In the Intense Now (João Moreira Salles, 2017)

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One of the better documentaries of the year plays this weekend only at the Northwest Film Forum. In the Intense Now is built out of archival images, some shot by director João Moreira Salles’s mother, when she visited China in 1966, but mostly from amateur and independent film footage of France and Czechoslovakia and Brazil in the revolutionary summer of 1968. It’s one of the centerpiece presentations of the Film Forum’s fall series 1968: Expressions of a Flame, which is presenting a wide variety of films, fiction and non-, well-known and obscure, from that year. It would also have been a fine addition to their Home Movies series, which began this spring and continues this weekend with Andy Warhol’s Mrs. Warhol, with its focus on filmmakers documenting and exploring their own families (which we highlighted here when they played Liu Jiayin’s Oxhide II and Chantal Akerman’s News from Home). In the Intense Now is built around this tension, between the personal and the political, as much as it is about the disconnect between the hopes of the past and the failures of the present.

Reminiscent of the films of Chris Marker, the film is entirely composed of archival images, over which the director narrates his thoughts in a soft, unassuming voice. His mother’s trip to China, where she appears not to notice the Cultural Revolution going on around her in favor of the sheer beauty of the country and its landscape, forms the apolitical counterpoint to the footage of the May protests in France two years later, where students march in the streets in support of striking workers (who seem generally bemused by the students, whom the refer to as “their future bosses”). Moreira Salles focuses less on the ideology of the protestors or their opponents, exemplified by young firebrand Daniel Cohn-Bendit on the one side and aged General DeGaulle on the other, than on the small moments captured almost accidentally by the filmmakers: minute gestures; expressions of unself-conscious joy and happiness; the fact that there are hardly any black people in the movement, and that they always are wearing suits; and so on. This fine eye for detail gives us a new way of looking at old footage, and a new angle on well-worn territory.

As does the film’s second half, the aftermath of the events of May, not just in Czechoslovakia, where Soviet tanks bring an end to the flowering Prague Spring, but in France, where the youth movement fizzles out and is co-opted by commercial interests. In fact, those interests were there from the start, fueling some of the most enduring memories of ’68, the slogans, bite-sized sentiments more surreal than Marxist that were not the organic output of youth rebellion they seemed to be at the time. For all the expressions of optimism and joy captured in the early days of the movement, In the Intense Now is ultimately a tragedy, a story of how movements fade away, how people, left and right, become grist for the content mills. In the face of all this inevitability, the film becomes a call to focus instead on experience, the individualized moment, the textures of existence, as a break from systemic thought or dreams of collective action. That it was made by the heir of one of Brazil’s most powerful banking families, a man worth close to 4 billion dollars, is probably important.

The Seattle Screen Scene Top 100 Films of All-Time Project

When the new Sight & Sound poll came out in 2012, Mike and I each came up with hypothetical Top Tens of our own. For the next few years, we came up with an entirely new Top Ten on our podcast, The George Sanders Show every year around Labor Day. The podcast has ended, but the project continues here at Seattle Screen Scene.

The idea is that we keep doing this until the next poll comes out, by which time we’ll each have a Top 100 list. Well, I will. Mike will have only 98 because he repeated two from his 2012 list on the 2013 one.

Here are Mike’s Top Ten Films of All-Time for 2018:

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1. The Skeleton Dance (Walt Disney, 1929)

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2. Thieves’ Highway (Jules Dassin, 1949)

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3. All About Eve (Joseph L. Mankiewicz, 1950)

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4. Lola (Jacques Demy, 1961)

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5. The Man Who Shot Liberty Valance (John Ford, 1962)

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6. The Train (John Frenkenheimer, 1964)

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7. Lady Snowblood (Toshiya Fujita, 1973)

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8. Harlan County, USA (Barbara Kopple, 1976)

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9. Gremlins (Joe Dante, 1984)

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10. Shaun of the Dead (Edgar Wright, 2004)

And here are Sean’s Top Ten Films of All-Time for 2018:

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1. Morocco (Josef von Sternberg, 1930)

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2. Bringing Up Baby (Howard Hawks, 1938)

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3. A Canterbury Tale (Michael Powell & Emeric Pressburger, 1944)

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4. Johnny Guitar (Nicholas Ray, 1954)

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5. I am Cuba (Mikhail Kalatozov, 1964)

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6. Police Story (Jackie Chan, 1985)

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7. Kiki’s Delivery Service (Hayao Miyazaki, 1989)

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8. A Brighter Summer Day (Edward Yang, 1991)

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9. The Matrix (Lana & Lilly Wachowski, 1999)

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10. Kung Fu Hustle (Stephen Chow, 2004)