导演保罗·托马斯·安德森完成一部纪录片《Junun》。今年早些时候,PTA和他的好友吉他手约翰尼·格林伍德,前往印度贾斯坦邦的Mehrangarh城堡,拍摄纪录以色列作曲家Shye Ben Tzur与当地的杰出音乐家们一起制作音乐专辑的过程,音乐与艺术相互碰撞激发灵感。《Junun》将于十月的纽约电影节首映。
Harry Moseby (Gene Hackman), a worn-out private detective, is hired to look for a 16-year-old girl who has run away from the luxury home of her mother, formerly a small-time actress in Los Angeles. The more the weary cynic tries to get under the surface of the seemingly simple case, the harder it is for him to find his bearings among the lies and deceptions that surround him. Eight years after the key New Hollywood film Bonnie and Clyde, Arthur Penn and Gene Hackman reunited to collaborate on what was to become one of the most undervalued films of the decade. Like Polanski in Chinatown or Altman in The Long Goodbye, in his revisionist film noir, Penn also allows the 1940s classic genre to pervade the complex reality of the 1970s. The feelings of bitterness and emptiness in the modern Chandleresque protagonist originate not only in the “public” sphere of the strange, increasingly convoluted case, but in his private life as well (boyhood trauma, a broken marriage). As Moseby remarks of a sporting event, “nobody’s winning … one side is just losing slower than the other.”