Ari Folman
10 connections found
View:
Connections, in both directions
Like her real-life counterpart, this Wright didn’t pursue pop superstardom after “The Princess Bride” (1987) and “Forrest Gump” (1984).
It’s a helluva monologue, the gist of which — elaborated in the next few scenes — lambasts her for putting her family first (particularly the care of her ailing son Aaron, played by Kodi Smit-McPhee ) instead of making good on the promise of “The Princess Bride ” in her career.
And the whole thing, bizarrely, is centered on Robin Wright, who plays “herself”—star of The Princess Bride, Forrest Gump, etc.—in a context that bears virtually no relation to her actual status in Hollywood.
The CEO of the amusingly named Miramount studios (a wonderfully oily Danny Huston) wants to license the digital likeness of the star of “The Princess Bride” — providing he can star “her” in the kind of movies that the “real” Robin spurns.
Wright’s character is the actress born in Dallas in 1966, who starred in the 1987 hit “The Princess Bride,” appeared on the ’80s TV series “Santa Barbara” and co-starred as Tom Hanks’ love interest, Jenny, in the 1994 mega-hit, “Forrest Gump.”
Robin Wright (of Forrest Gump and TV’s House of Cards) stars as “a version of herself,” an actress in her mid-40s who was heralded as the next great thing when she was the ingénue star of The Princess Bride 20 years previous.
Craftily, and with deliberate, unnerving speed, the details of Sabra and Shatila unfold, via the interviews Folman does with his old army buddies -- who are rendered, like Folman, animated, via the process known as rotoscoping -- which transforms photographic footage into cartoon (see the Richard Linklater films "Waking Life" and "A Scanner Darkly").
The cartoon style (in which video cameras capture the performances and animators then trace and enhance the scene) has been done before, notably by Richard Linklater in Waking Life and in A Scanner Darkly.
…painting over live footage) as seen in Richard Linklater’s art jobs Waking Life and A Scanner Darkly, Folman opts for two-dimensional, non-CG animation, layered to give three-dimensional depth.
While sharing the visual flavor of Richard Linklater’s Waking Life and A Scanner Darkly, Folman did not employ rotoscope animation, in which illustrators trace over film or video footage.
The animation employed by Mr. Folman bears a superficial resemblance to the rotoscoping technique seen in Richard Linklater’s films “Waking Life” and “A Scanner Darkly,” but it’s not the same; it’s more stylized, more cartoonish.
Using a technique that resembles rotoscoping (as in "Waking Life" or "A Scanner Darkly"), combining a variety of visual and musical styles, giving equal weight to actual and imagined events, he has told the story of his past and how he discovered it in "Waltz With Bashir," a film that dazzles and terrifies, sometimes at the very same moment.
"The Congress" has to be both the dystopian minutia that Jonathan Pryce suffers through in " Brazil ," and the high-flying daydreams into which he escapes.
With echoes of Terry Gilliam's Brazil, the film grows into a wild fantasy – a kind of Who Drugged Roger Rabbit? – with an alternate reality where celebrity's essence can be ingested and an animated rebellion breaks out, linking Robin with Dylan (Jon Hamm), a former animator of her digital character who has long loved her.
Like her real-life counterpart, this Wright didn’t pursue pop superstardom after “The Princess Bride” (1987) and “Forrest Gump” (1984).
And the whole thing, bizarrely, is centered on Robin Wright, who plays “herself”—star of The Princess Bride, Forrest Gump, etc.—in a context that bears virtually no relation to her actual status in Hollywood.
Wright’s character is the actress born in Dallas in 1966, who starred in the 1987 hit “The Princess Bride,” appeared on the ’80s TV series “Santa Barbara” and co-starred as Tom Hanks’ love interest, Jenny, in the 1994 mega-hit, “Forrest Gump.”
The plan is to keep her “forever young,” not only by reviving her Princess Bride , along with Jenny from Forrest Gump , but also by casting a young “her” in new parts.
Robin Wright (of Forrest Gump and TV’s House of Cards) stars as “a version of herself,” an actress in her mid-40s who was heralded as the next great thing when she was the ingénue star of The Princess Bride 20 years previous.
Robin Wright stars as Robin Wright, an actress of fading stature in the Hollywood system that made her famous with hits like The Princess Bride and Forrest Gump.
In one of its more surreal (or perhaps transcendent) sequences, wherein a purgatorial night-time underworld is illuminated in a yellow phosphorescent haze, I was unexpectedly reminded of a dream scene from Waltz With Bashir , in which young men rise from the water, like ghosts walking among the living.
Grave of the Fireflies (1988)
Directed by Isao Takahata
influenced Where Is Anne Frank (2021)
Themes
But “Where Is Anne Frank” doesn’t need to be “Grave of the Fireflies” in order to satisfy its purpose, especially when the story it tells proves to be every bit as damning as it is didactic.
The ambivalence and perspective and distinctive vision we get in all memorable films about war and espionage and violence, from All Quiet on the Western Front (1930) to The Battle of Algiers (1965) to Waltz with Bashir (2008), is totally absent, leaving only the procession of facts (and unmarked prevarications), from the harrowing 9/11 emergency phone-call recordings to the final dead-body shots.
Max Richter’s (Waltz with Bashir, The Leftovers) commanding score is the perfect accompaniment to Gray’s direction, and the sound design which reflects that space is silent.
There are major exceptions (“Waltz With Bashir” comes to mind), but there are few things worse than forgettable movies about selective amnesia — movies like “Spellbound,” in which the protagonist’s mental block is magically cured by some dime-store psychology and the restorative powers of a third act reveal.
If you liked “Donnie Darko” and David Cronenberg’s “Naked Lunch”; if you enjoyed “Scott Pilgrim vs. the World” and Michael Haneke’s early films – and the underappreciated third film of George A. Romero’s zombie trilogy, and Zack Snyder’s “Sucker Punch” – well, then I think you’re good with “John Dies at the End.” (You might have to admit that you kind of liked Guy Ritchie’s idiotic work of Madonna-informed mysticism, “Revolver,” and you certainly have to be excited about Giamatti’s upcoming role in Ari Folman’s “The Congress,” adapted from a novel by Polish sci-fi cult hero Stanislaw Lem. ) Like I say, self-limiting.