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I’ve never been through a stranger awards season and not just for the obvious reasons.
Let me rewind about two years. One Saturday in June 2019, my wife, my daughter and I went to Echo Park Lake to have a picnic with a few friends. It was as perfect a day as we’ve ever spent in Los Angeles: We splashed around in pedal boats and gorged ourselves on banh mi and ice cream. And sometime that afternoon, my filmmaker friend Isaac back in town with his family after having spent eight months teaching in Incheon, South Korea quietly dropped the news that he was headed to Oklahoma to direct his first narrative feature in eight years. And unlike the others, this one would be inspired by his own ’80s Arkansas childhood. And, oh yeah, Plan B and A24 were involved. Steven Yeun would be playing his dad.
Minari , la película sobre inmigrantes coreanos en pagina12.com.ar - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from pagina12.com.ar Daily Mail and Mail on Sunday newspapers.
Christopher Abbott: âItâs kind of unromantic, the Covid set.â Photograph: Michael Buckner/Deadline/Rex/Shutterstock
The actor best known for his role in Lena Dunhamâs series talks about his experimental new film Black Bear, lockdown comfort-viewing â and why his heart truly lies in theatre
Thu 15 Apr 2021 11.00 EDT
Last modified on Thu 15 Apr 2021 16.07 EDT
âGabe?â asks Christopher Abbott, and for a moment across the screen he looks befuddled. Then the penny drops: âGabe, the name of the character?â He laughs. âI was like: âWhoâs Gabe!â I should know! Itâs been a while â¦â
It has, indeed, been a while since Abbott shot Black Bear, the âmeta comedy thrillerâ directed by Lawrence Michael Levine and set in the Adirondack mountains, and more than a year has passed since it premiered at Sundance. Anyway, such are Black Bearâs layers and twists that anyone â even its actors â could
The latest example of what I call an emperor’s-new-clothes
film is “Neon Bull,” by Brazilian director Gabriel Mascaro, which escorts us into the world of
northeastern Brazil’s
vaquejada
rodeos. It was a buzz-generating
hit at last fall’s Venice and Toronto festivals, and it does have one inarguable strength: a kind of
anthropological interest, which is rendered with what one must assume is
certain quotient of documentary-like accuracy. Mascaro mostly avoids the fleeing excitements of the bull ring in order
to focus on a small group of characters who function as kind of a de facto
itinerant family. Iremar (Juliano Cazarré) is a muscular and studly cowhand who