Photo credit: Omar Omar, via Flickr

After a year-long run of critic’s screenings and what a friend and I call “The Junket Circuit,” I have to admit that I’m quite the apathetic filmgoer these days. I hate to call myself a former film critic, because I don’t think the title is accurate at all. While I feverishly punched out reviews at my old job, I was often disillusioned by the process and frustrated by the quickfire pace of internet publishing. I myself don’t really read film reviews—maybe the occasional Andrew O’Hehir, Anthony Lane, or LA Weekly article, but not much else.

What the job demanded I do was keep up with every theatrical film release known to (wo)man, from Quantum of Solace to more obscure fare like Reprise, a really lovely Norwegian film that quietly came and went last year. The fact is, during my tenure as an active member of the film journalist cabal, however low on the totem pole, I was uniquely wise to how the game works. You start to see things differently when you’re privy to the special dance that critics and PR reps do, especially when you’re a part of the sometimes-sordid process.

I was also spoiled. Free movies were a given, as were afternoons at The Four Seasons in Beverly Hills, eating really good pasta salad, swilling Pellegrino, then chomping on a chocolate chip cookie while waiting to interview Colin Farrell. I would often emerge from junkets with a stupid or nonsensical story to tell, like smelling of Colin’s cologne after our one-on-one (we never touched, it was just that strong); trying to escape a roomful of pervy porn journalists at the Girlfriend Experience junket, only to run into Larry Flynt at the hotel restaurant; or sitting down with Gael García Bernal at the Chateau Marmont, listening to him speak about how purposely singing badly (in Rudo y Cursi) was kind of like losing one’s virginity.* Those were the days.

Now, I feel really disconnected from film. What’s coming out this week? You got me. Someone had to explain what I Know They Serve Beer in Hell was to me, and apparently it’s some kind of vulgar cultural phenom. This is due in part to the fact that I don’t own a television (true story), but more because I don’t really care. It’s like someone’s poured a vial of “I don’t give a shit” tonic into my morning tea. I’m not sure what caused the shift, but movies just don’t excite me very much at the moment, and they haven’t for a while. My Netflix account has gone from “long dormant” to “cancelled,” and I’ll only pay to see something if a group of friends wants to go. Even then it’s more about the pre- or post-movie drink or milling around the Arclight bookstore afterward.

All this cogitating came about because I noticed that Lars von Trier, a director who I’ve long admired, released a new film in the States yesterday—a movie I have zero interest in seeing. If you’re at all familiar with von Trier, you know that watching one of his movies is often tantamount to emotional torture, but at least they’re well made and say something about life’s absurdities, heartbreaks, contradictions, and on.

Antichrist I’m judging based solely on the violent descriptions I’ve read online. Usually I’m much more diplomatic about this kind of stuff, but do I really want to see a film about a child’s death, the parents’ psychological undoing, and featuring a climax (literally?) of genital mutilation? The answer is a resounding “no.” I just don’t want to go there. I don’t wanna.

It’s not that I don’t want to be challenged—for the love of God, I wish more movies were challenging in a good way. This just sounds like self-imposed cinematic flagellation, and after experiences with Salò, Irreversible, and Funny Games (both versions), I think I’m over the whole “shock tactics for profundity” approach. Antichrist may be nothing like any of those films, but as moviegoers we’re blessed with the power of choice. Sometimes you’re in the mood for Gomorrah, and other times you need an afternoon filled with perennially-rerun TBS favorites; I’m talking Back to the Future followed by She’s All That, and maybe you’ll luck out and catch Robocop on one of the basic cable stations around dinnertime. Not that I know anything about this, because I don’t own a television. Sigh. So right now, I want less Criterion fare and more British Elle, scoops of sorbetto, re-runs of the O.G. 90210, sunshine, bunnies, et cetera. Jeanne Dielman will have to wait.

On the other hand, there’s always room for more 90210.

*I think I still have the tape of Gael saying this. I hope I do. At the time, it necessitated several rewind-and-relisten takes because I really am that pathetic and helpless when it comes to hot, Spanish-speaking men.

Photo credit: Nick Night; Yohji Yamamoto A/W 1988-89 Campaign

How did I miss the news that Yohji Yamamoto recently filed for bankruptcy protection? Too much of ‘tha Book, not enough of The Cut these days, I guess. The silver lining to this sad, if not surprising, news is that Yamamoto will continue to design virtually uninterrupted while an investment firm pumps cash into his struggling business.

What an unfortunate segue into Wim Wenders’ Notebooks on Cities and Clothes, a really great movie about Yamamoto, identity, place, and other esoteric micellenany that somehow relate back to fashion. I discovered the film Designer Imposter-style, thanks to Netflix. As in, the red envelope gods spied on my rental queue and pulled a “If you liked Marc Jacobs & Louis Vuitton, you’ll love…” Only this movie is no shabby second-best a la Primo!; it came out in 1989, long before that digital purple fairy I mentioned was flitting its way around Jacobs’ Parisian workroom. What Notebooks achieves that MJ & LV doesn’t is a deeper level of creative brain-picking, one image maker framing another. Oh, yes, Wenders will go Spinoza on your ass…or something like that. Expect a side of philosophy with footage of Yamamoto’s runway shows, and an equal amount of visual fodder for ogling.

While watching, I was struck by how prescient Yamamoto’s designs were, especially since they were born during a decade of of sometimes-fabulous, sometimes-wretched excess. The man knows women, knows bodies, and sure as hell knows beauty—the lasting, relevant sort that even finnicky fashion types can’t dismiss years later. The only thing really dated about the film is its soundtrack, which is actually quite fabulous: think Terminator score meets that of an ’80s-era porn film.

Watch the trailer for a taste of what to expect. It ranks up there with Unzipped as one of my favorite fashion documentaries ever made.

I had the chance to prescreen the film and interview director R.J. Cutler, who previously produced the Bill Clinton campaign documentary The War Room. The politically-minded (and sartorially-challenged) filmmaker was enchanted by Wintour and her Condé Nast family, even if getting Vogue Creative Director Grace Coddington to smile for the camera was a trying task. I’ve posted my article below, which appears in the, ahem, September issue of SOMA. Click on the article for legible text.

Photo credit: Kitsune Noir

I recently resurrected my long-dormant Netflix account, only to be greeted by a queue that stretches 78 films long—88 if you count the 10 titles languishing in the purgatory otherwise known as “Saved DVDs.” The unruly list starts with Jean-Luc Godard’s A Woman is a Woman and ends with Louis Malle’s Au Revoir Les Enfants, but honestly, what I really want to (re-)rent next is The Pelican Brief.

While I contemplate inviting Julia Roberts’ timorous Darby Shaw into my living room, in the interim I’ve been occupying myself with a series of designer documentaries—a mailbox march of red enveloped arrivals inspired by the impending release of The September Issue. (From what a trusted film journalist friend tells me, it lives up to even steely-eyed Anna Wintour’s measure of excellence.)

My first excursion into the world of couture on screen was Marc Jacobs & Louis Vuitton, director Loïc Prigent’s 2007 film about, arguably, fashion’s most influential designer. Once rebuked—and fired—for his notorious “grunge” collection for Perry Ellis, Jacobs is now an industry darling, evidenced by his elite editorial and celebrity following. The sartorial vanguard’s often unconventional vision has filtered into the wardrobes of mainstream America, with suburbanites waiting with bated breath for the H&M collaboration that may never come. Look to your local designer knockoff kiosk to find rainbow-colored, Eye Love-inspired PVC handbags still selling strong, years after Jessica Simpson paraded her pet “Louis” around on Newlyweds—much to the horror of genuine Murakami aficionados.

Visually striking, but devoid of true depth, I found myself making the most tangential—and maybe inappropriate—of associations while watching the movie. Paul Thomas Anderson, speaking about a 70s porn documentary about John Holmes that informed Boogie Nights, described the Julia St. Vincent-helmed picture as more “love letter” than objective slice of life filmmaking. Then again, I’m not sure how precisely cinematic a documentary about an adult star is meant to be. Nevertheless, the same might be said of Marc Jacobs & Louis Vuitton, which engages insomuch as it invites viewers into the charmeuse-strewn workroom where Vuitton collections are born, all the while portraying its creator sympathetically. But beyond this hallowed space, where Jacobs compulsively snacks on protein bars while giving the “yay” or “nay” to fabric flower adornments, there was a marked absence of meaningful insight into Jacobs himself.

I was searching for neither a scathing exposé of Jacobs’ drug-addled years, nor lascivious confessionals from ex-lovers, but a genuine inquiry into the Mythos of Jacobs. What we are given instead is, at best, a half-realized portrait of the slim couturier, and a digitally rendered purple fairy flitting about to symbolize “inspiration.” But alas, had Marc Jacobs & Louis Vuitton been a less benign movie, you probably wouldn’t be able to purchase it at Marc by Marc Jacobs stores internationally, as is now the case. Look for it somewhere between the mushroom key chains and coffee table photography books.

That said, it still gets points for featuring one of my favorite Vuitton collections to date. It’s pretty, fun, and often inspirational, even if it sometimes comes off like a less thoughtful creative patchwork than the LV Tribute Bag at the center of the Vuitton Spring/Summer 2007 showcase.

Official website of Marc Jacobs & Louis Vuitton