#jason schwartzman

Marie Antoinette (2006), Behind-The-Scenes.

Liberty, Kansas Evening Sun.

The French Dispatch(2021). Director. Wes Anderson.

Wes Anderson for the best director!

Your BF is about to get F-ed in the B

#christmasmovies

Klaus is a new origin story for Santa Claus, about a postman that gets sent to the remote town of Smeerensburg and befriends a reclusive toy maker. Sergio Pablos, the director, used mostly traditional 2D hand-drawn animation, while animated film nowadays use 3D animation and CGI. Pablos wanted it to give the movie a nostalgic component, but he overcame some of the limitations of 2D using lighting to give volume to the characters.

“One of the early inspirations that we had for this film was ‘Batman Begins,’” said Pablos, whose version of Santa is taciturn, has dealt with loss and has a toy shop that could be seen as a sort of Batcave. “You can definitely say people have described it as 'Santa Begins.’

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Klaus è una nuova storia sulle origini di Babbo Natale, che parla di un postino che viene mandato nella remota città di Smeerensburg e fa amicizia con un giocattolaio solitario. Sergio Pablos, il regista, ha usato principalmente animazione tradizionale, in 2D e disegnata a mano, mentre al giorno d’oggi i film d’animazione usano 3D e CGI. Pablos voleva dare un tono nostalgico al film, ma è riuscito a superare alcune limitazione del 2D usando l’illuminazione per dare spessore ai personaggi.

"Una delle prime fonti di ispirazioni che abbiamo avuto per il film è 'Batman Begins” ha detto Pablos, la cui versione di Babbo Natale è taciturna, ha sofferto una perdita, e ha un negozio che ricorda una sorta di Batcave. “Si può decisamente dire che il film è stato descritto come ‘Santa Begins’”

Regia/Directed by: Sergio Pablos

Sceneggiatura/Screenplay by: Sergio Pablos, Jim Mahoney, Zach Lewis

Soggetto/Story by: Sergio Pablos

Montaggio/Edited by: Pablo Garcia Revert

Rotten Tomatoes: 94%

Metacritic: 65

IMDb: 8,2

Letterboxd: 4.0

Anno/Year: 2019

#klaus #klausmovie #christmasmovie #santaclaus #sergiopablos #jasonschwartzman #jksimmons #rashidajones #sami #samiculture #postman #toymaker #2danimation #handdrawnanimation #handdrawn #netflix #farnorth #originstory #moviemaking #movielover #letters #animation #filmdanimazione #filmdinatale #filmnatalizi #babbonatale #northpole #directorialdebut #batmanbegins

“What kind of bird are you?”

Penguin Classics inspired self-help paperbacks, block colour record players and short, vibrant dresses with high socks are just some of the items that comprise the world of Wes Anderson’s latest symmetrical ode to dysfunction, Moonrise Kingdom.

Yet rather than simply being superficial objects used to mask a character’s lack of depth, Anderson, as he so often does, injects his troubled, twelve year old protagonists with multiple layers of (adult) emotion through these objects, treating them as responses, not affectations - these are children, sick of being treated as children, who long to be adults.

This precociousness is an interesting dynamic, and one that Anderson has only approached once before, albeit briefly, in The Royal Tenenbaums, and it works well enough here. But, unlike The Royal Tenenbaums, Moonrise Kingdom lacks the heart that made Anderson’s masterpiece so poignantly compelling. The conflict that drove Sam and Suzy to the point where they have to escape is glossed over, leaving the logic behind their actions unclear. Of course, Anderson is trying to treat his characters as the children they are, but for a film as filled with adult emotion as this, avoiding conflict in such a way is doing the story a disservice. An audience needs to understand why the characters are acting the way they are, otherwise it’s difficult to connect with their situation.

And that’s the case here. It’s a shame, as there’s so much to like about Moonrise Kingdom: it’s a thoroughly charming, funny and romantic film. But by avoiding the conflicts that drive the storyline to its (somewhat underwhelming) climax, Moonrise Kingdom is a very hard film to fall in love with.

CINEMATIC PAINTINGS:

Marie Antoinette (2006), Dir. Sofia Coppola

• Cinematography By: Lance Acord

[12/08/20}