In the manner characteristic of low-budget “issue” films, writer-director Barry Jenkins’s Medicine for Melancholy is a triptych of progressive themes—reluctant romance, race, and urban displacement—interwoven by the circuitous gab of an unremarkable but authentic two-person cast. Each of these three topics is given its own compartmentalized narrative thread, but unlike with other multi-layered works of metropolitan malaise (The Visitor immediately springs to mind), all three of the socio-humanist plotlines uniformly fail along with the leads’ addled relationship.
At dawn, African-American bedfellows Micah (Wyatt Cenac) and Jo (Tracey Heggins) retrace the inebriated, hormonal footsteps of an impromptu one-night stand with humiliating ignorance. Jo resists Micah’s sober advances but Micah continues hounding, suffering from the misconception that their accidental sex possessed a germ of meaning. Biographical details begin to emerge. Micah lives in San Francisco’s modest but colorful Tenderloin district, Jo in the affluent Marina with her presumably yuppy (and white) boyfriend.
At dawn, African-American bedfellows Micah (Wyatt Cenac) and Jo (Tracey Heggins) retrace the inebriated, hormonal footsteps of an impromptu one-night stand with humiliating ignorance. Jo resists Micah’s sober advances but Micah continues hounding, suffering from the misconception that their accidental sex possessed a germ of meaning. Biographical details begin to emerge. Micah lives in San Francisco’s modest but colorful Tenderloin district, Jo in the affluent Marina with her presumably yuppy (and white) boyfriend.
- 6/20/2023
- by Joseph Jon Lanthier
- Slant Magazine
New music from brothers Jared and Shannon Leto is on the way. On Monday, Thirty Seconds to Mars also announced their first album in 5 years, It’s the End of the World But It’s a Beautiful Day, out this September. The band also released their newest single, “Stuck.”
“I knew I’d stay with you after just one touch/The way you move has got me/Stuck,” sings Leto on the chorus for “Stuck.”
The Jared Leto-directed video for the track features both siblings singing into the camera,...
“I knew I’d stay with you after just one touch/The way you move has got me/Stuck,” sings Leto on the chorus for “Stuck.”
The Jared Leto-directed video for the track features both siblings singing into the camera,...
- 5/8/2023
- by Tomás Mier
- Rollingstone.com
Douglas Kirkland — whose celebrity portraits became nearly as iconic as the celebrities themselves, and whose photographs document some of the most important film shoots in Hollywood history — died Monday at his home in Los Angeles of natural causes. He was 88.
Kirkland made portraits of the biggest stars of the 20th and 21st centuries, including Marilyn Monroe, Frank Sinatra, Mick Jagger, Andy Warhol, Elizabeth Taylor, Charlie Chaplin, Angelina Jolie, Nicole Kidman, Leonardo DiCaprio and Brigitte Bardot.
He was the special photographer on more than 100 films including Butch Cassidy and the Sundance Kid, 2001: A Space Odyssey, The Sound of Music, Sophie’s Choice, The Last Picture Show, Fiddler on the Roof, McCabe and Mrs. Miller, Saturday Night Fever, Alien, Midnight Run, Rain Man, The Great Gatsby, Out of Africa, Titanic and Moulin Rouge!
Kirkland never worked as an official unit photographer. His work on those films was mainly for publications such as Look and Life magazines.
Kirkland made portraits of the biggest stars of the 20th and 21st centuries, including Marilyn Monroe, Frank Sinatra, Mick Jagger, Andy Warhol, Elizabeth Taylor, Charlie Chaplin, Angelina Jolie, Nicole Kidman, Leonardo DiCaprio and Brigitte Bardot.
He was the special photographer on more than 100 films including Butch Cassidy and the Sundance Kid, 2001: A Space Odyssey, The Sound of Music, Sophie’s Choice, The Last Picture Show, Fiddler on the Roof, McCabe and Mrs. Miller, Saturday Night Fever, Alien, Midnight Run, Rain Man, The Great Gatsby, Out of Africa, Titanic and Moulin Rouge!
Kirkland never worked as an official unit photographer. His work on those films was mainly for publications such as Look and Life magazines.
- 10/5/2022
- by Tom Tapp
- Deadline Film + TV
Heidi Klum, Anna Wintour, Edward Enninful, Padma Lakshmi, Coco Rocha, Diplo, and Sydney Sweeney were among those gathered at the 22nd annual amfAR Gala New York at Cipriani Wall Street to pay tribute to legendary model and businesswoman Iman, renowned CEO and president of Pace Gallery Marc Glimcher, and award-winning playwright Matthew Lopez for their longstanding support of amfAR and their commitment to the fight against AIDS.
Iman Attends amfAR Gala New York
Credit/Copyright: Getty Images
The event raised over $1.4 million for amfAR’s lifesaving research programs.
Other guests included Frida Aason, Nina Agdal, Alanna Arrington, Madeleine Arthur, Alina Baikova, Tessa Barton, Luna Blaise, Alyssa Bossio, Cindy Bruna, Josie Canseco, Jack Brinkley Cook, Joy Corrigan, Ebonee Davis, Luke Eisner, Marianne Fonseca, Isabeli Fontana, Georgia Fowler, Ronja Furrer, Hanne Gaby, Ashley Haas, Ilfenesh Hadera, Ubah Hassan, Madison Headrick, Maya Henry, Rachel Hilbert, Elsa Hosk, Jacquelin Jablonski, Marjan Jonkman, Victoria Justice,...
Iman Attends amfAR Gala New York
Credit/Copyright: Getty Images
The event raised over $1.4 million for amfAR’s lifesaving research programs.
Other guests included Frida Aason, Nina Agdal, Alanna Arrington, Madeleine Arthur, Alina Baikova, Tessa Barton, Luna Blaise, Alyssa Bossio, Cindy Bruna, Josie Canseco, Jack Brinkley Cook, Joy Corrigan, Ebonee Davis, Luke Eisner, Marianne Fonseca, Isabeli Fontana, Georgia Fowler, Ronja Furrer, Hanne Gaby, Ashley Haas, Ilfenesh Hadera, Ubah Hassan, Madison Headrick, Maya Henry, Rachel Hilbert, Elsa Hosk, Jacquelin Jablonski, Marjan Jonkman, Victoria Justice,...
- 2/11/2020
- Look to the Stars
Elton John will be at the Oscars on Sunday because he is nominated with longtime collaborator Bernie Taupin for “(I’m Gonna) Love Me Again” from “Rocketman.”
Even so, that doesn’t mean he’s going to miss his annual viewing and afterparty benefit for the Elton John AIDS Foundation.
“As soon as the category has been presented, we have a police escort to zoom from the Dolby Theater to get here as quickly as possible,” John’s husband and “Rocketman” producer David Furnish told Variety on Thursday at the site of the party in West Hollywood Park. “Hopefully we get here before the actual Oscar broadcast ends. This is where we need to be.”
While John and Furnish are at the Oscars, the stars of “Queer Eye” will serve as hosts of the 28th annual soiree.
“What I really respect about ‘Queer Eye’ as a program is they go...
Even so, that doesn’t mean he’s going to miss his annual viewing and afterparty benefit for the Elton John AIDS Foundation.
“As soon as the category has been presented, we have a police escort to zoom from the Dolby Theater to get here as quickly as possible,” John’s husband and “Rocketman” producer David Furnish told Variety on Thursday at the site of the party in West Hollywood Park. “Hopefully we get here before the actual Oscar broadcast ends. This is where we need to be.”
While John and Furnish are at the Oscars, the stars of “Queer Eye” will serve as hosts of the 28th annual soiree.
“What I really respect about ‘Queer Eye’ as a program is they go...
- 2/7/2020
- by Marc Malkin
- Variety Film + TV
She was photographed by Warhol, and Dalí wanted to paint her; the first films she made were Death in Venice and Cabaret. So why did she walk away?
Most people, says Marisa Berenson, “tend to live in my past. Which is fine.” She smiles, well aware of the fascination. “But I tend to live in the present and in the future.” A 2001 profile of the model/actor in the New York Times described her as a “Zelig of the zeitgeist … popping up in the right place at the right time”. And there is certainly something magical about her life and the people who have passed through it. As a child (she is now 72) she was taught to dance by Gene Kelly. Greta Garbo came to her parents’ parties; Salvador Dalí – a friend of her grandmother, the designer Elsa Schiaparelli – wanted to paint her. The legendary Vogue editor Diana Vreeland pushed...
Most people, says Marisa Berenson, “tend to live in my past. Which is fine.” She smiles, well aware of the fascination. “But I tend to live in the present and in the future.” A 2001 profile of the model/actor in the New York Times described her as a “Zelig of the zeitgeist … popping up in the right place at the right time”. And there is certainly something magical about her life and the people who have passed through it. As a child (she is now 72) she was taught to dance by Gene Kelly. Greta Garbo came to her parents’ parties; Salvador Dalí – a friend of her grandmother, the designer Elsa Schiaparelli – wanted to paint her. The legendary Vogue editor Diana Vreeland pushed...
- 10/30/2019
- by Emine Saner
- The Guardian - Film News
Kino Lorber, in association with blockchain-powered Tvod platform Breaker, has acquired North American rights to Beniamino Barrese’s documentary “The Disappearance of My Mother,” which had its world premiere at the Sundance Festival earlier this year, Variety has learned exclusively.
The deal was announced Monday at the Hot Docs Canadian Intl. Documentary Film Festival. It was negotiated by Kino Lorber Svp Wendy Lidell and Autlook Film Sales North American sales and acquisitions representative Ania Trzebiatowska.
“The Disappearance of My Mother” follows iconic ‘60s fashion model turned activist Benedetta Barzini, a muse to artists and image-makers like Andy Warhol, Salvador Dali, Irving Penn and Richard Avedon. For four decades Barzini has fought for the rights and emancipation of women, as a professor, journalist and radical feminist. Now facing an existential crisis at the age of 75, she decides that she wants to leave everything and everyone behind, even as her son – director Beniamino Barrese,...
The deal was announced Monday at the Hot Docs Canadian Intl. Documentary Film Festival. It was negotiated by Kino Lorber Svp Wendy Lidell and Autlook Film Sales North American sales and acquisitions representative Ania Trzebiatowska.
“The Disappearance of My Mother” follows iconic ‘60s fashion model turned activist Benedetta Barzini, a muse to artists and image-makers like Andy Warhol, Salvador Dali, Irving Penn and Richard Avedon. For four decades Barzini has fought for the rights and emancipation of women, as a professor, journalist and radical feminist. Now facing an existential crisis at the age of 75, she decides that she wants to leave everything and everyone behind, even as her son – director Beniamino Barrese,...
- 4/29/2019
- by Christopher Vourlias
- Variety Film + TV
Not many filmmakers have a mom who’s an iconic model from the ’60s, photographed by the likes of Irving Penn and Richard Avedon, a muse to Warhol and Dali. Far fewer have one that kept that past hidden. Indeed, it wasn’t until director/cinematographer Beniamino Barrese made a youthful discovery — a stash of portfolios containing Vogue and Harper’s Bazaar covers tucked away inside a locked wardrobe — that he got an inkling that Benedetta Barzini was more than just the radical, outspoken, intellectual mother he’d been filming since he got his first camera at seven. And with The Disappearance of […]...
- 1/25/2019
- by Lauren Wissot
- Filmmaker Magazine - Blog
Not many filmmakers have a mom who’s an iconic model from the ’60s, photographed by the likes of Irving Penn and Richard Avedon, a muse to Warhol and Dali. Far fewer have one that kept that past hidden. Indeed, it wasn’t until director/cinematographer Beniamino Barrese made a youthful discovery — a stash of portfolios containing Vogue and Harper’s Bazaar covers tucked away inside a locked wardrobe — that he got an inkling that Benedetta Barzini was more than just the radical, outspoken, intellectual mother he’d been filming since he got his first camera at seven. And with The Disappearance of […]...
- 1/25/2019
- by Lauren Wissot
- Filmmaker Magazine-Director Interviews
After winning her first Emmy a decade ago for HBO miniseries John Adams, costume designer Donna Zakowska is once again reaping the benefits of intricate period work, with Amazon comedy The Marvelous Mrs. Maisel.
For Amy Sherman-Palladino’s acclaimed series, following an extraordinary housewife turned comedienne, Zakowska sought to capture the sartorial spirit of 1958 New York City. While tracking the fashion of a dynamic, vibrant time in the history of the East Coast cultural hub—designing her principal characters’ clothing from scratch—the costume designer confronted a protagonist in constant motion and visual evolution.
Requiring further thought was the show’s tone and the sometimes-heightened space it occupied, teetering on the edge of “magical reality.” Costuming “a massive amount of people” for Mrs. Maisel, with attention paid to every little detail, Zakowska would find her footing with the series by following her typical artistic inclinations—thinking deeply about color.
What made The Marvelous Mrs.
For Amy Sherman-Palladino’s acclaimed series, following an extraordinary housewife turned comedienne, Zakowska sought to capture the sartorial spirit of 1958 New York City. While tracking the fashion of a dynamic, vibrant time in the history of the East Coast cultural hub—designing her principal characters’ clothing from scratch—the costume designer confronted a protagonist in constant motion and visual evolution.
Requiring further thought was the show’s tone and the sometimes-heightened space it occupied, teetering on the edge of “magical reality.” Costuming “a massive amount of people” for Mrs. Maisel, with attention paid to every little detail, Zakowska would find her footing with the series by following her typical artistic inclinations—thinking deeply about color.
What made The Marvelous Mrs.
- 8/14/2018
- by Matt Grobar
- Deadline Film + TV
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