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Coauthor: Seattle Cinema Almanac

Resume: A weekly podcast and listing of art house screenings across Western Washington. Part of @Cinema_Cocktail's Cinema Almanac Project.

Documentary
user Rating 7,5 / 10 stars
Factory and construction workers, farmers, commuters, miners, students. The director captures the state of his nation, by static filming one or more people in more or less motionless poses. No narrative, just portraits
Duration 79 min
Director Xiaoshuai Wang
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He is form Repin. An Ukrainian. This is very helpful! I like how he (she? starts with just a basic outline of the entire structure of the head, neck, and shoulders first, and then established the basic lighting with shadows, and THEN gets into more details with the features. I've been doing this wrong for decades! I've beed working in reverse! No wonder my portraits turn out crappy looking! LOL! Thank you for the education.

Movie watch chinese portrait studio. Movie watch chinese portrait free. Movie watch chinese portrait movie. Trailer we all know it is coming, but only a few of us fear it. no one has ownership over their expiration date, and when you have to watch over a loved one during an illness, it’s especially difficult, because every area counts as a potential deathbed. Lulu Wang’s “The Farewell” touches on existential anxiety in the most quietly powerful form, referring to the persistent degrees that interfere with everyday functioning. the movie is a record of aspiring Chinese-American writer Billi (Awkwafina), who maintains a close relationship with Nai Nai (Zhao Shuzhen), her paternal grandmother in Changchun, China. after receiving a rejection letter for a Guggenheim Fellowship, Billi discovers even worse news from her parents, Haiyan (Tzi Ma) and Jian (Diana Lin). they reveal that Nai Nai has been diagnosed with terminal lung cancer, and is predicted to have only a few months left to live. out of respect, the entire family makes a decision to keep the diagnosis a secret from Nai Nai herself. they manipulate medical test results, and unite everyone together through an excuse of Billi’s cousin, Hao Hao, getting married. fearing Billi will end up exposing the lie directly to her grandmother, Haiyan and Jian tell her to stay behind in New York City. she disobeys their orders, and flies to Changchun by herself. throughout the trip, Billi clashes with the rest of the family over their deliberate dishonesty towards her grandmother. she obviously differs from the collectivistic values common in her culture. their Chinese beliefs result in a family refusing to disclose such a life-threatening disease to the matriarch. during the confidentiality, Nai Nai remains free from agitation or disturbance. it’s incredibly easy for her peaceful state to rub off on those around her. once she enters a room, it becomes full of tranquility. luckily, she’s had a lifetime full of practice, and gives off the impression that even if she did know, she would reduce her decisions down to the most calm route possible. Wang has a hard-headed approach when she identifies the themes of this story. not only does she visualize key points with immaculate perplexity, but she also attaches clarity and conceptual awareness to every character. Awkwafina is miraculous in her first dramatic role. she has a special skill with observation and examination, operating her performance at max speed with imperative control. she wanders through the good and the bad that come along with cessation. even through the most jolly gatherings with her family, she holds an issue against the afterlife, not knowing if it will contain any reward, judgement, or punishment. others in the family disguise their source of concern, but even they can’t hold the shields up for long. the lucrative slaps of reality still manage to slip their way through, and make everyone question their own morality. they count their blessings as if it’s the last bet, fuming primarily on risk and chance. the movie’s outline is sort of like an allusion to those old Kitty and Cleo cartoons, where the bulldog found crafty ways to get a small, innocent cat out of danger. the relatives are all beaming with sweat while Nai Nai kicks back with serenity. a movie like this doesn’t come along every day, and that’s one of the many reasons why i’m glad i saw it. “The Farewell” is a striking psychological portrait of grief without the acceptance. the multifaceted process and emotional pathways that follow make it one of the most disciplined and involving films i’ve seen this year. its prevailing conditions make us want to shove out the desires for our own sake, and twist them around to the point of utility instead.

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Exchange letters in French with a native speaker. Exchange letters in German with a native speaker. Exchange letters in Egyptian Arabic with a native speaker. Exchange letters in Italian with a native speaker. Exchange letters in Spanish with a native speaker. Win NaNoWriMo in French. Win NaNoWriMo in German. Win NaNoWriMo in Egyptian Arabic. Win NaNoWriMo in Italian. Win NaNoWriMo in Spanish. Copy out 4 books in French by way of typing. Copy out 4 books in German by way of typing. Copy out 4 books in Egyptian Arabic by way of typing. Copy out 4 books in Italian by way of typing. Copy out 4 books in Spanish by way of typing. Watch 100 classic foreign films that I have never before seen, that are not in the English, French, German, Egyptian Arabic, Italian or Spanish languages. Watch 100 silent films. Watch 100 classic American films. Watch 100 animated films that were neither anime, nor produced by American studios. Memorize the periodic table. 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As December arrives, the gears in the awards race start to increase their speed to the max, and my addiction to see the different Oscar campaigns flying or crashing is rewarded. Let's take a quick look at the calendar for the next two weeks: -Tuesday, December 3: The National Board of Review (NBR) announces the honorees for the Top 10 Films of the Year. -Wednesday, December 4: The New York Film Critics Circle (NYFCC) votes and announces its 2019 awards. -Sunday. December 8: The Los Angeles Film Critics Association (LAFCA) votes and announces its 2019 awards. -Monday, December 9: The Golden Globes nominations are announced. -Wednesday, December 11: The Screen Actors Guild (SAG) nominations are announced. But before the race starts to shake, it's good to take a look at the status of the contenders, and why they need some of the awards and nominations that I just mentioned. -1917: Let's start things off with a bang. Sam Mendes' one-take WWI extravaganza finally started screening a few days ago, and the reactions agree that the movie, about two English soldiers crossing enemy territory to send a message that will stop a massive ambush, is very thrilling and has it's fair share of emotions. Impressive war movies are like catnip to the old members of the Academy, and if they are not too distracted with Scorsese and Tarantino, we could be looking at nominations for Best Picture, Best Director, Best Cinematography (Roger Deakins, bay-bay! ), Best Production Design, Best Original Score (it's a crime that Thomas Newman hasn't won one yet), Best Sound Mixing and Best Sound Editing. There's also rumblings about the up-and-comer George MacKay being in the running for Best Actor, and some say that it even has a shot at Best Original Screenplay. This shakes up the race, without a doubt. -A Beautiful Day in the Neighborhood: While some movies rise, other movies start fading out. After Toronto, it seemed like Marielle Heller's Mr. Rogers dramedy would be a slam dunk for the race, but even though the raves are there and the box office results are decent, the buzz is disappearing. There's too many films fighting for attention, so non-flashy films like this one end up paying the price. The adapted screenplay and Tom Hanks' supporting performance have become the only big shots for Oscar love, but let's not forget that Tom hasn't been nominated since 2001, because of that time a witch put a curse on him or something like that. -Avengers: Endgame: After some fanboy controversy that looked a little engineered, Disney has begun the serious campaigning for Best Picture with a film by the acclaimed auteurs known as the Russo Bros, who would like for you to know that "cinema" is an elite word. Anyway, while that's definitely not happening, the Mouse House is putting a little more weight for a Best Supporting Actor nod for Robert Downey Jr's farewell portrayal of Tony Stark, and it's gonna be interesting to see if the Globes or SAG fall for that. Hey, they have important posters and everything! -Bombshell: If there's one movie that will need to jump on the hype-o-meter thanks to the Golden Globes and SAG voting bodies (the first group being some shady, easily bought foreign journalists, while the second one is made up of actors who love these kinds of movies), it's Jay Roach's expose about the abuse at Fox News. Charlize Theron's eerily accurate lead turn as Megyn Kelly is bound to get some love (although part of it comes from the "This person looks exactly like the real person, so that's automatically a great performance" factor), and Margot Robbie's portrayal of a fictional decent Fox News employee can slide in the Supporting Actress nods. Add Make-Up and Hairstyling, and those are the big shots for what critics call "the Vice of 2019". -Cats: Everybody has stopped pretending that Tom Hooper's adaptation of Andrew Lloyd Webber's furry musical has a shot for Best Picture, but apparently Universal is rushing to get the Golden Globes voters to see the movie before the deadline. And let's be honest, it's totally possible that, no matter how it is, Cats ends up nominated for Best Comedy/Musical. You know it, I know it. Also, they still have chances for smaller Oscars, like Best Original Song, with this totally not tacked track by ALW and a suddenly British Taylor Swift. -Dark Waters: "DU PONT, YOU BASTARD!!!!! " That's what I imagine Mark Ruffalo screams in this legal thriller surprisingly directed by Todd Haynes, about the real case of a town poisoned by a neglectful corportation. While the reviews for this depressing story have been very good, and the box office release has been expanding nicely, this is a classic case of a small movie released too late. Usually this kind of movie needs dedication to build the hype, but it was screened in the middle of November in a crowded season that is rushed because the Oscar ceremony is almost a month early, so a bunch of people don't even know that this exists. Also, shoutout to the poor Anne Hathaway, who is playing The Wife here. -Dolemite Is My Name: You know who needs some Golden Globes and SAG love? Eddie Murphy. The Netflix release of the Rudy Ray Moore biopic has been a little underwhelming to build buzz, and with the streamer's interest being more devoted to The Irishman, The Two Popes and Marriage Story, the film's only chance for an Oscar nomination lives or dies on Eddie popping up in the Best Actor nods right now. -Downton Abbey: Wanna know a fun fact? This movie made 186 million dollars worldwide. That's like 581 Lucy in the Skies! In other words, we have to wonder if Julian Fellowes' big screen continuation of the TV period piece will just settle for Production Design and Costume Design awards, because there's a wild card in the Best Supporting Actress race: Maggie Smith. Everybody loves her, and it wouldn't be a surprise to see her nominated for a Globe or a SAG this season. -Ford v Ferrari: Your dad's new favorite movie has been running at full speed at the box office, grossing 143 millions worldwide in a couple of weeks and finally proving to Disney the value of Fox's big adult dramas. Now, James Mangold's flick will need to get some Golden Globes love for Christian Bale's performance if it wants to stick in the Best Picture race, because sometimes being a technical crowdpleaser is not enough. -Frozen II: While the critics agree that this sequel is decent but doesn't live up to the original, Elsa has used her dark powers to dominate the box office and raise 738 million dollars in less than two weeks, which leads us to talk about the Best Animated Feature category. After the breath of fresh air that was the win by Spider-Man: Into The Spider-Verse, we're back in Disneytown, because this year the category is weak in terms of commercial contenders to the Mouse, while smaller movies like I Lost My Body (IT'S RIGHT NOW ON NETFLIX, PEOPLE, CHECK IT OUT) or foreign flicks like Weathering With You won't get as much attention. Basically, expect Frozen II or Toy Story 4 to win this year. My only doubt: Will Disney still push Into the Unknown for Best Original Song, or change it to Show Yourself, which is the song people liked better after seeing the movie? -Harriet: Now that the Best Actress race is more crowded, it's getting harder for Cynthia Erivo to keep her spot in the Top 5, so she really needs those Globe and SAG nominations. -Honey Boy: After the strong reviews for Alma Har'el's directorial debut that deals with Shia LaBeouf writing the story of his troubled young fame and playing his own father, it seemed that Hollywood really wanted the Shia LaBeouf comeback. But while the film has gotten a nomination for the Spirit Awards (aka, the Indie Oscars) for Shia's performance, the box office expansion for this movie has been disappointing. Throw that into a crowded race, and you get shrinking odds. -Hustlers: We know that Lorene Scafaria's con friends tale is a hit at the box office (it has grossed over 150 millions on a 20, 7 mil budget), and now we get to see the two big campaigns unfold. On one hand, we have Jennifer Lopez cashing in the critical love (she was one of the Best Performances of the Year according to Time, and got a Spirit nomination as well), meeting every voter, and stepping up to Laura Dern as the race for Best Supporting Actress becomes a 1v1 match. Then, Scafaria (who got a Spirit nom for Best Director) has been making the rounds, and those chances for Best Adapted Screenplay seem closer and closer. Expect this one to benefit from the Globes and SAG nominations. -Jojo Rabbit: Taika Waititi's WWII satire has been performing decently at the box office, but it needs some Golden Globes love if it wants to keep attention for the Best Picture race. -Joker: We know that Joaquin is locked and loaded for the Oscar nominations for Best Actor, and the box office has broken the billion dollar threshold, but the Best Picture chances for the sad clown have been rocked by the revelation of Todd Phillips considering... a sequel? Oh, my monocle! Warner has been quick to deny the breaking news by The Hollywood Reporter, mainly because a sequel would prove that Joker's punk themes about society and stuff were bull, but whatever. In other news, John Waters said that Joker was one of his 10 favorite movies of the year because it's so dangerous, and this encapsulates why I despise every critic who saw this piece of nothing at Venice and ran off to write shocked thinkpieces that ended up helping the movie. -Judy: It's hard to be alone at the top, and that's gonna be a test for Renee Zellweger as she now has to keep her number 1 spot in the Best Actress race for the next two months. Expect a change to come soon, even if she's bound to get SAG and Globe noms in a few days. -Just Mercy: It seems that Warner Bros has put all of its eggs in the Joker basket, because nobody's talking about the legal drama starring Michael B. Jordan and Brie Larson. Even the best chance of this movie, a supporting turn by Jamie Foxx, has withered away in the big race. If this doesn't get any Globes or SAG nods, it's Oscar chances are gone. -Knives Out: Benoit Blanc is in the house, and Rian Johnson's all-star whodunnit followed its months of critical praise with a big opening weekend of 70 million dollars worldwide, which is amazing news. While Lionsgate is looking at the results of the mystery comedy (that had a 40 million dollar budget) with those sequel eyes, the chances for a surprise Oscar nomination for Rian's original screenplay became louder. Take that, Youtube channels still milking "Last Jedi hurt my tricycle" videos. -Little Women: The proper reviews are out, and critics are falling over with praise for the literary adaptation, which is great for the Oscar chances of Greta Gerwig, Saoirse Ronan and Florence Pugh. The Globes/SAG boost will help a lot, too. -Marriage Story: Speaking of the Globes/SAG boost, expect the Noah Baumbach divorce dramedy to jump to the spotlight for the next few weeks, because the film will be everywhere between the locked nominations (Adam Driver, Scarlett Johansson, Laura Dern) and the release on Netflix worldwide this Friday. If only ScarJo would stop saying stuff, this would have been a different race. -Once Upon a Time in Hollywood: The first big test of Quentin Tarantino's love letter to the '60 will be if the staying power of the movie translates to Globes and SAG noms. Expect this to become a reality. -Pain and Glory: As critics start to rush to post their Top Ten lists of 2019, Pedro Almodóvar's self-portrait has been getting a lot of love, as well as Antonio Banderas' heartbreaking turn. While this movie has been overshadowed by the next film in our list, Banderas can benefit if he scores in the critics circles and gets a Globes nod (the SAG is less possible because the actors guild is... how do I put it... allergic to performances by anyone who isn't white and speaking English). -Parasite: Bong Hive, assemble. The Korean class warfare satire is a few weeks away from entering the Top 10 for box office grosses by foreign films in the US, and the critics are still showering Bong Joon-Ho with praise. While it's nearly impossible to see the film getting nominated for a SAG, the Globes will surely spread some nominations (even though the film can't compete for Best Drama or Best Comedy/Musical because of a dumb rule against foreign movies). And we have to see how the critics circle boost Bong. Will we have the next Roma? -Queen and Slim: Melina Matzoukas' riff on the lovers on the run subgenre scored nicely over the Thanksgiving box office, and will sure become a minor hit. But, as with Dark Waters, it screened too late, so it's hard to see the film, Matzoukas, the screenwriter Lena Waithe or its leads (Daniel Kaluuya and Jodie Turner-Smith) standing tall in the crowded race. -Richard Jewell: While Dark Waters and Queen and Slim screened too late to get properly noticed, you know who is the guy for whom every old Academy member saves a spot every year? Clint Eastwood, that's who. Sometimes he gives us a Letters From Iwo Jima, sometimes he gives us Hereafter. Now he came with the tale of the security guard who got wrongfully accused of bombing a stadium in Atlanta, and makes a star of Paul Walter Hauser (previously known for playing the drooling dumb in I, Tonya, BlackKklansman and Cobra Kai), who now also joins the Best Actor race, while Sam Rockwell puts the hood down and plays his lawyer. While some people said that this could sneak up in Best Picture, the road is still full of doubts, especially after some reports about how Eastwood treats a journalist character played by Olivia Wilde, based on a now deceased woman who is now played as an evil cartoon who gets sex for scoops. At least Clint deleted the scene where she plots with a chair for a conspiracy involving the DNC. -Rocketman: Nobody is expecting the Elton John musical biopic to get big nominations at the Oscars, but you just know that Taron Egerton will be happy to get that Golden Globes love and smile his face off on TV. -The Farewell: As the race becomes more crowded, Lulu Wang's culture clash dramedy has to keep popping up, and A24 has been grinding with this one, even bringing out Zhao Shushen to campaign. The Spirit Awards boosted the film with nods for Best Picture, Best Actress for Awkwafina (who now goes around in some campaigning spots using her real name, Nora Lum), and Best Supporting Actress for Zhao. Now, it has to contend the rules of the Globes (because the movie features Chinese in most of the dialogue, it's classified as foreign, so it can't compete for Best Drama or Best Comedy/Musical) and the preferences of the SAG. -The Irishman: Martin Scorsese's epic and heartbreaking goodbye to the gangsters of his youth is out to the world, and people have been talking... mostly, about how to watch it. Apparently, everybody is cool with downing a Stranger Things season in a day or watching the second hour of Ant-Man trying to eat a taco with the Hulk, but three and a half hours for Jimmy Hoffa's pal ruminating about death are suddenly too much. Kids these days. I'm kidding, but the reaction to Marty's epic goes from praise from some to disdain and "ok, boomer" reactions from people hurt by his MCU comments or ready to launch thinkpieces about a movie that actually takes the glamour out of the mob life. That could prove fatal by the end. -The Lighthouse: While the Spirits gave several nods to Robert Eggers' spooky old timey cabin fever tale, the Globes and SAG nominations are the true tests of the only big chance for this movie, the "supporting" role of Willem Dafoe. -The Report: Did you know that this movie is on Amazon right now? It got ignored by the Spirit awards, and it seems unlikely that the Globes and the SAGs remember that this movie about Adam Driver (who is busy campaigning for Marriage Story and spraying Reylo shippers out of his yard) dealing with the tortures in the Iraq War exists. Sorry Annette Bening, better luck next time. -The Two Popes: IT'S TIME FOR THE POPES TO PLAY. After months of hearing reports of old people being delighted by the popal clash, we'll see if Jonathan Pryce and Anthony Hopkins can charm their way to some Globes and SAG nods. This paragraph is too weird. -Uncut Gems: Adam Sandler and the Safdie brothers keep collecting praise, and a bunch of Spirit nods are a good lead-in to a week when the Sandman will need both the industry and the critics love. -Us: Lupita Nyong'o is campaigning hard for her double role in Jordan Peele's thriller, and we'll likely see her pop up in the Globes line-up. It's a shame that Us released so early this year, because if it had come out in October, she'd be locked for a Best Actress nod. -Waves: Trey Edward Shults' family drama had some praise coming out of Toronto, but it isn't translating to meaningful box office during its expansion. Furthermore, while it seemed that the only chance for the movie would be in the hands of Sterling K. Brown, recent awards ignored him while signaling the supporting role of Taylor Russell (more known for her lead role in Escape Room, which was a fun time). A24 hopes for this being the next Moonlight are not coming to pass. Technical(ly) contenders: Ad Astra, Avengers: Endgame, Cats, Downton Abbey. Check the pulse: The King, Dark Waters, Just Mercy, Waves, Honey Boy. This had Oscar buzz: Seberg, The Laundromat, The Goldfinch, Lucy in the Sky, Motherless Brooklyn, The Aeronauts, The Report. Closing question: What or who is gonna be the random Golden Globes nominee that nobody sees coming this year?

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