Movies to see this week: 'In the Mood for Love,' 'The Brood,' a visual album from Thom Yorke
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Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience.
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways
Another busy week with controversial movies, very uncontroversial movies, and something strange from Thom Yorke.
Here are the movies you can catch around the Twin Cities this week.
Star Wars: Episode IV - A New Hope (1977)
Saturday, May 10, at The Parkway Theater
Star Wars Day has come and gone, but, obviously, no holiday is required to get Star Wars fans out for the original. It's the second week of The Parkway's month-long run of movies from a galaxy far, far away. That's all we need to say, right? It's Star Wars. You know what you're getting. 4814 Chicago Ave., Minneapolis ($5–$7 in advance/$8–$10 at the door)
Tall Tales (2025)
Thursday, May 8, at The Main Cinema
For one night, you can catch something you don't typically find on the big screen. Tall Tales is a new collaboration between record producer Mark Pritchard, Radiohead's Thom Yorke, and visual artist Jonathan Zawada.
They're calling it a "visual album" that draws on synth-pop, prog, dub, 70s synth, Joe Meek, Ivor Cutler, Library, krautrock, and Warp Records' heyday. (It's being released, in part, by Warp.) Tall Tales features new music and visuals, and they're saying it contains elements of a fairy tale, in case the title wasn't an obvious enough hint. It's not a whole lot to go on — the trailer kind of evokes Koyaanisqatsi — but fans of these artists probably don't need a whole lot of prodding. 115 SE Main St., Minneapolis ($17)
In the Mood for Love (2000)
Thursday, May 8, at Grandview Theatre
There's a surprising amount of Wong Kar-Wai coming to Minnesota theaters in May. Both Chungking Express and Happy Together will return to theaters, with the former screening on Wednesday. I have a soft spot for both, especially Happy Together, but if you're showing Wong Kar-Wai movies, it's hard not to start with this masterpiece.
Tony Leung Chiu-Wai and Maggie Cheung star as neighbors who suspect their spouses of having affairs. They bond and are determined to keep things above board, but there might not be a movie with more pent-up sexual tension. 1830 Grand Ave., St. Paul ($14.44)
Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxulles (1975)
Saturday, May 10, at Alamo Drafthouse
Jeanne Dielman has gotten a lot of attention over the last handful of years after it topped Sight & Sound's list of the greatest films ever made in 2022. The critics' poll inspired a lot of debate (and a lot of criticism of the poll).
Nonetheless, it put Chantal Akerman's 1975 film in the spotlight and offered a chance for many (me included) to revisit and appreciate the subtle and considered character study. It rewards viewers who are down to stick it out through its three-hour and 22-minute runtime.
The movie stars Delphine Seyrig as the widowed title character, obsessed with her routines and caring for her son. When the chores are done, she has clients arrive at her flat for sex. Despite its length, the movie takes place over a short period of time as Jeanne has a sexual awakening that upends her life. 9060 Hudson Rd., Woodbury ($11.91)
The Brood (1979)
Monday, May 12, at Emagine Willow Creek
David Cronenberg's The Brood may be among the most haunting horror movies that is (at least partially) about birth. A woman is committed to the care of a possibly depraved psychologist who prevents her husband from visiting, despite his desire to find out what kind of abuses their daughter may have endured at his wife's hands. Though, that quickly becomes the least of his problems as small, deformed, child-like creatures begin to murder anyone to whom he gets close. 9900 Shelard Pkwy., Plymouth ($8.25)
Related: Kevin Smith wants to bring 'Mallrats' back to Eden Prairie for its 30th anniversary
More movies screening this week:
Related: Tickets set to go on sale for the pre-Broadway run of 'Purple Rain' in Minneapolis
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As Craig and Crano identified, the first portion of the movie, up until the couple gets stuck going to the restaurant, is quite close to the real adoption experience the filmmakers had. "We were adopting a child. We had been through an adoption scam, which was heartbreaking, and then had a completely different experience when we matched with the birth mother of our son," Crano told Yahoo. "But we found out that we were going to have him literally like two days before we were going on our 10th anniversary trip." "And we were like, 'Shit, should we not go?' But we decided to do it, and you're so emotionally opened up and vulnerable in that moment that it felt like a very similar experience to being in a horror movie, even though it's a joyful kind of situation." A key element of I Don't Understand You is that feeling of shock once the story turns from a romance-comedy to something much bloodier. It feels abrupt, but it's that jolt of the contrast that also makes that moment feel particularly impactful to watch. "Our sense of filmmaker is so much based on surprise, Craig said. "As a cinephile, my main decade to go to are outlandish '90s movies, because they just take you to a different space, and as long as you have a reality to the characters that are already at hand, you can kind of take them wherever." "Personally, the situation of adoption was a constant jolt [from] one emotion to another that we felt like that was the right way to tell a story like this, which was literally, fall in love with a couple and then send them into a complete nightmare. And I think you can only get that way if you do it abruptly, and kind of manically." While Rannells and Kroll have that funny and sweet chemistry the story needs, these were roles that weren't written for them. But it works because Crano and Craig know how to write in each other's voices so well, that's where a lot of the dialogue is pulled from. Additionally, the filmmakers had the "creative trust" in each other to pitch any idea, as random as it may have seemed, to see if it could work for the film. "When you're with somebody you've lived with for 15 years, there is very little that I can do that would embarrass me in front of David," Crano said. "So that level of creative freedom is very generative." "We were able to screw up in front of each other a lot without it affecting the rest of our day," Craig added. Of course, with the language barrier between the filmmakers and the Italian cast, it was a real collaboration to help make the script feel authentic for those characters. "All of the Italian actors and crew were very helpful in terms of being like, 'Well I feel like my character is is from the south and wouldn't say it in this way.' And helped us build the language," Crano said. "And it was just a very trusting process, because neither of us are fluent enough to have that kind of dialectical specificity that you would in English." "It was super cool to just be watching an actor perform a scene that you've written in English that has been translated a couple of times, but you still completely understand it, just by the generosity of their performance." For Craig, he has an extensive resume of acting roles, including projects like Boy Erased and episodes of Dropout. Among the esteemed alumni of the Upright Citizens Brigade, he had a writing "itch" for a long time, and was "in awe" of Crano's work as a director. "Truthfully, in a weird way, it felt like such a far off, distang job, because everything felt really difficult, and I think with this project it just made me understand that it was just something I truly love and truly wanted to do," Craig said. "I love the idea of creative control and being in a really collaborative situation. Acting allows you to do that momentarily, but I think like every other job that you can do on a film is much longer lasting, and I think that's something I was truly seeking." For Crano, he also grew up as a theatre kid, moving on to writing plays in college. "The first time I got laughs for jokes I was like, 'Oh, this is it. Let's figure out how to do this,'" he said. "I was playwriting in London, my mom got sick in the States, so I came back, and I started writing a movie, because I was living in [Los Angeles] and I thought, well there are no playwrights in L.A., I better write a movie.'" That's when Crano found a mentor in Peter Friedlander, who's currently the head of scripted series, U.S. and Canada, at Netflix. "I had written this feature and ... we met with a bunch of directors, great directors, directors I truly admire, and they would be like, 'It should be like this.' And I'd be like, 'Yeah, that's fine, but maybe it's more like this.' And after about five of those Peter was like, 'You're going to direct it. We'll make some shorts. We'll see if you can do it.' He just sort of saw it," Crano recalled. "It's nice to be seen in any capacity for your ability, but [I started to realize] this is not so different from writing, it's just sort of writing and physical space and storytelling, and I love to do it. ... It is a very difficult job, because it requires so much money to test the theory, to even see if you can." But being able to work together on I Don't Understand You, the couple were able to learn things about and from each other through the filmmaking process. "David is lovely to everyone," Crano said. "He is much nicer than I am at a sort of base level, and makes everyone feel that they can perform at the best of their ability. And that's a really good lesson." "Brian literally doesn't take anything personally," Craig added. "Almost to a fault." "And it's very helpful in an environment where you're getting a lot of no's, to have a partner who's literally like, 'Oh, it's just no for now. Great, let's move on. Let's find somebody who's going to say yes, maybe we'll come back to that no later.' I'm the pessimist who's sitting in the corner going, 'Somebody just rejected me, I don't know what to do.' ... It just makes you move, and that's that's very helpful for me."
