The month of September is typically regarded as one of the least exciting and least eventful in the calendar year. It’s something of an interval month, a strange in-between phase sandwiched in the middle of summer Hollywood blockbusters and the “quality” flicks and holiday programming of the fall. In strictly monetary terms, it’s the most underperforming month of the year, and has even been beaten by the desolate burial ground that is January in terms of event-style opening weekends. But this may ultimately be a good thing. In fact, if future Septembers continue to exhibit the same patterns as this month, the time of the year in which schools go back in session and you can no longer wear all-white may prove to be one of the most interesting and exciting months on the wide-release calendar.

Yesterday the Twittersphere (a place where topics are only discussed in rational proportions) was abuzz with the news that Terrence Malick’s long-awaited magnum opus Tree of Life was booed at its Cannes premiere. While the reaction to Malick’s latest will no doubt continue to be at least as divisive and polarized as his previous work has been, for many Malick fans the news of the boos only perpetuated more interest in the film, and for many Malick non-fans the boos signaled an affirmation of what they’ve long-seen as lacking in his work. (Just to clarify, there was also reported applause, counter-applause, and counter-booing at the screening.) Booing at Cannes has a long history, and can even be considered a tradition. It seems that every year some title is booed, and such a event often only creates more buzz around the film. There’s no formula for what happens to a booed film at Cannes: sometimes history proves that the booed film was ahead of its time, sometimes booing either precedes negative critical reactions that follow or reflect the film’s divisiveness during its commercial release. Booed films often win awards. If there is one aspect connecting almost all booed films at Cannes, it’s that the films are challenging. I mean challenging as a descriptor that gives no indication of quality (much like I consider the term “slow”), but films that receive boos at the festival challenge their audiences or the parameters of the medium in one way or another, for better or

Somewhere is the exact type of film you expect from Sofia Coppola. Thematically, it’s very similar to her other works. And its lead protagonist, Johnny Marco, is a celebrity. A celebrity (like Bob in Lost in Translation) that is empty and nearly invisible. There are a lot of people who can’t sympathize with those with success. It’s cynical and quite an unfair response, and Coppola doesn’t seem to understand it as well. There’s something deeply saddening and universal about Johnny Marco that people without large bank accounts should be able to connect with. Most of Coppola’s leads are always lost and trying to find footing in their lives. Coppola explores similar themes quite frequently from isolation to empty success, and revisiting those themes and trying to keep it fresh is something the acclaimed director discussed below. Coppola was swift in her responses, but always to the point. Thankfully, I had plenty of time with her and found her to be quite pleasant and passionate.

Paul Sileo reviews the decade in film in his own special way, by chronicling his own journey from wayward moviegoer to engaged movie blogger, one film at a time.

This week’s Culture Warrior gives an exhaustive review of the decade that you won’t find anywhere else on the Interwebs.