With the number of indie-arm buyers depleted since Sundance by something like 1700%, - Are today’s bloggy cultural critics a thorn in Whit Stillman’s side, either because or in spite of the fact that “we’re all just stealing Nick’s lines from Metropolitan“? Maybe the next time Stillman emerges in search of his shadow, we’ll find out. In the meantime, Matt Dentler says Cinetic is working on distributing Metropolitan online “in the near future.” Although, of course, Last Days of Disco remains all but unavailable…
- Related, sort of: Peter DeBruge writes of the “bootleg director’s cut” of 54, which restores Ryan Phillippe’s character to his original conception as an “overtly bisexual bartender, one of those erotic beings (like Terrence Stamp in Pasolini’s Teorema)…he woos club owner Mike Myers, makes it with record exec Sela Ward, kisses out-of-reach soap star Neve Campbell, gets frisky with best friend Breckin Meyer and then bangs his friend’s wife Salma Hayek in a bathroom stall.” You’ll allegedly be able to sample the excitement for yourself next weekend at the Sunshine in NYC, where Mark Christopher’s recut will screen at midnight.
- “Zacharek’s first assumption is that Godard’s films went downhill after 1967. I’ll be blunt here: Zacharek musters absolutely no defense or evidence for this position.” Another review of a review of Everything is Cinema; this time it’s Only the Cinema on the first of the NYT reviews. Via The House Next Door.
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