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No Such Thing (previously titled Monster, Icelandic: Skrmsli) is a 2001 supernatural drama film directed by Hal Hartley. It tells the story of Beatrice (Sarah Polley), a journalist whose fianc is killed by a monster in Iceland. The story is based very loosely on the Anglo-Saxon epic Beowulf.[1] It was screened in the Un Certain Regard section at the May 2001 Cannes Film Festival.[2]

For Hartley, writing and directing No Such Thing was like coming "full circle for a filmmaker": early in his career he had written a script for a horror film, later revised to be a vampire film; that movie was never made, but No Such Thing mirrors its ideas.[4] It was shot in Iceland and New York City during September and October 2000. It was the first Hartley production for a major company, MGM/United Artists, and Francis Ford Coppola was one of the executive producers. The film was ill-received at the Cannes Film Festival, after which the studio demanded the movie be recut. Hartley refused, and Coppola supported him. These events, and the September 11 attacks, complicated the relation with the studio.[5] The release, in early 2002, was a low-key affair; after two weeks, only three screens showed the film. It went to home video within months.[6]

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No Such Thing was poorly received by critics. On Rotten Tomatoes, the film holds an approval rating of 30% based on 43 reviews with an average rating of 5.03/10. The website's critics consensus reads: "Stocked with talented stars but lacking any clear idea of what to do with them, No Such Thing is ultimately far too uneven to recommend."[8] According to Metacritic, which sampled 21 critics and calculated a weighted average score of 36 out of 100, the film received "generally unfavorable reviews".[9]

Hal Hartley has always marched in the avant garde, but this time he marches alone. Followers will have to be drafted. "No Such Thing" is inexplicable, shapeless, dull. It doesn't even rise to entertaining badness. Coming four years after his intriguing if unsuccessful "Henry Fool," and filmed mostly on location in Iceland with Icelandic money, it suggests a film that was made primarily because he couldn't get anything else off the ground.

The film's original title was "Monster." That this is a better title than "No Such Thing" is beyond debate. The story involves a monstrous beast who lives in an island off the Icelandic coast, and is immortal, short-tempered and alcoholic. As the film opens, the Monster (Robert John Burke) has killed a TV news crew, which inspires a cynical New York network executive (Helen Mirren) to dispatch a young reporter (Sarah Polley) to interview him. Polley's fiance was among the Monster's victims.

Her plane crashes in the ocean, she is the sole survivor and therefore makes good news herself, and is nursed back to life by Julie Christie, in a role no more thankless than the others in this film. Since the filming, Christie had a facelift and Mirren won an Oscar nomination. Life moves on.

Elements of the movie seem not merely half-baked, but never to have seen the inside of an oven. Helen Mirren's TV news program and its cynical values are treated with the satirical insights of callow undergraduates who will be happy with a C-plus in film class. Characterizations are so shallow they consist only of mannerisms; Mirren chain-smokes cigarettes, Dr. Artaud chain-smokes cigars, the Monster swings from a bottle. At a social reception late in the film, Sarah Polley turns up in a leather bondage dress with a push-up bra. Why, oh, why? Hal Hartley, still only 42, has proudly marched to his own drummer since I first met him at Sundance 1990 with "The Unbelievable Truth," a good film that introduced two of his favorite actors, Adrienne Shelley and Robert Burke (now Robert John Burke, as the Monster). Since then, his titles have included "Trust" (1991), "Simple Men" (1992), "Amateur" (1994), "Flirt" (1995) and "Henry Fool." My star ratings have wavered around two or two and a half, and my reviews have mostly expressed interest and hope--hope that he will define what he's looking for, and share it with us.

Now I'm beginning to wonder how long the wait will be. A Hartley film can be analyzed and justified, and a review can try to mold the intractable material into a more comprehensible form. But why does Hartley make us do all the heavy lifting? Can he consider a film that is self-evident and forthcoming? One that doesn't require us to plunder the quarterly film magazines for deconstruction? I don't mind heavy lifting when a film is challenging or fun, like "Mulholland Drive." But not when all the weight is in the packing materials.

In the films, installations and books she has produced in the years since Reassemblage, Trinh has continued in this spirit, deconstructing claims to identity, presence and authenticity, holding them to be the product of patriarchal and colonialist epistemologies. Whether in the re-enactments of Surname Viet Given Name Nam (1989) and the poetic theorizing of Woman Native Other: Writing Postcoloniality and Feminism (1989), or in her more recent turn to exploring digitization and climate change, Trinh insists on dislodging the illusory purity of inherited categories to make way for the hybrid and in-between. Crucially, this cross-disciplinary practice is not one of simple negation: Trinh breaks down dominant languages in order to imagine other forms of relation and expression.

I went through this myself when I wrote Woman, Native, Other. I was very critical then of such rigid enclosures. But when the book came out and was discussed widely among people who claimed authority on identity politics, I could see how we needed to be more generous in effecting changes.

TM If I really wanted to indulge in melancholia, I would refuse to do anything digital and would continue to torture myself to find funds for 16mm and 35mm films. This was partly the case with Forgetting Vietnam, a project I began in 1995, when I went back 20 years after the end of the war.

You can still recognize this starting point in the film; the woman is in the songs and is very prominent at the end. But, by the time I returned to the project in 2012, my father was very sick. And, in the process of completing the film, I lost him. The journey toward his death and his passing opened a door for me to what I call the non-human. Not that it was not there before, but his departure made it very intense for me. So, the film shifts toward Vietnam as a body of water. This is evidenced in the thousands of rivers and waters that criss-cross the country and the three huge rivers that define it: the Red River in the north, the Perfume River in the centre and the Mekong or the Nine Dragon River in the south. This water flows deep and wide, from the Tibetan Plateau to the South China Sea.

In defense of slide films for a minute, my 10D simply doesn't have the impact of 100F or Astia. Even with the saturation slider jammed to the firewall some subject matter just dies with digital capture and looks much better with high saturation slide or print film.

Processing 3-step E-6 is really no more complex than processing conventional B/W, and can be done in hand tanks. The greater difficulty is with keeping the tempe elevated and within it's envelope. You can also tweak E-6 films, especially Fuji's in ways with home E-6 that a lab can't do. Provia for example, with adjusted E-6 color developer time can be made much more saturated than with commercial processing.

In short, go ahead and get your E6 done at home in small tanks. It truly is not hard at all as Scott Eaton, myself, and others will state. Also, with small tank processing, it is much easier to do things like push/pull processing. Sure, you can set the times with a jobo desktop processor, but dont forget to set them back. :-)

If you can be patient, you may be able to buy a complete minilab setup for $5 or $10 before too long. My favorite neighborhood film processing shop went bye-bye last month, and there are 1000's more just waiting to go out of business as digital cameras chew into the market.

labs are in fact digital labs offering laser printing for digital files (or large inkjet printing) with an additional film processing machine. If the film bussines goes away,they can just sell the film processor and continue to work.

Actually, there *are* machines made by Noritsu (among others) where you simply pull the film out of the cassette a couple inches, tape it to a plastic leader card, and put it in the machine. The downside is that these are not quite desktop machines: They are about 2 feet wide by 6 to 8 long; and weigh about 400 pounds.

Okay bear with me. I am shooting on 35mm for the first time, and basically I want to teach myself how to load the camera in the dark, but not waste any actual film in the process of learning. Do they sell practice rolls anywhere? (Rolls dedicated to becoming familiar with loading/unloading etc.)

To further clarify, dummy rolls are just regular "straight from the can" rolls of unprocessed film that have been exposed to light (usually by accident) and are thus unusable for anything other than loading practice and scratch testing magazines. Your school ought to have some. Ask around in your film dept, professors, other students.

There is no such thing as an anti-war film, Franois Truffaut is reported to have said. In a manner of speaking, there is no such thing as an anti-anything film, at least so long as the subject in question is depicted visually.

Unfortunately, the form of film itself works against the purposes of an "anti film," since the nature of the form habituates an audience to identify with and even love what is on screen. Why? First, because motion pictures are in motion, that is, they take time. Minute 30 is different than minute 90. Even if minute 90 "makes the point" (whether subtly or didactically), minutes 1 through 89 might embody the opposite point, and perhaps far more powerfully. ff782bc1db