Charlotte Gainsbourg Gets In The Middle Of A Man Sandwich In New Pic From Lars Von Trier's 'Nymphomaniac'
Lars von Trier has a new movie. It's called "Nymphomanaic." And basically, if you're any sort of cinephile, that is all you need to know for this one to be way, way up on your list of anticipated films of 2013.But here are the details in case you've been sleeping on this one. The pic starts Charlotte Gainsbourg in a two-part hardcore or softcore (there will be two versions) look at the sex life of a woman who recounts her tale to a bachelor (Stellan Skarsgård) who finds her badly beaten in an alley one evening (see that pic here). Shia LaBeouf, Jamie Bell, Christian Slater, Connie Nielsen, Willem Dafoe and Uma Thurman are among the cast, and yeah, no matter how this turns out, it's gonna be memorable. Seriously, just check out that new pic above.
The question of course, is whether or not von Trier will be welcomed back to Cannes considering his new status of persona non grata. But considering he's sworn off press anyway, our guess is the movie will be there, but he won't.
* should have figured black dudes will come into the picture somehow. Feel sorry for them it had to be Charlotte Gainsbourg! Porn+Black Cocks are synonymous with each other. We talked about women being objectified but we have turned black men into living breathing giant dildos for us to play with.
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Model: vk.com/zuueva
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I've admired this woman's work for a while and getting the opportunity to capture her, even though it was brief, was very special to me. It was an amazing experience and I can't thank her enough.
Model | Dee Q.
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House panel to reintroduce controversial cyber bill, setting up White House fight
The leaders of the House Intelligence Committee plan to re-introduce on Wednesday a controversial cybersecurity bill that has faced pushback from the White House.
House Intelligence Committee Chairman Mike Rogers (R-Mich.) and ranking member Rep. Dutch Ruppersberger (D-Md.) said Friday that they plan to re-introduce the Cyber Intelligence Sharing and Protection Act (CISPA) next week during a speech at the Center for Strategic and International Studies in Washington. The bill is aimed at improving information-sharing about cyber threats between government and industry so cyberattacks can be thwarted in real time.
The bill that Rogers and Ruppersberger plan to introduce next week will be identical to the version of CISPA that passed the House last spring.
The White House issued a veto threat against CISPA before it was taken up on the House floor last year, saying the president's top advisers would recommend that he veto the bill if it came to his desk. It's unclear whether the White House would issue a similar threat this time around due to its concern over a lack of privacy protections in the bill.
A spokeswoman for the White House did not respond to a request for comment on what action it planned to take.
* there won't be any real fight from White House. Last time Obama was up for re-election and didn't want to alienate young voters. As we all know, the bulk of Obama supporters comes from this group age. Now that he has won and with Chris Dodd there to remind the promise he made to Hollywood not to stand in the way of SOPA, Obama will play possum...
Saturday Rumpus Interview with Jill Soloway Like all of Soloway’s projects, “Afternoon Delight” is sexy and playful, femme and feral, provocative and intimate. Radically intimate. Steve Almond used the term “radical intimacy” when he referred to Cheryl Strayed’s column “Dear Sugar” because of the way she answered her readers with the most wise, sincere and personal answers as if her naked quivering heart was flopping for all to see. Since that epic Valentine’s Day, which was Sugar’s coming out party, I’ve been searching for signs of radical intimacy everywhere.
“Afternoon Delight” is a side splitter but it’s not clever for the sake of being clever. Nor is it boundary busting for the sake of being subversive. Afternoon Delight peels the skin back on our intimate relationships by giving the audience a peek at what happens when a fine life, husband, kids, a dog and minivan are not enough. Time for a lap dance, right?
That’s when “Afternoon Delight” protagonist, Rachel takes an all access pass to a world dominated by men, forbidden sex, teasing and raw sensuality. When Rachel breaks the male frontier and penetrates, she longs to find what she’s been missing out on: sensuality, horniness, empathy and radical intimacy.
I spoke with Jill about radical intimacy, breaking boundaries and feminine wholeness, meaning, this idea that women are encouraged to split themselves off from sexuality when they have kids. They aren’t allowed to be sexual at the same time that they are mothers. Her characters all have a really sexy feminine side, even Jeff, the App-y husband who is more interested in his phone than his wife — has a feminine side. I was struck by how much femme was packed into all of the characters and how three dimensional they all were, especially McKenna. Where most films about sex workers punish or glorify them, Soloway shows a sex worker who is both innocent and savvy. McKenna and Rachel are neither degraded nor idealized. They are whole women trying to find their naked quivering hearts.
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The Rumpus: You have tapped the g-spot of why men go to strip bars in the first place. They want those same things that Rachel longs for in the film.Soloway: Yes. So often we have the story of the man who goes off and disappears into a strip club or to his porn cave, chasing the dark mistress. But in “Afternoon Delight,” Rachel gets to do it. Rachel enters the man-only daytime distraction space while everyone else is at work or at school. She enters the secret lying space of lunch hour porn. Rachel dares to explore the world and then participate in it.
Soloway: But breaking the boundaries is the real turn on, I believe.
The Rumpus: Another boundary you busted was the way that our culture divides female identity. Women are often viewed in a limited and constricting way. They are separated into compartments: mother/daughter or slut/princess.
Rachel is a mother who is cut off from her sexuality and humored by her work-a-holic hubby. He barely sees her. She becomes obsessed with this idea of eyes open sex– profound intimacy and expectations. In contrast, McKenna is sensuality personified. These layered identities dance together in the film and sometimes it gets messy.
Soloway: I think the average man is very comfortable to say all my ho’s over here, the bad girls, the booty calls, porn stars, bad girls, the girls I think about all day and get me hard. Then over here are the other women: mothers, cooks, sisters and daughters. This movie is a tango between all of those women trading places and dancing together. McKenna wants to be a daughter. But she also wants to be a mom to Rachel. Rachel wants to sink into an awkward adolescence.
Early on, people told me, “This movie can either be about mothering or sex, it’s too confusing to be both. “ I told them, “It has to be about both or it won’t work.” I honestly think this movie is about the notion that inside every woman, is many women.
The Rumpus: I loved how you allowed the desire in the room to get very uncomfortable in many scenes and stay that way. For instance, Rachel’s friends in the movie are the women whom strip club customers marry: cute, crafty, nice, devoted moms who seem sexually reserved and have expensive hair. They are tight knit and sororal—like a coven. In the film, on poker night, when all hell breaks loose, the friends talk about sex and consent and abortion — universal and horrible moments that have everything to do with being a sexual woman.
Soloway: They get drunk and boundaries are crossed and the women get heated and angry with red teeth from the wine and it’s kind of witchy and fantastic.
There was a scene in the script where the moon was full and Rachel and McKenna both had their periods and kissed while reaching for a tampon, but it was too much for the final film to hold. This was meant to be a metaphor where they handed back one another’s identities. But it just tilted the movie too much toward a literal love story between the women.
The Rumpus: Even the men in the film are subversive. They are atypical personalities. The men in “Afternoon Delight” are not irrelevant jobless man-babies, arrogant hipsters nor hostile, unavailable neurotics.
Soloway: The main character, Jeff, is patient and he doesn’t punish her or act out. He leaves but it’s not the typical masculine story. He takes space and is good at taking that space. He realizes the idea of “happy wife, happy life” that so many men parrot is a cop-out. He wonders, “Is she really happy? What is making her happy? Is it good for the marriage?”
The Rumpus: One more uncomfortable boundary you crossed was the issue of profound and difficult intimacy. Like what happens after you fall in love, marry and have some kids and have this neat life? How do you pee in front of that person every day and continue to get deeper and closer with that person without totally sabotaging it, cheating or killing the person? How do you accept a love so profound and continue to grow the relationship, allowing it to grow? You address this radical intimacy in“Afternoon Delight” in a way that I’ve not seen before.
Soloway: You feel a deep love with someone, you make a baby, you make a family, and then you want your sex to catch up to that depth. It’s true that it’s a boundary because I don’t think anyone is fully exploring that issue for couples right now in popular culture. I love treading new territory in my work so I’m happy to lead the charge if need be!
Antonia Crane teaches incarcerated teenage girls creative writing in Los Angeles. Her work can be found or is forthcoming in Akashic: The Heroin Chronicles (edited by Jerry Stahl), Black Clock, Slake, PANK, The Los Angeles Review and ZYZZYVA. She wrote a memoir about her mother’s illness and the sex industry, SPENT and is currently seeking representation for that memoir.
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Choros / 2011 / 13 min / HD / Stereo
Directed by Michael Langan and Terah MaherMusic by Steve Reich
A chorus of women are borne from the movements of a single dancer in this dreamlike "pas de trente-deux."
"Choros" premiered at Clermont-Ferrand International Short Film Festival in 2012 and has gone on to play dozens of festivals worldwide. The film is currently broadcast in Europe by Canal+.
For more information on the history of this technique, visit: chorosfilm.com
A chorus of women are borne from the movements of a single dancer in this dreamlike pas de trente-deux.
It is not really part of our editorial focus to highlight experimental work, but when the work feels fresh and possesses true beauty, such as with Solipsist or the work of Max Hattler, we lean toward making exceptions.Thus an exception will be made for Michael Langan—a rare talent, the kind which we seek to celebrate despite his work being primarily experimental. Best known for his Student Academy Award nominated film Doxology, we’ve made note in the past of his short film Heliotropes and his piece for Showtime, so new work from him is a big deal. Choros is that new work, debuting online today after a year on the festival circuit. The film is an innovative collaboration with the beautiful and talented Terah Maher, and is a continuing evolution of “visual echo” techniques that are as old as the medium of film itself.
Taking inspiration from Edward Muybridge and especially Norman McLaren’s Pas de Deux, Langan uses modern compositing techniques to create wonderful ghost-like images of movement, which beautifully display movement while deconstructing film and animation technique. Telling a loose narrative of rebirth through 3 movements, and utilizing a score by pioneering composer Steve Reich, the film honors traditional forms of classical music and dance. Still, it is Langan’s post-production efforts that are the draw, as the visual effect of multiple, overlapping Terahs is both surreal and lovely.
By using computer compositing, Langan is provided with much more freedom in his art design and photography than McLaren was. Not being technically minded, I haven’t studied the image to determine if it is time-delay layering or multiple captured performances that underly the effect, and I don’t care to find out. To quote Arthur Clarke, “Any sufficiently advanced technology is indistinguishable from magic”. I think that’s what I want to take from this piece more than anything else—a feeling of awe at something magical.
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Scares, sex, madness: SXSW Film releases 2013 Midnighters selections
Cinephiles from Austin and around the world have plenty of reason to be worked up over the current lineup of mainstream and independent films already listed by this year’s SXSW Film Conference and Festival, but don't think for a second that the festival’s programmers will forget to give props to Austin’s love of genre filmmaking.
For 20 years now, SXSW has paid tribute to the films that dare to go where others would never dream of going in terms of insane, high-concept subject matter that’s never afraid to throw in a healthy helping of gore, vampires and big ass spiders.
They are the fever dreams of deranged and demented filmmakers. They are the Midnighters.
The nine films that have been picked to represent the broad spectrum of genre films were recently revealed, including four world premieres and three U.S. premieres. It’s a selection that SXSW Senior Programmer and Operations Manager Jarod Neece hopes will make audiences run through a full range of emotions.
“We work year-round searching for films that will wow our audiences at midnight. This year we scoured the globe and brought back a batch that we knew would truly satisfy the gore hounds of SXSW. Full of scares, sex, madness, laughs, chills and major mind fucks, we hope there’s a little something for everyone.”
A little "something for everyone" who plans to be at the theater in the middle of the night for shocks, thrills and titillation. It’s not like anyone is expecting to get any sleep during the festival, right?
Some of the crazy titles grazing Austin screens will include Big Ass Spider!, a film that really doesn’t need any explanation because it does us all a favor by being so candidly titled; and Rob Zombie’s latest feature, The Lords of Salem, of course starring Sheri Moon Zombie, will make its U.S. premiere.
One other Midnighter film to keep an eye on is Kiss of the Damned. A list of genre films wouldn’t be complete without a vampiric romance, but this particular film is also enticing due to the fact that it is helmed by Xan Cassavettes, daughter of legendary actor, director and pioneer of cinéma vérité John Cassavetes. If anything, you'll see a filmmaking dynasty unfold before our eyes.
Along with the release of the lineup of Midnighter features, SXSW also rolled out the complete selection of short films that will join the features this year. After a record 3,597 short films were submitted, the entries were whittled down to 106 lucky shorts that will screen as part of ten curated shorts programs.
The shorts will encompass a variety of genres, including narrative, documentary, animation and music videos.
The Midnighter screenings will also be accompanied by their own gory and frightening shorts, and films from Texas high school students will get their chance in the spotlight to show just what the future has to offer for homegrown filmmaking.
+++++++++++++++++++++++++++++++++++++++++For 20 years now, SXSW has paid tribute to the films that dare to go where others would never dream of going in terms of insane, high-concept subject matter that’s never afraid to throw in a healthy helping of gore, vampires and big ass spiders.
They are the fever dreams of deranged and demented filmmakers. They are the Midnighters.
The nine films that have been picked to represent the broad spectrum of genre films were recently revealed, including four world premieres and three U.S. premieres. It’s a selection that SXSW Senior Programmer and Operations Manager Jarod Neece hopes will make audiences run through a full range of emotions.
“We work year-round searching for films that will wow our audiences at midnight. This year we scoured the globe and brought back a batch that we knew would truly satisfy the gore hounds of SXSW. Full of scares, sex, madness, laughs, chills and major mind fucks, we hope there’s a little something for everyone.”
A little "something for everyone" who plans to be at the theater in the middle of the night for shocks, thrills and titillation. It’s not like anyone is expecting to get any sleep during the festival, right?
Some of the crazy titles grazing Austin screens will include Big Ass Spider!, a film that really doesn’t need any explanation because it does us all a favor by being so candidly titled; and Rob Zombie’s latest feature, The Lords of Salem, of course starring Sheri Moon Zombie, will make its U.S. premiere.
One other Midnighter film to keep an eye on is Kiss of the Damned. A list of genre films wouldn’t be complete without a vampiric romance, but this particular film is also enticing due to the fact that it is helmed by Xan Cassavettes, daughter of legendary actor, director and pioneer of cinéma vérité John Cassavetes. If anything, you'll see a filmmaking dynasty unfold before our eyes.
Along with the release of the lineup of Midnighter features, SXSW also rolled out the complete selection of short films that will join the features this year. After a record 3,597 short films were submitted, the entries were whittled down to 106 lucky shorts that will screen as part of ten curated shorts programs.
The shorts will encompass a variety of genres, including narrative, documentary, animation and music videos.
The Midnighter screenings will also be accompanied by their own gory and frightening shorts, and films from Texas high school students will get their chance in the spotlight to show just what the future has to offer for homegrown filmmaking.
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