Over the hectic nine-day period that is now SXSW, thousands enjoyed what Austin is widely known for: live music. However, becoming the Live Music Capital of the world didn’t happen by accident. It took a considerable amount of hard work by local community.
Austin Music People, or AMP, recently released a white paper on the “State of the Austin Music Industry,” a study available to the public addressing economic challenges the industry faces with the express goal of protecting the local music scene and fostering its growth.
A study published in Spring 2012, funded by the City of Austin, reported that the 2010 economic impact of Austin’s music industry was more than $856 million, creating nearly 8,000 jobs and generating $9.6 million in City tax revenues.
According to the City of Austin Music Division, Austin is home to 270 live music venues and more than 130 music related nonprofits, of which more than a dozen are focused on music education
Economic impact of ACL Fest 2011: $106 million
Economic impact of SXSW 2012: $190 million
Economic impact of Fun Fun Fun Fest 2012: $27 million
As AMP relies heavily on the Austin community to fund its efforts to maintain the “economic engine of live music,” the organization urges both professionals and music lovers to become a member.
Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.
Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.
With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.
Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.
Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities — an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson — make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.
In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.
Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.
A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.
