E24 film} fall arts preview film from E19
24 — “Tangled,” an animated take on the Rapunzel fairy tale, features the voice of Mandy Moore as the long-tressed maiden, who, when her tower-prison is invaded by a charming bandit (Zachary Levi), sees a chance for escape.
24 — “The King’s Speech” stars Colin Firth as King George VI, who, when he unexpectedly becomes the crowned leader of England in 1936, must overcome a serious speech impediment and eventually take his country to war. Here are words we never thought we’d write: Geoffrey Rush plays the king’s speech therapist.
26 — “White Material” portrays a white French family living in Africa and trying to save its coffee plantation in the midst of the unnamed region’s civil and racial unrest. With Isabelle Huppert, Christopher Lambert and Isaach De Bankolé.
K.C. BAILEY/FOCUS FEATURES DECEMBER
TBD — “Biutiful,” by writer-director Alejandro Iñárritu (“Babel”), stars Javier Bardem as a single father living in Barcelona whose work with illegal immigrants, relationship with his ex-wife and concern for his children come to dramatic head.
2— The Capital Irish Film Festival gets underway at Landmark’s E Street Cinema and Goethe-Institut. This year’s lineup includes a replay of the comic thriller “Perrier’s Bounty,” starring Cillian Murphy, and “Pyjama Girls,” a documentary about a group of Dublin teens who wear PJs as street clothes. Through Dec. 11.
2— The 21st annual Washington Jewish Film Festival begins with the U.S. premiere of “La Rafle” (“The Round Up”), starring Jean Reno and Melanie Laurent, about an infamous episode in Vichy France. The festival, which will feature the Israeli documentary “World Class Kids” and the tragic love story “Jaffa,” continues through Dec. 12.
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3 — “Miral,” from director Julian Schnabel (“The Diving Bell and the Butterfly”), presents the
first-person experience of a young girl growing up in East Jerusalem, where conflict seeps into every aspect of her life. With Hiam Abbassand Willem Dafoe.
5— “Force of Evil” arrives at the National Gallery in celebration of writer-director Abraham Polonsky’s 100th birthday, in a restored print of the influential film noir.
10 — “The Chronicles of Narnia: The Voyage of the Dawn Treader” offers the latest installment of the popular C.S. Lewis series, with Edmund, Lucy, Reepicheep and King Caspian finding themselves plunged into the world of adventure and daring by way of a magical painting.
10 — “The Tourist” features Johnny Depp as a traveler who in Venice crosses paths with a mysterious woman (Angelina Jolie) and becomes embroiled in an international tale of intrigue.
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10 — “The Fighter” stars Mark Wahlberg, Christian Bale and Amy Adams in David O. Russell’s adaptation of the true story of 1980s boxer Mickey Ward.
10 — “Marwencol” tells the remarkable story of Mark Hogancamp, who in order to
recover from a potentially fatal brain injury rehabilitates himself by creating a fantasy world with dolls and miniatures, set in World War II Europe.
‘It’s Kind of a Funny Story’
Since making their feature debut in 2006 with the astonishing “Half Nelson,” Anna Boden and Ryan Fleck have exemplified a generation of young filmmakers whose spontaneous sense of narrative, intimate filming and humanistic compassion have reinvigorated American movies. Like “Half Nelson,” the team’s last film, “Sugar”was from an original screenplay. This fall they deliver their first adaptation with “It’s Kind of a Funny Story,” an adaptation of a novel by Ned Vizzini. And check out the cast: Zach Galifianakis, Lauren Graham, Viola Davis and . . . Emma Roberts? Kind of random! If anyone can make it work, it’s Boden and Fleck.
VIDEO ON THE WEBWatch the trailer for "It’s Kind of a Funny Story" at
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Lake” are foiled by a recently arrived ingenue (Mila Kunis) in Darren Aronofsky’s highly anticipated drama about art, passion and ambition. (Let’s all agree to watch the new Blu-ray of “The Red Shoes” to prepare, agreed?)
» »
17 — “How Do You Know” brings director James L. Brooks (“Broadcast News,” “As Good as It Gets”) back to romantic comedy, with a love triangle set in the world of sports and life transitions. . Reese Witherspoon is up to bat, with Paul Rudd, Owen Wilson and Jack Nicholson on deck.
17 — “Tron Legacy” revisits the beloved 1982 movie, here with Garrett Hedlund playing the volatile 27-year-old Sam Flynn, whose father, Kevin (Jeff Bridges),was once the world’s greatest video game developer. When strange things begin to happen, Sam is plunged into a vast cyberworld of danger and dad issues. Control-Alt-Delete! Control-Alt-Delete!
17 — “Yogi Bear” is “Yogi Bear” except in 3-D computer animation with the voices of Dan Aykroyd, Justin Timberlake and Anna Faris. Hey Boo-Boo! Looks like Hollywood is scraping the bottom of the pic-a-nick basket for nostalgic baby boomer retreads!
» 6
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17 — “Made in Dagenham” is Nigel Cole’s dramatization of a pivotal strike in 1968, when female workers demonstrated against sexual discrimination at a Ford car plant just outside London.
17 — “The Tempest” reunites director Julie Taymor (“Titus”) with William Shakespeare, whose
play about nature, mortality and forgiveness Taymor adapts with a cast including Helen Mirren, Russell Brand,
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10 — “Black Swan” stars Natalie Portman as a gifted ballerina whose plans to star in “Swan
Alfred Molina and Djimon Hounsou.
22 — “Gulliver’s Travels” stars Jack Black as a lowly mailroom clerk who is mistakenly sent to Bermuda and finds himself stranded on an island inhabited by tiny people in this contemporary take on Jonathan Swift’s classic tale. With Amanda Peet, Emily Blunt and Jason Segel.
22 — “Little Fockers” stars Ben Stiller, Robert De Niro and — you know. In a comedy about — sigh — which takes a hilarious twist when — oh, forget it. When are they going to make “The Godfocker” already and just be done with it?
25 — “True Grit,” a remake of the 1969 classic starring John Wayne, stars Jeff Bridges in Wayne’s role as the crusty ole U.S. Marshal Rooster Cogburn, who helps the teenage Mattie Ross (Hailee Steinfeld) find the varmint what shot her pa. Josh Brolin plays the varmint.
dissolution through the course of a fragile marriage. With Michelle Williams and Ryan Gosling.
» JANUARY
7— “Unknown White Male” stars Liam Neeson as a man who seeks to prove his identity after a mysterious car accident. With January Jones, Diane Kruger and Aidan Quinn.
7— “Country Strong” finally explains why we’ve been seeing all those Web shots of Gwyneth Paltrow on stage with a guitar. Here she plays an on-the-ropes country singer whose career promises to be resurrected when she meets a promising songwriter (Garrett Hedlund). And don’t laugh: If “Duets” was any indication, the girl can sing.
29 — “The Debt” stars Helen Mirren in the story of a Mossad agent who sets out to capture a Nazi war criminal, only to have a man claiming to be the hated character resurface decades later. With Ciaran Hinds and Tom Wilkinson.
31 — “Blue Valentine” is Derek Cianfrance’s poetic drama about young romance and its
14 — “For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf” is a film about black female identity from Tyler Perry (of “Madea’s Family Reunion” fame). The film, based on Ntozake Shange’s award-winning 1975 play of poems, stars Whoopi Goldberg, Thandie Newton, Janet Jackson and Phylicia Rashad.
14 — “The Green Hornet” (3-D) follows a newspaper publisher (Seth Rogen) who fights crime as a masked superhero. Directed by Michel Gondry and featuring Taiwanese pop star Jay Chou.
21 — Film/Neufestival, a series of new works from Germany, Switzerland and Austria, launches at the Goethe-Institut and continues through Jan. 27.
21 — “Another Year” features filmmaker Mike Leigh’s signature realismand portrays an ordinary couple entering their early 60s in this comedy-drama with Jim Broadbent and Ruth Sheen.
21 — “Don’t Be Afraid of the Dark.” A young girl is sent to live with her father (Guy Pearce) and his girlfriend (Katie Holmes) in a haunted mansion filled with demonic creatures. Directed by Troy Nixey.
28 — “The Illusionist” is French animator Sylvain Chomet’s homage to Jacques Tati and presents the latter’s unproduced screenplay about a struggling vaudeville magician.
28 — “The Mechanic” remakes the 1972 action thriller about an elite hit man and his apprentice. With Jason Statham, Ben Foster and Donald Sutherland.
28 — “The Rite” adapts Matt Baglio’s novel “The Rite — The Making of Modern Exorcism,” based on a true story. With Anthony Hopkins and Alice Braga.
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fashion}
Finally, designs for grown-ups
Fall trends celebrate diversity in all of its female forms
by Robin Givhan I
n the fashion industry, look- ing forward to fall is the equivalent of looking back. Six months ago, when designers in New York and Europe un- veiled their fall 2010 collections, it was hard to be enthusiastic about the prospect of another season of bundling up. Shop- pers were worn down from a winter of blizzards, blizzards and . . . really, seriously, another blizzard? Folks were dreaming of beaches and bikinis; was any- one but the most devoted fash- ion aficionados really paying at- tention to joyful talk of cash- mere and wool?
One hopes so. Because de- signers, in their role as aesthetic soothsayers, wisely foresaw a need for clothes with a more so- phisticated and polished sensi- bility. So calming, so mature, so very Washington. They believed consumers were hungry for styles created with grown-ups as their inspiration — not rock star wannabees, over-indulged teenagers or even social-climb- ing philanthropists.
If the suddenly serene and so- phisticated clothes come as a pleasant surprise, the industry’s accompanying cultural shift is even more astounding . . . and gratifying. Diversity, in permu- tations from race to weight, has been seriously addressed. It’s too soon to know whether the industry will continue on this path of righteousness and goodwill. Or if it will backtrack to its cliched, parochial ways. The spring 2011 collections have just begun to roll out in New York. It may be that all of this progress will be wholly negated. So let’s enjoy this moment — this fashion limbo between the past and the future — while we can. Ahandful of collections epito- mized the shift in aesthetics for fall. Designer Miuccia Prada de- livered a collection that empha- sized a narrow waist, a full bust and noticeable hips. To under- score her point — that the hour- glass figure is worth celebrating — she used Victoria’s Secret models in her Milan show. She chose these women because, un- like her boyishly shaped runway regulars, they have built a ca- reer on their curves. Prada wasn’t interested in a
va-va-va-voom figure in the manner of a pinup. Her point of view was more subtle and more refined. The idea wasn’t to exag- gerate or to titillate. Instead, she quietly encouraged runway watchers to take a moment, stop stressing about their figures — stop going hungry — and just enjoy looking womanly. A complimentary message came from designers Francisco Costa at Calvin Klein and Phoe- be Philo at Céline. Their collec- tions were clean and spare. Phi- lo cut white shirts with tiny Pe- ter Pan collars and easy dresses with a dropped waist. Costa’s highlights included a collarless black coat, a sheath in dueling textures of black fabric and a suit jacket with balloon sleeves. Only a supremely confident woman would be drawn to these garments, in part because they make no promises about daz- zling an audience on her behalf or helping her create an alter ego. This woman can mesmer- ize on her own and her ego is just fine. These clothes aren’t camouflage or armor. They are merely beautiful frocks stitched out of luxurious fabrics. And that is more than enough to rec- ommend them. Even if a woman has no inten-
SUNDAY, SEPTEMBER 12, 2010
MARIA VALENTINO FOR THE WASHINGTON POST
LOOKING WOMANLY: Miuccia Prada’s collection boasts luxurious fabrics and designs for women, not waifs.
tion of spending thousands of dollars to buff up her wardrobe, fall offers a message relevant to the most frugal shopper: Do not be swayed by ostentatious flour- ishes. Do not be misled into be- lieving that fashion can work magic. This is a season of ward- robe realism. That cool pragmatism and ra-
tionality comes through in the industry’s wider embrace. De- signers had been wrestling with the issue of diversity for years. And many of them were recent- ly called out by some of the in- dustry’s most high-profile mem- bers — model Naomi Campbell, Italian Vogue editor Franca Soz- zani, activist Bethann Hardison — for their homogeneously white runways. For fall, models of color had a more pronounced presence on the catwalks in New York and in Europe. As the baby boomers age, the
great glut of fashion customers are now deep into their 40s and 50s. And it has become impos- sible for designers to ignore the numbers of Hollywood starlets — those most-valued red carpet regulars — who have settled into their 40s. Women such as Demi Moore are still wearing runway samples and delighting in youthful trends. So it only made sense that older women were part of the mix at the Cal- vin Klein and Marc Jacobs shows. Older models have made special appearances before — designers like nothing better than a gimmick or a shocking flourish. But this felt different because the mannequins were not meant to be the stars of the show. They weren’t used as dis- tractions. They were just an- other variation on tall, striking womanhood. And finally, society’s anger
over twig-thin models, many of whom were dangerously skinny, stopped falling on deaf ears. Af- ter successful models spoke up about the pressure to remain sickly thin, and editors began to express their distaste for using such fragile-looking creatures, the numbers of models who look wan and ill has noticeably declined.
Plus-size women are making their fashion desires known. It would be a stretch to say Sev- enth Avenue has become enam- ored of full-figured customers. That’s simply not the case. There has not been a rush of high-end labels looking to ex- pand into sizes 14, 16 or 18. But a more womanly shape is in vogue for fall — and not just at Prada. Instead of creating clothes that look their best on a tomboyish, adolescent figure, designers have taken on the challenge of creating clothes that must navigate hips and breasts. For fall, designers, so used to leading the way in defining beauty and desirability, became followers. This time, the aes- thetics followed the social shifts, the mainstream demands and the watchdog protests. The result is an industry that — for the moment — looks smart, so- phisticated and self-assured. Designers finally realized that while it might take more effort to woo a woman than it does to placate a girl, the accompanying success is far more satisfying.
givhanr@washpost.com
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