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	<title>Salon.com > Tribeca Film Access</title>
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		<title>&#8220;The Bang Bang Club&#8221;: A haunting lesson in war-zone journalism</title>
		<link>http://www.salon.com/2011/04/23/bang_bang_club/</link>
		<comments>http://www.salon.com/2011/04/23/bang_bang_club/#comments</comments>
		<pubDate>Sat, 23 Apr 2011 21:45:00 +0000</pubDate>
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		<description><![CDATA[After the death of Tim Hetherington, "The Bang Bang Club" with Ryan Phillippe has a special resonance]]></description>
			<content:encoded><![CDATA[<p>There's no way to know how photojournalist and documentary filmmaker Tim Hetherington, who was killed last week covering the civil war in Libya (along with photojournalist <a href="http://www.salon.com/news/libya/index.html?story=/mwt/feature/2011/04/23/chris_hondros_rip">Chris Hondros</a>), would have responded to Steven Silver&#8217;s "The Bang Bang Club," a drama about the emergence -- and near self-destruction -- of a group of hotshot photographers in a different war zone, early 1990s South Africa. But the coincidence is too grim and too obvious to let pass.</p><p>At first I thought "The Bang Bang Club," which premiered at the Tribeca Film Festival on Thursday night before beginning a theatrical and VOD run, was entirely too slick and too much in love with its protagonists' bad-ass self-image. It stars Ryan Phillippe as the Pulitzer-winning photographer Greg Marinovich, one of the ringleaders of the so-called Bang Bang Club (a nickname they disliked). The label got hung on a group of four white photojournalists who repeatedly risked their lives to document the three-way conflict between the apartheid South African government, Nelson Mandela's African National Congress and the Zulu Inkatha movement. Besides Marinovich, the others were another Pulitzer winner, Kevin Carter (Taylor Kitsch), Jo&#227;o Silva (Neels van Jarsveld), who went on to a career with the New York Times, and Ken Oosterbroek (Frank Rautenbach).</p><p><a href="http://www.salon.com/2011/04/23/bang_bang_club/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>9</slash:comments>
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		<title>Best of Tribeca: Killing for a &#8220;Dream Home&#8221;</title>
		<link>http://www.salon.com/2010/05/04/tff_dream_home/</link>
		<comments>http://www.salon.com/2010/05/04/tff_dream_home/#comments</comments>
		<pubDate>Tue, 04 May 2010 20:45:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/04/tff_dream_home</guid>
		<description><![CDATA[Think the real estate market's bad? Check out the gruesome house hunt in this Hong Kong horror-comedy]]></description>
			<content:encoded><![CDATA[<p>There are many horror stories and many comic fables to be found in the world of real estate, but perhaps none as hilarious, outrageously stylish and thoroughly disgusting as Hong Kong director Pang Ho-cheung's "Dream Home." Leave all concerns about morality and good taste at the door for this saga of upwardly mobile Li-sheung (Josie Ho), who vowed in childhood that one day she would live in a luxury flat with a harbor view, and will stop at nothing to fulfill her dream. In case I haven't made that totally clear, "Dream Home's" not for the squeamish, but if you relish gruesome-comic Asian-movie mayhem at its finest, this will be a memorable experience.</p><p>Thing is, Li-sheung's deal for her dream apartment is falling apart at the last minute, and she needs to find a way to make the sellers reconsider, right in the middle of Hong Kong's late-2000s real estate boom. Hmm -- how about inflicting a horrific killing spree on the neighbors, sending a variety of drugged-out losers, trashed hookers, blas&#233; bourgeoisie, intrusive cops and innocent bystanders to their deaths in imaginative, splatterific fashion?</p><p><a href="http://www.salon.com/2010/05/04/tff_dream_home/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Best of Tribeca: &#8220;My Trip to Al-Qaeda&#8221;</title>
		<link>http://www.salon.com/2010/05/04/tff_al_qaeda/</link>
		<comments>http://www.salon.com/2010/05/04/tff_al_qaeda/#comments</comments>
		<pubDate>Tue, 04 May 2010 16:30:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/04/tff_al_qaeda</guid>
		<description><![CDATA["Inconvenient Truth" meets Osama in Lawrence Wright's laconic guided tour to the roots of Islamic terrorism]]></description>
			<content:encoded><![CDATA[<p>Counting his unfinished film about disgraced ex-New York governor Eliot Spitzer and his section of the anthology documentary "Freakonomics," Oscar-winning director <a href="http://dir.salon.com/ent/movies/feature/2008/01/18/conversations_gibney/">Alex Gibney</a> ("Taxi to the Dark Side," "Enron: The Smartest Guys in the Room") has four films en route to public consumption. "My Trip to Al-Qaeda," a screen adaptation of author, screenwriter and journalist <a href="http://www.lawrencewright.com/">Lawrence Wright's</a> one-man play about his search for the roots of Islamic terrorism, might be the least showy of all, but it's a spellbinding connect-the-dots tour through some little-understood recent history. (Wright's 2007 Pulitzer winner, "The Looming Tower," has been acclaimed as one of the best studies of the cultural climate that led to Islamic terrorism and the 9/11 attacks.)</p><p><a href="http://www.salon.com/2010/05/04/tff_al_qaeda/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>5</slash:comments>
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		<title>Best of Tribeca: Vietnamese action flick &#8220;Clash&#8221;</title>
		<link>http://www.salon.com/2010/05/04/tff_clash/</link>
		<comments>http://www.salon.com/2010/05/04/tff_clash/#comments</comments>
		<pubDate>Tue, 04 May 2010 14:40:00 +0000</pubDate>
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		<description><![CDATA[Kickboxing hotties, angular haircuts and hip-hop: This ain't your dad's Vietnam]]></description>
			<content:encoded><![CDATA[<p>I may be poaching on my colleague Bob Calhoun's <a href="http://www.salon.com/entertainment/movies/straight_to_dvd/index.html">Straight to DVD</a> franchise with this one, but I can't resist. For one thing, while I've spent a lot of my life watching movies from disparate corners of the globe, "Clash" was my very first exposure to the Vietnamese action boom of the last few years. It's a high-octane martial-arts ass-kicker built around an overly complicated criminal scheme, a leggy heroine who looks great in a ball gown and chops down French musclemen with her awesome kickboxing moves, and a soundtrack fueled by slammin' Vietnamese hip-hop. Yeah -- I actually said "Vietnamese hip-hop."</p><p><a href="http://www.salon.com/2010/05/04/tff_clash/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>1</slash:comments>
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		<title>Best of Tribeca: &#8220;Soul Kitchen&#8221;</title>
		<link>http://www.salon.com/2010/05/03/tff_soul_kitchen/</link>
		<comments>http://www.salon.com/2010/05/03/tff_soul_kitchen/#comments</comments>
		<pubDate>Mon, 03 May 2010 21:45:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/03/tff_soul_kitchen</guid>
		<description><![CDATA[A madcap, Marx Brothers-style restaurant comedy from the director of the German hit "The Edge of Heaven"]]></description>
			<content:encoded><![CDATA[<p>Better known for serious-minded explorations of the new, multicultural Europe, like his 2007 international award-winner "The Edge of Heaven," Turkish-German filmmaker Fatih Akin tunes his instrument to a higher, more farcical pitch here. "Soul Kitchen" is the title of the movie (in German as well as English) and the name of the ragtag restaurant in a scruffy neighborhood of Hamburg whose anguished proprietor, Zinos (Adam Bousdoukos), can't decide whether to stay and fight for his business or chase his wayward girlfriend to Shanghai. His ne'er-do-well brother, Illias (the terrific German actor Moritz Bleibtreu) -- a mess of tics, gangster mannerisms and failed schemes -- is just out of prison, and Zinos' temperamental, haute-cuisine chef seems poorly matched to the customer base.</p><p><a href="http://www.salon.com/2010/05/03/tff_soul_kitchen/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Best of Tribeca: &#8220;Metropia&#8221;</title>
		<link>http://www.salon.com/2010/05/03/tff_metropia/</link>
		<comments>http://www.salon.com/2010/05/03/tff_metropia/#comments</comments>
		<pubDate>Mon, 03 May 2010 19:03:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/03/tff_metropia</guid>
		<description><![CDATA[Brainwashing through dandruff control, in a dark, arch Euro-futurist animated fantasy]]></description>
			<content:encoded><![CDATA[<p>A mumbling, dystopian dream-state animated film largely set within a vast subway system that links all of Europe's major cities, circa 2024, Swedish director Tarik Saleh's "Metropia" feels like a mash-up of scenes, ideas and metaphors from all over the sci-fi universe. It's a little bit "Matrix," a little bit "Blade Runner," a little bit "Robocop," a little bit, I don't know, "Soylent Green." Except in this case the green stuff is shampoo, a ubiquitious dandruff remedy that, as everyguy protagonist Roger (voiced by Vincent Gallo), gradually learns, is also the vector for some kind of corporate mind-control experiment.</p><p><a href="http://www.salon.com/2010/05/03/tff_metropia/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Best of Tribeca: &#8220;The Lottery&#8221;</title>
		<link>http://www.salon.com/2010/05/03/tff_lottery/</link>
		<comments>http://www.salon.com/2010/05/03/tff_lottery/#comments</comments>
		<pubDate>Mon, 03 May 2010 16:59:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/03/tff_lottery</guid>
		<description><![CDATA[This wrenching charter-school documentary is a must for parents -- wherever you stand on the issue]]></description>
			<content:encoded><![CDATA[<p>Charter schools have become flavor of the month among advocates of educational reform, and while it doesn't provide a comprehensive overview of the issue, Madeleine Sackler's documentary "The Lottery" explains much of their appeal and should spark vigorous debate. Focusing on the heart-rending stories of four tough-luck families who enter the admissions lottery for Manhattan's Harlem Success Academy -- perhaps the nation's most famous charter school -- "The Lottery" pretty well demolishes the argument that charters are an elitist tool used to gentrify inner-city neighborhoods. Figuring out exactly why rigorously structured charters like HSA outperform ordinary zoned schools in Harlem and elsewhere (and they don't always) is more complicated.</p><p>Some public school defenders will come out of "The Lottery" spitting mad, and they'll have a point. It depicts HSA's controversial founder Eva Moskowitz (now a New York councilwoman) as a hero, and paints local elected Democrats and teachers' union officials in an exceedingly unflattering light. Furthermore, the film never addresses some obvious questions: Aren't the parents who get their act together to apply to charter schools a self-selected, achievement-oriented group whose children are likely to do better wherever they go to school?</p><p><a href="http://www.salon.com/2010/05/03/tff_lottery/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>13</slash:comments>
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		<title>Best of Tribeca: &#8220;Sons of Perdition&#8221;</title>
		<link>http://www.salon.com/2010/05/03/tff_perdition/</link>
		<comments>http://www.salon.com/2010/05/03/tff_perdition/#comments</comments>
		<pubDate>Mon, 03 May 2010 14:20:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/03/tff_perdition</guid>
		<description><![CDATA[Young men driven out of a polygamist Mormon sect are the focus of a moving and exciting documentary]]></description>
			<content:encoded><![CDATA[<p>What could have been a piece of oddball, marginal Americana -- the boys and men ejected by a breakaway Mormon polygamist sect -- instead becomes a moving, thrilling yarn of heartland life and masculinity. "Sons of Perdition" may be a small film in terms of its focus and resources, but its emotional impact and cultural significance are enormous. This wasn't just the best documentary I saw at Tribeca but the best one I've seen so far this year. (I'm not dissing Banksy's "Exit Through the Gift Shop," by the way; that belongs in its own category.)</p><p>For obvious reasons, a polygamous society needs lots and lots of females and far fewer males, and Warren Jeffs' Fundamental Latter-day Saints sect in Colorado City, Ariz. (known to its inhabitants as "the Crick"), is no exception. Over the years, hundreds if not thousands of boys and men have left Colorado City (or been told to leave) and descended on nearby St. George, Utah, with nowhere to stay, no education, no birth certificate and little or no understanding of the world outside Jeffs' self-appointed community of salvation. In many cases, they've never played a video game or watched a DVD, and haven't heard of Barack Obama or Adolf Hitler.</p><p><a href="http://www.salon.com/2010/05/03/tff_perdition/">Continue Reading...</a></p>]]></content:encoded>
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		<slash:comments>2</slash:comments>
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		<title>Best of Tribeca: &#8220;Gainsbourg, Je t&#8217;Aime&#8221;</title>
		<link>http://www.salon.com/2010/05/03/tff_gainsbourg/</link>
		<comments>http://www.salon.com/2010/05/03/tff_gainsbourg/#comments</comments>
		<pubDate>Mon, 03 May 2010 11:03:00 +0000</pubDate>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/05/03/tff_gainsbourg</guid>
		<description><![CDATA[French pop legend (and ladykiller) Serge Gainsbourg comes alive in this vivid, sexy, surreal biopic]]></description>
			<content:encoded><![CDATA[<p>Ugly, insecure and prodigiously talented at both making music and seducing women, French singer-songwriter Serge Gainsbourg was a unique figure in 20th-century pop culture, a Parisian blend of Woody Allen, Sinatra and Jack Kerouac. Unforgettably played by Eric Elmosnino (and also by an enormous puppet who follows Elmosnino around) in this weird but tremendously fun biopic, Gainsbourg is a man of tremendous contradictions. He became the lover of pop stars and movie stars -- including Brigitte Bardot, Juliette Gr&#233;co and his wife, Jane Birkin (their daughter is actress Charlotte Gainsbourg) -- but could never shake the troubling after-effects of having been a Jewish kid in Nazi-occupied Paris.</p><p><a href="http://www.salon.com/2010/05/03/tff_gainsbourg/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Is &#8220;The Killer Inside Me&#8221; too misogynist?</title>
		<link>http://www.salon.com/2010/04/28/tribeca_killer/</link>
		<comments>http://www.salon.com/2010/04/28/tribeca_killer/#comments</comments>
		<pubDate>Wed, 28 Apr 2010 18:06:00 +0000</pubDate>
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		<description><![CDATA[Jessica Alba and Casey Affleck defend Winterbottom's grueling adaptation from charges of violence against women]]></description>
			<content:encoded><![CDATA[<p>Long before any civilians had actually seen it, Michael Winterbottom's film <a href="http://www.ifcfilms.com/films/the-killer-inside-me">"The Killer Inside Me"</a> -- adapted from Jim Thompson's legendary 1952 <a href="http://www.amazon.com/gp/product/0679733973?ie=UTF8&amp;tag=saloncom08-20&amp;linkCode=as2&amp;camp=1789&amp;creative=390957&amp;creativeASIN=0679733973">crime novel</a> -- became a <a href="http://jezebel.com/5401274/the-killer-inside-me-sex-death--sadism">blogosphere target</a> as a purported example of Hollywood's pornographic glorification of violence against women. After the movie's <a href="http://blogs.indiewire.com/thompsononhollywood/2010/01/27/sundance_winterbottom_defends_the_killer_inside_me/">Sundance premiere</a> in January, a female audience member assailed Winterbottom and the festival during the post-screening Q&amp;A: "I don&#8217;t understand how Sundance could book this movie. How dare you? How dare Sundance?"</p><p>There were reports at the time that co-star Jessica Alba, who plays a prostitute who is literally beaten to a pulp by Casey Affleck's deputy-sheriff protagonist, had walked out of that Sundance screening in disgust. Alba later denied this, and on Tuesday night at the film's New York premiere in the Tribeca Film Festival, she and other cast members (including Kate Hudson, whose character suffers a similar fate) mounted an articulate defense of Winterbottom and his movie.</p><p><a href="http://www.salon.com/2010/04/28/tribeca_killer/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Tribeca: 20 films to catch at N.Y.&#8217;s spring showcase</title>
		<link>http://www.salon.com/2010/04/22/tribeca_preview_2/</link>
		<comments>http://www.salon.com/2010/04/22/tribeca_preview_2/#comments</comments>
		<pubDate>Thu, 22 Apr 2010 01:01:00 +0000</pubDate>
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		<description><![CDATA[Bloody noir, Joan Rivers, Vidal Sassoon and al-Qaida -- big hits and unseen gems of Manhattan's sprawling fest]]></description>
			<content:encoded><![CDATA[<p>When the <a href="http://www.tribecafilm.com/festival/">Tribeca Film Festival</a> was launched in 2002, co-founders Robert De Niro, Jane Rosenthal and Craig Hatkoff talked a good game about rebuilding downtown Manhattan in the wake of the 9/11 attacks. As has been <a href="http://www.salon.com/entertainment/movies/beyond_the_multiplex/feature/2009/04/23/tribeca_sundance/index.html">documented here</a> and elsewhere, they clearly had a business objective in mind as well. Their initial goal -- to build a New York spring film festival on a global par with Cannes, Sundance, Berlin and Venice -- has clearly not been reached. On balance, I don't think that's a bad thing.</p><p>Now in its ninth year, Tribeca has something it lacked for many of its first eight: an identity. Granted, it's a miscellaneous identity, and Tribeca isn't the world's greatest festival in any of its categories (except perhaps its ESPN tie-in sports film festival, an ingenious and successful enterprise). But TFF has become a major spring cultural event for New Yorkers and tourists precisely through its variety. Once again this year, head programmer David Kwok offers a couple of big-ticket premieres ("Shrek Forever After," the opening gala, and the anthology documentary "Freakonomics" as the festival-closer), a smattering of American independent films that either did or didn't play Sundance, a strong documentary lineup, and a cherry-picked list of intriguing foreign films that even Manhattanites may never get another chance to see.</p><p><a href="http://www.salon.com/2010/04/22/tribeca_preview_2/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Blogging &#8220;City Island&#8221;: After Sundance said no</title>
		<link>http://www.salon.com/2010/03/22/de_felitta_6/</link>
		<comments>http://www.salon.com/2010/03/22/de_felitta_6/#comments</comments>
		<pubDate>Mon, 22 Mar 2010 15:23:00 +0000</pubDate>
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				<category><![CDATA[Arts]]></category>
		<category><![CDATA[All Salon]]></category>
		<category><![CDATA[City Island]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/03/22/de_felitta_6</guid>
		<description><![CDATA[Was I daunted? Well, yeah. But we pushed on toward Tribeca, and after 10 years of work, it was magic]]></description>
			<content:encoded><![CDATA[<p>Those of you who have been following the saga of <a href="http://www.salon.com/entertainment/movies/city_island/index.html">"City Island"</a> for the past few weeks may have noticed that I've been taking you -- painstakingly -- through the improbable set of events that led to the making of our movie. When last we met, I had the great good fortune of hiring Julianna Margulies just days before shooting started. Logic (and continuity) would dictate that this next post, then, would be about the shooting of the film.</p><p>But no. Not so. For two reasons. One is that I've been covering the daily production saga on my blog, <a href="http://www.moviestildawn.blogspot.com">Movies 'Til Dawn.</a></p><p>But there's another reason for leaping over the shoot. I thought I'd write about how the hell we got to where we are. And where are we, you ask? We are fortunate to be one of the very small number of independent films to have been bought for theatrical release last year. "City Island" opened in theaters on March 19, in Los Angeles and New York. It will soon expand to eight more cities. Although you're reading this after our opening weekend. I'm writing it before our opening weekend. Hence you know the reviews and I don't. To take my mind off whatever fate awaits us, I thought I'd jump over the shoot and recount the journey from orphaned film (i.e., a film born without shelter into a cruel and unforgiving world -- one with <em>no distributor</em>) to a film with an ending as warm and cuddly as Oliver Twist's. Home was always there for us. It just took awhile to find our way to it.</p><p><a href="http://www.salon.com/2010/03/22/de_felitta_6/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Movie News Now: &#8220;Hurt Locker&#8221; plagued by last-second controversy</title>
		<link>http://www.salon.com/2010/03/04/movie_news_mar_3/</link>
		<comments>http://www.salon.com/2010/03/04/movie_news_mar_3/#comments</comments>
		<pubDate>Thu, 04 Mar 2010 11:04:00 +0000</pubDate>
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		<category><![CDATA[The Hurt Locker]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/03/04/movie_news_mar_3</guid>
		<description><![CDATA[Bigelow's producer banned from Oscars; real-life soldier may sue. Also: "Predators" set, Abe vs. vampires?]]></description>
			<content:encoded><![CDATA[<p>Oscar controversy! Oscar controversy! The Academy of Motion Picture Arts and Sciences has banned Nicolas Chartier, a producer of "The Hurt Locker" (which is nominated for best picture and several other awards) from attending the most prestigious f&#234;te in Hollywood. According to <a href="http://www.nytimes.com/2010/03/03/movies/03hurt.html?ref=movies">reports</a>, "the move came after Mr. Chartier was found to have sent a message via e-mail in mid-February to academy members urging that they vote for 'The Hurt Locker,' a low-budget Iraq war drama, rather than endorsing an ultra-high budget film that he did not identify by name, but clearly hinted was 'Avatar.'" If that seems rather mild compared to, say, your average city council campaign -- let alone national politics -- it is. But Academy rules specifically prohibit Oscar campaigners from projecting "a negative or derogatory light on a competing film or achievement."</p><p><a href="http://www.salon.com/2010/03/04/movie_news_mar_3/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Blogging &#8220;City Island&#8221;: Exit Chiklis, producers. Am I doomed?</title>
		<link>http://www.salon.com/2010/03/01/de_felitta_3/</link>
		<comments>http://www.salon.com/2010/03/01/de_felitta_3/#comments</comments>
		<pubDate>Mon, 01 Mar 2010 02:01:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Arts]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/02/28/de_felitta_3</guid>
		<description><![CDATA[We had no star, no producers, no money. I went and made another movie instead. And then we asked Andy Garcia]]></description>
			<content:encoded><![CDATA[<p>By far the worst state your as-yet-unmade/unfinanced movie project can fall into is one of inertia. This is generally the death knell for most would-be projects, the state of mind that causes everyone to lose interest, hope and faith. It generally comes either at the outset of things (as in: nobody's interested in your script to begin with) or, more disastrously, after a good start yields no real "traction."</p><p>And that is precisely the state <a href="http://www.cityislandmovie.com/">"City Island"</a> found itself in, following the <a href="http://www.salon.com/entertainment/movies/city_island/index.html?story=/ent/movies/film_salon/2010/02/21/de_felitta_2">departure of Michael Chiklis</a>. We had announced ourselves in the trades, we had gotten the agencies all souped up on our upcoming movie, we had an actor committed ... and then, slowly but with the inevitability of chocolate melting in the sun, we turned to goo. Instead of seizing the moment and pushing ahead, inertia gripped us. My producers weren't as concerned with this as I was &#8212; they reasoned that, having quickly attracted the interest of one actor, we would soon have the attention of another.</p><p><a href="http://www.salon.com/2010/03/01/de_felitta_3/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Blogging &#8220;City Island&#8221;: De Niro? Willis? Or Michael Chiklis?</title>
		<link>http://www.salon.com/2010/02/22/de_felitta_2/</link>
		<comments>http://www.salon.com/2010/02/22/de_felitta_2/#comments</comments>
		<pubDate>Mon, 22 Feb 2010 02:01:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Arts]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/02/21/de_felitta_2</guid>
		<description><![CDATA[We had a screenplay and producers -- and the first leading man we asked said yes. That's when the trouble started]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.cityislandmovie.com/">"City Island"</a> was written in a kind of fevered rush in the infamous month of September 2001. I was seized with the idea and, unlike any of my other scripts, proceeded without an outline, watching the pieces of the story fall into place with an odd inevitability. Indeed, the writing somehow felt more like a process of taking dictation from some unknown source as I rushed to keep up with what the characters were saying and doing and where they were going. When I was finished, I showed the script to a couple of trusted friends and advisers and waited nervously; my fear was that it was an overcaffeinated writing binge that made sense at the time but would provoke more head scratching than hand clapping.</p><p>But to my relief, people seemed to like it. Very few notes or complaints. Lots of enthusiasm. Since this was the first time in my many years of screenplay creating that I&#8217;d had an experience quite like this, I decided that this meant this would be the first time that making a movie out of a script wouldn&#8217;t be a teeth-pulling, gut-wrenching, blood-letting experience.</p><p><a href="http://www.salon.com/2010/02/22/de_felitta_2/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Blogging &#8220;City Island&#8221;: Filmmaker, hype thyself</title>
		<link>http://www.salon.com/2010/02/16/de_felitta_1/</link>
		<comments>http://www.salon.com/2010/02/16/de_felitta_1/#comments</comments>
		<pubDate>Tue, 16 Feb 2010 02:01:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Arts]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/film_salon/2010/02/15/de_felitta_1</guid>
		<description><![CDATA[I directed an award-winning indie with Andy Garcia and Julianna Margulies. New job: Internet whore!]]></description>
			<content:encoded><![CDATA[<p>In the summer of 2008 I finally got to shoot my screenplay <a href="http://www.cityislandmovie.com/">"City Island,"</a> a movie that I'd been trying to make literally since the turn of the century. I was fortunate to have finally assembled an amazing cast -- Andy Garcia, Julianna Margulies, Alan Arkin, Emily Mortimer -- and after private equity had been assembled and trips to the markets in Berlin and Cannes had been made, most of the financing was in place. (Payroll was something of a cliffhanger week to week, but sometimes you just have to practice a little faith.)</p><p>A year or so earlier, I had begun writing a blog called <a href="http://moviestildawn.blogspot.com/">Movies 'Til Dawn</a>, which was essentially a way to justify the enormous amount of time I was losing every day watching YouTube clips of old jazz performances and old movie musicals (two of my passions in life). Once "City Island" started moving ahead, however, I realized I would have to abandon the blog due to the obvious time constraints. The small but faithful readership I'd attracted would be a thing of the past.</p><p><a href="http://www.salon.com/2010/02/16/de_felitta_1/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Behind Washington&#8217;s closet door</title>
		<link>http://www.salon.com/2009/05/07/kirby_dick/</link>
		<comments>http://www.salon.com/2009/05/07/kirby_dick/#comments</comments>
		<pubDate>Thu, 07 May 2009 10:28:00 +0000</pubDate>
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		<category><![CDATA[Barney Frank, D-Mass.]]></category>
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		<category><![CDATA[Charlie Crist]]></category>
		<category><![CDATA[Florida Senate Race]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/beyond_the_multiplex//feature/2009/05/07/kirby_dick</guid>
		<description><![CDATA[Closeted gay politicians like you-know-who and hm-hm aren't just personally screwed-up, says filmmaker Kirby Dick. They're hopelessly distorting democracy. ]]></description>
			<content:encoded><![CDATA[<p><div class="art c conversations clearfix"><img class='wp-image-10056211' src='http://media.salon.com/2009/05/story6.jpg' /> <img class='wp-image-10056217' src='http://media.salon.com/2009/05/conversations_logo1.gif' />
<p class="credit">Larry Craig's mug shot in "Outrage." Photo courtesy of Magnolia Pictures</p>
<p class="caption"><a class="audio_link" href="http://media.salon.com/media/mp3/2009/05/conversations_dick.mp3">Listen to the interview with Kirby Dick</a></p>
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<p>Almost 30 years ago, during the political season of 1980 that would end with Ronald Reagan's landslide election, a congressional sex scandal briefly drove Reagan, sitting President Jimmy Carter and the American hostages in Tehran off the front page. Rep. Bob Bauman, R-Md., a rising star in conservative politics whom many saw as a future House speaker, was arrested for soliciting sex from a 16-year-old male prostitute. Bauman apologized to his wife and family, announced he was seeking treatment for alcoholism and unspecified personal problems, and disappeared into rehab without addressing any of the obvious questions arising from this arrest. He lost his seat to a little-known Democratic opponent in November, and made a short-lived effort to run again in 1982. That was the end of his political career.</p><p><a href="http://www.salon.com/2009/05/07/kirby_dick/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Tribeca: Best of the fest</title>
		<link>http://www.salon.com/2009/05/05/tribeca_wrap/</link>
		<comments>http://www.salon.com/2009/05/05/tribeca_wrap/#comments</comments>
		<pubDate>Tue, 05 May 2009 18:38:00 +0000</pubDate>
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				<category><![CDATA[Arts]]></category>
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		<guid isPermaLink="false">http://www.salon.com/entertainment/movies/beyond_the_multiplex//feature/2009/05/05/tribeca_wrap</guid>
		<description><![CDATA[An Irish horror-romance-farce, an Iranian take on "L'Avventura," a gritty lesbian thriller, a black-and-white jazz musical -- and go-kart racing.]]></description>
			<content:encoded><![CDATA[<p><div class="art c">
    <img class='wp-image-10055873' src='http://media.salon.com/2009/05/story4.jpg' /></p><p class="credit">Courtesy Tribeca Film Festival</p><p class="caption">Clockwise from top left: Scenes from "The Eclipse," "Defamation," "About Elly" and "The Fish Child."</p><p>I've spent enough time bewailing the miscellaneous history of the <a href="http://dir.salon.com/topics/tribeca_film_festival/">Tribeca Film Festival,</a> but now that this year's edition is over, let me turn around and heap it with laurels. In shrinking by 50 percent over the last three years and backing away from big-ticket Hollywood premieres, Tribeca may have found an appropriate size and an appropriate niche. At least for now, that niche is as a high-visibility New York showcase for fairly small films, mostly meaning global art-house movies and American documentaries.</p><p><a href="http://www.salon.com/2009/05/05/tribeca_wrap/">Continue Reading...</a></p>]]></content:encoded>
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		<title>Rorschach &#8220;Rachel&#8221;</title>
		<link>http://www.salon.com/2009/05/03/rachel_2/</link>
		<comments>http://www.salon.com/2009/05/03/rachel_2/#comments</comments>
		<pubDate>Sun, 03 May 2009 10:29:00 +0000</pubDate>
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		<description><![CDATA[An Israeli film explores the ambiguous death of Rachel Corrie, peacenik angel to some and "terrorist-loving swine" to others.]]></description>
			<content:encoded><![CDATA[<p><div class="art c conversations clearfix"><img class='wp-image-10037002' src='http://media.salon.com/2009/05/story1.jpg' /> <img class='wp-image-10037005' src='http://media.salon.com/2009/05/conversations_logo.gif' />
<p class="credit">Still image from "Rachel"; inset: Simone Bitton</p>
<p class="caption"><a class="audio_link" href="http://media.salon.com/media/mp3/2009/05/conversations_bitton.mp3">Listen to the interview with Simone Bitton</a></p>
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<p>Perhaps the most interesting aspect of Simone Bitton's documentary "Rachel," which premiered this week at the Tribeca Film Festival, is what's not in it. Bitton, a Moroccan-born Jewish filmmaker who spent many years in Israel and now lives in France, conducts a philosophical and cinematic inquiry into the death of Rachel Corrie, the 23-year-old American activist who was killed under ambiguous circumstances in the Israeli-occupied Gaza Strip in March 2003. But the political firestorm that followed Corrie's death, which saw her beatified as a martyr for peace by some on the left and demonized as a terrorist enabler by some on the right, is virtually absent from the film.</p><p><a href="http://www.salon.com/2009/05/03/rachel_2/">Continue Reading...</a></p>]]></content:encoded>
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		<title>The great foreskin debate</title>
		<link>http://www.salon.com/2009/04/30/circumcision_6/</link>
		<comments>http://www.salon.com/2009/04/30/circumcision_6/#comments</comments>
		<pubDate>Thu, 30 Apr 2009 10:45:00 +0000</pubDate>
		<dc:creator></dc:creator>
				<category><![CDATA[Life]]></category>
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		<guid isPermaLink="false">http://www.salon.com/life//feature/2009/04/30/circumcision</guid>
		<description><![CDATA[To snip or not to snip? That was the question facing new parent Danae Elon, who didn't just wrestle with the controversies of circumcision -- she made a documentary about it. ]]></description>
			<content:encoded><![CDATA[<p>New parents face an endless barrage of questions: which prenatal tests, what kind of diapers, which nursery school? But one choice is irrevocable: to snip or not to snip? That is the daunting question, one freighted with intense cultural and religious meaning. And yet people often don't give it much thought at all.</p><p>For someone like me, a nonpracticing Jew married to a non-Jewish husband, it was a confusing moment. Neither of us had been raised in a religious household, and neither had set foot in a house of worship except to attend the occasional wedding. But I felt myself tempted by the lure of ritual and tradition. Jews consider circumcision a commandment from God, practiced over thousands of years -- who was I to cut my son off from that? My husband, meanwhile, considered it an antiquated ritual lacking sufficient medical justification (an opinion similar to that of the <a href="http://aappolicy.aappublications.org/cgi/content/full/pediatrics;103/3/686">American Academy of Pediatrics</a>). On top of that was the fear of robbing one's child of something -- nerve endings, sexual feeling -- that can never be returned. It's an issue that American couples continue to wrestle with; although the number of boys routinely circumcised in the U.S. has decreased dramatically (one study shows the rate at 57 percent, down from a 1960s circumcision rate of 90 percent), the majority of parents still opt for it.</p><p><a href="http://www.salon.com/2009/04/30/circumcision_6/">Continue Reading...</a></p>]]></content:encoded>
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