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 off kilter, 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
to do often with soliloquies, with the monologues, you hear them in voice over. and this really stays with the actors, it stays with the performances, and that s what drives the movie. more than just seeing macbeth, the new york film festival s opening night brought audiences thejoyous experience of connecting after tough pandemic times. we re all ready to be here and we re ready to be in the theatre together and have a communal experience. we need this. new york needs this film festival and we need each other. it s quite emotional to be here together. over the decades there have been numerous interpretations and adaptations of macbeth from different film makers, from kurosawa to polanski and many more. noah gittell has been looking back at cinema history to see how film makers have staged the so called scottish play in the past. you know your own degrees. orson welles directed and starred in the first significant adaptation of macbeth in 1948.
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 any more. 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 want to dictate any form of reaction, or any form of understanding of my film. this is certainly a
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 or. 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. so through this car crash, alexia comes out of a piece
a film vocabulary that makes a lot of sense, and kurosawa is of course a very controlling director, and some of the things he does in the movie just with framing, the angles of the shots, juxtapositions of characters and the sort of triangles that he sets up, they almost always, if you pay attention to them, have a real meaning that they convey, even if it s only reaching the audience subliminally. sincejoel coen s the tragedy of macbeth has onlyjust premiered amidst the hurly burly of the new york film festival, it s not yet known if it will be received as the definitive english language version that cinema has thus far lacked although some scholars think we re better off without one. with these stories that we have like macbeth, that belong to all of us, it s wonderful 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.