By Ryland Walker Knight
I grew up in Berkeley, California when the UC Theatre ran a different double bill every day for much of its lifespan. My relationship with the UC Theatre began early when my father took me to see Star Wars at age four, I think. All three original trilogy films were programmed, but as much as I’ve built a memory of seeing the whole series, my dad tells me we just watched the first one before heading home. That was 1986. I kept attending until the UC closed in March, 2001. There were obvious double bills I had to see like Don’t Look Now with Walkabout. And there were other, less-obvious-to-a-ninth-grader pairings I didn’t quite get when I looked at the calendar (but took in nonetheless because of the big names attached to the films) like Breathless with Days of Heaven. Long before DVD and the Criterion Collection, this is how I learned about movies (along with a hearty video store fetish/friendship/relationship).
In the last few years of its existence, the UC abandoned the daily changeover for week-long runs of both new, edgy foreign films (My Best Fiend & Little Dieter Needs To Fly were both preceded by the infamous short Werner Herzog Eats His Shoe) and restoration prints (I saw Taxi Driver for the first time in 1996, its 20th anniversary; I was 14). But then it closed while I was away in Santa Cruz during my freshman year of college. It made me mad because I lost both the theatre and the opportunity to attend a screening one last time.
Since then I’ve routinely made a point of visiting repertory theatres before the Cineplex, yet few ever program a hearty double bill. It’s not distressing so much as aggravating: the double bill has disappeared and we need to bring it back at all costs. And I’m not talking about more studio-sanctioned mash-up madness like the upcoming Grindhouse. I mean true art-house double bills from audacious programmers where one film informs the read on the other. It's an art in and of itself. Plus, it’s a fun, easy way to drum up business.
Here are five double bills I would program if I had my own repertory house: four week-long runs with a fifth kid-friendly pairing for the linking weekends.
1. The New World with Mirror: Skeptical patriotism, reflection, memory and Mozart. A little national knowledge helps enrich both films, although the Tarkovsky is much more convoluted and harder to analyze on a first viewing. Malick’s film may not have the austere severity or precision of Tarkovsky’s, but The New World plays the same to these eyes as a treatise on how, by virtue of our heritage, and through our children, there is hope in spite of all the distressing histories that birthed our disparate countries (and, perhaps, the Cold War?).
2. Trouble Every Day with Punch-Drunk Love: A pair all about the painful, sometimes/often violent, ways we deal with love (& sex) and how best to express it, even with the ones we love the most. One is nothing but ugly innards & buckets of blood (“Are you frightened?”) while the other is beautiful vistas & sweet-natured kisses (“It really looks like Hawaii!”). Yet both feel organic in their opposite approaches. With the Anderson film playing second, viewers can lighten up a bit, but played directly after Denis’ offering, it may illuminate the ideas fighting around Vincent Gallo and Beatrice Dalle’s bloody bedrooms.
3. King Kong (2005) with Mulholland Dr.: Basically a big Naomi Watts love fest (what can I say?), but they dovetail nicely as a pair about movie-making (and myth-making) inside and out of the "system." And how beauty can kill.
4. Cries & Whispers with Hannah & Her Sisters: Both adopt a musical structure to tell hidden, internal stories-worries-struggles—think Le Million, only heavy—except Woody literalizes it with the voice over and Bergman alludes to it with the close ups. But then there's nothing Exorcist-ugly in Woody's film like the broken glass in Ingrid Thulin's vagina. Instead there's Max von Sydow crowding out his wife (and everybody) with his august menace—only in the most benign Woody Allen manner. Plus, Michael Caine’s glasses are so tacky they kill me: a Cockney WASP?
5. Laputa: Castle In The Sky with Raiders of the Lost Ark: A matinee for the kids: pure adventure, pure rewards. Probably the most fun I can imagine at the movies: both have thrilling climactic set-pieces that involve real-world-scary disintegration rendered fantastical, yet are likewise grounded in human emotions. I know my ten-year old sister would love it, too: "Patzu's, uh, kinda... cute I guess. I just like him." He’s not, you know, a real guy, but he’s got the pluck and charm of any good swashbuckling hero like Indiana Jones. And, of course, they’re cool.
And that's how they would play in my dream repertory theatre. You'll need some Adam Sandler—however awkward and stilted, he’s still hilarious—after all that stark gore in the Denis movie; the same goes for the Bergman-Allen pair as Woody’s film does give you some laughs within the pathos. And you can't expect anybody to want to watch 3+ hours of Peter Jackson's toy collection after David Lynch's Live-From-The-Libido wormhole narrative, no matter how much adorable Naomi Watts there is up on screen. It’s true of each pair: maybe you’ve never seen Mirror but have had your fill of The New World (I can’t imagine that, but it’s a possibility); maybe Claire Denis and her dialogue-free zone give you hives but PT Anderson’s musical flair for storytelling gives you goosebumps; maybe the Miyazaki movie doesn’t...wait, no, what could be wrong with a Miyazaki movie? (Let me know your answers, if you've got them.) I’ve got a year’s worth of programming ideas but please do tell us your dream pairings.
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House Next Door contributor Ryland Walker Knight is the infrequent publisher of the blog Vinyl Is Heavy.
Friday, February 02, 2007
5 for the Day: Double Bills
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35 comments:
The IFC center had some terrific double-bills during their recent Altman retrospective. Two favorites were THE DELINQUINTS and THIEVES LIKE US---two movies about a life of crime, from very different points in Altman's career---and COUNTDOWN paired with BREWSTER MCCLOUD, two fantasies of flight, one optimistic yet grim, one unspeakably bleak but funny.
As for ideal double-bills: TAXI DRIVER and THE SEARCHERS is an obvious, but excellent choice. I'd also love to see pairings of: A GRIN WITHOUT A CAT and THE GLEANERS AND I, MASCULINE/FEMININE and FULL FRONTAL (yes!), TROUBLE IN PARADISE and ANNIE HALL, and, for a truly grim double-feature, MARTIN with DON'T LOOK NOW.
A great thread, can't wait to see what pops up from the various contributors. I myself have had one long on my mind, and need to subject some visiting friends to it someday: Nicolas Roeg's Don't Look Know and Peter Greenaway's The Belly of an Architect. American's trapped in Italian cities of beautiful architecture and undone by their inability to understand their own shortcomings. Cheers!
The short of it: you need your own movie house, Ryland! Bring back the double feature - and along with that, bring back the intermission. Sadly, aside from my drive thru experiences as a youngster (late 70s - where Star Wars was paired with Laserblast and Buck Rogers was paired with Piranha - I may be confused on that last one, was it Buck Rogers? Wagstaff was there, he'd know)....anyway, I can't recall seeing a double feature. I feel deprived.
In my misspent youth, there was a now defunct multiplex where sometimes I would pay for one film and then sneak in to another to watch two. These weren't ideal double bills, but they were the ones I actually ended up with:
The Killing Fields/Amadeus
Greystoke/2010
Sixteen Candles/Protocol
Now, if I were purposely programming some double bills. I think some I'd put together would be:
1. Rules of the Game/Smiles of a Summer Night.
2. His Girl Friday/Network
3. The Searchers/Taxi Driver
4. A Fistful of Dollars/Yojimbo
5. Howard Hawks' The Big Sleep/Altman's The Long Goodbye
On a side note, some AMC theaters across the country are planning a deal where you can see all five Oscar nominees for best picture in a marathon. At the theater here at least, they are starting with Babel, a terrible idea since half the audience will likely commit suicide before they get to any of the other four.
I just thought of another pair: Dazed and Confused and Nashville, two large-cast films roughly both set around the bicentennial.
I'll offer a pair that I'm discussing together as part of a community class starting this weekend: Touching the Void and American Splendor, two clever hybrids of the documentary and fiction feature.
Fuzzy & Ed:
Taxi Driver has so many influences you could pair it with a near limitless pool of films. The Searchers is a great springboard into this discussion.
I'd love to, if not program, write about the triumverate of Pickpocket, Taxi Driver & L'argent as some kind of insane self-reflexive trilogy, one commenting on the other in sequential order.
For structure, to go along with the Ford picture, I'd say Red Beard would be a fantastic pair for Scorsese's film. Plus, it's more hopeful and could play second.
What else do you see in Taxi Driver? Another obvious one, along these lines, would be The Searchers with Hardcore. Any of the film brat movies can be paired with their influences, really, and the same goes for Nouvelle Vague.
The Conversation with The Conformist
OR
Pierrot le fou with Pickup on South Street.
James: No doubt. Roeg is another mutable filmmaker, one I really adore. Bad Timing with Unfaithfully Yours.
Jeffrey: That'd be dope!
Ed, again: I love that pair. One's all nostalgia and the other's all disgust. Very anti-thetical but clearly, they would work well together.
I've been doing double bills on my campus this semester (and triple bills last semester) and my pairings are definitely more obvious, however I have a few good ones coming up:
Jigoku and The Holy Mountain
Clerks and Stranger Than Paradise
A Hard Day's Night and Rock N' Roll Highschool
Also, Full Frontal gets a bad rap but I kinda dig it. I only saw it once on IFC a while ago but I remember thinking, There's more going on here than it would seem. This is purely a shaky recollection but, all experiment-project-exercise issues aside, I think it's a good movie to look at in light of how well the Ocean's movies have done -- and why they're successful. I think people confuse ingratiating for bad sometimes: if something's nagging you, you gotta ask "Why?" right?
The only thing that has made my move to Los Angeles bearable is an incredible double bill theater called the New Beverly Cinema.
They change the programs every couple days, they have a mix of classics, recent indies, cult and grindhouse, and they're great people. It's cheap too, I bought a pass for $35 that gets me into 8 double bills, about 2 bucks a movie. My only concern is that the theater is frequently half-full or worse. If they shut this place down, I'd be distraught.
Some double pairings I've seen recently:
Bottle Rocket/The Big Lebowski
CSA/Manderlay
Rear Window/Vertigo
Goodfellas/Casino
Blue Velvet/Wild At Heart
Pulp Fiction/True Romance
Anyway, check out this month's schedule here, although for some reason the dates are out of order:
http://www.newbevcinema.com/calendar.cfm
They're on myspace too. If you live in LA, support this joint!
Oh shit! Feb 28th & March 1st!
MIRROR with THE SACRIFICE!
Well, my obvious double bill is Cache/Lost Highway. They start with the same initial story idea (a couple receive anonymous videotapes depicting the outside of their home) and examine a guilty main character who refuses to examine his own guilt. Both films play with the difference between seeing and understanding and too much/too little context.
On my last visit to Berkeley, I was heartbroken to see the UC Berkeley Theater had closed. It was the location of one of my favorite movie memories. I had gone to see Aria there, but before the movie, they showed the Bugs Bunny short What's Opera, Doc? Seeing one of my favorite cartoons on that enormous screen was bliss, but best of all, I was sitting in front of an older gentleman who looked like the stereotypical music professor. He laughed at every new shot and at every Wagnerian musical cue. Doc and his reaction to it were better than anything in Aria, and one of those memories I treasure.
A double feature of the drugs-and-aging-Hollywood-stars features SKIDOO and THE BIG CUBE (with Lana Turner) at NY's Film Forum was heavenly several years ago. Carol Channing cultists were shocked into silence seeing their idol in a see-through bra in the Preminger picture.
I'd like to see a double feature of LIFE IS BEAUTIFUL and LIFE STINKS.
Two obvious bills -- maybe because they're, umm, TRIPLE bills -- that I'm surprised no one mentioned would be Sirk's ALL THAT HEAVEN ALLOWS / Fassbinder's ALI: FEAR EATS THE SOUL / Haynes' FAR FROM HEAVEN; and Antonioni's BLOW-UP / Coppola's THE CONVERSATION / De Palma's BLOW OUT. Really obvious, but the back-to-back-back screening would be a fascinating experience not only from an aesthetic point-of-view, but as progression of cultural and philosophical attitudes.
Some others crazy/fun ones:
- The Bridges of Madison County / In a Lonely Place
- I Am Cuba / Memories of Underdevelopment
- Will Success Spoil Rock Hunter? / Showgirls
I second the recommendation for the New Beverly Cinema in LA. It's a real landmark and gets a lot of support from film lovers here. Nicolas Cage even thanked them in his Golden Globes acceptance speech (for 'Leaving Las Vegas'). They have a suggested double features book in the entry and have even used a couple of mine in the past. One of my favorites was 'Chinatown' and 'The Two Jakes'; if you thought 'Jakes' was awful, try watching it on the big screen immediately after its far-superior 1st installment. Last year, they screened Abel Gance's 'Napoleon', which was a real treat.
The NBC used to show 'Reservoir Dogs' at midnights on Saturday, and people would dress up in black suits. Sherman, who owns the place and was thanked by QT in the 'Kill Bill' credits, has a huge trailer collection and runs 'Trailer Festivals' several times a year. Its one of my favorite places in the world, period! Throw them your support, because I'd hate to live in LA without it.
Now that most of the world’s cinema history is available at least through the mail, a clever double feature is one of the best reasons to keep repertory theaters alive. The match-up can be fascinating. One embarrassing example from my childhood strikes me now as particularly ingenious. As a 13- or 14-year old budding film lover, the local revival house was showing Polanski’s Fearless Vampire Killers; my parents never censored my viewing, but still needed to drive me to the movie and, of course, accompany me. Loved the Polanski, but had no idea that the pairing was with one of Jean Rollin’s stylish lesbian vampire films, which one I can’t recall. Now, of course I enjoyed watching bosomy European women lick each other all over before drawing blood as much as the next pubescent, but remember that my mom was sitting right next to me. Thus rather compromising my concentration.
Those Altman pairing are terrific, That Fuzzy Bastard. I think I'll borrow them for home viewing.
Taxi Driver with Bigger Than Life. Since you asked, Ryland. For the cabs, of course; and for the echoes between De Niro’s pained, rambling “flush it down the fucking toilet” speech and Mason’s still shocking “God was wrong!” declaration.
Double Indemnity with Women in the Dunes. Because what’s an arthouse without some misogyny? Actually, two sterling examples—one glimmering noir realistic, the other crisply metaphorical—of how women who set traps keep getting full blame from the men who walk in eyes wide open.
Alphaville with New Rose Hotel. The future, captured perfectly with nothing but ingenious location shooting and the conviction that somewhere, somehow, everything has gone horribly wrong.
2001: A Space Odyssey with Quatermass and the Pit. This is actually a suggestion from one of Danny Peary’s invaluable Cult Movies books. Our religious myths supplanted by evidence of alien interference with human history. Interestingly, while Kubrick was so often thought of as a cruel misanthrope, he makes the aliens god, while it’s up to Nigel Keane to consider them the devil. Throw in John Carpenter’s Prince of Darkness (his screenplay pseudonymously credited to Martin Quatermass) if you’re up for a three film marathon.
The Nutty Professor with Me, Myself, & Irene. Far and away the two most daring, insightful, and horrifying of the many cinematic variations on the Jekyll and Hyde theme. And I, at least, would die of laughter.
Bill Curran: "Will Success Spoil Rock Hunter? / Showgirls"
Genius!
These two are odd, but would be complementary in some intriguing ways
Life Aquatic with Steve Zissou/Bright Future
The Red Shoes/Showgirls
These two double bills are odd, but strangely complementary to my mind...
Life Aquatic with Steve Zissou/Bright Future
The Red Shoes/Showgirls
A fascinating double bill for me would be Godard's Band of Outsiders and Tarantino's Pulp Fiction. I love Godard (at least, the Godard of the '60s; I haven't seen much of his post-Weekend work), I'm on-and-off with Tarantino, but this might be a stimulating pairing. Both are crime dramas, both are made by directors who are known for their reflexivity (Tarantino has acknowledged Godard's influence on his work, at least stylistically), both have a few stylistic similarities...and yet both are ultimately more different than alike.
Being in the NYC area, I grew up with double features, both at the Forty Deuce grindhouses and at the (now defunct) State and Pix theaters here in my hometown. We also had two drive-ins in the area. As a result, I saw some weird double features.
One that I remember fondly was The Wiz, a G-rated version of the Broadway musical, and Which Way Is Up?, a very R-rated Black remake of Wertmueller's The Seduction of Mimi. The common links in both of these are the star (Ricard Pryor) and the studio (Universal), but it was a very inappropriate double bill. A lot of kids, myself included, learned about dominatrixes and vibrator-based sodomy that day. (And that was just during The Wiz!--Just kidding!)
As an aside, until Chris Rock's upcoming remake of Chloe in the Afternoon, Which Way Is Up? is the only remake of a foreign film with an all Black cast. Which leads me to suggest a double bill of Killer of Sheep and The Bicycle Thief.
Some other double bills I actually saw back in the day:
Walter Hill's The Driver/Race With The Devil
Days of Heaven/Watership Down
Shaft/Shaft in Africa/Shaft's Big Score (a triple feature)
Some that should play together:
Jackie Brown/Foxy Brown (or Coffy)
All three Invasion of the Body Snatchers movies.
Notes on a Scandal/Whatever Happened to Baby Jane?
Jungle Fever/Guess Who's Coming to Dinner
War of the Roses/Who's Afraid of Virginia Woolf? (call it the "you think your marriage sucks?" double bill)
Babel / The Ring (one has a movie that kills viewers, the other is a remake of a J-Horror movie)
I too thought Odie of some pairings where one film would make the other film (like a Babel or Bobby) more obviously a misfire, but I couldn't in good consciousness recommend movies like those just to prove a point.
This isn't exactly what this post is about, but apparently the Harvard Lampoon once had a bit about pairing The Russians Are Coming! The Russians Are Coming! on a double bill with Inside Daisy Clover. Marquee value, indeed.
Someone has programmed a double bill of the remastered version of El Topo and The Holy Mountain. Can you imagine? I think I can only take one of them without my mind exploding, but one right after the other? Yeesh!
The Russians Are Coming! The Russians Are Coming! on a double bill with Inside Daisy Clover. Marquee value, indeed.
This reminds me of a few great marquee match-ups I've been told of or seen:
Godfrey Cheshire apparently has photographic evidence showing The Last American Virgin paired with First Blood.
And two faves of mine: The Passion of the Christ/Twisted
& (the be-all, end-all far as I'm concerned)
What Women Want/Snatch
What Women Want/Snatch
That had to be intentional. After that Nixon comedy, it could have easily been:
What Women Want/Dick.
I wish I had a marquee and a theater! I'd show
Lassie/The Bitch
Black Belt Jones/The Sisterhood of The Travelling Pants
Naked and The Dead
All About Eve and The Gunfighter.
I recall reading about a fictional book about film titled "Double Meanings in Double Features".
My pairings: The Man who shot Liberty Valance with Red River, the film with the character Cherry Valance.
The Dreamers with the full film within the film, The Girl Can't Help it.
Ponette and Contact. Two films about female protragonists who have lost their parents in accidents. Constant looking into space. Awkward love scenes with boys. A reunion with a dead parent at the end with a piece of material proof.
And for the fun of it: The Seventh Seal with Corman's Masque of the Red Death.
Odie, I grew up on the local TV edited version of Which Ways is Up, which must be about five minutes long. Luckily I was a teen by the time a VHS copy revealed that when Margaret Avery yelped "Enjoy!" she was ramming an industrial-sized vibrator up Richard Pryor's ass. It was always an urban legend round my way that somebody died from laughing at Which Way is Up.
Theatrical double bills of my youth:
The Incredible Shrinking Woman/The Devil and Max Devlin
Grease/Saturday Night Fever
Homemde two-fers, thanks to '80s cable:
Airplane/Airplane II
The Tin Drum/A Clockwork Orange
The Blues Brothers/1941
The Jerk/Dead Men Don't Wear Plaid
9 1/2 Weeks/Emmanuelle
Enemy Territory/Ghostbusters
Hot Stuff/Fatso (or The End)
Smokey and the Bandit III/Convoy
Rocky/Victory
Commando/First Blood
Krull/Dragnoslayer
The Dark Crystal/Labyrinth (or in any combination with Legend/The Neverending Story)
Conan the Destroyer/Beastmaster
Das Boot/Humanoids from the Deep (?!?)
The Elephant Man/Eraserhead
E.T./Poltergeist
on and on....
Odienator: All your real and imagined pairings are hilarious. And I wish we still lived in a world where you could see The Driver and Race with the Devil together (again)! Or The Wiz and Which Way Is Up?, for that matter.
You may have already seen this one, but in case you haven't, click here.
SB: I grew up on the local TV edited version of Which Ways is Up, which must be about five minutes long.
I remember that edited version well! That was butchered to the point of incoherence. The only movie that was more cut to ribbons was the WABC New York 4:30 movie's version of Deliverance.
SB: Luckily I was a teen by the time a VHS copy revealed that when Margaret Avery yelped "Enjoy!" she was ramming an industrial-sized vibrator up Richard Pryor's ass.
The funniest scene in that movie is later, when one of Pryor's other girlfriends turns on her electric toothbrush, he damn near jumps on the ceiling. "What the fuck is that!" he yells out. "Oh, that's my electric toothbrush!" she says. I can't use an electric toothbrush to this day.
I remember that Avery wound her arm around and around like four times before planting that vibrator, and the noise went verrooom-vrooom-vroooom! That scene was the talk of the neighborhood, and later made me wonder just what she was doing to Mister in The Color Purple. "Hold him down, Miss Celie!" verrooom-vrooom-vroooom!
JJ Sez:
--Volunteering at the Harvard Film Archives I've been lucky enough to be part of some truly insane double bills:
--Verboten! and Dead Pigeon On Beethoven St.
--Hell's Angels and The Carpetbaggers
--Zabriskie Point and The Last Movie
--Kiss and Blowjob
--In The Year Of The Pig and Winter Soldier
Those are just the ones I immediatly remember.
I've also seen, at other theaters around Massachusetts, such double bills as: Alien and Aliens; The Terminater and The Road Warrior; Foxy Brown and Cleopatra Jones; Night Of The Living Dead and Dawn Of The Dead; Jason and The Argonauts and Mysterious Island. The Brattle Theater is great for shows like that.
Now, for some fantasy double bills of my own:
--Kagemusha and Letters From Iwo Jima
--Sands Of Iwo Jima and Flags Of Our Fathers (and considering the real flag raisers themselves actually appear in Sands Of Iwo Jima--REENACTING THE FLAG RAISING, beleive it or not, it would fit right in with Flags' focus on not so much the actual event as with representations of it and the exploitive nature of such representations. And, to Eastwood's credit, he recognizes Flags Of Our Fathers itself as an exploitative representation--thus making watching the film an act of self criticism. It's for things like this that I thought Flags was the second best film of the year...)
--Original Scarface and Original King Kong
--The Fast Runner and The White Dawn
--Them! and Aliens
--Triple Feature: The Thing From Another World, It! The Terror From Beyond Space, and Alien
--The Searchers and The Battle Of Algiers: the influence of these two films created modern cinema as we know it today. (Yeah, yeah, some people would say Shadows instead of Algiers, but not enough people saw Shadows and EVERYBODY saw Algiers at some point between 1967 and 1973, it seems like.) (Matt, someday let me write up an article listing all the films that, generally or directly, steal something from the Battle Of Algiers.)
--Peeping Tom with either Halloween or Manhunter
--Nick Ray's King Of Kings and The Last Temptation of Christ
--Strange Days and Children Of Men, as an object lesson in how two films can be strangely similiar yet completely differant. For that matter you could do virtually the same thing with Red Dragon and Manhunter.
Wow! This is really inspiring. I'd better take a break--I could go on and on. Great idea for a post.
Fellini's Roma and Critters 2.
Le Samourai and Taxi Driver
"They shoot horses, don't they?" and "Day of the Locust" and "Lady in a Cage".
Grueling. Maybe I'd need to follow that with "Annie" as a palate cleanser.
I can't resist any longer, so here goes:
THE TRAIN and SPEED (the second would not exist without the first)
WINGS OF DESIRE and SUPERMAN RETURNS
SHANE and SOLDIER (the Kurt Russell one)
TOTO LES HEROS and THE LIMEY
Cocteau's BEAUTY AND THE BEAST and CITY OF LOST CHILDREN
HIGH AND LOW with JFK
BOSSA NOVA and ATLANTIC CITY
FIGHT CLUB and THE GRADUATE
DO THE RIGHT THING and DOG DAY AFTERNOON
SLACKER and NAKED
THE LAST TEMPTATION OF CHRIST and BORN ON THE FOURTH OF JULY
DUEL and THE TERMINATOR
THE AGE OF INNOCENCE and THE INNOCENTS
EASY RIDER and LOST IN AMERICA
AMERICAN HISTORY X and RUSHMORE
THE INCREDIBLES and THE ROYAL TENENBAUMS
ERASERHEAD and FLIRTING WITH DISASTER
THE CRIMSON PIRATE and PROJECT A-2
Jackie Chan's POLICE STORY and 48 HRS.
THE SEARCHERS and BLAZING SADDLES
SUNRISE and DAYS OF HEAVEN
I'm surprised nobody addressed the MIAMI VICE with DOUBLE LIFE OF VERONIQUE possibility.
Bruce Reid: Because what’s an arthouse without some misogyny?
Ha! Word up.
Keith: What Women Want/Snatch
No way.
Matt: whoa.
THE INCREDIBLES with THE ROYAL TENENBAUMS!
The "Can't somebody be a shit their whole life and try to make it up?" Double Bill
WINGS OF DESIRE with SUPERMAN RETURNS!
Too much hurt, not enough Faulk. Man, that would wreck me.
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