last night: sex, love, and a frenchman

MASSY TADJEDIN's LAST NIGHT boasts one of the most attractive casts i've ever seen in a film. and what do attractive people do? sleep with each other.

writer/director tadjedin, however, doesn't make it a movie about sex, but a story of a married couple (KIERA KNIGHTLEY and SAM WORTHINGTON) confused about their faith in one another when confronted with temptation (french GUILLAUME CANET and EVA MENDES). after a fight, a business trip divides the main couple between philadelphia and their home in new york, and it is during this one night apart that they are separately confronted with a sexual/romantic itch. the film's scheme keeps its audience guessing how its characters will react to their given circumstances of emotion, desire, intoxication, and doubt throughout the night. all four have backstories, but a viewer must ask themselves what they want of the other: is it sex, or is it love? how do they express it? to this plot, marriage is an unmistakeable roadblock for its players in their exploits outside, and one that elevates the plot to honest drama.

it is full of awkward moments that add to immediacy of its viewing experience, and feels more like a stage play than anything that has been on screen for a while. the story and its tellers don't try convince their audience of a specific viewpoint of love and marriage, but try to figure it out, making this film a genuine gem in a genre generally jaded to the male or female sex. beautifully shot, well acted (i think something's clicked for knightley), and skillfully directed, LAST NIGHT will read you as well as you read it.

of gods and men: a story of faith for euro-loving hipsters everywhere

some french cistercian monks got more than they bargained for during a terrorist uprising in algeria a few years ago, inspiring this magnificent film to be made. OF GODS AND MEN explores the unique dramatic situation of this group of holy men that stood determined to live out their vocation as Catholic priests in a foreign country.

the film's beauty extends from these men coming to realize what faith is in the midst of death. while one might think a priest would have a solid grasp on the mysteries of what faces a man after death and their personal relationship to the divine, we are able to see doubt spread across their faces as terrorists intrude their monastery. it is a true drama here, seeing these men come to terms with their own priestly vows when their lives are threatened, and it seems here to be the honest conversion of saints or martyrs.

great characters. fantastic direction. so cannes. so euro. so beautiful and thought-provoking. absolutely powerful. for our hipster generation that rarely puts faith above itself, i think this is one to consider seeing.

original trailer

the universe continues to rain on natalie portman this year. thank her for producing something that looks like it could be awesome, or at least original.

looks like an indie darling

i'm interested to see the directoral debut of HOW I MET YOUR MOTHER's JOSH RADNOR in HAPPYTHANKYOUMOREPLEASE, although the title is an annoying mouthful. it feels very zach braff, right?



"my great shame as a writer is just that i'm this suburban kid with good parents... hardly dickensian." magical visionary... definitely not, but i'm staying tuned.

and i love and will always love kate mara.