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Powerful Photos Depict Veterans Who Use Art Therapy To Heal

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This photo series originally appeared in the February issue of National Geographic magazine.

Veterans of the wars in Iraq and Afghanistan often return home with wounds that can't be seen on the surface: brain injuries resulting from the shockwaves that follow explosions.

Some veterans, including service members at Walter Reed Medical Center in Bethesda, Maryland, have attempted to cope with the challenges they face through art therapy.

Below, take a look at images captured by National Geographic photographer Lynn Johnson of these veterans and their loved ones:


Cynthia Nixon & Christopher Abbott On Their Powerful Mother-Son Drama 'James White'

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In his short time as a professional actor, Christopher Abbott has become something of a Sundance staple. His first film, the sensational creeper "Martha Marcy May Marlene," premiered at the festival in 2011. The following year, he had "Hello I Must Be Going," and, in 2014, he was there with "The Sleepwalker." Now the former "Girls" actor, who left the HBO series in 2013, is setting out for another Sundance stint with the Kickstarter-funded "James White," written and directed by "Martha Marcy May Marlene" producer Josh Mond.

Cynthia Nixon joins Abbott as the title character's cancer-stricken mother. The film opens with James' father's wake, introducing us to a restless New Yorker who can't find steady work and flakes out constantly, yet has the deepest sense of devotion to his deteriorating parent. Amid sleepless nights, a perfunctory job hunt and a short escape to Mexico, James shares a care schedule for his mother, who, by the end of the film, can hardly walk without support. Both actors deliver superb performances in what could be one of this year's Sundance breakouts. Before departing for the festival, HuffPost Entertainment sat down with Abbott and Nixon at a diner in Manhattan's Theatre District, where Nixon is directing her first play, to talk about their collaboration and what it's like to channel that type of familial intimacy in cramped apartments and busy city streets.

How much do you see own mothers reflected in the film at all?

Abbott: None, other than the fact that it’s a mother-son relationship.

Nixon: I see a lot of my mother. I obviously never met Josh’s mom, but I think that my mother and Josh’s mother had many things in common even down to their aesthetic sensibilities, so I actually wear a lot of my mother’s jewelry in the movie. People like Josh and his father and different friends, they really felt like there was a lot of his mother in a number of ways but also aesthetically.

Abbott: Me and my mother have a good relationship. Maybe I didn’t answer the question. I have a great relationship with my mother.

There's an impressive intimacy between the two of you, particularly during raw moments when James has to care for his sick mother.

Nixon: Aside from whatever kind of stuff Chris and I have just naturally, I feel like Josh did a really great -- I don’t really know exactly how he did it -- but he did a really good job of making everybody comfortable and making everybody feel like we really, I don’t know, were in that apartment. For me, almost everything I did was in the apartment, so what was amazing was I was given -- it was nice, I appreciated it -- I was given a bedroom and I felt like I was living in that apartment. Lunchtime would come, people would leave for lunch, I would make my lunch. Do you know what I mean? It really felt like there was something about the way we worked and inhabited that space ...

Abbott: Like there was an intimacy that was allowed to happen.

Nixon: Like a real family feeling. And not like an “I love you, man” kind of family.

Abbott: Yeah, yeah, yeah.

Nixon: Because Josh is surrounded by so many people he grew up with, it really is an extended family. Not just an extended family for three weeks, but for decades.

Abbott: Mátyás Erdély, our DP, even the way he would light stuff and shoot stuff, it never felt invasive. Well, there’s the whole beginning thing where the camera is four inches away from my face. That’s a whole other thing. But those scenes in the apartment rooms, there was barely a light. He would light so meticulously and perfectly, you felt like you had the whole room to do your thing.

Nixon: That’s why Josh rehearsed it, do you know what I mean? There wasn’t so much a delineated line between rehearsing and filming. It just all seemed natural.

Chris, in the film, you and your pals take a break from the city and go to Mexico, where you take acid. It's one of the best scenes.

Nixon: So hilarious.

Is that method acting?

Abbott: Yeah, you know, I just acted. I had no idea what it was like. No, I'm kidding. It was fun. We were in Mexico just running around shooting a movie with a fairly small crew. That stuff was a little more run and gun than the stuff in New York.

Nixon: But also it was the end of the movie, so everybody’s really safe with each other, right?

Abbott: Yeah, exactly.

Nixon: So you have permission to do whatever.

Abbott: Yeah, and it was very easy to get permission from, like, the restaurants around there to shoot. They’re like, "Yeah, go ahead." Even the way it’s shot, too, is very different than all the New York stuff. Mátyás pulled back a lot and you finally start to breathe and open up, and then once you get back to New York on that shot, like right on the subway, it’s like boom and you hear the subway train and you’re back in this world again.

As New Yorkers yourselves, do you find a similar respite when you leave the city?

Nixon: You know, because I grew up here and never lived anywhere else, and I even have friends I grew up with who say, “Sometimes I need to get out of the city,” and I never, never feel that way. I can go places and go, “Wow, this is really beautiful,” but I never feel oppressed by the city. I feel like I’m plugging in my electric current and now I’m on. But not in an exhausting way. I’m energized. I’m in my natural habitat.

Abbott: I’m the same, I like it. But I also, not because of the city, but I leave often on the weekends. I go see my sister upstate; that’s not to get out of the city, it’s just because I want to do those things. I think I naturally balance that stuff out, but I never get bogged down. I like it here.

Cynthia, how did you decide what your character's physical state would look like as her cancer escalates?

Nixon: A lot of it is in the script. The year that we made this, my mom had died of cancer, so I had been there for that. And I’ve been with some friends who have died and seen that. And I just think, also, I’ve never gone through anything seriously medical personally, but I have been through childbirth. And I think that what I have both observed about myself in labor and also with friends of mine who were dying is when you’re really in a lot of pain, everything is about energy and there’s just no energy left over to do anything else, to communicate, to be nice. It takes everything. You just have to focus all the energy you have to get through the moment of pain or to get the thing that you need, like a glass of water or whatever it is. It’s more than any of the niceties going away; it’s just all about preservation of energy. My mother had a heart attack and she was alone in the apartment, and she was having the heart attack and she called 911 and my mother didn’t want them to have to break down a door. My mother, you could call it fastidious, I don’t know. She took all the strength she had when the ambulance came to do both things: to buzz and to open her lock, and then she collapsed. And it’s that kind of thing: It’s like Alec Guinness falling on the thing in “Bridge on the River Kwai” to make the bridge blow up. It’s like everything you have put into that one thing that has to happen, whether it’s the glass of water or the thing you need to tell the person. There’s no extraneous energy to do anything except what absolutely must happen.

Was it difficult living inside this character having just lost your own mother?

Nixon: I think it was cathartic. I wore a lot of her jewelry in it because I feel like my mother’s aesthetic style as an Upper West Side, artsy New Yorker and Josh’s mother’s style had a lot in common. I feel like I’ve rarely worked so happily with a costume designer as I did with Emma Potter. I’m very pleased with Gail’s look.

Chris, your résumé is loaded with great independent films. Have you shied away from studio stuff?

Abbott: [Laughs] No, please! Yeah, I’m trying to stay away. Just want to get away from that studio. No, man. Not at all. I have control over what I have control over, so I can kind of maybe do this indie and not do that indie. I may be in that place, career-wise, but I don’t know if that’s even true.

What are you most recognized for?

Abbott: Oh, "Girls." Well, it depends what circles I’m in. Still to this day, probably most jobs I’ve done have been theater, so the little New York theater circles I know really well. I know certain people really well from certain plays.

Do you still watch "Girls"?

Abbott: I haven’t seen it this year, no. But it just started.

"Girls" is likened to a younger version of "Sex and the City," mainly because of the foursome thing. Do you watch, Cynthia?

Nixon: I don’t have television.

Abbott: Neither do I.

Nixon: I was doing an interview with Allison Williams and so they sent me the first season and I loved it. But I don’t have TV, so I haven’t watched any more. But I loved it.

Does comparing characters like the ones in "Girls" to Miranda, Charlotte, Samantha and Carrie get tiring?

Nixon: No! No! And actually, since we're talking about cancer, I can’t tell you the number of people who have said to me, "Oh, I have cancer, this got me through." Or, "My wife had cancer, this one was one of her great last pleasures." There is something about it. Of course, now we’re in a time where you find a TV show you like -- "Sex and the City" is off the air, so of course you can watch it all together -- but I feel like there is really something about that, having a friend when you go through a hard time. You have your real friends, but then your fictional friends are useful, too.

This interview has been edited and condensed.

"James White" premieres Jan. 23 at the Sundance Film Festival in Park City, Utah.

'Mockingjay - Part 1' Is 2014's Top-Grossing Film, AKA Jennifer Lawrence Is Still Hollywood's Biggest Star

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"The Hunger Games: Mockingjay - Part 1" made history when it became the top-grossing movie released in 2014. Lionsgate announced Thursday that "Mockingjay" had reached $333.2 million at the North American box office, meaning it surpassed "Guardians of the Galaxy" for highest grossing film of last year.

In 2013, the series experienced similar success when "Catching Fire" beat out "Iron Man 3" to become 2013's biggest release. As BuzzFeed points out, it's also the second year in a row that a film with a female lead has dominated the domestic box office. This is also the first time in box office history that two films in a franchise became No. 1.

As an addendum, the film didn't benefit from 3D or IMAX surcharges. ("Guardians," though, was released in 3D and IMAX.)

Lionsgate also announced that "Mockingjay - Part 1" will be available on Blu-Ray, DVD and On Demand on March 6. The next installment in the series, "The Hunger Games: Mockingjay - Part 2," is due out in November of this year and aims to have an even bigger opener.

Rev. Jim Wallis: 'Defy Hollywood, See Selma'

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Ava DuVernay's "Selma" was one of 2014's best-reviewed films, but when nominations for the 87th annual Academy Awards were announced last week, "Selma" was only called twice: Best Picture and Best Original Song. That meant DuVernay, star David Oyelowo (who plays Martin Luther King Jr. in the film), cinematographer Bradford Young, editor Spencer Averick and a host of other talented people associated with "Selma" were ignored by the Academy. These were snubs that didn't sit well with anyone, especially Rev. Jim Wallis, President and Founder of Sojourners. "I'm still stunned by all that," Wallis told HuffPost Live's Roy Sekoff in an interview at Davos on Thursday.

What did Wallis make of the controversy surrounding the film's depiction of Lyndon B. Johnson and his role in passing the Voting Rights Act of 1965? "Johnson could never have done this without Selma. The movie is about Selma, not Johnson. A movie about a movement of people who risked their lives for change. Johnson was willing to do the right thing, but King risked his life."

To Fend Off Digital Distraction, Try Making Something

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Nora Abousteit, the founder and CEO of crafting community Kollabora, joined HuffPost Live's Roy Sekoff in Davos and spoke about how knitting a sweater helped her relax on her honeymoon. That kind of physical, creative activity can have a hugely positive impact on people who are looking for a tangible sense of fulfillment in a world increasingly filled with digital distractions, she said.

"It's very meditative," said Abousteit. "A lot of people are crafting because they find it very relaxing. Today, in a day of constant Twitter and Facebook feeds, and a lot of digital media, people like the tactility and they actually really enjoy that sense of accomplishment you get when you have that finished project in your hands."

To hear more about how crafting can help you relax, watch the full HuffPost Live clip in the video above.

'Carpet Of Life' Is The More Beautiful, Adult Version Of A T-Shirt Quilt

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Cleaning out your closet is one of the best feelings in the world, but what if (selfishly) there are a few clothing items you just can't let go of? You can't wear them, you can't throw them out... but you can weave them into a beautiful piece for your home.

Hear us out.

Or rather, hear out "Carpet of Life," a company that will make you a personalized carpet from pieces of your wardrobe. While the customer provides the general outline -- like color, style, size and some of the materials for the rug, like an old pair of jeans -- part of the process means the design isn't totally predictable.

carpet

Though Circle of Life is based out of Amsterdam, all the work is done by a group of women from villages in M’hamid El Ghizlane, Morocco. There, women weave the carpets by following the Moroccan "Boucherouite or Boucherwi" concept, which the company describes as a craft "relying on instinct and experience rather than set design rules."

carpet

carpet

Weaving your memories together won't come cheap, however, with prices ranging from roughly $457 to $1,648. (If that's too steep, though, you could attempt to make one yourself with this two-step tutorial.) Ordering is also a bit difficult, as all carpets are shipped from the Sahara to Amsterdam and you'll have to arrange pickup from there.

All that aside, it's safe to say you'll probably never see another carpet as beautiful as this one, with all your memories and life experiences rolled out into one.

(h/t Trendir)

Have something to say? Check out HuffPost Home on Twitter, Facebook, Pinterest and Instagram.

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Are you an architect, designer or blogger and would like to get your work seen on HuffPost Home? Reach out to us at homesubmissions@huffingtonpost.com with the subject line "Project submission." (All PR pitches sent to this address will be ignored.)

'Harry Potter' Star Tom Felton Says Kanye Would Definitely Be A Hufflepuff

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Malfoy is back. Scared, Potter?


Image: Giphy

Some know him as Hogwarts bad boy Draco Malfoy. Hermione Granger knows him as a "foul, loathsome, evil, little cockroach." In real life, however, he's actor Tom Felton. Since the last "Harry Potter" movie hit theaters in 2011, Felton has appeared in various projects, including "Rise of the Planet of the Apes," "The Apparition" and recently coming to TV in "Murder in the First." Now, you can see the actor as bombardier Tony Pastula in the upcoming film "Against the Sun."



The movie tells the true story of three World War II pilots whose plane crash landed in the South Pacific. They had nothing except a small raft, each other and thousands of miles to civilization. Felton recently spoke with HuffPost Entertainment about the role, his time at Hogwarts and even which wizarding houses some famous faces might be sorted into:

How do you think you'd do in a real survival situation?
Oh my lord, I’d be awful. I mean, the three of us, everyday on set, between Jake Abel, Garret Dillahunt and I, thought how did they do this? Bear in mind, we are on a very strict diet. We had to lose a lot of weight for the job. So just to even imagine what it would’ve been like for these guys to have nothing. It was a real reminder that although we were struggling in our own realm, we had nothing to complain about at all.

Wow, so you couldn't eat candy or anything?
I didn’t quite understand the diet at first. When they said, you know, you have to eat every two hours, and it has to be just X-amount and Y of this. I had to have daily searches in my hotel to make sure I wasn’t smuggling away treats and chips.


Image: Giphy


What was the best thing about growing up at Hogwarts?
Oh, I mean, where do you start? It’s a hell of a lot more interesting that normal school. I actually went back and forth during my time there from my real secondary school back to Hogwarts, and pretty much everything about Hogwarts is better. I mean, the wardrobe for one. The robes had huge pockets, so I managed to stuff them with candy and chocolate and chips, and, in fact, come the fourth film they sewed the pockets up for most of the cast thanks to me leaving chocolate in there and melting it. So I have sort of a reputation for that.

And yeah, still actually as we speak, I'm wearing a pair of Slytherin socks. So yeah, I’m definitely not forgetting about where I came from anytime soon.

I have a list of celebs. Think you can sort them in Hogwarts Houses?
Okay, I’ll do my best.

1. Kim Kardashian
Slytherin. For sure.

kim k

2. Justin Bieber
Ah, wow. I can see a trend coming here. He’s gonna have to join me in Slytherin as well. He’s a bit of a bad boy.

bieber

3. Taylor Swift
Taylor Swift is far too good. We’ll say Gryffindor.

swift

4. Ariana Grande
Um ... that’d be Ravenclaw. I know she’s a Potter fan. I’m not sure. She seems very sweet. Let’s go Gryffindor again.

grande

5. Kanye West
Hufflepuff. Definitely. He confuses me a bit, but that’s the house I’d go with.

kanye

6. Miley Cyrus
Miley Cyrus is definitely part of Slytherin. Absolutely.

miley nocredit

7. Harry Styles
He seems like a cool guy. I've met him a few times. He’s very sweet. Let’s stick him in Gryffindor I think.

styles nocredit

8. Gwyneth Paltrow
She's Ravenclaw. Very loyal. We'll go with that.

paltrow no credit

9. Pitbull
He's got to be a Slytherin. Hasn't he?

470569743

J.K. Rowling said she was "unnerved" by young girls being attracted to Malfoy. What do you think about that?
I think it must be an allure for the bad boy. I think people actually hated him for a lot longer. He was the victim in "Half-Blood Prince." That kind of maybe changed people’s perceptions about him, gave him a little bit of sympathy. I thought a lot of people liked the black suit. It maybe has something to do with his dapper wardrobe. But yeah I think it’s just everyone loves the bad boy a little bit I guess.

Have you ever taken a "Harry Potter" character quiz? If so, who did you get?
You know what I did. I’m sure it was someone that I did not want to be at all. Not a bit. Filch for some reason. I’m definitely not taking the Pottermore quiz anytime soon for the sorting hat because I’m just too terrified that I’d end up in Gryffindor or something like that. I’m just proclaiming that I’m a Slytherin and that’s the end of it. [Ed. note: For the record, Felton's worst nightmare recently came true.]

What was it like being punched by Emma Watson?
Uh, pretty hardcore. She’s got a mean right hook, that girl. It was originally a slap I think, so I said, "Let’s test it out now. Give me a slap and try to work on it," meaning give me a screen slap, a fake slap. But she actually smacked me on the face pretty hard, and I walked away from that rather listening impaired with my tail tucked between my legs.


Image: Giphy

What was your favorite line?
The one the fans seems to come back with is, "My father will hear about this." They like that one. Anything with the word "Potter" in it. The one about the hippogriff, "Bloody pigeon," I believe is a fun one. I like that.

Was it weird adjusting to Muggle life after the movies?
Not so much immediately. I really honestly thought that the "Harry Potter" flame would die after the film stuff. So it’s just seemingly getting more and more popular as the years are going on. And it doesn’t seem like fans are tiring of it anytime soon. It’s fantastic.

What was your favorite moment from filming?
It really is impossible to pick one. I met my girlfriend of seven years on the set at the Great Hall. She was playing an extra one day. So that’s pretty special. That, and I’d say getting to have a good wand fight in the bathroom with Daniel was pretty fun. We spent the day in there blowing the hell out of that place, so that was a lot of fun.

Are you really a wizard?
I don’t want to say because I don’t want to ruin fans’ expectations. I gotta keep it quiet. Only at Hogwarts.

10 points to Slytherin for outstanding moral fiber!


Image: Giphy

"Against the Sun" opens in theaters and on nationwide VOD on Jan. 23.
This interview has been edited and condensed.

This Is Why Everyone Is Talking About 'Mommy' Director Xavier Dolan

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dolan

Xavier Dolan may be 25 years old, but the French-Canadian filmmaker already shares two things with cinema legend Jean-Luc Godard: the 2014 Cannes' Jury Prize and an audience erupting into applause over their films' unprecedented technical achievements. But Dolan’s creative innovation is hardly the only reason for such acclaim; with five films under his belt already, the filmmaker has quickly proven himself a unique and inspired talent to be recognized. He wrote directed, produced and starred in his debut film, 2009's "I Killed My Mother," at age 19. Next, he's planning to work with Jessica Chastain and Kathy Bates.

Now, though, it's "Mommy" that has his attention. The film, which debuted at last year's Cannes Film Festival, follows working single mother Diane "Die" Deprés (Anne Dorval) as her troubled, violent teenage son, Steve (Antoni-Olivier Pilon), arrives to live with her after a stint in juvenile hall. Die, as emotionally puerile (or free-spirited, however you perceive it) as Steve -- she signs her name with a heart above the "I" with a pen from her clunky, bedazzled key-chain -- gains help from her neighbor Kyla (Suzanne Clemént). But similar to Dolan's other work (which you can watch on Netflix, save for "Tom at the Farm" which Dolan confirmed is coming to the U.S. soon), what "Mommy" does best is examine raw relationships and the emotional trauma we each quell and manifest in our own ways. Easily Dolan’s most accessible film to date, “Mommy” fosters an intimacy between its characters and the audience, partly due to the relatability of Dolan’s writing and partly due to the 1:1 aspect ratio, which Dolan recently told HuffPost Live was used to emphasize a “focus on human beings" in the film.

But, while Dolan may receive praise for his work as a director and writer, he still considers himself an actor first. HuffPost Entertainment sat down with Dolan at the Mercer Street Hotel in New York to talk about his predominate love of acting, why he reads all his films' reviews and how he’s a champion for mothers and the female perspective.

die

“I Killed My Mother" is told from the son’s perspective. Here, we get the mother’s. How was that to write?
I've been embracing mothers' points of views for five films now. “I Killed My Mother” was written from the point of view of the son, but saw the mother win in the end. She was the one who had the most emotional scenes and who ended up being both the victim and the hero. I've always embraced the mothers' points of view, I've always fought for mothers. In “Laurence Anyways,” Nathalie Baye is Laurence's mother, and she is quite an awful mother. Still, she is the only one in the end who truly accepts her daughter. So, no, it wasn't difficult to write that. It's actually more easy to embrace women's point of view and especially mothers'.

What is it like not acting in this film, as well as “Laurence Anyways”?
Very cruel. I don’t really mind not being a part of a film -- because if there is no part for me, I will never force myself upon a film. I feel like it’s just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that. I feel like in “Mommy” that would be really distracting and cheap. So I ended up not acting in the film. But when I edited the film and I saw it, and people started talking about the acting and the performances, then it’s sort of hard.

Do you foresee any roles for yourself in your future films?
Well it’s hard for me to write any roles for me because people can hardly accept that I’m doing nothing and playing nothing in “Tom at the Farm.” They just can’t deal with the fact that there are just too many single shots of me and that I’m a narcissistic pervert or whatever they love to call it -- just because I dared filming myself in this film. Well, I’m the lead, what should I do? Only back shots? I don’t understand what they want from me. And it’s so hard for me to not be seen as an actor and for people to entertain and nourish this sort of artificial fact that I’m a bad actor or not an actor, because this is what I truly am, deep down first.

You see yourself more as an actor first?
Not see, am. First and foremost, this is what I am. This is how I approach filmmaking, through the prism of acting. This is what sponsors every decision. This is what motivates every move, every reaction. So yeah, it is becoming harder and harder to think of a future where I will solely direct, and I won’t ever, because it’s never going to happen. I’m just wondering who will wanna work with me like I love working with actors, who will accept me as an actor, who will want to challenge me, who will believe in me. It’s been so hard being believed in as a director. It was so hard to gain people’s faith and attention and credit.

Do you feel like you have now?
I think I’m starting to, yes, with “Mommy.”

What do you think that switch was that got you more attention?
I don’t know, I think the film works better than the others.

How so, in your opinion?
I think it’s a matter of balance. You learn from your mistakes. And I read all the reviews, all of them.

die steve

Do they change how you write?
Of course. Not in the fact that I start writing to please others or that I write out of fear of displeasing them, because that would completely blindfold my creativity and restrain me to not being myself to please people who will never love me any way, and will keep me from expressing myself and ideas. But some of those reviews are extremely educational in what they point at in terms of success or in terms of flaws. Some of them are right, some are wrong. It’s all about learning how to read them, how to process them. I’ve been trying to do that in the past years and maybe “Mommy” mirrors that acknowledgement of people’s vision of my work. It’s important to see how people see your work and how they feel about it. I know a lot of directors who are like, “I never read reviews,” and I’m like, yeah I can tell.

Because they just don’t grow or change?
Well, no. They’re themselves and they keep doing their shtick.

But I think you still have a signature mark through all of your films.
Yeah, I certainly hope you can call it -- I do try to adapt my tastes and my instincts and decisions to a movie’s story. I think that’s what I’m really striving for, is proper storytelling being predominant in filmmaking, being what matters, and acting.

I hope you keep acting. “Heartbeats” was one of my favorites.
Thank you. But if only you knew, there are so many things I can do more than those pale roles I’ve given myself alongside female leads, whom had all of the fun stuff and meat. I’ve always cast myself, I’ve always put myself in the corner when I act in my own films, which is why it feels so essential now to be acting in other people’s movies.

Do you think you’ll be acting in your new film with Jessica Chastain, “The Death and Life of John F. Donovan”?
I will be.

"Mommy" opens in limited release Jan. 23.

The Vinyl Comeback In America Isn't Really A Thing (Yet ... Maybe)

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In comparison to recent years, vinyl has made a significant surge, clawing back from what seemed like extinction. With a 52 percent increase in vinyl purchase in 2014, hitting the highest number of sales since 1991, it seemed clear that vinyl was poised to make a comeback as a common means of music consumption. But as Digital Music News has pointed out, this "comeback" isn't nearly as large when comparing to vinyl sales in the '70s and '80s.

vinyl sales

According to the graph, data coming from the Recording Industry Association of America, vinyl sales at their peak year in the '70s moved somewhere around 500 million singles and 350 million LPs. In 2014, 9.2 million vinyl albums were sold, and in the past decade, the increase in vinyl sales has moved from 0.2 percent to 3.5 percent. However, it's important to keep in mind that music-sale mediums can change vastly in a significantly short amount of time, so vinyl might be in for that comeback a little later down the road.

Anne Hathaway Thought Bradley Cooper Was A 'Revelation' In 'American Sniper'

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Conventional wisdom has this year's Best Actor race down to a battle between Michael Keaton for "Birdman" and Eddie Redmayne for "The Theory of Everything." (Indeed, both men won acting awards at the Golden Globes earlier this month.) But what if we've all been sleeping on the potential for a Bradley Cooper victory? Cooper has been nominated three years in a row -- twice for Best Actor -- and his performance in "American Sniper" is being called a high point of the film by nearly everyone. Michael Moore loved Cooper (even while expressing reservations about Eastwood's directorial decisions), and so did Anne Hathaway. Speaking at an AOL BUILD session on Wednesday to promote "Song One," the actress raved about Cooper's work when asked about this year's awards season. "I was so very moved by Bradley Cooper's performance in 'American Sniper,'" she said. "He just goes to a place I've seen very few actors go to, and he's an absolute revelation in it." Just saying: If Cooper wins, maybe you heard it here first.

Watch Hathaway discuss awards season and her other favorites below:

18 Outstanding Young Photographers From The Arab World

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“Close to here: Young Photographers from North Africa and the Middle East” is an exhibition comprised of 18 young photographers from 10 Arab countries, showing at the B’chira Art Center in Sabelet Ben Ammar, Tunisia.

Seventy-four photographs taken by young African photographers of the North and the Middle East between 2013 and 2014 will go on view, photographs made in workshops in Cairo, Casablanca, Alger, Tunis, Alexandria, Beirut, Ramallah, Amman, Khartoum, Erbil and Dubai. The participants include art school graduates, designers, architects and stylists, as well as economists and anthropology students.

The subject of the exhibition is the relationship between man and his environment and the disruptions that increasing urban density can have on residents, objects and landscapes.

“In these pieces, the cities have an austere face, nature is harsh, altered, the landscapes are scarred by the urban density. In these photos where we sometimes cannot spot a living soul, man is still present, recorded across the material universe they have themselves created,” said a statement from the Goethe Institute, the German cultural organization behind the project.



This post was originally published on HuffPost Tunisia and was translated into English.

30 Years Of Oscar Winners Who Went Through The Sundance Film Festival

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What do Woody Allen, Cher, Hilary Swank and Kevin Spacey have in common? They have all won Oscars for films that screened at the Sundance Film Festival.

Two of 2014's most critically acclaimed films, both of which premiered at Sundance, garnered a combined 11 Oscar nominations: "Boyhood" for Best Picture, Best Director (Richard Linklater), Best Supporting Actor (Ethan Hawke), Best Supporting Actress (Patricia Arquette), Best Original Screenplay and Best Film Editing; "Whiplash" for Best Picture, Best Supporting Actor (J.K Simmons), Best Adapted Screenplay, Best Film Editing and Best Sound Mixing. (Other Sundance selections up for Oscars this year include "Last Days in Vietnam" and "Ida.")

The version of the Sundance Film Festival that we know today began in 1985, and has funneled films into the Academy Awards with remarkable frequency. Since a comprehensive look at all nominations was far too long, we decided to highlight Oscar winners (both films and performances) that traveled through Sundance on their way to glory. We call it the Sundance Effect:

86th Academy Awards (2014)

20 feet
Jo Lawry, Judith Hill and Lisa Fischer in "20 Feet From Stardom."

Documentary Feature: "20 Feet From Stardom," Morgan Neville

85th Academy Awards (2013)

sugar man
An undated photo of musician Sixto Rodriguez, the focus of the award-winning film "Searching for Sugar Man."

Documentary (Feature): "Searching for Sugar Man," Malik Bendjelloul and Simon Chinn

83rd Academy Awards (2011)

in a better world

Foreign Language Film: "In a Better World," Denmark, Susanne Bier

82nd Academy Awards (2010)

monique
Mo’Nique with her Oscar at the 2010 Academy Awards.

Actress in a Supporting Role: Mo’Nique, "Precious: Based on the Novel ‘Push’ by Sapphire"

Documentary (Feature): "The Cove," Louie Psihoyos and Fisher Stevens

Short Film (Animated): "Logorama," Nicolas Schmerkin

81st Academy Awards (2009)

man on wire james marsh
French high wire artist Philippe Petit walks across a tightrope suspended between the World Trade Center's Twin Towers in New York in 1974.

Documentary (Feature): "Man on Wire," James Marsh

80th Academy Awards (2008)

academy award statue

Documentary (Short): "Freeheld," Cynthia Wade and Vanessa Roth

79th Academy Awards (2007)

little miss sunshine

Actor in a Supporting Role: Alan Arkin, "Little Miss Sunshine"

Best Original Screenplay: Michael Arndt, "Little Miss Sunshine"

Documentary (Feature): "An Inconvenient Truth," Davis Guggenheim

Music (Original Song): "I Need to Wake Up," "An Inconvenient Truth", Melissa Etheridge

Short Film (Live Action): "West Bank Story," Ari Sandel

78th Academy Awards (2006)

hustle and flow
Jordan Houston, Paul Beauregard and Cedric Coleman of Three 6 Mafia with their Oscars.

Music (Original Song): “It’s Hard Out Here for a Pimp," "Hustle and Flow," Jordan Houston, Cedric Coleman, Paul Beauregard

77th Academy Awards (2005)

born into brothels

Documentary (Feature): "Born Into Brothels," Ross Kaufman and Zana Briski

Music (Written for Motion Picture, original song): “Al Otra Lado Del Rio,” "The Motorcycle Diaries," Jorge Drexler

Short (Animated): "Ryan," Chris Landreth

Short (Live Action): "Wasp," Andrea Arnold

76th Academy Awards (2004)

harvie krumpet

Short Film (Animated): "Harvie Krumpet," Adam Elliot

75th Academy Awards (2003)

twin tower attack

Documentary (Short): "Twin Towers," Bill Guttentag and Robert David Port

72nd Academy Awards (2000)

hilary swank boys dont cry

Actress in a Leading Role: Hilary Swank, "Boys Don’t Cry"

71st Academy Awards (1999)

james coburn affliction

Actor in a Supporting Role: James Coburn, "Affliction"

Adapted Screenplay: "Gods And Monsters," Bill Condon

70th Academy Awards (1998)

the full monty

Music (Original Music or Comedy Score): "The Full Monty," Anne Dudley

69th Academy Awards (1997)

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Leon Gast and David Sonenberg with their Oscars backstage at the 69th Annual Academy Awards.

Documentary (Feature): "When We Were Kings," Leon Gast, David Sonenberg

Documentary (Short Subject): "Breathing Lessons: The Life and Work of Mark O’Brien," Jessica Yu

68th Academy Awards (1996)

the usual suspects Kevin Spacey and his mother Kathleen at the 68th Annual Academy Awards.

Actor in a Supporting Role: Kevin Spacey, "The Usual Suspects"

Original Screenplay: "The Usual Suspects," Christopher McQuarrie

67th Academy Awards (1995)

academy award statue

Short Film (Live Action): Tie between two films
"Franz Kafka’s It’s a Wonderful Life," Peter Capaldi, Ruth Kenley-Letts
"Trevor," Peggy Rajski, Randy Stone

66th Academy Awards (1994)

black rider

Short Film: "Black Rider (Schwarzfahrer)," Pepe Danquart

65th Academy Awards (1993)

mona lisa descending a staircase

Short Film (Animated): "Mona Lisa Descending A Staircase," Joan C. Gratz

64th Academy Awards (1992)

irving saraf
Producer Allie Light and producer Irving Saraf attend the 64th Annual Academy Awards.

Documentary (Feature): "In The Shadow Of The Stars," Allie Light and Irving Saraf

Short Film (Live Action): "Session Man," Seth Winston, Rob Fried

63rd Academy Awards (1991)

american dream

Documentary (Feature): "American Dream," Barbara Kopple and Arthur Kohn

62nd Academy Awards (1990)

pardiso

Foreign Language Film: "Cinema Paradiso," Italy, Giuseppe Tornatore

60th Academy Awards (1988)

cher moonstruck
Cher at the 1986 Academy Awards.

Actress in a Leading Role: Cher, "Moonstruck"

Actress in a Supporting Role: Olympia Dukakis, "Moonstruck"

59th Academy Awards (1987)

michael caine hannah and her sisters
Michael Caine And Barbara Hershey In "Hannah And Her Sisters"

Actor in a Supporting Role: Michael Caine, "Hannah And Her Sisters"

Actress in a Supporting Role: Dianne Weist, "Hannah And Her Sisters"

Original Screenplay: "Hannah And Her Sisters," Woody Allen

58th Academy Awards (1986)

geraldine page the trip to bountiful
William Hurt, Anjelica Huston, Geraldine Page and director and producer Sidney Pollack pose with their Oscars.

Actress in a Leading Role: Geraldine Page, "The Trip To Bountiful"

57th Academy Awards (1985)

the times of harvey milk
Harvey Milk poses in front of his camera shop in San Francisco in 1977.

Documentary (Feature): The Times Of Harvey Milk," Robert Epstein and Richard Schmiechen

Original Screenplay: "El Norte," Gregory Nava, Anna Thomas

This Is What Masculinity Really Means To Men

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"Dominance." "Power." "Strong." "Alpha." "Control."

These are just a few of the words traditionally associated with masculinity.

We often hear men being described as "manly" or "macho" or "effeminate" -- concepts that seem to define individual men along a sliding scale of masculinity. But in a world of both gender inequity and rapidly shifting gender roles, what does masculinity really mean?

We asked a group of men how they felt about the concept of masculinity, what they they find problematic about it, how they define the word and how they wish it was defined. What we discovered is that most of them aren't quite sure. As HuffPost Deputy Features Editor Greg Beyer put it: "Masculinity is what it means to be a man -- which I think is not such a simple thing."

The one thing every man we spoke to agreed on is that having fewer limitations on what men and women "should" and "shouldn't" do is a win for everyone. Because at the end of the day, we're all just human beings.


Hilarious Vintage Posters Illustrate The Etiquette Of Movie-Going In 1912

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"Ladies, kindly remove your hats." "Please don't forget your umbrella or other parcels."

These are some of the friendly reminders you would receive if attending your local movie theater in the year 1912. It's a bit different from today's requests to silence cell phones, refrain from texting, and visit your concession stand for a delicious kosher hot dog.

ladies


We stumbled upon this charming and hilarious series of vintage posters illustrating proper movie-going etiquette in the early days of cinema courtesy of DesignTaxi. The images, which are available via the ever-surprising treasure trove that is the Library of Congress, capture a bygone era filled with profoundly polite theater patrons and what we can only gauge to be extremely large hats.

Just as we were starting to wax nostalgic over this pure time in history -- when people need be reminded to clap only with their hands -- we came across this message: "Ladies and children are cordially invited to this theater. No offensive pictures are ever shown here." We'll take "offensive" movies of today over unwieldy hat-wearers any day. Nonetheless, travel back in time with the glorious ads below.

Dr. Christoph Benn: 'We Always Have To Be Aware Of Complacency' When It Comes To HIV

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Dr. Christoph Benn, director of External Relations at the Global Fund, admitted HIV is probably "not conceived as as much of a crisis" by younger people who grew up knowing there were some treatment options available.

"We always have to beware of complacency," he said. "We also have to continue to educate young people about HIV/AIDS and what they need to do to protect themselves."

For the first time, Benn said the number of people receiving treatment for HIV is greater than the number of people getting infected.



Below, live updates from the 2015 Davos Annual Meeting:



'50 Shades Of Gay,' Written By Chicago Blues Songwriters, Aims For LGBT-Inclusive Message

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Chicago-based blues musicians Terry Abrahamson and Derrick Procell hope their new ditty spreads a message of lesbian, gay, bisexual and transgender (LGBT) equality while also hitting "the right note between lighthearted and serious."

Although its title is a winky nod to the bestselling book, "50 Shades of Gay" recalls the struggles of the LGBT community while also celebrating its more recent victories.

"Kisses in the dark, surrounded by a wall of shame/Living for a love they said could never speak its name," Procell croons in the song. "And we're more than daddies in leather, or the girls on the golf course tee/We are the CEOs and the FBI, even the GOP."

The accompanying video was shot in Provincetown, Massachusetts.

Procell told The Huffington Post that he and Abrahamson (a Grammy Award winner for his work for Muddy Waters) hope that '50 Shades of Gay" will eventually be recorded by a popular artist who will bring the tune in the mainstream.

"In my heart of hearts, my dream is to have a cast of all-star LGBT artists -- Elton [John], Melissa [Etheridge], Lady Gaga, Adam Lambert -- doing the song a la 'We Are The World,'" he said. "Hey, a fella can dream, right?"

Take a look at "50 Shades of Gay" above.

Watch The 'Transparent' Cast Reveal Their Favorite Moments From The Show

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"Transparent" fans are eager to swap favorite moments with each other -- Ali's attempted threesome, maybe, or perhaps when Len and Sarah get stoned. Now, the cast has shared their most memorable scenes in these intimate clips, debuting exclusively on HuffPost Entertainment.

In the videos above, Amy Landecker, Jay Duplass, Rob Huebel, Gaby Hoffmann, Kathryn Hahn and Melora Hardin recall funny moments, cut lines and harsh truths from filming "Transparent," which won Golden Globes for Best Comedy Series and Best Actor (Jeffrey Tambor) earlier this month. (Spoiler: Duplass realized his character, Josh, probably had sex with more women in Season 1 than Duplass has in his entire life.)

Fans may have already raced through "Transparent" Season 1 a few times over, but Amazon is offering the show for free to viewers all day on Saturday, Jan. 24.

Why 'The Vagina Monologues' Isn't Exclusive To Women

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Mount Holyoke College probably didn't know it was going to spark a national debate about "The Vagina Monologues" and womanhood when a theatre group at the all-women's school decided to cancel a performance of the acclaimed play for not being inclusive enough, specifically of transgender people.

But Laurie Essig, the director of gender, sexuality and feminist studies at Middlebury College, argued that "The Vagina Monologues" is more inclusive than some may interpret during a Thursday conversation with HuffPost Live.

"I think 'The Vagina Monologues' speak to lots of people even as they don't speak to everyone," Essig said. "I think it's important to think about they were never meant to be about what women are or even about the complexity of genders, but rather about vaginas."

Eve Ensler, the Tony-winning playwright behind "The Vagina Monologues," wrote in a Time magazine piece on Monday that she was "surprised" by Mount Holyoke's decision and reasoning because the play was "never intended to be a play about what it means to be a woman. It is and always has been a play about what it means to have a vagina. In the play, I never defined a woman as a person with a vagina."

Monica Anderson, the founder & CEO of Spectrum Queer Media, told HuffPost Live the "honoring of the vagina" isn't an exclusive practice.

"All of us came from a vagina, and the amount of violence that's targeting on vaginas is something that should concern everyone. What this play does is it elevates the conversation," Anderson said. "I feel like at Mount Holyoke, they have the right to create another monologue that really fits the spirit of who they are. I also feel like 'The Vagina Monologues' are still necessary."

Watch the full conversation about Mount Holyoke canceling The Vagina Monologues here.


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Recovered Film Gives An Amazing First Look At Scenes From World War II

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Photographer Levi Bettweiser has spent the last two years collecting and developing old and abandoned rolls film, recovered from thrift stores and acquired from donors.

Last year, a contact delivered 31 rolls of film to Bettweiser; as he developed the film, he discovered amazing images capturing scenes from World War II.

"It really kind of changed the perception of a project into more kind of a historical archival project," Bettweiser says. "It always kind of had that undertone, but the fact that it's all centered around some major event that has impacted so many people kind of really brings it home for a lot of people."

Below, take a look at a selection of photos from the Rescued Film Project, and browse the full collection here.

Sundance So Far: 'The Bronze' Is No 'Whiplash,' But 'It Follows' Makes Up For It

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HuffPost Entertainment has landed in Park City, Utah, for the Sundance Film Festival, which kicked off Thursday night with the premieres of the new Nina Simone documentary and the comedy "The Bronze." We're in the thick of Day 2, with the inaugural press screening of "Z for Zachariah" this afternoon and the world premiere of "The End of the Tour" on Friday night. In the meantime, here's what we've seen so far:

"The Bronze"
Written by Melissa Rauch and Winston Rauch
Directed by Bryan Buckley


the bronze

The opening film at last year's Sundance was "Whiplash," which is now a Best Picture nominee. Don't expect the same fate for "The Bronze." "Big Bang Theory" star Melissa Rauch does her best to keep it ticking, but there's not much gold to be found in this raunchy comedy. Playing Hope Greggory, a salty Olympic gymnast who managed to win the bronze medal despite a career-ending ankle injury, Rauch dons an acerbic Ohio accent that will make you chuckle even when the script isn't that funny -- which is most of the time. We first meet Hope masturbating to footage of her Olympic competition, and the rest of the film is like a clock chugging toward the feel-good lessons we know this remorselessly self-absorbed character will learn.

Hope begrudgingly accepts her estranged trainer's $500,000 offer to coach the town's next star gymnast (Haley Lu Richardson, a true delight). Knowing the new golden child will trump her fame, a predictable sabotage ensues as Hope's patient father (Gary Cole) attempts to drill home how vainglorious his irresponsible daughter has become. Some of the jokes along the way don't land, particularly a recurring bit about the pet goldfish her dad obsesses over. Thomas Middleditch amplifies his skittish "Silicon Valley" role as a twitching gym manager with a crush on Hope, and Sebastian Stan plays the pompous gold medalist who deflowered her years earlier. The problem is that the script's pendulum doesn't swing wider than foul-mouthed humor and inevitable lesson-learning. There are laughs; they just don't come frequently enough because some of the gags feel repetitive, no matter the gifted comedic timing Rauch possesses. There is at least one scene worth the labor, though: a gymnastics-inspired assignation that is easily one of the most inventive sex scenes in film. It almost redeems some of the movie's lesser qualities, in part because it'll make you wonder why you hadn't already contemplated the twisty coitus in which Olympic gymnasts would engage.

"What Happened, Miss Simone?"
Directed by Liz Garbus

nina simone

Nina Simone's life took her from the segregated South to Carnegie Hall, from the civil-rights frontlines to new chapters in Africa, Switzerland, Paris and Holland -- and it's all on display thanks to engaging footage in Liz Garbus' new documentary. Unfortunately, there's an energy to Simone's restless spirit that doesn't quite translate to this conventional film. Revealing concert footage, including Simone's debut at the Newport Jazz Festival, captures the singer's tribulations, but it's cobbled together in a paint-by-numbers fashion that's informative but often unengaging.

What the film does manage to do is make fascinating ties to factions of the civil-rights movement, particularly the same events depicted in "Selma." Simone's initial ambition was to become the first black classical pianist to play Carnegie Hall; when that didn't happen, she made it her mission to use music to advance equality. She befriended Martin Luther King Jr. but didn't subscribe to his nonviolent mantra. Her persona became increasingly confrontational, as reflected in some of the protest songs that got her blacklisted from certain radio stations. That leads to the documentary's most fascinating portion, which examines Simone's battles with depression, domestic abuse and self-worth. This woman raged all her life, and the film captures that candidly. You'll earn a great deal about the lady who put a spell on American culture -- you just won't always be captivated while you do it.

"Aloft"
Written and directed by Claudia Llosa
Starring Jennifer Connelly, Cillian Murphy and Mélanie Laurent


aloft

"Aloft" is a tale of grief, but it isn't until the final moments that we understand why its characters mope so much. For the 80 aesthetically pleasing minutes that precede that, Claudia Llosa’s movie, her first in English, is an exercise in capturing an ostensibly poetic tone that masks the banality of everything occurring onscreen. It isn't that this movie is lacking substance -- it's that it traffics so desperately in it that everything comes out hollow. "Aloft" is weightless: Its characters' connections are sometimes unclear, and their emotional journey even less so. Once the non-linear story comes together, you'll no longer care about the questions you spent most of the movie asking.

In the timeline that opens the film, Jennifer Connelly is a farm worker raising two young boys, one of whom is terminally ill. A tragic accident wracks her with grief and she abandons her home life. In the present day, her son (Cillian Murphy, whose pastel eyes are not expressive enough opposite Connelly's signature surliness) ventures with a documentarian (Mélanie Laurent, who played Shosanna Dreyfus in "Inglourious Basterds") to see his mother for the first time in years. By that point, she's a mystical healer living in an igloo of sorts, which is fitting given the tundra in which most of the film occurs. Its frosty locales make for some fine cinematography, but the movie's iciness is ultimately a hodgepodge of uninteresting symbolism (Murphy's character is obsessed with falcons) and unfittingly low stakes. It's hard to tell whether Llosa, who also wrote the script, intends the takeaway to be some sort of philosophical reckoning, but this is a movie that you won't want to think about no matter how much it insists you do.

"It Follows"
Written and directed by David Robert Mitchell
Starring Maika Monroe and Keir Gilchrist


it follows

Before the first credit appears, "It Follows" announces its start with the thuds of a score that pulsates down your spine. With the opening shots, it takes little time to temper your expectations for the lo-fi production value -- and even less time to understand that the film is all the scarier because of it. After Jay, 19, sleeps with the guy she's seeing for the first time, she discovers he's passed along the most terrifying STD imaginable: a zombie haunting that ends only by having intercourse. "It Follows" traces Jay and four friends as they attempt to rid her of the ominous huntsmen only she can see, acting almost as a cousin to last year's sleek chiller, "The Babadook."

Director David Robert Mitchell, who found a cult audience with the 2010 coming-of-age indie "The Myth of the American Sleepover," finds significant influence in "Halloween." Rich Vreeland, known by the pseudonym Disasterpeace, channels John Carpenter's ominous score, and cinematographer Mike Gioulakis pans across modest brown homes in sleepy suburbia. Just when the camera sits at a distance from the action, Mitchell switches to extreme closeups that compound the sense of dread. Sinister perspective shots and 360-degree pans will have you gripping your seat.

"It Follows" doesn't boast any splashy visual effects; there's hardly any gore or violence. The only marked relation to standard horror movies is its twist on the virgin-dies-first tropes of the '70s and '80s. It's in that minimalism, both visually and plot-wise, that the movie employs its jolts. Maika Monroe ("The Guest"), playing Jay, does a wonderful job calibrating her terror, and it's a treat to see "United States of Tara" alum Keir Gilchrist, whose telling eyes should have made him a much bigger star than he is. This is horror at its simplest -- the way it's meant to be.

"James White"
Written and directed by Josh Mond
Starring Christopher Abbott, Cynthia Nixon, Scott "Kid Cudi" Mescudi, Ron Livingston, Mackenzie Leigh


james white

Josh Mond met Christopher Abbott while producing the crafty creeper "Martha Marcy May Marlene," a breakout of the 2011 Sundance Film Festival. The two became friends, and now Abbott is at the center of Mond's powerful first feature film. "James White" is a remarkable accomplishment for both. Even though the film chronicles a few short months, we get a real sense of the years that contributed to its central characters' journeys.

There are no traces of the hypersensitive Brooklynite Abbott played on "Girls" -- his titular character does live in New York, but his aimlessness and somewhat aggressive proclivities make him all id. Opening with his father's funeral, we learn James was unaware his dad had remarried. His parents' separation doesn't do much to curb the grief his mother (Cynthia Nixon) feels, and neither does the cancer that's flared up in her body again, requiring James to share a care schedule with nurses. We watch as James attempts to get his life in order, which is all his mother really wants from her unemployed and unreliable son. To describe this film as an unconventional coming-of-age would be too empty. There are no lessons to be learned, only a self-destructiveness that must be realized. Abbott, preparing for a Kit Harington lookalike contest, is the perfect actor to do it. Soft eyes meet rough edges, particularly opposite the fragile performance of an increasingly frail Nixon. Their rapport as mother and son is a romance that Mond captures without a hint of preachiness. A vulnerable scene toward the film's end, in which James describes the future his mother likely won't live to see her son exact, requires a great deal of nuance from the two actors. Like the entire film, they master it.

Mond's fondness for extreme closeups can distract from scenes' potency now and then, but he knows how to administer gritty ambiance while retaining the film's many comedic touches and overarching humanity. The thing to marvel at is the film's simplicity, though. During a vacation James takes to escape the travails of city life, he and his friends drop acid and wander through a shoe store, gazing at the florescent sights with the awe of hypnotized zombies. It is an uproarious moment, and one of the most realistic LSD trips depicted onscreen, partly because of the uncomplicated acting -- Abbott plays drunk and/or stoned quite convincingly -- and partly because Mond knows where to place the camera so that the characters' whimsical interactions tell as much of a story as their heavier moments. It's one of many memorable scenes in a fantastic film about wading through life's chapters.
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