Bowel cancer screening to start earlier at age 50 in England

This will lower the starting age by 10 years in some areas and bring England in line with Scotland.
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Breast cancer screening programme ‘does more harm than good’

A group of doctors say any women offered catch-up appointments should “carry on with their lives”.
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Breast screening error ‘shortened up to 270 lives’ – Hunt

Hundreds of women in England may have died prematurely after failing to receive breast scan invitations.
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Tennessee Theater Cancels Annual ‘Gone With the Wind’ Screening After Complaints of Racial Insensitivity

A Memphis movie theater canceled its annual screening of “Gone With the Wind” following complaints of racially insensitive content. The Orpheum Theatre has aired the classic 1939 film for the past 34 years during its summer movie series. The theater received complaints after the movie’s screening this year, which took place the night before the… Read more »

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Diabetic sight loss cut by screening, research shows

Annual eyesight screening for diabetics in Wales is having a major impact, new research shows.
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Dior Hosts Screening of Three-Hour Documentary on Founder

EPIC TALE: Christian Dior hosted a screening on Monday for “Christian Dior, la France,” a documentary about its founder released to coincide with the house’s 70th anniversary.
Directed by Frédéric Mitterrand, former culture minister, author, documentary maker and nephew of former French president François Mitterrand, the two-part film tells the story of Dior’s life from his childhood in Normandy to his international fame as creator of the New Look in 1947.
“The film is three hours long. It tells the story of Dior’s life from the inside, I believe, and attempts to explain the extraordinary personality of this shy, reserved man who avoided press and whose artistic life was brief, since he wore himself out with work and died after 10 years of designing,” the filmmaker said.

A screengrab from “Christian Dior, la France.” 
SK Médias

The film delves into Dior’s brief career as a composer, his beginnings as an art gallerist, his private life and his relationships with artists, stars and fashion personalities such as Jean Cocteau, Christian Bérard, Marlene Dietrich, Alexander and Tatiana Liberman and Carmel Snow.
“He comes across as a total genius, and at the same time a man of great moral fiber, infinite kindness and extraordinary courage and ability,” Mitterrand told the

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No-show women at cervical screening ‘unaware of test’

Creative campaigns are needed to reach some groups of young women, researchers say.
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British Designers Attend BFC/BAFTA Fashion Arts Film Commissions Screening

FASHION FILMS: The British Fashion Council and BAFTA hosted their Fashion Arts Film Commissions screening in London on Thursday.
Guests including Emilia Wickstead, Rupert Sanderson, Stephen Jones, Richard James, Toby Lamb, Justin Thornton and Thea Bregazzi watched two films — “Reflections on Hollywood” and “The Eyes of My Father” — at the auditorium of the British Academy Film and Television Arts, followed by a drinks reception at Maison Assouline.
“Reflections on Hollywood” is a modern story about the escapades of a movie star. The film was written, produced and directed by Jessica de Rothschild with costumes designed by Preen by Thornton Bregazzi, Gieves & Hawkes and Stephen Webster.
De Rothschild said she loved the “rock ‘n’ roll, insouciant attitude of Preen by Thornton Bregazzi and Stephen Webster” and the “classic elegance” of Gieves & Hawkes. “They all combine perfectly to tell a story of one magical night at the iconic Peninsula, Beverly Hills as we follow Miss Diamond, a famous movie star, on an enchanting adventure through the hotel,” said de Rothschild.
“It’s so wonderful to see it on the big screen,” said Thornton. “And to see the way they have interpreted the clothes into the film. The narrative was beautiful and charming and

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Theater Gives Out World’s Most Tone-Deaf Gift Bags At ‘Wonder Woman’ Screening

A movie theater in Belgium is under fire for handing out diet pill pamphlets and sponges to women who went to see “Wonder Woman.” 

Every month a Kinepolis theater in Leuven, Belgium has a “ladies at the movies” night where the theater screens movies for only women. (Kinepolis is a chain of movie theaters in Belgium, similar to AMC Loews or Regal Entertainment in the U.S.) For every screening, the theater hands out small gift bags for the female viewers. Unfortunately, the gift bag for Kinepolis’ latest ladies night was completely tone-deaf. 

According to Mashable and Belgian News Outlet VRT, on June 6 Kinepolis held a ladies night screening of box office hit “Wonder Woman.” The goodie bags given out that night included diet pill pamphlets, and cleaning products such as a dish sponge and a squeegee. 

Some of the women at the screening were not too pleased with the contents of said goodie bags ― especially given that “Wonder Woman” is a superhero film about female strength that largely challenges gender stereotypes.

Twitter user Laurent Delbar tweeted a photo of the goodie bag and wrote: “@Kinepolis exclusive goodiebag at ladies at the movies. A sponge, brush and a squeegee. Perfect tools for a Wonder Woman?”

Another Twitter user named Mattias De Vuyst tweeted a photo of the goodie bag that a female friend had received at the screening.

“Content of goodiebag @Kinepolis after ladies night WonderWoman,” he wrote. “If someone gave this to a friend of mine or my girlfriend, I’d be furious!”

Diana Goodwin went to the all-female screening and told VRT that the gift bag “felt a bit absurd.” “Especially since you’re watching a movie that is completely about a strong female superhero,” Goodwin added. 

The movie theater recognized its error, telling VRT that the gift bags were not meant to be offensive.

“The goodie bags are filled with products we are offered by our sponsors,” the theater said in a statement to VRT. “It’s random. So it’s possible that there’s a sponge in it, but this was definitely not done on purpose, we don’t chose these products ourselves. It definitely wasn’t the intention to appear inconsiderate to women.” 

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Alicia Silverstone and Breckin Meyer Are Anything But Clueless at Film’s Special Screening

Alicia SilverstoneAs if she wasn’t going to show up?!
A whopping 22 years after Clueless rocked the world with its bright colors, quotable dialogue and head-bopping soundtrack, Alicia Silverstone, who…

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‘Fate of the Furious’ Surprise Screening Revs Up Exhibitors at CinemaCon

A previously unannounced CinemaCon screening of Universal’s “Fate of the Furious” left exhibitors feeling that the franchise has plenty of gas left in the tank — less than three weeks prior to the April 14 launch. “There was so much action, which is great, more than even the last,” one said on departing the Wednesday morning… Read more »

Variety

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The Downside of Breast Cancer Screening

A Danish study found that routine mammograms do not reduce the incidence of advanced tumors, and can lead to overdiagnosis.
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Tom Ford Dresses Jake Gyllenhaal, Amy Adams and ‘Nocturnal Animals’ Cast for Los Angeles Screening

Tom Ford scored another coup both onscreen and off, outfitting the cast of his film “Nocturnal Animals” for its Los Angeles screening on Friday night. Lead actors Jake Gyllenhaal and Amy Adams arrived at the Hammer Museum in a navy Shelton suit and black cross-back dress, respectively, followed by Aaron Taylor-Johnson, Michael Shannon and Armie Hammer, also suited up in Ford. Aussie actress Isla Fisher, who plays a fictional version of Adams in the film, and English thespian Andrea Riseborough, who plays a Los Angeles society hostess, also donned outfits by Ford, as did guests Amber Valletta, January Jones and Rita Ora.
The Los Angeles screening comes after the film made its world premiere in September at the Venice Film Festival, where Ford won the Silver Lion prize, followed by its North American premiere at the Toronto International Film Festival. In between, Ford also premiered his first see-now-buy-now collection during New York Fashion Week.
While Ford called his actors a “safety net” explaining, “when you have great actors you get great performances,” his cast was quick to sing his praises as a director.
“He’s honest, open, thoughtful and precise; he knows exactly what he wants and he’s got a very strong eye for

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Too Many Women Who Need Bone Screening Aren’t Getting It

California study found that patients at highest risk for fractures often miss out on tests
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SPECIAL NEWS BULLETIN!-http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News-
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Screening Test Finds Drugs That Show Promise Against Ebola

Researchers uncover 53 potential treatments; all are already FDA approved but need more study for this use
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Too Few Americans Undergo Dementia Screening

More than half of people with the condition never had a thinking/memory test, study found
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10 Things I Learned From Screening Love Is Strange

1. The last time I saw John Lithgow acting he played a serial murderer in Dexter, loved seeing him as one-half of a couple in a nearly 40 year relationship.

2. Alfred Molina portrayed the other half of the couple. Spoiler alert: his character has been faithful in the relationship, Lithgow’s character has not been.

3. I know Marisa Tomei has a body of work before and after My Cousin Vinnie but for me,that is her seminal role.

4. The Catholic Church is homophobic, it appears it is okay to be gay and teach in a Catholic school, but ironically you can’t get married.

5. Chopin’s music figures prominently and beautifully in the soundtrack.

6. Best line of the movie, uttered by Molina’s character:

Life has its obstacles, but I’ve learned early on that they will always be lessened if faced with honesty

7. Independent films are alive and well.

8. Morality clauses exist in contracts and are enforced.

9. Some folks would rather live apart in a bunk bed in New York than together in the suburbs in Poughkeepsie.

10. There are lots of relationships in this film and unanswered questions. I am fine with that.
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The Story of Viv Albertine + Joanna Hogg Triptych Screening at Lincoln Center (Exclusive VIDEO)

Herewith, the story of Viv Albertine, star of Hogg’s Exhibition, and also of her own life — begun as a “poor North London girl” and lived through London Punk, a directing career, motherhood, illness, acting, authorship re-starting her band — all of which will serve her daughter very well, by way of a life-example. Plus, film notes on Unrelated and Exhibition.


Viv Through This, or, Girl Not On A Motorcycle

I met Viv Albertine at SXSW a few years back and invited her to share her life-story on-cam, which she gamely did. It’s a story beginning with her besties (“Whenever I’m working, I always think back to that gang of girls”) during formative years in London when arthouse cinema and exhibitions were meaning-conferrers and circumstance-transcenders for “Poor North London girls”, and coursing through a life-changing decision to get a guitar instead of a motorcycle (noting she’d “Probably be dead” if she had got the motorbike — which prompts one to say: R.I.P., dear, mighty Nico); dating Mick Jones; starting a famous non-band with Sid Vicious; joining with the now-legendary (again, sadly, RIP Ari Up) The Slits; getting serious and becoming a model art student after years of not doing so, followed by a career directing and making money (“I’ve never looked so boring as when I had so much money…unlike now that I’m poor again, and I have to make stuff up”); surviving a decade of serious illness — which, in a fascinating, unintended bit of life-poetry, she notes, was an ordeal without which she might not have been the Mum she succeeded in being, followed by her return to music, subsequent to which “my marriage exploded”, an inevitability no doubt infinitely preferable to her other considered option of “Running screaming into the sea and never returning, because we lived right at the edge of a cliff…”

She concludes by noting that while her daughter sees less of her than before, “What she does see, I think, is quite inspiring.” Well done, here’s to, well, the future?

Viv Albertine interviewed by Michael Vazquez

Viv sings her life, shares needles (in song). If the butterfly double-vision is nauseating, just begin at the 4:24 mark for the live performance, followed by a full-frame repeat of the interview (after the same intro which opens this clip). This is best in full-screen — click the full-screen option in the lower left corner, to the right of the YouTube logo. After this interview, I urged her, as I do nearly everyone I speak with, famous or not, to sing her life in a book. She did (though not likely because of anything I said) and it’s been published and can be found HERE)

Albertine can be seen (though not heard very much, per the film’s theme) in Exhibition, Hogg’s latest film (see notes after this review of Hogg’s debut feature, Unrelated)

Unrelated, or, Indian Summer

In what would make an excellent double-bill, or a realistic sequel with/to Rohmer’s achingly gentle classic, Summer, Joanna Hogg’s Unrelated takes us on holiday with Anna, a woman somewhat similar to Summer’s Delphine, perhaps a decade-plus on from the afterglow of le rayon vert (presuming that she had discovered her future mate, and subsequently, the inevitable(?) anti-climax to that film’s magical last scene) finding herself about to be eclipsed by middle-age, (with menopausal infertility the off-camera, pre-film catalyst).

This life-soldier of quiet desperation is played by Kathryn Worth, who has the shy, attractive semi-mawk (that’s a compliment) of Michelle Phillips; hers is also a countenance of perpetual reticence, informed equally by reserve and more importantly, the kinetic energy withheld by same. The reserves of kinetic energy, the mechanisms of containment and the damage created from same — as well as the inevitable short-lived bursts of drama — are the bailiwick of Hogg’s triptych to date, and Kathryn Worth is pitch-perfect as Hogg’s prototypical front-line troop, in this debut film.

The drawing out of, and return to said state of reserve is depicted throughout the film by Hogg’s hyper-present visual language: a seemingly endless field of wilted, deadened flowers indicate the short bloom (and long decline) that characterizes so many human lives; knee-high desiccated reeds indicate the onset of middle age; barren, dusty paths with greenery just out of reach or off in the distance (usually up or down a hill) indicate boring trajectories and irreversible loss of youth; the patterns (“patterns” itself being a richly metaphorical term) worn in some scenes by Anna, comprised of the solid colors worn by those around her, indicating limbo; a relatively neutral-toned wardrobe which progress toward livelier colors and a subsequent return to drabs or black and white jogging clothes; bikes — solitary, positioned against walls in different directions, or nuzzling together — representing intimacy, attraction or the lack thereof; and, in my favorite sequence of this film, we see a wrecked car being towed in reverse near a road sign with the number ‘twenty” locked in a circle, and to my mind, indicating the span of one’s youth.

It’s worth noting that this image is seen after a (off-camera) car crash by a young driver, drunk on a concoction she’s not accustomed to, one of her dad’s cocktails, known as his “lethals” (the stodginess and or status-conferring properties of which they discuss at length before imbibing), in an episode making for a very well-done metaphorical encapsulation of becoming one’s parents and making, well, a wreck of one’s life. Although in a (very) few other instances, Hogg’s sense of visual metaphor can get somewhat literalist, it is always a comfortingly continual psychic presence as the film’s thermometer.

By way of a plot summary, if it must be included: a woman on the verge of a nervous breakdown arrives, sans her hubby, at the Italian villa rented by her oldest friend, Verena (gamely, natively embodied by Mary Roscoe, who in Hogg’s most recent film Exhibition, again plays a life-less-ordinary-accepting everywife, equally laughable, pitiable and contemptible).

At an outdoor dinner, we see Anna standing alone on the phone, telling her partner that she needs some time for herself. She’s positioned at the end of a lawn, between her friends’ families and a railway line, as a train passes into the distance, and thusly do we ken her sense of limbo and missed opportunity, though one might also note that the train has a dual significance, inasmuch as in Hogg’s universe of eternal return — not metaphysically speaking; rather, on a more mundane scale of forbearance, life-acceptance — there will be another one tomorrow, albeit not under the same exact circumstances, not with the same opportunities, but more or less on schedule.

At odds with her slowly soul-crushing fate and needing to avoid reminders of her station in life, from day to day Anna subtly eschews her old college friend and instead accompanies “the young” (as the parents call their progeny) on toking sessions, jaunts into town and drinking games, finding some respite from her general alienation, not unlike Lisa in the episode of “The Simpsons”, wherein she has her seaside summer of friends, seeming to overcome the challenge of her existential facticity, realizing through her company’s carelessness and acceptance, that it needn’t all be so heavy — for a time, at least. The events making up the adventure of the film, I leave for you, dear reader, to discover.

The very worthwhile Unrelated (my personal favorite of this threesome) is having a one-week run at The Elinor Bunin Munroe Film Center beginning 6/27 More info can be found HERE


Exhibition, or, “Safe European Home”, or, “Subdivisions”, or, A Room of One’s Own

When I asked Viv Albertine to tell me the story of her life on-camera, I wouldn’t have guessed that she’d soon star in a film with themes so very similar to what she’d told me that she’d experienced herself — not as a female Punk, circa ’77, but years later as a wife, or as she often describes herself, as a muted MILF, no longer able to express herself (hence, as she explains it, the explosion of her close to twenty-year marriage when she returned to music).

Albertine is mostly seen — and, apropos to this relationship-slash-character-study, not really heard much — throughout Exhibition’s very smart depiction of a couple’s life(style) and love (and lack thereof) as they live their work-(from-home)-a-day existence. Suffice to say, this is a nearly silent film entirely about coupledom, and by this I mean co-existence, inhibition, self-development. Both are artists, he more successful, she still finding her voice. The never-referred-to-by-name (in title credits nor by each other) D (Viv Albertine) and H (Liam Gillick) are a couple who have ostensibly become what they set out to be, in an architecturally unique home.

And though they are artists, their stasis and traditional default mode of male dominance — not through the trad assignment of domestic tasks, but rather, in the drowning out of her voice whenever he asks her what she’s working on — are in many ways no different than those found in the domestic anti-climax of a trad couple, the folks they perhaps once deemed themselves different from, a circumstance perhaps symbolized countless ways in Hogg’s cinema-universe (again, in Hogg’s films, architecture and landscapes are hyper-present metaphorical signifiers of her characters’ existential stations) including a spiral staircase which was supposed to lead one to the sunlight of the rooftop, and is in fact walled-in with a trad ceiling.

Their house is a unique habitat, modularized (and made metaphorical) by sliding walls that eradicate passageways whilst diabolically reinforcing the impossibility of attaining the isolation/freedom required to get work done as an individual, and yet also impeding a genuine sense of intimacy between the couple, each always liminally aware of the Dreaded — I mean Significant — Other. Sound design is a key element in this film, at time for worse (there are a few somewhat by-the-numbers contrived instances) and for the better (the sliding walls which enclose each of them in their workspaces sound like distant, ominous thunder whenever opened, with each instance of a door-slide freezing one of the couple — usually D — mid-work, in anticipation of the subsequent interruption). And so, by way of referencing a few lyrics (Smashing Pumpkins and Billy Corgan + New Order — at least on the live version — respectively), despite their prior rage, they are still perhaps just rats in a cage? And though they perhaps don’t wanna be like other people are, they are?

Sex is unfulfilling to say the least, and in a few tragicomic scenes, D is seen doggedly trying to masturbate, satisfying what seems to be a need for a certain kind of bondage, (ironically restrained from restrainment by the restraint of the proverbial ties that bind) while H, looking to attain intimacy, is woefully trad (or perhaps merely mismatched) in his attempts at seduction. Or, by way of a Monty Python reference, like the nuns in Monty Python & The Holy Grail, she is more game than he realizes, has needs beyond his trad sphere of sexuality.

Although their relationship — but not their genuinely tender regard for each other — seems to be wearing thin, we get a glimpse of even greener moss (I’m referencing Bombeck, not Dylan) when they visit another couple for dinner, and endure so much prattle (again delivered by Mary Roscoe, from Unrelated) that D feigns a dead faint just to get out of having to sit through dessert. They bond over this episode and he perhaps experiences a kind of grown-up realization during what seems to be a bad trip, after fleeing their back-at-home moment of domestic bliss on the couch to embark on an excursion to acquire some form of substance which apparently had created a disaster of sorts in the past, which she mentions to him as she begs him not to go, before following him on tip-toe through the streets, in a very tender act and quite moving scene which is also representative of how when one is in a couple, she or he no longer really acts alone, and this includes being lovingly protected from self-destruction.

This is followed by her (I think?) reading his work in which he seems to use their relationship as material, (specifically his frustration at her not accepting his advice, decrying that he’s reduced to merely keeping her company, to which she, in-book replies, that his comments derail her and that yes, he’s her companion) and we then see steam being released from the home as she willfully disturbs his workflow by requesting that he turn on the heat in the house.

Subsequently she (apparently now liberated to begin her work) makes like DH (the source for their initials? Nah?) Lawrence and creates portraits of a lady, namely herself, semi-nude and in a wedding veil, exercising the acts of restraint and gratification she cannot get in coupledom, and these all seem to be healthy advancements, as they evolve towards a new level of intimacy, signified by their making love, and her utilization of her (sigh) frustrated identity as a woman in a series of self-portraits.

They proceed in earnest with the selling of the house and by way of self-referential casting, we get a visit from realtors, played by Tom Hiddleston and Harry Kershaw, whose characters in Hogg’s debut film Exhibition, were on the cusp of adulthood, and are now grown-up, doing the same job as the heartbreaker-slash-ordinary boy (despite his Smiths T-shirt) in the college memory-book of the eponymous protagonists in the Mike Leigh classic, Career Girls.

And so, their phase of living amidst what they hoped would be productivity-engendering subdivisions in a design-heavy home now complete, they sell and move, and perhaps like in that classic Rush song “Subdivisions”, they’ll retreat into a lit up street and quiet nights. They throw a party, the centerpiece of which is a cake-replica of their house. In one of the film’s more literalist moments, she says, as they dish out sections of the cake-house “We should have torn that wall down long ago.” They are next seen packing [SPOILER ALERT] as she announces that she’s been asked to do a one-woman exhibition at a gallery and he is genuinely happy for her.

Whilst one might consider the ending a bit optimistic, almost instant and unrealistic (unlike the seemingly much more organically instantaneous fish-returning-to-water survival instincts-slash-resolution-by-denial of her other characters at the end of her other films, (that is, until the next wave of unresolved emotions to be endured) perhaps rather, the eponymous ending of Exhibition (a title which actualy seems to have several meanings within this film) might be cinematically inspirational for a woman or a man (though you could say this is Hogg’s most “feminist” film to date, concerned as it is with repression and voice-discovery, rather than, say, menopause, though menopause is no less a topic for feminist discourse) committed to coupledom, yet requiring that proverbial room of one’s own.

Exhibition is screening from 6/23 to 7/03 at The Elinor Bunin Munroe Film Center. More info can be found HERE

Random Notes

To this day, when I hear the name “Vivian”,
I hear Adrian, AKA Richard Michael “Rik” Mayall, yelling the name in exasperation, yet again the brunt of his Trash-Metalhead housemate’s pranks and tortures. I’m talking about “The Young Ones”, a show which during the 80s was the only bit of television I would watch (after horking up just a few bong hits, on Sunday nights in my dorm’s common room, one of the few times I would actually leave my room — and I don’t mean classes notwithstanding). Mayall played Adrian, a lily-livered, would-be subversive, to a “T”. He also delivered one helluva King Herod in the excellent British staged production of “Jesus Chris Superstar”. John Lydon (see my interview with him HERE) will be taking up that role in an upcoming production. RIP, Mr. Mayall, and thanks so much for everything.


Home By The Sea, or file under: 2 out of 3 ain’t bad, or, I’m just a hater:
Archipelago, Hogg’s second film focuses on an affluent family on holiday amidst tensions, perhaps particularly in the absence of the (presumedly very busy) husband/father, who does not travel with them. Although it accomplishes its tonal ambitions and is quite engaging, I found myself wishing during a restaurant scene — to again reference Monty Python — that they’d all ordered the salmon mousse, and for Death to arrive and say to them “You fucking British…” I’ll concede that I’m probably being a hater herein, and I’ll note that this comment is intended as levity; I rarely presume to pan films — the space is always better used suporting that which you love. All three films seen together make for a rich, rewarding experience of work by a director who will be doing much more.

Archipelago is having a one-week run at The Elinor Bunin Munroe Film Center beginning 6/27 More info can be found HERE

File not under extra-credit, but crucial reading: Though I have not read Albertine’s book, to be certain Selector lead singer Pauline Black’s book Black By Design and Morrissey’s book Autobiography make for, some dynamite reading during warm summer days (outdoors locale optional).

File under: Still ill? Godspeed, you black emperor: Feel better Morrissey, we’re all rooting for you. Tours, release dates matter not. Maybe your next filmed meditation should be on illness, recovery and the self-knowledge engendered during same — though again, no rush.
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HBO’s ‘The Case Against 8’ Screening Features Reception For Gay Couples At Sundance

PARK CITY, Utah (AP) — Though they are not considered legally married in Utah, several gay and lesbian couples were feted with a wedding celebration as part of HBO’s promotion of its upcoming documentary on gay marriage, “The Case Against 8.”

The film, which premiered at the Sundance Film Festival on Saturday, chronicles two gay couples battling against Proposition 8, the California law approved by voters that banned gay marriage. It was eventually declared unconstitutional. After the documentary’s debut, a reception was held featuring the two couples at the center of the legal fight, along with the film’s directors, Ben Cotner and Ryan White. The reception also featured gay couples at the center of a gay marriage battle in Utah. There was champagne and a wedding cake celebrating their unions, although the legality of them is in dispute.

“The timing is great to have the film released now, in the wake of the ruling here,” said Matthew Barraza, who attended with husband Tony Milner and their young son Jesse.

Last month, more than 1,000 same-sex couples wed in Utah after a federal judge declared the state’s ban on gay marriage unconstitutional. The state is appealing, and the Supreme Court put a halt on same-sex weddings until the case is resolved. In the meantime, Utah is not recognizing those marriages, although the federal government does.

Milner has yet to see “The Case Against 8” but said he appreciated the struggles of the couples featured in it.

“We’ve learned that it’s a battle, but it takes time. There are setbacks, but we think the inevitable result is that we’re going to have marriage equality for all Americans,” he said.

Acclaimed director Rob Reiner was also at the reception. Reiner was active in the battle to overturn Prop. 8 in California and is featured in the movie. He said he was blown away by “The Case Against 8.”

“I knew we had a good movie, but I was just stunned at how impressive it was and the reaction to it. It was amazing,” he said. “It really tells the journey that we went through to overturn Prop. 8.”

The film will air on HBO in June.

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