Uncut [UK] (April 2013)

Uncut is for the gourmand of vintage rock and flicks. Uncut re-evaluates and tells the interior tale of rock and picture legends with prolonged beneficial properties and extravagant archive images. It brings clean insights to the lives and careers of the genuine greats and much-respected and wide-ranging overview part contains CDs (new and reissues), movies, DVDs, movies and books making Uncut really the journal you must learn.

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Additional resources for Uncut [UK] (April 2013)

Sample text

Family Viewing was an international breakthrough film for Egoyan. In addition to winning the best Canadian feature film award at Festival of Festivals in Toronto, it was runner-up to renowned German director Wim Wenders’s Wings Of Desire at Montreal’s Festival of New Cinema and Video. Upon receiving his award, Wenders himself promptly conferred it upon Egoyan, thereby anointing him as an emerging member of a loosely affiliated international club of important art house directors. This generous gesture also opened investment doors for Egoyan in Europe – indeed, his next film was made with some European financing.

Noah appears to exist somewhere between intimacy and detachment, perhaps on a self-styled spiritual plane, as he has no hesitation to accept a kiss of gratitude on the hand from Tom (Gerard Parkes) after having slept with Tom’s wife, Lorraine (Patricia Collins). The most obvious, revealing, absurdist example of this duality occurs with Noah and Arianne in a hotel room, itself a space of both anonymity and intimacy, having sex while discussing details relating to her insurance claim. The source of Noah’s alienation is not explained or explored: is it a result of some previous trauma in his life (as is the case of characters in Next of Kin, Family Viewing, Speaking Parts, and especially in Exotica, The Sweet Hereafter, and, in terms of collective trauma, Ararat), or is it some erotic form of deformation professionelle?

When Noah and Arianne tour the wreckage of her home, they are placed at either edge of the frame, each framed by a separate, jagged hole in the wall of the destroyed structure. This consistency of this wide-screen aesthetic is also applied to closeups. Rather than visually articulating emotional intimacy, close-ups in The Adjuster reveal drift and disconnection. For example, the film starts with an extreme close up of Noah’s hand being lit through the skin by a flashlight he is shining into his palm.

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