alexander and Michael Stipe in Color of a Brisk and Leaping Day" border="0" src="https://4.bp.blogspot.com/-xNwy8RAbZm4/V24ogFknj_I/AAAAAAAAB5E/xw8KlOiEBBE36vPIrFs3aZ87rA9Efp0hgCKgB/s320/Brisk2_1500x1000.jpg" title="Color of a Brisk and Leaping Day" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;"><b><span style="font-family: "verdana" , sans-serif; font-size: medium;">Eighty years after Chinese laborers built the railroads that forged a new America, one of their descend<span style="font-family: "verdana" , sans-serif;">a</span>nts fights to save the short-line train through Yosemite Valley.</span></b></span></span></div>
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=6juRVsqfgnQ" target="_blank">Watch Original Trailer</a></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><a href="https://www.youtube.com/watch?v=Y-ojfQ-TEzc" target="_blank">Watch Extended Trailer</a></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Home Video: <a href="https://www.amazon.com/Color-Brisk-Leaping-Peter-Alexander/dp/B00018YCKA/ref=sr_1_2?ie=UTF8&qid=1466837907&sr=8-2&keywords=color+of+a+brisk+and+leaping+day" target="_blank">Amazon</a></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">U.S. VOD: <a href="http://m/Color-Brisk-Leaping-Day/dp/B0019RSZGY/ref=tmm_aiv_title_0?_encoding=UTF8&qid=1466837907&sr=8-2" target="_blank">Amazon Instant Video</a></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><a href="https://drive.google.com/open?id=0B2QXxZPD-N6sMUo4aS1wNkQtRFE" target="_blank">Presskit</a></span><br />
<span style="color: #f6b26b;"><span style="color: #990000; font-family: "verdana" , sans-serif; font-size: x-small;"><br /></span></span>
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">USA 1996, <span style="font-family: "verdana" , sans-serif;">85</span> minutes, IFC Films, Stark Productions, Antarctic Pictures, Blurco, Artistic License Films</span></span></span><br />
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<span style="color: #f6b26b;"><span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: x-small;"><span style="font-size: x-small;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif;">Origi<span style="font-family: "verdana" , sans-serif;">nation format: </span>35mm B&W</span></span></span></span></span></span></div>
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<span style="color: #f6b26b;"><span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: x-small;"><span style="font-size: x-small;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif;">Exhibition format: Print (1.85/Dolby SR)</span></span></span></span></span></span></div>
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<span style="color: #f6b26b;"><span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: x-small;"><span style="font-size: x-small;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif;">Archival Print Source: Academy Film Archive </span></span></span></span></span></span><br />
<span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: x-small;"><span style="font-size: x-small;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif;"><br /></span></span></span></span></span></div>
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<span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif; font-size: x-small;">Major festival
showings:<span style="mso-spacerun: yes;"> </span>Sundance Film Festival,
Park City, Utah (1996, competing); The Film Society of Lincoln Center and The
Museum of Modern Art, New York, "New Directors/New Films" (1996);
Locarno International Film Festival (1996); Toronto International Film Festival
(1996); Filmfest Hamburg (1996); International Film Festival Rotterdam (1997);
Hong Kong International Film Festival (1997); Svenska Filminstitutet, Stockholm
(1997).</span></span></span><br />
<span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif; font-size: x-small;"><br /></span></span></span></div>
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<span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif; font-size: x-small;">Principal Cast: PETER ALEXANDER, JERI ARREDONDO, HENRY GIBSON, MICHAEL STIPE</span></span></span></div>
<span style="color: #990000;"><span style="font-family: "verdana" , sans-serif;"><span style="color: #f6b26b; font-family: "verdana" , sans-serif; font-size: x-small;">Featuring: JONAH BAUER, BOK YUN CHON, DAVID CHUNG, JOHN DIEHL, DIANA LARKIN, CORINNE LORAIN, JOAN NEWMARK. </span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: small;">“Whereas the great Hollywood westerns were nostalgic for a time and place that didn't exist, <i>Color of a Brisk and Leaping Day</i> is nostalgic for a time and a place that did – but that is no less elusive. . . . [A] metaphysical meditation on the past – and memory – as a repository of ideals, including romantic love, that exist only to haunt us with their ungraspable perfection, with what once might have been but can never be. . . . [T]he movie has the aura, too, of a '40s picture postcard – the kind you can find on any market stall or in any thrift shop – sent and received by people long dead. Ultimately, though, Münch's film isn't an elegy, but an exploration of the elegiac mode and the dreams we lose as each of us, in our own way, heads West.” <a href="https://drive.google.com/open?id=0B2QXxZPD-N6sLU1sY3I2QlZRdkE" target="_blank">Graham Fuller, Interview Magazine</a></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><br /></span></span></span></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">“Münch ha<span style="font-family: "verdana" , sans-serif;">s taken a kernel of a true story and made of it a richly contemplative work. <span style="font-family: "verdana" , sans-serif;">It
is a celebration of cinema and of railroads, which when joined, have a
unique and romantic capacity for transporting us to a different time and
place. In turn, we experience the ju<span style="font-family: "verdana" , sans-serif;">xtaposition
of nature and technology as images of Yosemite reminiscent of those of
Ansel Adams are interwoven with the machine age glories of an old
fashioned working train. . . . Against this setting and situation Münch
creates an exceedingly subtle portrait of a young man, a<span style="font-family: "verdana" , sans-serif;">s exceptional in his way of thinking as in <span style="font-family: "verdana" , sans-serif;">his good l<span style="font-family: "verdana" , sans-serif;">ooks, who i<span style="font-family: "verdana" , sans-serif;">n trying to save the Y.V., has e<span style="font-family: "verdana" , sans-serif;">mba<span style="font-family: "verdana" , sans-serif;">rked upon a journey of self-discovery, a quest for identity.<span style="font-family: "verdana" , sans-serif;"> . . . <span style="font-family: "verdana" , sans-serif;">‘Color of a Brisk and Leaping Day’<span style="font-family: "verdana" , sans-serif;"> </span></span><span style="font-family: "verdana" , sans-serif;">is charged with eroticism and suff<span style="font-family: "verdana" , sans-serif;">used with feelings of longing. . . .<span style="font-family: "verdana" , sans-serif;"> </span>[I<span style="font-family: "verdana" , sans-serif;">]n its wedding of dreams and technology, <span style="font-family: "verdana" , sans-serif;">[it] is a <span style="font-family: "verdana" , sans-serif;">begu<span style="font-family: "verdana" , sans-serif;">iling, unique reverie.</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>” <span style="font-family: "verdana" , sans-serif;"> <a href="https://drive.google.com/open?id=0B2QXxZPD-N6sUTN3aXhEc0xGVTg" target="_blank">Kevin Thomas, Los Angeles Times</a></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">“The Sundance Film Festival’s one brush with the sublime this year. . . . It<span style="font-family: "verdana" , sans-serif;">’</span>s
filmed in breathtaking immaculate period-style black and white,
incorporating stunning Ansel Adams-esque landscapes and seamlessly
interwoven stock footage from the era (Rob Sweeney instantly jumps to
the f<span style="font-family: "verdana" , sans-serif;">ront
ranks of new cinematographers). The railroad represents not just a
link to a vanished past – the protagonist's grandfather helped build it –
but all ways of life facing extinction (hence the hero's oblique
romantic liaison with a Native American park ranger). <span style="font-family: "verdana" , sans-serif;">. . . Munch orchestrates his <span style="font-family: "verdana" , sans-serif;">dreamer hero<span style="font-family: "verdana" , sans-serif;">’</span>s intro<span style="font-family: "verdana" , sans-serif;">spective equilibrium and the film<span style="font-family: "verdana" , sans-serif;">’</span>s <span style="font-family: "verdana" , sans-serif;">tranquil narrative suspension to y<span style="font-family: "verdana" , sans-serif;">ield
a kind of dazed, displaced eroticism reminiscent of the films of
Marguerite Duras. In its refined sensibility, uncompromising visual<span style="font-family: "verdana" , sans-serif;"> purity, and el<span style="font-family: "verdana" , sans-serif;">e</span>giac lyricism Munch<span style="font-family: "verdana" , sans-serif;">’</span>s film is at once sui generis and kin to both Terrence Malick’s <i>Days of Heaven</i> and Wong Kar-wai's <i>Days of Being Wild</i>.</span></span></span></span></span></span></span></span></span></span></span></span> <span style="font-family: "verdana" , sans-serif;"> <a href="https://drive.google.com/open?id=0B2QXxZPD-N6seFd3RlRaZGhKS1E" target="_blank">Gavin Smith, Film Comment</a></span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;"> </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><br />“Messier and more enigmatic, Christopher Munch’s <i>Color of a Brisk and Leaping Day</i> is nevertheless a film touched with greatness. Its fetishizing of an irretrievable past, its haunting sense of place, and even the catatonia that affects its actors are worthy of comparison to <i>Vertigo</i>. Hardly the perfect object that Munch’s earlier <i>The Hours and Times</i> was, its relation to history is more complicated and ambitious. At the very least, it’s a transitional work by an exceptional filmmaker. . . . [I]t examines a moment in American history from the point of view of an outsider by birth who’s also out of step with his times.” </span><a href="https://drive.google.com/open?id=0B2QXxZPD-N6semRvOFFvcTZxLWs" style="font-family: verdana, sans-serif;" target="_blank">Amy Taubin, Village Voice</a><span style="font-family: "verdana" , sans-serif;"> </span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"></span></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">“[B]</span></span></span></span><span style="font-family: "verdana" , sans-serif;">oldly atmospheric and mystically beautiful. . . . Echoing the stately pace of the sound track, the dialogue is delivered
with a rhythm that intensifies the drama even as it draws attention to
the artifice of acting. Munch’s self-conscious blend of documentary and
fiction conventions reveals both the limitations and possibilities of
received ideas about storytelling, as this movie gives many levels of
meaning to the apparently contradictory notions of preservation and
progress at the heart of Lee's – and the filmmaker's – restoration
project. <span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><a href="http://www.chicagoreader.com/chicago/color-of-a-brisk-and-leaping-day/Content?oid=894122" target="_blank">Lisa Alspector, Chicago Reader (Critic's Choice)</a></span></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">“[A]ll the real concerns are kept suppressed and discreet, occasionally betraying themselves in a gesture or a reaction. . . . Münch presents Lee’s story in a flat, nearly documentary style. There is little background music beyond some quiet Erik Satie piano pieces, and the camera remains relatively static within shots. The effect is of a docudrama or home movie, albeit a beautifully lit one. There are no grand dramatic moments, no carefully wrought speeches, no comic relief. The performances are so unaffected, the film so stripped of obvious artifice, that we feel as if we are eavesdropping on real people. . . . The movie is full of hints, devoid of explanations. Like the characters, it is utterly repressed. But the dissonance between the unembellished style and the intrusion of these troubling, outrageous implications is fascinating. <i>Color of a Brisk and Leaping Day</i> plays like V.C. Andrews, filtered through the rigorous style of Robert Bresson.” </span></span><a href="https://drive.google.com/open?id=0B2QXxZPD-N6sUmlKU3g3UWQwaDg" style="font-family: verdana, sans-serif;" target="_blank">Andy Klein, New Times (Los Angeles)</a></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">“[D]reamy, intense and finally elusive. . . . Whether capturing the natural beauty of clouds and wilderness or the grand old trains that summon a vivid American past, the film’s look is extraordinarily eloquent and pure.” <a href="http://www.nytimes.com/movie/review?res=9807E7DE1439F930A15750C0A960958260?" target="_blank">Janet Maslin, New York Times</a></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><br />“This (true) story, which evokes Coppola’s <i>Tucker</i>, is directed with the usual subtlety of Munch, who enchants the spectator with his atmosphere and by a series of barely visible signs in the composition of the image: a sudden look, the beginning of a gesture, a laconic phrase.” <a href="https://drive.google.com/open?id=0B2QXxZPD-N6sVFRHaENWSVJpbnc" target="_blank">Bérénice Reynaud, Cahiers du Cinema</a> (from the original French)</span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><br /></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">“For those who have ever offered up their hearts on a platter with no prospect of getting it back, this movie will be their benediction.” <a href="https://drive.google.com/open?id=0B2QXxZPD-N6sc2U1Slctb1dCSFE" target="_blank">Ella Taylor, L.A. Weekly</a><br /><br /> </span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">“At first glance, ‘Color of a Brisk and Leaping Day’ seems a simple tale of a confused young man who sets out to save something he loves. But in the hands of director Christopher Munch, the understated simplicity is intertwined with a breathtaking beauty that is meditative and thrilling. . . . In the end, ‘Color of a Brisk and Leaping Day’ is not a tale of one man's success but rather his ability to fail and move on. With a refined sensibility, Munch has created a striking visual tale that focuses with fine nuance on the building blocks of racial identity, family, love and responsibility. It is also an epic poem to trains and a sadly beautiful moment in American history that is forever gone.” </span></span><a href="https://drive.google.com/open?id=0B2QXxZPD-N6sOEMtbDkyMzN4dTg" target="_blank">Mary Houlihan-Skilton, Chicago Sun-Times</a></span><br /> </span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5884846576449242073.post-31004880549327530082016-06-13T01:23:00.001-07:002022-01-12T14:28:36.943-08:00The Hours and Times<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://2.bp.blogspot.com/-mrnnXBDnhW8/V238iXKcL_I/AAAAAAAAB3E/NriAlcq3NywcpxNkBASacjPasNGd5B-9wCLcB/s1600/HAT4_1500x1000.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="David Angus and Ian Hart in The Hours and Times" border="0" height="213" src="https://2.bp.blogspot.com/-mrnnXBDnhW8/V238iXKcL_I/AAAAAAAAB3E/NriAlcq3NywcpxNkBASacjPasNGd5B-9wCLcB/s320/HAT4_1500x1000.jpg" title="The Hours and Times" width="320" /></a></div>
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<span face=""verdana" , sans-serif"><b><span face=""verdana" , sans-serif" style="font-size: medium;">Chronicles
a short holiday taken by a young John Lennon and his brilliant manager
Brian Epstein in Barcelona in 1963.</span></b></span></div>
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<a href="https://www.youtube.com/watch?v=5_dgKHVIHeo" target="_blank"><br /></a></div>
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<a href="https://www.youtube.com/watch?v=swC6lyG4sOk" target="_blank"><span face=""verdana" , sans-serif"><span style="font-size: 12pt;">Watch Trailer</span></span></a></div>
<span face=""verdana" , sans-serif"><span style="font-size: 12pt;">U.S. home video, VOD and theatrical re-release – </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: 12pt;"><a href="http://thehoursandtimes.oscilloscope.net/" target="_blank">Now Available from Oscilloscope Labs</a> </span></span></div>
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<span face=""verdana" , sans-serif"><span style="font-size: 12pt;"><i><span face=""verdana" , sans-serif"><span style="font-size: 12pt;">Winner of a Special Jury Prize at Sundance and the Wolfgang Staudte Filmpreis at Berlin.</span></span></i> </span></span></div>
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<span style="font-size: x-small;"><span face=""verdana" , sans-serif"><br /><br /><br /> <span style="color: #f6b26b;">USA 1991, 57 minutes, Good Machine, Artistic License Films, Antarctic Pictures<br />Origination format: 35mm B&W<br />Exhibition format: Print (1.85/mono), DCP (restored by Sundance Collection at UCLA Film & Television Archive)<br />Archival Print Source: Academy Film Archive</span></span></span><br />
<br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Major festival showings: Toronto International Film Festival (1991); Sundance Film Festival, Park City, Utah (1992, competing); The Film Society of Lincoln Center and The Museum of Modern Art, New York, “New Directors/New Films” (1992); 42. Internationale Filmfestspiele Berlin, “22. Internationales Forum des Jungen Films” (1992); Taormina Arte ‘92 Cinema (1992); IV Mostra Banco Nacional del Cinema, Rio de Janeiro (1993); Athens International Film Festival (1993); Svenska Filminstitutet, Stockholm (1997).</span></span></span><br />
<br />
<span style="color: #f6b26b;"><span style="font-size: x-small;"><span face=""verdana" , sans-serif">Cast: DAVID ANGUS, IAN HART, STEPHANIE PACK, ROBIN McDONALD, SERGIO MORENO, and UNITY GRIMWOOD.</span></span></span><br />
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<span style="font-size: small;"><span face=""verdana" , sans-serif">“</span></span><span face=""verdana" , sans-serif"><span style="font-size: small;">Like a scientist, Munch considers the phenomenon in isolation; rather
than looking at the band on tour or going behind the scenes of the music
industry, he constructs a cinematic petri dish. . . . Munch’s re-creation of the moment is a kind of intellectual archeology, a rediscovery of states of mind and moo<span face=""verdana" , sans-serif">d</span></span></span><span face=""verdana" , sans-serif"><span style="font-size: small;"><span face=""verdana" , sans-serif">—ones in which Lennon’s explosive sense of freedom, inner and outer, resounded around the world<span face=""verdana" , sans-serif">.<span face=""verdana" , sans-serif">” <a href="http://www.newyorker.com/culture/richard-brody/the-front-row-the-hours-and-times" target="_blank">Richard Brod<span face=""verdana" , sans-serif">y, The New Yorker</span></a></span></span></span> </span></span><br />
<br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“[A] sharp, concise, evocative film about friendship, about its limitations and the recognition of those limitations. It is novel-size yet short (60 minutes), and utterly specific. Everything superfluous has been cut away.” <a href="http://www.nytimes.com/movie/review?res=9E0CEEDD143DF930A35757C0A964958260&partner=Rotten%2520Tomatoes">Vincent Canby, New York Times</a> <br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“<i>The Hours and Times</i> is so far removed from biopic, docudrama, or cinema verité as to seem sui generis. . . . . The best American indie in many, many years.” (Amy Taubin, Village Voice)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“[U]ncategorizable, unforgettable. . . . Munch’s brave and moving film achieves his goal beautifully.” <a href="http://www.rollingstone.com/movies/reviews/the-hours-and-times-19920403">Peter Travers, Rolling Stone</a> <br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“A pensive, unmelodramatic time-trip back to an era when rock stars wore ties, <i>The Hours and Times</i> is true to its title: without a whiff of self-importance, first-time director Münch kicks around in the quiet off-hours of a famous 20th century pair of lives, exploring moments that are so inconclusive, yet fraught with significance, that they may as well have really happened.” (Michael Atkinson, Movieline Magazine)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“Exquisitely written and performed. . . . Munch’s understated vignette announced the arrival of a young but fully mature talent.” (David Ansen, Newsweek)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“<i>The Hours and Times</i> delivers on the gossipy allure of its subject without falling into cheapness or hero worship. Though only an hour long, it's the most unexpectedly engrossing American movie I've seen this year.” (John Powers, New York Magazine)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“[U]nassuming and utterly original. ” (David Sterritt, Christian Science Monitor)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“Extraordinary performances, a tight script, and elegant, witty direction make this a shining example of independent film making at its best.” (Paul Burston, City Limits, London)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“[B]eautifully paced, the dialogue elegantly tuned, the performances by David Angus (Epstein) and Ian Hart (Lennon) emotionally revealing and scrupulously unfussy. Whatever really happened between the men, this poignant, fragmentary film rings true. Validation enough, surely.” (Tom Charity, Time Out London)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“[A]n elegantly no-frills chamber piece . . . a narrative of remarkable precision – conventional without seeming clichéd, raising deftness and economy to a form of elegance. . . . Münch's work is as steeped in eternal ambivalence as it is in ancient history – it’s as true to the hours as it is to the times.” (J. Hoberman, Village Voice)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“This very quiet chamber drama, meticulously acted and written with what feels like an uncannily accurate ear, is as much about differences in class and talent as it is about differences in sexual orientation.” (Larry Gross, Movieline Magazine)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“The first-rate performances and the kind of mature conversation and emotion [are] missing from today’s homogenized and so often juvenile American movies.” (Siskel & Ebert)<br /> </span></span><br />
<span face=""verdana" , sans-serif"><span style="font-size: small;">“One of the best films of the year.” (Film Comment, Village Voice, Entertainment Weekly, Rolling Stone, Interview Magazine, Atlantic Monthly, Movieline, etc.)</span></span><br />
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p.<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.104" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">MsoNormal</span>, <span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.105" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">li</span>.<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.106" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">MsoNormal</span>, div.<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.107" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">MsoNormal</span>
{<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.108" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.109" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-pagination:none;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.110" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-layout-grid-align:none;
text-<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.111" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">autospace</span>:none;
font-size:10.0pt;
font-family:"Times New Roman";
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.112" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.113" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">ascii</span>-font-family:Geneva;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.114" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.115" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">fareast</span>-font-family:"Times New Roman";
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.116" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.117" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">hansi</span>-font-family:Geneva;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.118" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.119" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">bidi</span>-font-family:"Times New Roman";}
@page Section1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.120" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-header-margin:.5in;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.121" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-footer-margin:.5in;
<span aria-haspopup="true" role="menuitem" tabindex="-1" id=":22.122" style="background: yellow none repeat scroll 0% 0%;" class="goog-spellcheck-word">mso</span>-paper-source:0;}
div.Section1
{page:Section1;}
-->
</style>
</span></span><b><span style="font-family: "palatino"; font-size: 12pt;"></span></b></div>
</div>
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