A salesman for a natural gas company experiences life-changing events after arriving in a small town, where his corporation wants to tap into the available resources. —IMDb
A director who is capable of crafting both deeply unconventional independent films and mainstream crowd-pleasers, Gus Van Sant has managed to carve an enviable niche for himself in Hollywood. Since debuting in 1985 with Mala Noche, Van Sant has become one of the premiere bards of dysfunction, populating his films with a parade of hustlers, junkies, psychopathic weather girls, homicidal teens, and troubled geniuses.
The son of a traveling salesman, Van Sant was born in Louisville, KY, on July 24, 1952. One constant in the director’s early years was his interest in painting and Super-8 filmmaking. Van Sant’s artistic leanings took him to the Rhode Island School of Design in 1970, where introduction to Avant-Garde cinema quickly inspired him to change his major from painting to cinema. After mobving to LA, Van Sant became fascinated by the existence of the marginalized section of L.A.‘s population, especially in context with the more ordinary prosperous world that surrounded them… read more
Lacking both the aggressive commercial aspirations of Erin Brockovich and the pseudo-artistic ambition of The Constant Gardner, to name two other recent liberal, socially-conscious David vs. Goliath battles, this modest, winning film, made by one of our finest and most adventurous directors, seems to have been politely ignored by critics and audiences alike. Like most such efforts, is it a tad soapy and predictable? Perhaps. But, unlike hydrofracking, the film's central concern, the positives outweigh the negatives by a good margin. And those include a well-wrought screenplay that is cognizant of both the charms and pitfalls of small-town life; strong, committed performances, especially by a gracefully withering Matt Damon, also the film's co-writer; and, last but not least, Van Sant's ever unwavering eye for beauty—physical, natural, aesthetic.
A syrupy and unnecessary love story sinks a potentially interesting commentary on America's corporate culture. Not enough cynicism, too many cliches ("I am a good guy"). A sanctimonious and yet impotent, unremarkable cinematic effort that compromises Van Sant's immaculate portfolio..
The 63rd Berlinale announces their awards! Child’s Pose, David Gordon Green, Jafar Panahi, Denis Côté, and more…
Striking images of the late Paulo Rocha, 2012 musings from David Hudson & Brandon Harris, interviews with Miike, P.T.A., Ferrara & more.
Larry Clark’s new film wins in Rome & debuts online, Berlinale’s “Weimar Touch”, J. Hoberman’s 21 Films of the 21st Century & more.
This week’s essential film items include an incredible new issue of La Furia Umana, trailers for films by Van Sant and Park, and more.
Tal como acontecia com Restless, em Terra Prometida Gus van Sant volta a usar o “dinheiro” da indústria para fazê-la explodir a partir de dentro. O “dinheiro”, enquanto condição, foi uma das questões… read review