Afghanistan’s Black Tulip Screens in Los Angeles for Oscar Consideration, 12/30-1/5

By Jason Apuzzo. Recently Libertas’ Joe Bendel wrote an important piece about Black Tulip (see the trailer above), Afghanistan’s official submission for the Best Foreign Language Film award at this year’s Oscars.

Still in the Oscar race.

Despite the recent controversy over whether the film qualifies for the Best Foreign Language Film category, I was happy to learn recently from Black Tulip co-producer Chris Cole that the film is indeed still in contention for that award (see here), and is also having a limited one-week theatrical release here in Los Angeles starting this Thursday, December 30th at the the Laemmle Sunset 5 (on the corner of Sunset and N. Crescent Heights). According to Chris, this limited theatrical run is intended to qualify the film for Best Score, Best Original Song (from Natalie Cole) and Best Cinematography consideration.

We want to encourage everyone in the Los Angeles area to turn out and give this film the buzz and support it needs heading into awards season. Imagine for a moment what it would mean to the people of Afghanistan to have a film in the running for an award on Oscar night – at a time when the Taliban and their allies are still trying to snuff out free speech in that country.

Screening times for the film in Los Angeles are as follows:

Laemmle Sunset 5

  • Thursday, December 30th at 7:30pm
  • Friday, December 31st through Wednesday, January 5th at 1:00pm

We want to congratulate director Sonia Nassery Cole and co-producer Chris Cole on their courage in overcoming extraordinary obstacles in getting this film made and out to the public. Their example is one that I wish more filmmakers here in America would follow, and we wish them every success with this important film.

Posted on December 29th, 2010 at 3:01pm.

Tati Magic: LFM Reviews The Illusionist

By Joe Bendel. He was France’s favorite uncle, “Monsieur Hulot.” Indeed, the gentle but ever so sly physical comedy of Jacques Tati enchanted audiences the world over in classic Hulot films, like Mon Oncle and Play Time. However, Tati would have taken on a new role as a father figure in a screenplay he completed yet chose not to realize on film. With the blessings of his estate, renowned animator Sylvain Chomet sensitively adapted Tati’s unproduced script as the pitch-perfect The Illusionist, which opened Christmas Day in New York and Los Angeles.

As the film begins, the perhaps once-great Tatischeff (Tati’s pre-showbiz name) schleps his mean-spirited rabbit and assorted magical gear to and from dilapidated theaters and middling private gigs. In a pleasant surprise, one of his best bookings turns out to be a small pub far up in the Scottish Highlands. The locals are all friendly in their strange Gaelic way and appreciate the show well enough. Alice, a shy young maid in his public house, is particularly fascinated by the Illusionist and his illusions. Something about her touches him, as well, inspiring an act of kindness on his part. So when she invites herself along with the Illusionist, he begins to act as a kind of surrogate father.

While there is a gentle wistfulness to most of Tati’s comedies, Illusionist reaches a poignancy of a far greater order. Time passes the Illusionist by, both professionally and personally, as the girl matures and his magic falls even further out of vogue. Yet, like a truly Chaplinesque figure, he indomitably carries on as best he can.

Simply seeing Tati come to life as the scuffling vaudeville magician Tatischeff is a joy. Chomet’s animated rendering is absolutely spot-on, capturing the look and mannerisms of the French cinematic mime to a tee. His Illusionist is a gentle soul, a clown more apt to make us cry than laugh.

From the rugged Scottish landscape to the vintage 1959 city settings of Paris and Edinburgh, Illusionist has a richly detailed, handcrafted look. It even sounds impeccable, sparingly employing dialogue that matches the disembodied resonance of Tati’s great comedies. Completing the elegant ambiance, Chomet’s own appropriately wistful themes nicely suit the on-screen drama, while evoking French Chanson chanteuses Josephine Baker and Hot Club Jazz.

Illusionist is one of fifteen films to qualify for Oscar consideration as best animated feature and “Chanson Illusionist” is one of forty-one tunes to eligible in the best song category. Frankly, in a just world it would win both awards in a walk. Tati’s Illlusionist, by way of Chomet, has far greater soul and humanity than anything cranked out by Disney or Pixar this year. It is so good it deserves easily quotable superlatives like: “wise and sad, but touching and beautiful.” Not just the best animated film of the year, The Illusionist is one of the best films overall, which fittingly opened Christmas Day in New York at the Landmark Sunshine and in Los Angeles at The Royal.

Posted on December 29th, 2010 at 2:13pm.

Posting Over the Holidays + Happy New Year

A rare glimpse into Libertas Global Headquarters (LGH).

By Jason Apuzzo. Just a quick note to our readers that posting will be light here at Libertas until after the New Year. The reason for this is not because we need a break – we never do, as our efforts are tireless, our commitment unwavering – but in order for you, the reader, to recuperate fully in preparation for everything Libertas will be providing you in 2011.

So prepare yourselves, rest up, and ready your mind and senses for the the new round of thrills and excitements we are preparing for you in the coming year … and Happy New Year to everyone.

Posted on December 29th, 2010 at 1:52pm.