24/1 = :-)

Here in America, we take time out one day each November to give thanks for what we have been blessed with. Regardless of one's nationality, I think that the value of the concept of Thanksgiving is one that can be agreed upon almost universally. We here at the site would like to take the time to express our own gratitude for your continued support and for the precious gift that you give us: your time.

From a personal standpoint, first and foremost, I am thankful for the love, support, and good health of my family. Nothing else comes close.

Having made that clear, I am also grateful for the miracle that is the cinema. The past year or so has been one that's been rough for people all around the world. Stable jobs that seemed like keepers have evaporated into thin air, revenue streams have been altered beyond some of our wildest dreams, and we've all learned the true meaning of the word "frugality."

That said, I've found a real place of solace in the movies this past year. No matter what the challenges of the day have been, at about 8:30 PM a few nights out of the week, I get to sit down and watch a movie. Most of the time, it's just me sitting there in the dark, staring at the screen, waiting to see what wonderful thing I might discover that night.

This year, I've been blessed with so many fine moments and great films. No matter where our allegiances lie as cinephiles, be we devotees of Bergman or Bay, lovers of summer blockbusters or foreign films, cynics or optimists, let's take a moment. In that moment, let's be grateful for those marvelous moments in the shadows when we are transported into new worlds where possibilities abound and life can seem to start anew.

Now on to a fantastic weekend with family, food, and . . . you guessed it . . . some great movies.

Feature content is imminent . . .

I wanted to pop in and let you know a little bit about our feature series for September. While it's clearly labeled as "New Mexican Cinema" in the sidebar, it's important to define that a little more clearly so you can understand the angle we're going to be taking.

In the past 20 years, filmmaking in Mexico has undergone a renaissance that's commonly known as Nuevo Cine Mexicano. We're going to focus our feature series on the work of the "Three Amigos:" Alfonso Cuaron, Guillermo del Toro, and Alejandro González Iñárritu. Each member of this triad of friends and collaborators has become a major international director, with a reach far beyond his home country.

In the end, the testament to any filmmaker is in his/her work, not in any number of words that we might pen on the subject. It's our hope that you not only enjoy the series but are, most importantly, inspired to watch their films.

FotM: Vive le cinéma!

Assuming that the only movies worth watching are those made in America is like thinking that grass is only green in Yosemite, the sky is only blue in Manhattan, and the sun only shines on Death Valley. Unfortunately, a lot of Uncle Sam’s nieces and nephews seem to think that that’s how things are. Take it from me. They’re not just wrong. They’re living in a dream world.

Every year, thousands of films are made all over the globe, and, while not all of these films are worth watching, (trust me, as a former screener for a major film festival, I know) far too few of them make it into American movie theaters. Most of those that do were made either on American soil or were funded by American money. Often, even the relatively few foreign films that do make it in stateside theaters don’t receive a lot of press. Sure, a lot of critics might laud a film, but that doesn’t necessarily translate into box office receipts.

I still remember the first time I went to the theater to see a foreign film. It was early 2001 and a film funded by companies from China, Hong Kong, the U.S., and Taiwan had landed in American movie theaters with a bang. At that point, Crouching Tiger, Hidden Dragon was one of the first wuxia films to be advertised heavily here in the U.S. and it became quite a sensation. While it’s commonplace nowadays for action scenes to feature complex fight choreography at lightspeed, back then, films like The Matrix and Crouching Tiger, Hidden Dragon were introducing a whole new world to 16 year old kids just like me. As for my first time watching Crouching Tiger, Hidden Dragon, I distinctly remember not wanting to walk after leaving the theater. I wanted to fly!

Crouching Tiger, Hidden Dragon has since become one of my favorite films, and for a lot more than just the terrific action sequences. The story’s complex, the acting first-rate, the music beautiful, the photography beautiful, the direction wonderfully assured, and the emotional impact unforgettable.

I refuse to watch the film in any language but Mandarin, although the film’s case assures me that I can also watch it in English and French. Why would I want to experience a film in any other language than the one the actors spoke on set? I can’t think of a good reason. Sadly, a lot of people refuse to watch foreign films because they don’t like subtitles. Is this because of they can’t keep up or because they think that it’s too much work? If it’s the first reason, I’d actually argue that watching a subtitled film could help increase a person’s ability to read at a quicker pace. If it’s the second reason, I’d have to disagree. Watching a subtitled film may be different, to be sure, but once you get used to it, it’s a lot like watching any regular old Hollywood flick.

That’s another big reason to watch foreign films. They’re so different from films made under the Hollywood system, and believe me, there is one. I find it refreshing to watch a movie that I just can’t predict. For example, in Krzysztof Kieślowski’s Three Colors trilogy, which I hope to write about in a future entry, I was struck as I was watching White that I had no idea what might happen in the next scene. That’s huge. Far too often with mainstream American films, it becomes a matter of time before an observant audience member can narrow down the outcome to one of a handful of scenarios, which is why watching Kieslowski’s films was so refreshing. Because I didn’t understand everything right away, I was able to actively participate in the experience. I had to actually think about what I was watching and, after it was done, what it meant.

Lately, I’ve been watching more and more foreign films, and I have to say that I wish more American filmmakers would take the kind of risks that international filmmakers seem to take with relative ease. For starters, how great would it be if they stopped trying to hold the audience’s hand all the time by showing us everything and telling us exactly what to think about what we’re seeing? I think that’d be pretty swell. My “research” (and, man, has it been great) has led to films from all over the geographic and stylistic map. Films like the Three Colors trilogy, 4 Months 3 Weeks and 2 Days, A Very Long Engagement, The Lives of Others, L’Enfant, La Vie En Rose, Volver, 2046, Good Bye Lenin!, Pan’s Labyrinth, I’ve Loved You So Long, and Happy-Go-Lucky have made for almost always interesting, sometimes perplexing, and even thrilling cinema.

But how does someone keep track of what films are worth watching? I’d start with taking keeping tabs on the films that are selected as part of the official competition at the Cannes Film Festival, particularly those that win the Palme d’Or. Once you find a film you like, watch more films in that director’s catalog. Also, if there’s a particular genre of film you like, don’t forget that genre films are made all over the world. Personally, there’s this little mobster movie from Italy called Gomorrah that I have my eye on . . .

In the end, what cinephile wouldn't want to see great films no matter where they come from? As you know by now, the movies are a huge part of my life, and I'm thrilled to see great films regardless of where they're made and what language they're in. They remind me that the grass is green, the sky is blue, and, no matter what, the sun still shines. . . and not just in America.