We don’t normally pay much attention to the Emmy Awards, this being a site primarily devoted to the bigger screen. But when the recently unveiled nomination list contains such film heavyweights as Todd Haynes, Olivier Assayas and (twice) Martin Scorsese, it’d be remiss not to mention it — and the fact that the line between cinema and television is becoming an increasingly pliable one.
Indeed, there’s still disagreement over which category one of yesterday’s nominees falls into. Assayas’ five-hour stunner “Carlos” may have been produced for French television, but it’s a bit difficult to define a vast work from one of world cinema’s leading auteurs, one that premiered at the Cannes Film Festival and was theatrically released on the arthouse circuit, as merely a TV miniseries.
Most haven’t — it won a slew of film critics’ awards last year (and indeed made my 2010 Top 10) before more finicky eligibility rules kept it out of the Oscar race (I know, I know, as if) and in the TV races at the Globe and SAG Awards.
Reviewing 
Hey, did you miss me yesterday? Don’t answer that. Sorry for the radio silence, but Saturday proved to be both my busiest and most rewarding day at Venice, serving up five films — none of them stinkers, and 
In a few hours’ time, a shiny and sensibly priced orange plane will whisk me off to the city of water, romance and the most expensive fleapit hotels this side of, well, anywhere for my second consecutive dive into the Venice Film Festival. Truth be told, I’m not quite ready for it… a surfeit of pre-travel errands has meant I’m still leafing through the fest’s vast 62-page press screening schedule, still trying to cobble out some semblance of an itinerary.