Julian Schnabel

CHICAGO – The director debut is the flourishing element of any film festival, and the Chicago International Film Festival (CIFF) has always been a nurturing place for the latest cinema talent. “Pet Shop Days” is the debut of director and co-writer Olmo Schnabel, and screened at the 59th CIFF.

CHICAGO – I wanted to like Julian Schnabel’s “Miral” for so many reasons. I think Schnabel (“The Diving Bell and the Butterfly,” “Before Night Falls”) is not only one of our most interesting filmmakers but he’s redefining what one should expect from a biopic. I love the supporting cast — Hiam Abbass, Alexander Siddig, Willem Dafoe, more. I want Freida Pinto to be more than that pretty girl from “Slumdog Millionaire.” Despite my high hopes, this is Schnabel’s least effective film, a startling misstep that both bites off more than it can chew and still finds a way to be his least passionate work.

CHICAGO – No matter how many films he makes, Julian Schnabel may always consider himself a painter first. Watching one of his cinematic efforts is akin to being pulled headfirst into the vivid and visceral canvas of a true neo-expressionist. His work aims to engulf the viewer. It shatters the barriers between a contrived character’s existence and that of the flesh-and-blood audience.

CHICAGO – Julian Schnabel’s controversial new drama, “Miral,” tells a tale both sprawling and intimate. On one level, the film is about the titular Palestinian girl (Freida Pinto), and her coming of age during the Arab-Israeli war. On another level, the film is about a movement for peace, and the several generations of women whose acts of independence eventually set it into motion.