Posts by Robert Koehler
arts•meme contributor Robert Koehler is a film critic for Film Comment, Cinema Scope, IndieWire and Cineaste. He contributes film writing to a number of publications, including Variety and Sight & Sound. He has served as director of programming at the Film Society of Lincoln Center and AFI Fest, and co-created the ongoing Los Angeles-based film series, “The Films That Got Away,” sponsored by the Los Angeles Film Critics Association.
AFI: Los Angeles’ best film festival 1
Los Angeles is blessed—or burdened—with over four dozen film festivals of various shapes, sizes and makes, but there are three that dominate. Outfest, the country’s most successful LGBT festival, is consistently the biggest grossing event. Los Angeles Film Festival (LAFF) has the best title since the city is in its name. AFI Festival Los Angeles ...
Koehler Clips: An Impossible Choice
Like a few of the world’s other major movie-going cities, Los Angeles often presents impossible choices for the exploring cinephile. And tonight, Sunday, provides a doozy. Where to go? To Westwood, to the Billy Wilder Theater, where UCLA Film & Television Archive continues its remarkable “A Century of Chinese Cinema” survey with two exceptionally rare ...
Claire Denis’ City of “Bastards”
Her first feature, “Chocolat”—autobiographical, set in Africa, brazen in the extreme—announced Claire Denis as Europe’s most daring writer-director. She still is, with only a few filmmakers from Iberia (Pedro Costa, Joao Pedro Rodrigues, Albert Serra, Miguel Gomes, all much younger than Denis) as serious competition. Her latest, “Bastards,” (at Laemmle’s Town Center 5 in Encino) ...
David beats Goliath in “Dallas Buyers Club”
Malcolm Gladwell’s new book, “David and Goliath,” arrives at the same moment as “Dallas Buyers Club.” Sometimes there’s harmonic convergence in the culture. Gladwell describes several cases of underdogs discovering their untapped strengths or advantages. “Dallas Buyers Club” takes Gladwell’s thesis into the stratosphere of high entertainment, tracing the incredible but true story of Texas ...
Koehler on Cinema: Clips
A new James Benning movie is enough news in itself and enough for a simple request: Just stop everything and see it. Now, Benning’s “Nightfall” (Los Angeles Filmforum, Spielberg Theatre at the Egyptian, Sun. 7:30 p.m.) isn’t exactly new. It was digitally shot in 2011 in the Sierras, near his property where he built exact ...
Around the world with Enzo Avitabile
One of globalization’s least noted benefits has been the rise of world music, led by a motley crew of legends ranging from Peter Gabriel and Mickey Hart to Djivan Gasparyan and Enzo Avitabile. Drums and frets form the basis for the cross-cultural exchanges, even though an artist like the Naples-born Avitabile is a singer and ...
“The Counselor” is out of order
The death of Elmore Leonard in August (I wrote about his legacy here) and the arrival of the movie,“Salinger,” provided a useful contrast between two utterly opposed writing careers: J.D. Salinger, self-consciously “literary” and perfectionist; Leonard, happily disobedient to literary niceties, prolific and cool. “The Counselor,” the first original screenplay of Cormac McCarthy — regarded ...
“Lost” keeps Redford afloat
This is the season for critics going all nutty, overrating what’s not so good (“12 Years a Slave”) as great, and what’s good—like writer-director J.C. Chandor’s second feature, “All is Lost”—into something amazing. Some critics, such as Mary Corliss, have suggested that “Lost,” given its near-absence of dialogue and focus on a single character, is ...
Strange body art of “12 Years a Slave” 2
Unlike his socially and racially acute art, Steve McQueen’s movies bring out something strange in him. His first film, “Hunger,” carried an overwhelming emotional wallop in its graphic depiction of imprisoned IRA fighter Bobby Sands’ 1982 hunger strike. It went too far, but in good ways—the ways strong art always goes too far. His next, ...
Koehler on Cinema: Clips
It may well be, as one Los Angeles cinephile said to me last week, “the year’s most important film series.” UCLA Film Archive’s “A Century of Chinese Cinema,” unlike the archive’s recent survey of contemporary Chinese cinema curated by former archive programmer Cheng-Sim Lim and REDCAT film series co-director Berenice Reynaud, takes a more historical ...