This appeared in the Chicago Reader‘s February 3, 2006 issue. Tommy Lee Jones’ subsequent feature, The Homesman, confirms the talent, originality, and boldness of Jones as a director, even if it may also come across at certain junctures as less lucid than its predecessor. — J.R.
The Three Burials of Melquiades Estrada
Directed by Tommy Lee Jones
Written bu Guillermo Arriaga
With Jones, Barry Pepper, Julio Cesar Cedillo, Dwight Yoakam, January Jones, and Melissa Leo
At last year’s Cannes film festival, The Three Burials of Melquiades Estrada walked off with the prizes for best actor (Tommy Lee Jones) and best screenplay (Guillermo Arriaga). It’s often hard to disentangle story, acting, and direction when they’re working together as well as they are here, but I would have honored Jones for his direction. That prize went to Michael Haneke for Caché, his eighth theatrical feature. This is Jones’s first, though he directed (and cowrote and starred in) a made-for-TV western, the 1995 The Good Old Boys.
Both Haneke’s and Jones’s films are political. The Three Burials of Melquiades Estrada, a western, protests the abusive treatment of Mexican immigrants in west Texas, and Caché, an anxiety-ridden crime thriller, protests the abusive treatment of Algerians in France.… Read more »
This originally appeared in the January 10, 2001 issue of the Chicago Reader. It seems worth reprinting as a kind of adjunct to my overview piece about Oshima, written for Artforum in 2008 and also available on this site. –J.R.
Directed and written by Nagisa Oshima
With Beat Takeshi (Takeshi Kitano), Ryuhei Matsuda, Shinji Takeda, Tadanobu Asano, and Yoichi Sai.
By Jonathan Rosenbaum
Mark your calendars. Over the next six weeks, the Music Box is offering three eye-popping masterpieces from Asia. This is a welcome sign–-as is the popularity of the breezy Crouching Tiger, Hidden Dragon in the multiplexes–-that American theaters and audiences are finally recognizing that a lot of the best movies come from the other side of the planet and that there’s as much diversity among them as there is among ours.
Yi Yi, which opens March 2, is a three-hour feature set in contemporary Taiwan. It was just voted best picture of the year by the National Society of Film Critics, the first foreign-language picture to receive this honor since Akira Kurosawa’s Ran 15 years ago. Its writer-director, Edward Yang, is one of the two or three undisputed masters of Taiwanese cinema, and the Film Center gave us a full retrospective of his work in 1997.… Read more »
I was shocked to learn today that Harun Farocki (January 9, 1944 – July 30, 2014) died yesterday, at the age of only 70. According to Artnet, he made over 90 films. He will be sorely missed.
From the Chicago Reader (February 14, 1992). — J.R.
FILMS BY HARUN FAROCKI
The paradox is that Farocki is probably more important as a writer than as a filmmaker, that his films are more written about than seen, and that instead of being a failing, this actually underlines his significance to the cinema today and his considerable role in the contemporary political avant-garde. . . . Only by turning itself into “writing” in the largest possible sense can film preserve itself as “a form of intelligence.”
— Thomas Elsaesser, 1983
The filmography of Harun Farocki — a German independent filmmaker, the son of an Islamic Indian doctor — spans 16 titles and 21 years. To the best of my knowledge, only one of his films (Between Two Wars) has ever shown in North America before now. A traveling group of 11 films put together by the Goethe-Institut began showing in Boston last November and this April will reach Houston, the last of the tour’s ten cities.… Read more »