A few hours before the 2021 New York Film Festival opened with Joel Coen’s “The Tragedy of Macbeth,” Lady Macbeth herself sat onstage for a press conference in Lincoln Center and unleashed the ultimate understatement. “In 400 years, everybody’s done almost everything,” Frances McDormand said. “It’s not like we’re inventing anything new.”
She was referring to the daunting odds of her director-husband’s stark, expressionistic take on the ultimate Shakespearean tragedy, though she may as well have been addressing the greatest crisis in modern creativity, and one that the movies face more than most other mediums. With its silent cinema aesthetic and gruff, visceral performances, “Macbeth” certainly provides an original take on one very familiar narrative. But NYFF, as a whole, projects an ethos altogether different from other prominent festivals on the fall circuit, as its curatorial strategy heralds the art of the new.
Throughout the winding path...
She was referring to the daunting odds of her director-husband’s stark, expressionistic take on the ultimate Shakespearean tragedy, though she may as well have been addressing the greatest crisis in modern creativity, and one that the movies face more than most other mediums. With its silent cinema aesthetic and gruff, visceral performances, “Macbeth” certainly provides an original take on one very familiar narrative. But NYFF, as a whole, projects an ethos altogether different from other prominent festivals on the fall circuit, as its curatorial strategy heralds the art of the new.
Throughout the winding path...
- 10/2/2021
- by Eric Kohn
- Indiewire
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