Guy Maddin

  • Guy Maddin, The Saddest Music in the World, 2003, still from a black-and-white and color film in 35 mm, approx. 100 minutes. Lady Port-Huntley (Isabella Rossellini).

    PURPLE MAJESTY

    “CULT” AND “COTERIE” CLING LIKE BARNACLES to the reputation of Winnipeg director Guy Maddin, a situation that may change with the release later this year of his new film, The Saddest Music in the World, starring Isabella Rossellini and scripted by novelist Kazuo Ishiguro. Maddin’s work—five previous features, eighteen short films, and an installation piece commissioned by Toronto’s Power Plant, where it debuted in March—is eccentric, even hermetic in its pursuit of the filmic primeval. “I work under the banner of primitivity,” Maddin has proclaimed, and for the past two decades he has invoked

  • Guy Maddin

    GUY MADDIN

    1. Ghost World (Terry Zwigoff) This movie harpoons me! The director of Crumb adopts Daniel Clowes’s comic book, limning out the hopelessly trapped characters making do in hopeless times—without being mean-spirited. Exquisite agony!

    2. The Blue Bird (Maurice Tourneur) OK, this silent came out in 1918, but it screened around this year (and it’s on VHS, from Grapevine Video). Maeterlinck’s children’s play is as cruel and strange as anything by Hans Christian Andersen. Happily full of beautiful early homages to Méliès.

    3. A.I. Artificial Intelligence (Steven Spielberg) The year’s longest