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Nearly two decades after he cut his teeth on  “Interview with the Vampire,” Neil Jordan’s “Byzantium” tells another story of two centuries-old, nomadic bloodsuckers — this time, in the form of “sisters” Eleanor and Clara, who take up residence in a small seaside town, at the titular hotel. Found footage isn’t the only horror trope on the tasty brains of the Tribeca Film Festival programmers. Linda Bloodworth-Thomason (who long ago secured her gay cult appeal cred by creating “Designing Women”) brings the world premiere of her documentary to the festival.
Fifteen years after “Heathers” and nine years after “Mean Girls,” clique culture remains every bit as cutthroat as it was when Winona Ryder and Lindsay Lohan roamed the high school hallways (and they turned out just fine, didn’t they?). Close friendship has darker, more erotic consequences in “Floating Skyscrapers.” Polish writer and director Tomasz Wasilewski’s second feature takes off when Kuba (at an art opening with his girlfriend of two years) bumps into Mikal. Well aware that we’re living in the world’s biggest, best, open-air backlot, the festival has always had a soft spot for films set amongst the streets, bridges and iconic landmarks of the five boroughs. In “Almost Christmas,” two iconic Pauls play French Canadian ne’er-do-wells determined to make a quick fortune selling Christmas trees in NYC.
She recently announced her intentions to leave our city — so it’s a good thing documentary filmmaker Chiemi Karasawa’s “Elaine Stritch: Shoot Me” captured the then-87-year-old Broadway legend in all her Gotham glory.
Based on a true story, “Stand Clear of the Closing Doors” is set in Far Rockaway, in the days leading up to Hurricane Sandy. If past years are any indication (and they almost always are), foreign language films will account for the festival’s strongest entries in virtually every category — acting, cinematography, art direction and, of course, subtitles. A trusted friend’s recent, unexpectedly persuasive case as to why the French hold Jerry Lewis films in such high regard inspired my curiosity about two efforts from that heretofore impenetrable country.
Dit kleine boekje kreeg je een tijdje geleden cadeau bij Kruidvat als je een aantal producten kocht.
Ik vind Van Royen nooit zo fijn schrijven en het onderwerp is altijd een onafhankelijke vrouw en seks.


Klinkt niet zo leuk, als een onderwerp alleen maar over 1 ding vind ik het al snel saai worden!
De gelukkige huisvrouw heb ik ook gelezen, vond het een mooi boek maar het einde ook een tikkeltje vreemd.
Dit boek heb ik niet gelezen, maar had er ook niet echt behoefte aan, ook doordat ik haar schrijfstijl niet erg leuk vind. That said, even the most unconventional effort can, for marketing and viewer choice purposes, be lumped into a handful of descriptive categories. Eleanor and Clara have about as much luck escaping their nature as a group of World War II-era Russian soldiers have of escaping a factory full of reanimated prototype supersoldiers, in “Frankenstein’s Army.” This “darkly comedic, wild steampunk, Nazi found-footage-style Zombie mad scientist film” marks the genre-splicing, blood-spattering feature film debut of Richard Raaphorst (one of the Netherlands’ top directors of commercials).
Their decision to view a series of VHS cassette tapes containing paranormal, apocalyptic and alien invader scenarios proves very unwise (and potentially fatal). Home movies, historic photographs and interviews with contemporary admirers (as well as quotations from Broughton’s writings and clips from his movies) are used to put all of his artistic endeavors into context, with special concentration on his creative writing and filmmaking. Testimonials from the likes of Tina Fey and Hal Prince, as well as brutally honest insights from the lady herself, promise to “reach beyond Stritch’s brassy exterior, revealing a multi-dimensional portrait of a complex woman.” If the film manages to deliver, its 80 minutes will be worth more than a month’s worth of James Lipton interviews.
Its parallel story follows two people making connections and finding community — as the mother of autistic teen Ricky combs the streets, while her son rides the subway. In “Ice,” unlucky-in-love enforcer Ronnie (between jobs for his Brooklyn crime boss) hides out in the backroom of a bar, sculpting ice and exploring the roots of his ambivalence. Mijn moeder had deze producten toevallig nodig en ik kreeg Verboden vruchten van Heleen van Royen. Misschien moet ik dat toch maar eens doen als ik er een onbevooroordeelde mening over wil geven. This film works its found footage premise to maximum effect by having the work of seven directors represented by the various tapes on view.


Things go downhill from there, when McCarthy continues his obsessive work (underground and off the books). Five minutes is all it takes to tell the story of “Two Islands” — a pair of enormous waste dumps that put the city’s rejected surplus into perspective. Haar gloednieuwe beste vriend houdt Yvonne een spiegel voor en confronteert haar op onomwonden wijze met haar overgewicht en ingeslapen seksleven.
Gisteravond kon ik na een geslaagde avond in Utrecht met vriendinnen niet gelijk in slaap komen en besloot ik dit boek te lezen. Voor de Heleen van Royen fans misschien heel leuk, maar ik vind het een tikkeltje overdreven.
In the process, it pays a massive debt to “The Blair Witch Project” (“Blair” creators Gregg Hale and Eduardo Sanchez contribute a segment that puts their own spin on gut-hungry zombie flicks).
Phil Morrison (“Junebug”), equally adept at quirky charm and genuine emotion (often in the same scene), directs. In “Zzzzzz,” sleepwalkers Henry and Lucy take the audience along on a tour of nocturnal sights and sounds. Liggend op een strand, zonnetje op mijn gezicht, cocktail in de hand en een heeeerlijk boek. Saved from the trash heap and taken to a repair shop in the Flatiron building, a seemingly obsolescent “Royal American” typewriter is used to write letters (answered by, among others, President Clinton).



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