Category Archives: Arts Friday

#Cinema | Ageless Auteurs Veteran Directors Set The Standard in Hollywood

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81-year-old Academy Award winning American director Martin Scorcese

In an industry often perceived as dominated by youth and the next big thing, the continuing contributions of directors over 65 years of age are a testament to the timeless nature of cinematic storytelling.

Far from being sidelined, these seasoned filmmakers bring a depth of experience, wisdom, and a unique perspective that enriches the cinematic landscape.

Hollywood and global cinema alike benefit immensely from their ongoing work, as they challenge the norms and push creative boundaries well into their later years.

Mark Twain once quipped, “Age is a case of mind over matter. If you don’t mind it, it doesn’t matter.”

When you consider the work of acclaimed American director Martin Scorsese, age certainly isn’t making a difference.

After landing 10 Oscar nominations for last year’s historical crime epic Killers of the Flower Moon, the 81-year-old director has mapped out his next several projects. Sources say he plans to shoot two films back to back: the first about Jesus, the second a Frank Sinatra biopic.

Scorsese isn’t the only director from the over-75 set who is doing some of his most ambitious work.


Adam Driver and Nathalie Emmanuel star in Francis Ford Coppola’s new film, Megalopolis

The Cannes competition lineup this year featured three of his compatriots: 85-year-old Francis Ford Coppola (with Megalopolis), 81-year-old Canadian director David Cronenberg (The Shrouds), and 77-year-old Paul Schrader (Oh, Canada).

Their productive later years are remarkable considering Hollywood hasn’t always been kind to aging auteurs — Billy Wilder (Some Like It Hot, The Apartment), for instance, spent his final two decades struggling to get one more movie produced.

“I’m sure most artists want to keep working, but sometimes you’re not fortunate enough, lucky enough, good enough to stay in the arena,” Schrader, who wrote the screenplay for Scorsese’s seminal 1976 film Taxi Driver, told journalists at Cannes.

“And if you don’t have that creative motivation, you’re just gonna get called out as an emblem of something that used to be. But I had to keep working. I had some COVID health problems, and every time I thought that I might die, I would get a new idea.”

At 86, Ridley Scott is literally staying in the arena.


86-year-old British director Ridley Scott readies for the release of a sequel to his 2000 film, Gladiator

Footage from his long-awaited return to the Colosseum for a Gladiator sequel emerged as a favourite at CinemaCon this year, where Paramount showed epic scenes to movie theatre executives, dominating the headlines out of Las Vegas.

Perhaps because Scott continues to work with top-notch below-the-line crew members, the swords-and-sandals saga, which stars Paul Mescal and Denzel Washington, looked more finished seven months ahead of its November 22 release than some superhero tentpoles on opening night.

“Ridley Scott is the master of creating the kinds of movie spectacles that the cinematic experience was created for and is among the most tenacious and vibrant auteurs working today,” Paramount CEO Brian Robbins told the crowd at the April 11 presentation. Robbins told those gathered that he will be working with Scott on his next movie, a Bee Gees biopic for Paramount.


77-year-old celebrated American director, Steven Spielberg, readies to film his next movie

For his part, Steven Spielberg, at age 77, is also staying busy. Spielberg is reportedly already at work on his next project, a UFO film based on his own original idea. David Koepp is writing the screenplay, sources say.

But maybe no feat of career longevity is as impressive as that of Clint Eastwood.
The 93-year-old director just wrapped postproduction on Juror No. 2.

Insiders say Warner Bros. is thrilled by what it has seen of the Nicholas Hoult thriller about a murder trial juror who realizes he may be at fault for the victim’s death. If the film is ultimately embraced, that will offer a fitting plot twist considering several studios passed on the low-risk, low-budget film.


Clint Eastwood began his career in Hollywood in 1954, 70 years ago this year. And he’s still active!

Even at 93, Eastwood should never be counted out.


87-year-old British auteur Ken Loach’s latest film, The Old Oak — released earlier this year — has emerged as one of VanRamblings’ favourite films of 2024. A must-watch. Available On Demand.

Across the Atlantic, British director Ken Loach, 87, remains a powerful voice in cinema. Renowned for his socially conscious films, Loach’s most recent work, The Old Oak won accolades at Cannes in May, the title referring to the last pub standing in a once thriving mining village in northern England, a gathering space for a community that has fallen on hard times.

Other notable directors of an age …

Margarethe von Trotta, 81. The leading New German Cinema director just released her latest, Ingeborg Bachmann — Journey Into the Desert.

Werner Herzog, 81. The acclaimed German director has been making films since the 1960s.

Stephen Frears, 82. The British director of The Queen and Dangerous Liaisons, released The Lost King earlier this year.

Brian De Palma, 83. The Untouchables and Carrie director is in pre-production for his next film, Sweet Vengeance, a murder mystery.


Master Japanese filmmaker, and co-founder of Studio Ghibli, 82-years-young Hayao Miyazaki

In Japan, Hayao Miyazaki, co-founder of Studio Ghibli, at 82, is once again coming out of retirement to direct How Do You Live?

Miyazaki’s films, characterized by their imaginative storytelling and profound emotional depth, have left an indelible mark on animation and global cinema. Miyazaki’s return to filmmaking is eagerly anticipated by fans worldwide, underscoring the lasting impact of his creative genius.

The continued success of these directors challenges ageist assumptions within the industry and society at large.

Their work exemplifies how experience can enhance artistic expression, offering rich, nuanced narratives that often elude younger filmmakers. Moreover, their ability to adapt to technological advancements and changing audience tastes underscores their relevance in a rapidly evolving industry.

These directors also serve as mentors and role models, guiding the next generation of filmmakers. Their careers offer valuable lessons in perseverance, adaptability, and the relentless pursuit of excellence. The stories they tell and the methods they employ reflect decades of accumulated knowledge and insights, providing a treasure trove of learning for aspiring directors.

In a broader sense, the ongoing contributions of directors over 65 highlight the importance of diversity in storytelling.

Just as the industry has made strides toward greater inclusivity in terms of race, gender, and sexuality, recognizing and valuing the contributions of older filmmakers is crucial. The work of elder directors adds richness and diversity to the cinematic tapestry, ensuring that film remains a medium that reflects the full spectrum of human experience.

#Cinema | The Slow, Excruciating Death of Hollywood, and Cinema

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Every three decades, or roughly once a generation, Hollywood experiences a seismic shift. The transition from silent films to talkies in the 1920s. The rise of broadcast television in the 1950s. The raucous cable boom of the 1980s.

It’s been happening again, for some while now, as most folks have observed.

The long-promised streaming revolution — the next great leap in how the world gets its entertainment — is finally here in all its glory.


Warner Bros. Discovery studio in Burbank, Califoria, one of the oldest and largest Hollywood studios

In the 115-year history of the American film industry, never has so much upheaval arrived so fast and on so many fronts, leaving many writers, directors, studio executives, agents and other movie workers disoriented and demoralized. These are melodramatic people by nature, but talk to enough of them and you will get the strong sense that their fear is real this time.

“The last four years have shaken the movie business to its bones,” Jason Blum, the powerhouse producer whose credits range from The Purge series to Get Out and the BlacKkKlansman.” recently told Los Angeles Times film writer, Justin Chang.

Streaming, of course, has been disrupting the entertainment business for some time. Netflix started delivering movies and TV shows via the internet in 2007.

In 2024, however, the shift towards streaming has greatly accelerated, with Netflix, Disney+, Apple TV, Crave/HBO, Prime Video, YouTube Premium, CBC Gem and Kanopy, among other streaming platforms, competing for your movie attention.

Adding to Hollywood’s misery is the abrupt changing of the guard in Hollywood’s highest ranks. Nine of the top 20 most powerful people in show business have left their jobs, including Universal’s Ron Meyer, whose 25-year Universal career ended in 2021. David Zaslav is now in firm control of Warner Bros. Discovery, with Kevin Tsujihara exiting his role as chairman and CEO of Warner Bros. Entertainment, a job he held for six years. Paramount Global CEO Jim Gianopulos was removed, in favour of Bob Bakish, also now on the way out, with the company up for sale.

“It’s not clear that full normal will return even well into the fourth quarter of 2024,” Warner Bros. Discovery Chairman David Zaslav, told Chang in an interview on how Hollywood is faring against the streaming wars, and the slow recovery from the pandemic.


An empty cinema with no patrons. Is this picture an indication of what presages cinema in the future?

Will young people — trained during the pandemic to expect instant access to new movies — get into the habit of going to the movies like their parents and grandparents did? Generation Z forms a crucial audience: About 33% all moviegoers in 2023 were under the age of 24, according to the Motion Picture Association.

“Cinema as an art form is not going to die,” Michael Shamberg, the producing force behind films like Erin Brockovich and The Big Chill” told the New York Times’ Manohla Dargis in a recent interview. “But the tradition of cinema that we all grew up on, falling in love with movies in a theatre, is over.”

In other words, the art may live on, but the myth of big screens as the be-all and end-all is being dismantled in a fundamental and perhaps irreversible manner.

Sundance 2024 | Nostalgia Loomed Large in Park City

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There were a smattering of big sales and buzzy premières at this year’s 40th edition of the Sundance Film Festival, held each January since 1984 in Park City, Utah.

Even so, it’s impossible to ignore the fact that the independent film business Sundance has so long championed is suffering from an identity crisis.

The box office for art-house movies has yet to regain its pre-COVID stride.

Desperate for content, streaming services once paid inflated prices for films débuting at Sundance . Now they’re conservative in their spending.

In this era of economizing, the all-night bidding wars that made Sundance sizzle are a thing of the past, not a great sign of the financial health of the industry.

Yet there was still plenty to celebrate.

Movies like Super/Man: The Christopher Reeve Story and Will & Harper received emotional standing ovations, while A Real Pain and It’s What’s Inside defied the odds to score multimillion-dollar deals.

As it enters its fifth decade, Sundance hasn’t lost its ability to excite audiences.

But, clearly, Sundance needs to make adjustments to the way it conducts itself in order to keep up with the changing times, if the indie festival is going to survive.

Actor / Oscar nominee, first time director Jesse Eisenberg and Kieran Culkin star in A Real Pain

A Real Pain, starring Jesse Eisenberg and Kieran Culkin as cousins who travel to their grandmother’s native Poland to partake in a Holocaust tour, scored rave reviews and won the Waldo Salt Screenwriting Award for Eisenberg, the film picked up by Searchlight for a whopping $10 million early on in the Festival. A Real Pain will receive a theatrical release later this year, and may be Oscar bound next year.

Focus Features snatched up Sundance favourite Dìdi, directed by Academy Award nominee Sean Wang, the film telling the story of a 13-year-old Taiwanese American boy (Izaac Wang) who spends his last summer before high school learning how to flirt, skate, and get along with his mom (Joan Chen). Dìdi, set in 2008, won Sundance’s Audience Award and the Special Jury Prize drama award.

Richard Roundtree and June Squibb star in director Josh Margolin’s ode to his grandma, Thelma

Magnolia Pictures snagged the elderly-buddy comedy Thelma, the tale of a 93-year-old grandma (June Squibb) who endures a harrowing journey across Los Angeles after she’s conned by a phone scammer pretending to be her grandson (Fred Hechinger). The film also stars Richard Roundtree as her companion, as the two seeking retribution. Parker Posey, Clark Gregg, and Malcolm McDowell co-star.

The documentary Super/Man: The Christopher Reeve Story, which sold for $15 million to Warner Bros. Discovery, follows Christopher Reeve on how he found his life’s purpose after he suffered from an equestrian accident that left him paralyzed.

Maisy Stella and Aubrey Plaza star in Canadian director Megan Park’s new film, My Old Ass

Director Megan Park’s My Old Ass will head directly to Amazon’s Prime Video this spring, the film telling the story of high-school senior (Maisy Stella), who meets the adult version of herself (Aubrey Plaza) right before she heads off to college.

Skywalkers: A Love Story, directed by Jeff Zimbalist, was acquired by Netflix. The documentary follows Angela Nikolau and Ivan Beerkus, a couple from Moscow, who saved their careers and relationship by climbing really tall buildings, specifically the world’s last super skyscraper, to perform an acrobatic stunt.

The Will Ferrell documentary Will & Harper was also picked up by Netflix, the road trip film about two Saturday Night Live alumni, Ferrell and former SNL head writer Harper Steele, who reconnect after Steele comes out as a trans woman. The duo set out together for a cross-country trip, during which they talk in depth about their friendship and the experience of being trans in America.

Sundance hasn’t been a Festival that’s been synonymous with Academy Awards attention, though recent iterations have churned out Oscar favourites like Best Picture winner CODA, Lee Isaac Chung’s semi-autobiographical Minari, and Korean-Canadian director Celine Song’s wistful dramatic début, Past Lives.

Although A Real Pain and Super/Man were critically embraced, there’s a question as to whether they have enough buzz to stay in the conversation until next year.

What Sundance may have lacked in stature this year, it made up for in scares.

Steven Soderbergh’s twisty thriller Presence, which Vulture critic Bilge Ebiri wrote is “the best thing Soderbergh’s done in ages,” is a haunted-house movie seen through the eyes of the ghost. Neon picked up the film’s distribution rights.

Zombie slasher movie In a Violent Nature and other movies about things that go bump in the night were all the rage in Park City.

It’s What’s Inside, a horror story about a pre-wedding party from hell, landed at Netflix in a massive $17 million sale. Along with the haunted psychodrama I Saw the TV Glow — which arrived at Sundance having secured theatrical distribution from A24 — both films became this year’s conversation starters on Main Street.


Justice Smith and Brigette Lundy-Paine star in writer-director Jane Schoenbrun’s I Saw the TV Glow

Nothing beats a good fright.

In the Summers, an independent film about two sisters navigating fraught summer visits with their father, won the Grand Jury Prize at this year’s Festival, as well as Best Director for Alessandra Lacorazza.

Shuchi Talati’s début feature, Girls Will Be Girls, about a mother’s intervention in her teenage daughter’s budding romance that creates an unexpected emotional love triangle, landed the Audience Award for World Cinema, as well as the World Cinema Dramatic Special Jury Award for Acting, for Preeti Panigrahi.

Porcelain War landed the award for U.S. Documentary Grand Jury Prize for Brendan Bellomo and Slava Leontyev, the film an intimate reflection on making art in wartime Ukraine.

The U.S. Documentary directing award was awarded to Julian Brave NoiseCat and Emily Kassie for Sugarcane, an enlightening and infuriating look into systematic abuse at an Indian Residential School.

The World Cinema Documentary directing award went to Benjamin Ree for Ibelin, which focuses on Norwegian gamer Mats Steen. Steen’s parents mourned what they thought had been a lonely and isolated life after their son died of a rare, degenerative muscular disease at age 25. They later received messages from online friends all around the world who knew Steen for his beloved World of Warcraft avatar, Ibelin Redmoore.

All the films mentioned in today’s VanRamblings column will find their way onto your local multiplex screen at some point this year, or are scheduled to air on Netflix, Prime Video or another streamer.