to say you re sorry. it is a provocative film. it has several themes, among them gender identity and humans relations with machines, but for its director, it s a movie which explores love. it was a huge challenge for me. i think it s very hard for me to talk about love, and it s very hard to talk about love in this way, in this becoming, like, what love could be and what we should aspire to. that is, unconditional, for me. my character in the beginning of the movie has not been loved before, doesn t know how to love, and she s going to meet this character, this other character, who doesn t think he s able to love anymore. and together they re going to find their humanity and they re going to find this sort of intimacy. titane is violent and has strong sexual content. the director doesn t mind if people object. people react the way they react, and this is something you can t. actually, you can, but i don t
seeing how each generation will engage with it a fresh take but also one that hears and echoes and filters and, you know, sort of newly reads all those echoes from the ghostly past of interpretations as well. my name s macbeth! it was orson welles who famously, although perhaps a bit obviously, stated that shakespeare would have been a great movie writer. over a century of macbeth adaptations have proven him correct, and with any good fortune, we ll get a century more. though the yeasty waves confound and swallow navigation i up. though bladed corn be lodged. the french movie titane made a big impact when it was shown at the cannes film festival earlier this year. it brought its director, julia ducournau, the top prize, that of the palme d 0r. the film was also shown at the new york film festival but this body horror thriller won t be to everybody s taste. the film follows alexia, who as a young girl has a titanium plate inserted into her head in the wake of a car crash.
and he s sharing it with us in the most direct way possible, which is in his work. reed s work and that of his band endures, speaking to people who don t quite fit in and prefer to embrace life with its rough edges intact. emerging from a pandemic in which we all felt disconnected and offkilter, haynes believes the velvet underground also resonates for a new reason. for us, it was the movie we had been making underground during lockdown in this pandemic. but it was a movie about an incredibly vital time in creative life, in the history of film, and in music. and that music filled that room, and i think it did something to the audience beyond what the film itself is doing. you know? because of the conditions that we ve all lived through. well, that brings this special new york film festival edition of talking movies to a close. we hope you ve enjoyed the programme. please remember you can always reach us online and you can find us on facebook and twitter. so, while new york city continu
new macbeth recently premiered is the delacorte theatre in central park, which for more than 60 years has provided free shakespeare performances for audiences. and while shakespeare is widely considered the pre eminent master of the english language, macbeth has actually inspired its share of international adaptations. it s a special challenge to translate shakespeare s flawless dialogue into a new spoken language and a cinematic language at once. in 2003, maqbool, an adaptations set in mumbai s criminal underworld, played to appreciative audiences at both the cannes film festival and the toronto film festival. of course, the best regarded adaptation of macbeth may be akira kurosawa s throne of blood, which merges shakespeare s vision with japanese culture to stunning effect. some feel that an adaptation that is forced to omit shakespeare s inimitable dialogue actually makes it more palatable for general movie audiences. language obviously to some extent is an obstacle
than being realistic. closeted in afghanistan, it was an issue he had to struggle with. it is a key part of the film. a, with. it is a key part of the film. , with. it is a key part of the film. ~ , , with. it is a key part of the film. ~ , ., with. it is a key part of the film; , ., ., film. a gay story is kind of an error on film. a gay story is kind of an error on his film. a gay story is kind of an error on his refugee - film. a gay story is kind of an error on his refugee story. in | error on his refugee story. in his youth and from his family he had to flee his sexuality. so in a way he has always been on the run. in his youth it was from his sexuality and afterwards it was from his past, from his story, but he couldn t tell. i think those two stories go hand in hand. the documentary s positive reception in new york was almost guaranteed, because many critics in the city had already seen flee earlier in the festival circuit and loved it. one new york film festival movie has