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Serena Donadoni

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Category: The Scene572 Movies1 Spun1

Year: 20171 20141 20141 20093 200878 200739 20024 200197 2000118 199994 199888 199751

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Just Looking November 01, 2000

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  • Medicine for Melancholy

      Writer-director Barry Jenkins' debut film follows Micah (Wyatt Cenac) and Jo (Tracey Heggins) through a tender post-hookup romance, adding a healthy discourse on the nuances of racial identity. This urban romance is a valentine to San Francisco, the onetime vibrant and sprawling haven for outsiders that he sees becoming a homogeneous gentrified museum. All this is done with a light touch and the feeling that these lives are being captured on the fly. Micah and Jo wake up together after a drunken one-night stand at a mutual friend’s party. They don’t even speak as they gather up their clothes. Not many more words are exchanged over a tense breakfast and long, long cab ride home. But Micah senses a connection, and when he finds her wallet on the taxi floor, he takes the initiative and decides to woo the reluctant Jo. What Micah doesn’t realize is that he’ll only have a day to spend with Jo, but in Jenkins’s view, that may be enough.
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  • Bride Wars

      The battling brides at the heart of this matrimonial dramedy aren’t grown-up mean girls, but the kind of codependent best friends whose personality ping-pong would drive a long-running sitcom. Control-freak corporate attorney Liv Lerner (Kate Hudson) and pushover elementary school teacher Emma Allen (Anne Hathaway) have little in common, outside of an obsession with all things bridal and an unwavering devotion to each other. The Bride Wars commence when these all important belief systems suddenly come into conflict with each other.
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  • Lola Montès

      Max Ophüls’ overstuffed, magnificently plumed creature Lola (Martine Carol) is a self-made creature, an alluring Spanish dancer known more for her love affairs and ability to stir controversy than for her artistic abilities. Ophüls (Letter from an Unknown Woman) envisions her last act as the star attraction of the Mammoth Circus, a regal yet approachable — for a fee — sideshow freak. The booming ringmaster (Peter Ustinov) conducts the show, a series of tableaux in which traditional circus acts illustrate Lola’s infamous European conquests. The effect is both beautiful and bizarre, like the replicas of her head they use to collect coins from the audience. With the ease of a postmodernist, Ophüls moves from presenting the garish spectacle to the backstage concerns of the performers to a series of flashbacks that sometimes contradicts, and other times illuminates, the opulent farce this carny barker in fancy dress has fabricated.
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