Is this really going to be done and released by December? If so, it'd be the most prolific Ferrara has been in quite some time. Anyone have the inside scoop?
"Your mental capacity isn't the only problem. You also have the sensibility of a cow on morphine."
Playing at London Film Festival in October, so must be in the can.
shareYep, and I think it's playing at the Venice Film Fest rather soon too. A trailer was just released and it looks marvelous, might be the first really great Ferrara film since 'R Xmas (don't get me wrong, I love the guy from '90-'01, that's one of the best runs by any filmmaker in cinema history, but his last several films I've found mostly disappointing).
Anyway, here's the trailer: https://www.youtube.com/watch?v=iOVDmHmisQw
"Your mental capacity isn't the only problem. You also have the sensibility of a cow on morphine."
I liked "4:44 The Last Day on Earth", OK. And I haven't yet seen (but want to see) "Napoli, Napoli, Napoli".
I just got his Chelsea Hotel documentary,too.
Anyway, I LOVED early works,too, like "Ms. 45", and also consider his 1990-2001 period to be great. "King of New York", "Bad Lieutenant", "Dangerous Game", "The Funeral", "The Addiction", etc., were great.
Now, I'm very excited about BOTH, "Welcome to New York" and "Pasolini".
Ferrara now says he'd like to direct some of Pasolini's other unfilmed scripts. (He actually DOES direct one within "Pasolini").
He's fascinating.
Yeah, Ms. 45 is great too. I do need to re-watch the more recent features, like Mary and Go-Go Tales; Ferrara always improves on multiple viewings and those may be no exception. Haven't seen Napoli or Chelsea (they're hard to find!) but the latter especially seems interesting. Unfortunately I thought Welcome to NY was maybe his worst film; crudely put, a kind of white-collar Bad Lt. except lacking any of the formal genius and profound subtext of that film, its instead a very dreary affair that seems obsessed with dry realism as an end unto itself. I prefer Ferrara, and most films, when they combine that dry realism with either some novel aesthetic conceit, or an element of the surreal that keeps it from being a glorified documentary. But Welcome just didn't work for me at all outside of Depardieu's lumbering, monstrous performance. Anyway, Pasolini looks great -- it and Inherent Vice and Michael Mann's Cyber are going to make the next few months very good for cinema. And even when Ferrara makes mediocre films, he himself is such a character, such a funny and good-hearted guy, that I can't help but root for him.
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