A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Walker Cianfrance. Show all posts
Showing posts with label Walker Cianfrance. Show all posts

Sunday, September 14, 2025

Towheads (Shannon Plumb, 2013)

Walker Cianfrance, Shannon Plumb, and Cody Cianfrance in Towheads 

Cast: Shannon Plumb, Derek Cianfarnce, Walker Cianfrance, Cody Cianfrance. Screenplay: Shannon Plumb. Cinematography: Brett Jutkiewicz. Production design: Katie Hickman. Film editing: Joseph Krings. Music: Dave Wilder. 

A mother, struggling to raise two boys while also trying to recapture something of who she was before motherhood, has a nervous breakdown. She begins to recover by making a home video with the boys. That's the somewhat autobiographical premise of Shannon Plumb's Towheads, which stars writer-director Plumb, her husband, Derek Cianfrance, and their two boys, Walker and Cody. The myth of motherhood embodied by June Cleaver vacuuming in pearls while nurturing Wally and the Beav is long dead. Towheads simply amounts to dancing on its grave. It's lively, amusing, sometimes incoherent, but it hits the mark more often than it misses it.