Moreover we’re aiming to strengthen our features section through strong editing. With The Balcony, run by Kyle Turner, we’re looking to do what The House Next Door and The Film Stage do on a daily basis: curate interesting, informative, topical pieces of writing that both entertain and enlighten. There’s quite a bit to be pleased with, but the opening of The Balcony sits atop that list. What new features are you most pleased with? All incredibly talented individuals who bring a unique perspective to Mezzanine. On the editorial front we’ve been making changes and additions all year, starting with Josh Spiegel, Tina Hassannia, and Kenji Fujishima. That includes all the additional elements: the new rating system, more original illustrations by Alex Kittle and Krishna Shenoi, a reworked logo, myriad of design elements, etc. The redesign has been in the works for a few months. New Movies: Release Calendar for March 24, Plus Where to Watch the Latest Filmsįrom 'Nymphomaniac' to 'Little Ashes': Unsimulated Sex Scenes in 38 Films And we couldn’t have made this happen without her.ĭonald Glover Made Dominique Fishback Watch Isabelle Huppert in 'The Piano Teacher' Before 'Swarm'Ģ023 Emmy Predictions: Outstanding Scripted Variety Series Her wisdom, intelligence, and occasional insanity is a key factor in the site’s evolution. She was the one who inspired me to take Mezzanine in a different, stronger direction. But the main catalyst behind all of this is Tina Hassannia. Mezzanine is becoming what is becoming because of the guidance and support from a whole host of people, from Corey Atad to James Ward to Matt Zoller Seitz. We felt it was time for a change, aesthetically speaking. What’s the motivation behind the redesign and relaunch? To celebrate its second anniversary, the site is relaunching with a new design, a handful of new contributors ( Miriam Bale, Angelo Muredda), new partners (Fandor, The Critical Press), and a new section of the site inspired by Slant’s The House Next Door.Ĭriticwire spoke to founder Sam Fragoso about the site’s relaunch. “Definitely ‘ Au Hasard Balthazar.’ I just couldn’t connect with it.Movie Mezzanine launched in January of 2013, and it has since become an outlet for up-and-coming film critics, editors and writers, from Kenji Fujishima to Charles Bramesco to Monica Castillo. Surely it didn’t help that I spent half the movie thinking Marie was blind because of the far-off look in her eyes… until she (I think) started driving. I’ve thought about giving it another chance, but I’d rather just revisit ‘The Passion of Joan of Arc.'”Īdam Batty, Hope Lies at 24 Frames Per Second : “This week’s hot topic, the ‘Jane Got A Gun’ debacle, has brought back some sour memories for yours truly, in the shape of Lynne Ramsay’s ‘ We Need To Talk About Kevin.’ Having grown up with Ramsay’s earliest films as an integral part of my own filmic grounding, expectations were hopeful for the Scottish filmmaker’s third film, adapted from Lionel Shriver’s novel, only for disappointment to strike almost immediately. While stylistic complacency isn’t a specific requirement I expect of my favorite filmmakers, ‘We Need To Talk About Kevin’ just really didn’t work for me.” The heavy-handedness, however much intentional, proved too much, and stood at odds with the particular style I’d come to associate with Ramsay. “It’s widely enough regarded that it made the Sight & Sound list last year, and I truly, deeply disliked ‘ L’Atalante.’ Even recognizing all of the subversive ideas and the poetic inclinations (like internal rhyme and fluidity), its story is mishandled despite how simple it is. The relationships in it don’t work, and there are a ton of logical gaps. Fortunately it gave rise to many New Wave filmmakers that delivered a library of great work, so its legacy as an influence outlives its own quality.”ĭanny Bowes, Movie Mezzanine / Movies By Bowes : It’s brimming with subtext but missing everything else.
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