Quentin Dupieux's Yannick is now showing exclusively on Mubi from April 5, 2024.Yannick.Ever since he dogged a sentient tire on a killing spree in Rubber (2010), musician-turned-filmmaker Quentin Dupieux has been distilling a singular form of gonzo. The films he’s crafted—a body of work swelling at the speed of Hong Sang-soo, with six features released since 2019—all belie their modest means. Rarely stretching longer than eighty minutes, they’ve followed a number of deranged characters, which have recently included a man reprogrammed as a killing machine by his leather jacket; a pig-sized fly and the two bums who try to make a pet out of it; a gang of Power Rangers–type avengers armed with tobacco smoke’s chemical constituents, and a middle-aged couple who discovers a time-travel portal in their basement. Dupieux—who routinely writes, shoots, directs, and edits his own films—likes to work with a...
- 4/8/2024
- MUBI
Med Hondo’s 1979 musical extravaganza West Indies: The Fugitive Slaves of Liberty is a satirical skewering of the legacy of French imperialism in the West Indies and beyond. From the outset, it defies categorization through its distinct sense of free association as it leaps from one colorful image to the next, often shunning context along the way. Throughout Hondo’s film, the xenophobic and racist rhetoric of haughty, predominately white French aristocrats, bureaucrats, and citizens is combatted, challenged, or lampooned by various African figures. Some are slaves, some are revolutionaries, while some are simply power hungry. The result is a deliriously iconoclastic anti-colonialist work that’s worthy of the finest films from roughly the same period by Ousmane Sembene and Dijbril Diop Mambéty.
Adapted by Hondo and Daniel Boukman from the latter’s novel Les Negriers, West Indies traces an epic history of colonial oppression and enslavement in the West Indies,...
Adapted by Hondo and Daniel Boukman from the latter’s novel Les Negriers, West Indies traces an epic history of colonial oppression and enslavement in the West Indies,...
- 3/17/2024
- by Clayton Dillard
- Slant Magazine
Netflix is bringing 1974 back to theaters thanks to rare archival prints, restorations, and select 35mm screenings of the curated “Milestone Movies” streaming collection.
The streaming platform debuts a slew of classic films across its trio of theaters in Los Angeles and New York City. The rarely screened archival prints for Martin Scorsese’s “Alice Doesn’t Live Here Anymore” and John Cassavetes’ “A Woman Under the Influence” are among the selected titles, as well as the premiere of the Dcp restoration of iconic Blaxploitation film “Foxy Brown” starring Pam Grier.
The screening series marks the 50th anniversaries of the 1974 films, which were unveiled as part of Netflix’s inaugural (and Criterion Channel-esque) curation channel “Milestone Movies: The Anniversary Collection,” which was unveiled in January 2024. Fifteen films will screen at the Paris Theater in New York from March 22 through 28, as 12 films screen at the Egyptian Theatre in Los Angeles from March 11 through...
The streaming platform debuts a slew of classic films across its trio of theaters in Los Angeles and New York City. The rarely screened archival prints for Martin Scorsese’s “Alice Doesn’t Live Here Anymore” and John Cassavetes’ “A Woman Under the Influence” are among the selected titles, as well as the premiere of the Dcp restoration of iconic Blaxploitation film “Foxy Brown” starring Pam Grier.
The screening series marks the 50th anniversaries of the 1974 films, which were unveiled as part of Netflix’s inaugural (and Criterion Channel-esque) curation channel “Milestone Movies: The Anniversary Collection,” which was unveiled in January 2024. Fifteen films will screen at the Paris Theater in New York from March 22 through 28, as 12 films screen at the Egyptian Theatre in Los Angeles from March 11 through...
- 2/20/2024
- by Samantha Bergeson
- Indiewire
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
A retrospective of Denis Villeneuve’s work also brings the director’s programming choices, among them films by Godard, Resnais, Cassavetes, and Wong Kar-wai.
Roxy Cinema
Bob Fosse’s Star 80, The Piano Teacher, The Pillow Book, Looking for Mr. Goodbar, and End of Night all play on 35mm.
Anthology Film Archives
As retrospective of Haitian cinema continues, films by Hollis Frampton and Ernie Gehr play Saturday and Sunday, respectively.
Film Forum
“Sapph-o-rama” continues with films by Nicholas Ray, Jonathan Demme, Lizzie Borden, and more; a 4K restoration of Pandora’s Box has begun a run; a print of The Third Man continues, while the Harold Lloyd film Hot Water shows on 35mm this Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Scorsese, Elaine May, Jonathan Demme, and Gus Van Sant...
Film at Lincoln Center
A retrospective of Denis Villeneuve’s work also brings the director’s programming choices, among them films by Godard, Resnais, Cassavetes, and Wong Kar-wai.
Roxy Cinema
Bob Fosse’s Star 80, The Piano Teacher, The Pillow Book, Looking for Mr. Goodbar, and End of Night all play on 35mm.
Anthology Film Archives
As retrospective of Haitian cinema continues, films by Hollis Frampton and Ernie Gehr play Saturday and Sunday, respectively.
Film Forum
“Sapph-o-rama” continues with films by Nicholas Ray, Jonathan Demme, Lizzie Borden, and more; a 4K restoration of Pandora’s Box has begun a run; a print of The Third Man continues, while the Harold Lloyd film Hot Water shows on 35mm this Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Scorsese, Elaine May, Jonathan Demme, and Gus Van Sant...
- 2/16/2024
- by Nick Newman
- The Film Stage
Ahead of touching down at the Berlin Film Festival, Black Bear manager Philip Westgren shared with THR about why the shutdown Templehof airport is a must-see stop and where you can escape the festival frenzy for a nice steam.
What’s your state of mind heading into the European Film Market?
I like this year’s lineup which, next to more established names, contains a number of younger global filmmakers with interesting looking films. Strong voices will always find a way to break through and Berlin is still one of the places where that magic happens.
What’s your favorite, only-in-Berlin moment from festivals/markets past?
Running into Michael Barker at the Berlin airport the day after I began working with [The Teacher’s Lounge director] Ilker Çatak. When I brought up Ilker and his film The Teachers’ Lounge, Michael’s eyes knowingly lit up and he said, “Now there’s a director to get into business with.
What’s your state of mind heading into the European Film Market?
I like this year’s lineup which, next to more established names, contains a number of younger global filmmakers with interesting looking films. Strong voices will always find a way to break through and Berlin is still one of the places where that magic happens.
What’s your favorite, only-in-Berlin moment from festivals/markets past?
Running into Michael Barker at the Berlin airport the day after I began working with [The Teacher’s Lounge director] Ilker Çatak. When I brought up Ilker and his film The Teachers’ Lounge, Michael’s eyes knowingly lit up and he said, “Now there’s a director to get into business with.
- 2/15/2024
- by Mia Galuppo
- The Hollywood Reporter - Movie News
Ja Bayona’s Society Of The Snow was the big winner at Spain’s Goya awards on Saturday night (February 10), scooping 12 prizes including best film and director to become the third-most garlanded film in Goya history.
Justine Triet’s Anatomy Of A Fall, was named best European film, and Pablo Berger’s Robot Dreams won the prizes for best adapted screenplay and feature animation.
20,000 Species Of Bees, the feature debut of Estibaliz Urresola Solaguren, received three Goyas for best new director and original screenplay for Solaguren, and best supporting actress for Ane Gabarain. The 15 nominations for Bees were the...
Justine Triet’s Anatomy Of A Fall, was named best European film, and Pablo Berger’s Robot Dreams won the prizes for best adapted screenplay and feature animation.
20,000 Species Of Bees, the feature debut of Estibaliz Urresola Solaguren, received three Goyas for best new director and original screenplay for Solaguren, and best supporting actress for Ane Gabarain. The 15 nominations for Bees were the...
- 2/11/2024
- ScreenDaily
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Nicholas Ray, Ulrike Ottinger, and more; a 4K restoration of The Pianist and The Third Man on 35mm continue; A Hard Day’s Night plays on Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Cassavetes, Jonathan Demme, and more; The Gods of Times Square and a print of Prince’s vastly underrated Under the Cherry Moon both play on Sunday.
Metrograph
The series “Dreamlike Visions” puts modern master Alain Gomis front-and-center.
Roxy Cinema
Carpenter’s Christine, Almodóvar’s Tie Me Up! Tie Me Down!, and Secretary all play on 35mm.
Museum of Modern Art
As the massive run of Luis Buñuel’s Mexican films continues, a retrospective of Finnish filmmaker Ilkka Järvi-Laturi begins.
IFC Center
A Dario Argento series continues; Audition, Basket Case 3,...
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Nicholas Ray, Ulrike Ottinger, and more; a 4K restoration of The Pianist and The Third Man on 35mm continue; A Hard Day’s Night plays on Sunday.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Cassavetes, Jonathan Demme, and more; The Gods of Times Square and a print of Prince’s vastly underrated Under the Cherry Moon both play on Sunday.
Metrograph
The series “Dreamlike Visions” puts modern master Alain Gomis front-and-center.
Roxy Cinema
Carpenter’s Christine, Almodóvar’s Tie Me Up! Tie Me Down!, and Secretary all play on 35mm.
Museum of Modern Art
As the massive run of Luis Buñuel’s Mexican films continues, a retrospective of Finnish filmmaker Ilkka Järvi-Laturi begins.
IFC Center
A Dario Argento series continues; Audition, Basket Case 3,...
- 2/9/2024
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of Modern Art
A massive run of Luis Buñuel’s Mexican films begins; “To Save and Project,” continues.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Tati, Samuel Fuller, Nicholas Ray (x2), Godard, Straub-Huillet, Pasolini, and more.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Lizzie Borden, Ulrike Ottinger, Yvonne Rainer, Celine Sciamma, and more; a 4K restoration of The Pianist, I Heard It Through the Grapevine, and The Third Man continue; a print of Calamity Jane plays on Sunday.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere and a Dario Argento series begins; Barb and Star Go to Vista Del Mar plays late.
Roxy Cinema
Cronenberg’s Crash and Keith McNally...
Museum of Modern Art
A massive run of Luis Buñuel’s Mexican films begins; “To Save and Project,” continues.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Tati, Samuel Fuller, Nicholas Ray (x2), Godard, Straub-Huillet, Pasolini, and more.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Lizzie Borden, Ulrike Ottinger, Yvonne Rainer, Celine Sciamma, and more; a 4K restoration of The Pianist, I Heard It Through the Grapevine, and The Third Man continue; a print of Calamity Jane plays on Sunday.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere and a Dario Argento series begins; Barb and Star Go to Vista Del Mar plays late.
Roxy Cinema
Cronenberg’s Crash and Keith McNally...
- 2/2/2024
- by Nick Newman
- The Film Stage
Marco Bellocchio has ruffled some feathers over the years – starting with his feature debut “Fists in the Pocket.”
“I do remember that people were shocked about me making a film, in Italy, about a son killing his mother. They were surprised and I don’t know why. I thought it was a good idea – from a dramatic point of view,” he said at International Film Festival Rotterdam during a talk with festival director Vanja Kaludjercic.
While his colleague Bernardo Bertolucci found himself in even bigger trouble – “They wanted to burn the negative of ‘The Last Tango in Paris,’ which was absurd! I had issues, but not as big as this one” – “Fists in the Pocket” still angered many. Including Luis Buñuel.
“He is perceived as this great surrealist, a revolutionary, but he was a conservative moralist. He couldn’t believe this angry young man was so bitter against his mother.
“I do remember that people were shocked about me making a film, in Italy, about a son killing his mother. They were surprised and I don’t know why. I thought it was a good idea – from a dramatic point of view,” he said at International Film Festival Rotterdam during a talk with festival director Vanja Kaludjercic.
While his colleague Bernardo Bertolucci found himself in even bigger trouble – “They wanted to burn the negative of ‘The Last Tango in Paris,’ which was absurd! I had issues, but not as big as this one” – “Fists in the Pocket” still angered many. Including Luis Buñuel.
“He is perceived as this great surrealist, a revolutionary, but he was a conservative moralist. He couldn’t believe this angry young man was so bitter against his mother.
- 1/29/2024
- by Marta Balaga
- Variety Film + TV
Mubi has unveiled their February 2024 lineup, featuring Roy Andersson’s little-seen 1991 short World of Glory, Nicole Holofcener’s Lovely & Amazing starring Catherine Keener with an early Jake Gyllenhaal performance, and special Black History Month selections: Spike Lee’s Red Hook Summer, Kasi Lemmon’s Eve’s Bayou, Carl Franklin’s One False Move, and more.
Check out the lineup below, including recently added January titles, and get 30 days free here.
Just-Added
American Movie, directed by Christopher Smith | Festival Focus: Sundance
Pieces of April, directed by Peter Hedges | Festival Focus: Sundance
The Blair Witch Project, directed by Daniel Myrick, Eduardo Sánchez | Festival Focus: Sundance
But I’m a Cheerleader, directed by Jamie Babbit | Festival Focus: Sundance
Secretary, directed by Steven Shainberg | Festival Focus: Sundance
Medicine for Melancholy directed by Barry Jenkins | First Films First
Antiviral, directed by Brandon Cronenberg | First Films First
Shithouse, directed by Cooper Raiff | First Films First
Age of Panic,...
Check out the lineup below, including recently added January titles, and get 30 days free here.
Just-Added
American Movie, directed by Christopher Smith | Festival Focus: Sundance
Pieces of April, directed by Peter Hedges | Festival Focus: Sundance
The Blair Witch Project, directed by Daniel Myrick, Eduardo Sánchez | Festival Focus: Sundance
But I’m a Cheerleader, directed by Jamie Babbit | Festival Focus: Sundance
Secretary, directed by Steven Shainberg | Festival Focus: Sundance
Medicine for Melancholy directed by Barry Jenkins | First Films First
Antiviral, directed by Brandon Cronenberg | First Films First
Shithouse, directed by Cooper Raiff | First Films First
Age of Panic,...
- 1/25/2024
- by Jordan Raup
- The Film Stage
February––particularly its third week––is all about romance. Accordingly the Criterion Channel got creative with their monthly programming and, in a few weeks, will debut Interdimensional Romance, a series of films wherein “passion conquers time and space, age and memory, and even death and the afterlife.” For every title you might’ve guessed there’s a wilder companion: Alan Rudolph’s Made In Heaven, Soderbergh’s remake, and Resnais’ Love Unto Death. Mostly I’m excited to revisit Francis Ford Coppola’s Youth Without Youth, a likely essential viewing before Megalopolis.
February also marks Black History Month, and Criterion’s series will include work by Shirley Clarke (also subject of a standalone series), Garrett Bradley, Cheryl Dunye, and Julie Dash, while movies by Sirk, Minnelli, King Vidor, and Lang play in “Gothic Noir.” Greta Gerwig gets an “Adventures in Moviegoing” and can be seen in Mary Bronstein’s Yeast,...
February also marks Black History Month, and Criterion’s series will include work by Shirley Clarke (also subject of a standalone series), Garrett Bradley, Cheryl Dunye, and Julie Dash, while movies by Sirk, Minnelli, King Vidor, and Lang play in “Gothic Noir.” Greta Gerwig gets an “Adventures in Moviegoing” and can be seen in Mary Bronstein’s Yeast,...
- 1/11/2024
- by Leonard Pearce
- The Film Stage
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSDry Leaf.On Criterion’s Daily, David Hudson has shared a useful roundup of films that might be expected to premiere during 2024. Among the inclusions are: Mickey 17, Bong Joon-ho’s first film since Parasite (2019); It’s Not Me, Leos Carax’s latest collaboration with Denis Lavant; and Dry Leaf, the enticing-sounding new film by Alexandre Koberidze (What Do We See When We Look at the Sky? [2021]), which is said to be about “a photographer who shoots soccer stadiums [who] goes missing.”A list of international filmmakers including Apichatpong Weerasethakul, Pedro Costa, Radu Jude, Ira Sachs, Claire Denis, and Abderrahmane Sissako have signed a letter, published during the holiday season in the French newspaper Libération, demanding (as translated by the Film Stage) “an immediate end to the bombings on Gaza,...
- 1/10/2024
- MUBI
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSBreak no.1 & Break no.2..The lineups for select sections of the 2024 editions of the Berlinale and International Film Festival Rotterdam have been unveiled, with films from Panorama, Forum, Forum Expanded, Generation, and Berlinale Special announced for the former, and the Tiger and Big Screen competitions at the latter. In Berlin, so far, we are excited by the prospect of new films by Jane Schoenbrun (We’re All Going to the World’s Fair) and Jérémy Clapin (I Lost My Body), whereas in Rotterdam, we have our eye on new work by Madeleine Hunt-Ehrlich and Lei Lei. As the year comes to a close, the Best of 2023 lists keep coming. Sight & Sound shared the seventh edition of their always-interesting poll of the best video essays of the year,...
- 12/20/2023
- MUBI
In movie history, there are a rare few directors whose style has coined an adjective: Felliniesque, Hitchcockian, Chaplinesque. The modern filmmaker most likely to join that class is Yorgos Lanthimos, the Greek auteur famed for “The Lobster” and “The Favourite,” whose newest, wildest project, “Poor Things,” is his most colorful and phantasmagorical to date.
The look of the film – set in a fairy tale 19th century world unlike any you’ve ever seen – is singular, even if the moniker Lanthimosian doesn’t quite roll off the tongue.
“That’s a really hard word to say,” said cinematographer Robbie Ryan with a laugh. The Irish camera maestro earned an Oscar nomination for “The Favourite,” his previous collaboration with Lanthimos.
“Maybe Lanthimosesque is better – or is it even worse? I do totally agree, though: His filmmaking is signature, for sure. It’s inventive in a way that’s undefinable. I can describe...
The look of the film – set in a fairy tale 19th century world unlike any you’ve ever seen – is singular, even if the moniker Lanthimosian doesn’t quite roll off the tongue.
“That’s a really hard word to say,” said cinematographer Robbie Ryan with a laugh. The Irish camera maestro earned an Oscar nomination for “The Favourite,” his previous collaboration with Lanthimos.
“Maybe Lanthimosesque is better – or is it even worse? I do totally agree, though: His filmmaking is signature, for sure. It’s inventive in a way that’s undefinable. I can describe...
- 12/19/2023
- by Joe McGovern
- The Wrap
Georgian film director who was the true heir to Jean Renoir, Jacques Tati and Luis Buñuel
At the time when the film Favourites of the Moon was released in France in 1985, little was known in western Europe about its Georgian director, Otar Iosseliani, who has died aged 89. He had already made three features and several shorts in the Soviet Union, where he had suffered some censorship, the prime reason for his becoming an exile in France in 1982. For many, Favourites of the Moon, shot in Paris in French, was their first entry into the singular world of Iosseliani.
His self-described “abstract comedies” are understated and incisive explorations of human absurdity, always faithful to his idiosyncratic vision, and discarding any kind of cohesive narrative. Iosseliani observed his characters through behaviour rather than dialogue. His use of sound and silence, and his complex movements of people, animals and objects made him the true heir to Jean Renoir,...
At the time when the film Favourites of the Moon was released in France in 1985, little was known in western Europe about its Georgian director, Otar Iosseliani, who has died aged 89. He had already made three features and several shorts in the Soviet Union, where he had suffered some censorship, the prime reason for his becoming an exile in France in 1982. For many, Favourites of the Moon, shot in Paris in French, was their first entry into the singular world of Iosseliani.
His self-described “abstract comedies” are understated and incisive explorations of human absurdity, always faithful to his idiosyncratic vision, and discarding any kind of cohesive narrative. Iosseliani observed his characters through behaviour rather than dialogue. His use of sound and silence, and his complex movements of people, animals and objects made him the true heir to Jean Renoir,...
- 12/18/2023
- by Ronald Bergan
- The Guardian - Film News
Niles Crane, er, David Hyde Pierce is happy to explain why his beloved character won’t be showing up on the reboot of Frasier on Paramount+.
While promoting his appearance in “Here We Are,” the Stephen Sondheim/David Ives musical that’s being staged in Manhattan, Pierce revealed why he didn’t reprise the role that earned him four Emmys.
“I never really wanted to go back,” he told the Los Angeles Times. “It’s not like I said, ‘Oh, I don’t ever want to do that again.’ I loved every moment. It was that I wanted to do other things. And when we got into real talks about the reboot, I had just started on the ‘Julia’ TV show and was working on a musical and going to do another musical, not this one. And I just thought, ‘I don’t want to be committed to a show...
While promoting his appearance in “Here We Are,” the Stephen Sondheim/David Ives musical that’s being staged in Manhattan, Pierce revealed why he didn’t reprise the role that earned him four Emmys.
“I never really wanted to go back,” he told the Los Angeles Times. “It’s not like I said, ‘Oh, I don’t ever want to do that again.’ I loved every moment. It was that I wanted to do other things. And when we got into real talks about the reboot, I had just started on the ‘Julia’ TV show and was working on a musical and going to do another musical, not this one. And I just thought, ‘I don’t want to be committed to a show...
- 12/11/2023
- by Lynette Rice
- Deadline Film + TV
“Poor Things” marks a radical shift for Yorgos Lanthimos. The director gained global acclaim with the microbudget “Dogtooth” in 2009; by 2018, he scored 10 Oscar nominations and one win for star Olivia Colman with the $15 million “The Favourite” ($95 million worldwide). With Venice Golden Lion winner “Poor Things,” he has a $35 million budget, critical acclaim, and another crack at multiple Oscars.
Based on the 1992 novel by Scottish artist and author Alisdair Gray, screenwriter Tony McNamara (“The Favourite”) focused the narrative on young Bella Baxter (Emma Stone), a woman reanimated by scientist Dr. Godwin Baxter (Willem Dafoe) who placed her own baby’s brain into her skull.
Lanthimos loved Gray’s book and in 2009 traveled to Scotland to meet the author and plead his case for adaptation. Around 2015, Irish producers Ed Guiney and Andrew Lowe of Element Pictures optioned the rights with Film4, Lanthimos’ longtime backer.
“We were all in. Yorgos was so passionate about it,...
Based on the 1992 novel by Scottish artist and author Alisdair Gray, screenwriter Tony McNamara (“The Favourite”) focused the narrative on young Bella Baxter (Emma Stone), a woman reanimated by scientist Dr. Godwin Baxter (Willem Dafoe) who placed her own baby’s brain into her skull.
Lanthimos loved Gray’s book and in 2009 traveled to Scotland to meet the author and plead his case for adaptation. Around 2015, Irish producers Ed Guiney and Andrew Lowe of Element Pictures optioned the rights with Film4, Lanthimos’ longtime backer.
“We were all in. Yorgos was so passionate about it,...
- 12/4/2023
- by Anne Thompson
- Indiewire
In our jaded present, it’s hard to imagine that there was once a time when film audiences took the “based on a true story” claim seriously. At this point, we’re all fully aware that artists sometimes have to embellish the truth in order to prove a point – and sometimes simply to entertain. In fact, the very act of creating a faux-reality to tell a story has since evolved into an artform in and of itself. While Ruggero Deodato is often credited with having invented Found Footage with 1980’s Cannibal Holocaust, the truth is that the genre and its current off-shoots have been slowly creeping into existence since the early days of cinema.
Pioneers like Benjamin Christensen (1922’s Häxan) and surrealist Luis Buñuel (1933’s Land Without Bread) were already experimenting with the idea of combining fact and fiction in convincing pseudo-documentaries, and that’s not even mentioning Orson Welles...
Pioneers like Benjamin Christensen (1922’s Häxan) and surrealist Luis Buñuel (1933’s Land Without Bread) were already experimenting with the idea of combining fact and fiction in convincing pseudo-documentaries, and that’s not even mentioning Orson Welles...
- 12/4/2023
- by Luiz H. C.
- bloody-disgusting.com
Paul Vecchiali’s moody, labyrinthine The Strangler suggests the visual style of Jacques Demy’s Model Shop coupled with the psychosexual fervor of Michael Powell’s Peeping Tom. Or maybe it’s more accurate to say that it’s a queer version of Jean-Pierre Melville’s Le Samouraï by way of the story machinations of Claude Chabrol’s The Champagne Murders. Either way, it’s clear that Vecchiali’s interests are cinephilic in nature, and that this 1970 psychological thriller was his self-conscious attempt during the waning years of the Nouvelle Vague to take the movement’s genre-defying sensibilities in a new direction.
Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...
Throughout, Vecchiali is concerned less with plot than with mood and setting, which he largely establishes by showing people moving around colorful apartments and through the bustling streets of Paris. Take Anna (Eva Simonet), who rushes to a television station fearing for her safety after Simon (Julien Guiomar...
- 11/13/2023
- by Clayton Dillard
- Slant Magazine
Making main competition at the 49th Huelva Ibero-American Film Festival in Spain, “Prison in the Andes” (“Penal Cordillera”) trains a spotlight on the scandalous imprisonment of five high-ranking officers of General Augusto Pinochet’s brutal military junta.
We find these men serving out their sentences amounting to some 800 hundred years in a well-appointed mansion with a pool, gardens and aviaries in the Andes foothills and where their so-called guards wait on them hand and foot. At times, violence erupts among the guards, who are virtual prisoners themselves.
“I wanted the story to be a metaphor for Chilean society,” said its writer-director Felipe Carmona who chose to make this tale of misplaced justice his debut feature. While the facts around the case are depicted in the film, he has inserted elements of fantasy and fictional scenes to bring the story to life, imagining the conversations they would have had among themselves.
We find these men serving out their sentences amounting to some 800 hundred years in a well-appointed mansion with a pool, gardens and aviaries in the Andes foothills and where their so-called guards wait on them hand and foot. At times, violence erupts among the guards, who are virtual prisoners themselves.
“I wanted the story to be a metaphor for Chilean society,” said its writer-director Felipe Carmona who chose to make this tale of misplaced justice his debut feature. While the facts around the case are depicted in the film, he has inserted elements of fantasy and fictional scenes to bring the story to life, imagining the conversations they would have had among themselves.
- 11/10/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Marina Cicogna, a film producer and one of the first women to establish herself in the traditionally male cinema environment in Italy, died Saturday in Rome. She was 89.
Cicogna produced several important Italian films, including Metti, una Sera a Cena by Giuseppe Patroni Griffi and Indagine su un Cittadino al di Sopra di Ogni Sospetto (Investigation of a Citizen Above Suspicion) by Elio Petri, with the latter winning the Oscar for best foreign language film in 1971. The New York Times called her “one of the most powerful women in European cinema.”
Her extraordinary experience and career were recounted in 2021 in the documentary film Marina Cicogna. Life and Everything Else by Andrea Bettinetti and in her autobiography, Ancora Spero, released this year by Marsilio Publishing.
Cicogna died with Benedetta Gardona, her companion of more than 30 years, by her side.
Ahead of receiving the 2023 David Award for Lifetime Achievement this year, Cicogna...
Cicogna produced several important Italian films, including Metti, una Sera a Cena by Giuseppe Patroni Griffi and Indagine su un Cittadino al di Sopra di Ogni Sospetto (Investigation of a Citizen Above Suspicion) by Elio Petri, with the latter winning the Oscar for best foreign language film in 1971. The New York Times called her “one of the most powerful women in European cinema.”
Her extraordinary experience and career were recounted in 2021 in the documentary film Marina Cicogna. Life and Everything Else by Andrea Bettinetti and in her autobiography, Ancora Spero, released this year by Marsilio Publishing.
Cicogna died with Benedetta Gardona, her companion of more than 30 years, by her side.
Ahead of receiving the 2023 David Award for Lifetime Achievement this year, Cicogna...
- 11/6/2023
- by Livia Paccariè
- The Hollywood Reporter - Movie News
Marina Cicogna, Italy’s first major female film producer who shepherded films by Pier Paolo Pasolini, Franco Zeffirelli and Elio Petri, including Petri’s Oscar-winning “Investigation of a Citizen Above Suspicion,” has died. She was 89.
Cicogna died on Nov. 4 in her Rome home after a long battle with an unspecified form of cancer, according to Italian news agency Ansa.
The Venice Biennale foundation is a statement, praised her as “the first female film producer in Europe” and noted that she was always deeply linked to the Venice Film Festival that was founded by her grandfather, Giuseppe Volpi di Misurata.
Born in Rome on May 29, 1934, to Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata, Cicogna attended high school in Italy and graduated from Sarah Lawrence College in New York, where she struck up a friendship with Jack Warner’s daughter Barbara Warner and established a connection with Hollywood.
In...
Cicogna died on Nov. 4 in her Rome home after a long battle with an unspecified form of cancer, according to Italian news agency Ansa.
The Venice Biennale foundation is a statement, praised her as “the first female film producer in Europe” and noted that she was always deeply linked to the Venice Film Festival that was founded by her grandfather, Giuseppe Volpi di Misurata.
Born in Rome on May 29, 1934, to Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata, Cicogna attended high school in Italy and graduated from Sarah Lawrence College in New York, where she struck up a friendship with Jack Warner’s daughter Barbara Warner and established a connection with Hollywood.
In...
- 11/6/2023
- by Nick Vivarelli
- Variety Film + TV
Based on Joshua Davis’s 2013 article for Wired, “A Radical Way of Unleashing a Generation of Geniuses,” Radical, a stirring, poignant drama co-written and adapted by Christopher Zalla (Blood of My Blood), literally and figuratively revolves around Jose Urbina Lopez Elementary School in Matamoros, Mexico. A town on the U.S/Mexico border, Matamoros suffers from crushing poverty, dilapidated infrastructure, and gang-related violence. It’s as hopeless a city or town — depressingly, painfully real by all accounts — as any put on Spanish-language, Mexico-set film since Luis Buñuel’s award-winning classic, Los Olvidados (The Forgotten Ones) almost 75 years ago. Unlike Issa Lopez’s recent — and it should be added, excellent — horror-thriller hybrid, Tigers Are Not Afraid, Radical centers the drama on the elementary school itself, the...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 11/3/2023
- Screen Anarchy
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film Forum
“50 from the ’50s” continues with films by Howard Hawks, Elia Kazan, Stanley Donen, and many more.
Bam
“Let the Record Show” offers films built from archival material.
Museum of the Moving Image
Reverse Shot celebrates its 20th anniversary with a months-long programming run, continuing this weekend with The Curious Case of Benjamin Button on 35mm and two by Maren Ade.
Anthology Film Archives
Work by John Carpenter, Stuart Gordon, and more play in a series of films inspired by H.P. Lovecraft, while two from Buñuel show in “Essential Cinema.”
IFC Center
An extensive William Friedkin series continues, while The Holy Mountain and Army of Darkness play late; Oldboy screens in a new restoration.
Museum of Modern Art
A series on pre-revolution Iranian cinema is underway, as well as a collection of female-made silent cinema.
Roxy Cinema
The Shining...
Film Forum
“50 from the ’50s” continues with films by Howard Hawks, Elia Kazan, Stanley Donen, and many more.
Bam
“Let the Record Show” offers films built from archival material.
Museum of the Moving Image
Reverse Shot celebrates its 20th anniversary with a months-long programming run, continuing this weekend with The Curious Case of Benjamin Button on 35mm and two by Maren Ade.
Anthology Film Archives
Work by John Carpenter, Stuart Gordon, and more play in a series of films inspired by H.P. Lovecraft, while two from Buñuel show in “Essential Cinema.”
IFC Center
An extensive William Friedkin series continues, while The Holy Mountain and Army of Darkness play late; Oldboy screens in a new restoration.
Museum of Modern Art
A series on pre-revolution Iranian cinema is underway, as well as a collection of female-made silent cinema.
Roxy Cinema
The Shining...
- 11/3/2023
- by Nick Newman
- The Film Stage
We’ve all seen those videos online of famous auditions where an actor reveals themselves and offers up a vulnerable performance in front of a dingy handheld camera. More often than not they show a moment of pure talent in its rawest state and give us, the audience, an insight into what led them to be selected for a renowned role. What we don’t see is the countless other auditions that are being taped every day where actors have to expose themselves for opportunities that may or may not be worth it. Hugo De Sousa captures the strange, exploitative nature of these scenarios in his latest short Je Ne Suis Pas Une Star De Cinéma, which sees an actor audition for an undisclosed project. It’s a tense, difficult watch but raises some fascinating questions about the nature of the entertainment industry and how much you should (or shouldn...
- 11/2/2023
- by James Maitre
- Directors Notes
A24's summer horror hit "Talk to Me" is absolutely devastating, but the movie is even sadder when you know the true story behind it. Danny and Michael Philippou crafted a supernatural narrative for their debut feature film, but they also brought in a bit of real life experience.
Mia (Sophie Wilde) is struggling to cope with the passing of her mother when she discovers a way to commune with the dead through holding an embalmed hand. Holding hands is a central motif in the film -- it's both the way characters lift each other out of hard times and get pulled further into darkness. But believe it or not, the hand itself was not even in the first iteration of the story. However, the hand quickly fell into place with the other concepts the co-writers had in mind for the movie.
Danny Phillippou explained in an interview with Indiewire:...
Mia (Sophie Wilde) is struggling to cope with the passing of her mother when she discovers a way to commune with the dead through holding an embalmed hand. Holding hands is a central motif in the film -- it's both the way characters lift each other out of hard times and get pulled further into darkness. But believe it or not, the hand itself was not even in the first iteration of the story. However, the hand quickly fell into place with the other concepts the co-writers had in mind for the movie.
Danny Phillippou explained in an interview with Indiewire:...
- 11/1/2023
- by Shae Sennett
- Slash Film
Steven Pasquale and Jeremy Shamos started working on the new Stephen Sondheim musical, Here We Are, seven years ago, while others, like Denis O’Hare, were asked to join the project last summer.
But for everyone now starring in the show, which opened Off-Broadway at The Shed on Oct. 22, joining the project was an immediate yes, largely due to the novelty of being in a new Sondheim piece, which ended up being the composer’s first new show in decades, as well as his last.
“I know all [his] shows. I know the music. I didn’t even have to read it. I said yes before I read it,” said Bobby Cannavale, who is part of the show’s ensemble cast, which also includes David Hyde Pierce, Micaela Diamond and Rachel Bay Jones.
Here We Are, which features a book by David Ives and direction by Joe Mantello, is based on two surrealist films by Luis Buñuel,...
But for everyone now starring in the show, which opened Off-Broadway at The Shed on Oct. 22, joining the project was an immediate yes, largely due to the novelty of being in a new Sondheim piece, which ended up being the composer’s first new show in decades, as well as his last.
“I know all [his] shows. I know the music. I didn’t even have to read it. I said yes before I read it,” said Bobby Cannavale, who is part of the show’s ensemble cast, which also includes David Hyde Pierce, Micaela Diamond and Rachel Bay Jones.
Here We Are, which features a book by David Ives and direction by Joe Mantello, is based on two surrealist films by Luis Buñuel,...
- 10/29/2023
- by Caitlin Huston
- The Hollywood Reporter - Movie News
In the penultimate song in Stephen Sondheim’s musical “Sunday in the Park with George,” Dot implores the artist George to “give us more to see.” The late maestro has done so himself one last time with the world premiere of his final musical, “Here We Are,” which opened Off-Broadway at The Shed on Oct. 22. Written with dramatist David Ives, the musical takes inspiration from two Luis Buñuel films – “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel” – that it marries with one set of characters.
Tony Award-winner Joe Mantello played an integral role in the show’s development and directs its first production. He has assembled an unrivaled ensemble to take on the roles of the unimaginably affluent characters who spend the first act trying to find a restaurant in which to have brunch, and who in the second act find themselves unable to leave after their meal.
Tony Award-winner Joe Mantello played an integral role in the show’s development and directs its first production. He has assembled an unrivaled ensemble to take on the roles of the unimaginably affluent characters who spend the first act trying to find a restaurant in which to have brunch, and who in the second act find themselves unable to leave after their meal.
- 10/23/2023
- by David Buchanan
- Gold Derby
“Sometimes people leave you halfway through the wood,” Cinderella sings in “No One Is Alone,” Stephen Sondheim’s clear-eyed reassurance of support and survival at the end of Into the Woods. Sondheim himself, who passed away in November 2021, left artistic companions, including book writer David Ives and director Joe Mantello, halfway through a wood they were constructing together: the musical Here We Are, now playing off-Broadway at the Shed’s Griffin Theater. With his final offering, Sondheim sends one last jolt of structural inventiveness coursing through the veins of the musical theater form. Here We Are may not operate on the grand scale of Sweeney Todd or Into the Woods or Follies, but it is, to quote the composer-lyricist, small and funny and fine.
Here We Are adapts two films by Luis Buñuel. The first act riffs on 1972’s The Discreet Charm of the Bourgeoisie. Ives borrows the basic premise...
Here We Are adapts two films by Luis Buñuel. The first act riffs on 1972’s The Discreet Charm of the Bourgeoisie. Ives borrows the basic premise...
- 10/23/2023
- by Dan Rubins
- Slant Magazine
At the time of year where every other film is a biopic chasing prestige respectability, we are lucky to have Quentin Dupieux, the prolific, serious-minded, silly filmmaker perfectly positioned to take a sledgehammer to the genre. His second 2023 feature has been described as a “real fake biopic” of Salvador Dalí but is best understood as a return to the heightened analysis of cinematic storytelling à la 2010 breakthrough Rubber––a movie which increasingly looks like the rare weak spot in a filmography equal-parts playful and thoughtful.
And don’t be mistaken: despite casting several of France’s finest character actors as the famed Spaniard, this isn’t an I’m Not There-style tribute to the artist’s spirit attempting an unconventional work in vein like theirs. Dupieux clearly has no interest in those sub-genres of the biopic, either, even if he does have a clear reverence for his subject. Instead his...
And don’t be mistaken: despite casting several of France’s finest character actors as the famed Spaniard, this isn’t an I’m Not There-style tribute to the artist’s spirit attempting an unconventional work in vein like theirs. Dupieux clearly has no interest in those sub-genres of the biopic, either, even if he does have a clear reverence for his subject. Instead his...
- 10/16/2023
- by Alistair Ryder
- The Film Stage
Two-time Oscar-winning filmmaker Alexander Payne shared his passion for film and his thoughts on contemporary American cinema with the audience at the Lumière Film Festival in Lyon where he is premiering his eighth feature film, “The Holdovers,” under the French title “Winter Break,” on October 15th.
In a conversation skilfully led and translated by Los Angeles-based French film journalist Didier Allouch, Payne drew laughs from the Lumière crowd when he explained that the secret to making good films was “keeping your budgets low.”
“John Huston approached Luis Buñuel one day and asked him, ‘How is it that you make these wonderful films, like “Viridiana” and “The Exterminating Angel”?’ And Buñuel replied, ‘How much money do you make and how much money do you think I make?’” said Payne with a smile.
While he made no secret of his distaste for Hollywood blockbusters and said it was still possible to make movies like “Sideways,...
In a conversation skilfully led and translated by Los Angeles-based French film journalist Didier Allouch, Payne drew laughs from the Lumière crowd when he explained that the secret to making good films was “keeping your budgets low.”
“John Huston approached Luis Buñuel one day and asked him, ‘How is it that you make these wonderful films, like “Viridiana” and “The Exterminating Angel”?’ And Buñuel replied, ‘How much money do you make and how much money do you think I make?’” said Payne with a smile.
While he made no secret of his distaste for Hollywood blockbusters and said it was still possible to make movies like “Sideways,...
- 10/16/2023
- by Lise Pedersen
- Variety Film + TV
Stop reading if you’ve seen this movie before — a wooden mannequin with the face of Greta Thunberg greets a horde of kindergarteners emerging from a steampunk Trojan horse under a dome of gigantic smartphones bathing them in hot blue light.
Alright, keep scrolling.
That singular image is one of the many goofy but eerie arrangements that Godfrey Reggio conjures in his newest odyssey, “Once Within a Time” — a dense, trance-inducing 43-minute feature that sees the “Koyaanisqatsi” director sounding the alarm on the technocratic foundations of our digital age.
“No festival wanted this film,” Reggio tells Variety, smoking American Spirits and sporting a gray bushy beard while speaking on a Zoom call in his Sante Fe, N.M. studio. “Not even Telluride, where they celebrated the 40th anniversary of ‘Koyaanisqatsi.’ They didn’t know what to make of it.”
Perhaps the festivals could be forgiven, as implied meaning isn’t...
Alright, keep scrolling.
That singular image is one of the many goofy but eerie arrangements that Godfrey Reggio conjures in his newest odyssey, “Once Within a Time” — a dense, trance-inducing 43-minute feature that sees the “Koyaanisqatsi” director sounding the alarm on the technocratic foundations of our digital age.
“No festival wanted this film,” Reggio tells Variety, smoking American Spirits and sporting a gray bushy beard while speaking on a Zoom call in his Sante Fe, N.M. studio. “Not even Telluride, where they celebrated the 40th anniversary of ‘Koyaanisqatsi.’ They didn’t know what to make of it.”
Perhaps the festivals could be forgiven, as implied meaning isn’t...
- 10/12/2023
- by J. Kim Murphy
- Variety Film + TV
Stephen Sondheim has almost never been more popular than in the two years since his passing in November 2021. In that time, celebrated revivals of “Company,” “Into the Woods,” and “Sweeney Todd” have come to Broadway, and successful remounting of “Assassins” and “Merrily We Roll Along” have played Off-Broadway, which is a testament to the enduring appeal of his works.
This fall will once again spotlight Sondheim. The tremendously successful Off-Broadway run of “Merrily” starring Jonathan Groff, Lindsay Mendez, and Daniel Radcliffe opens on Broadway on October 10, which will mark the first remounting since its original, unsuccessful run in 1981. In addition, his final musical “Here We Are,” which is based on two Luis Buñuel films—“The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel”—will have its highly-anticipated world premiere Off-Broadway, opening on October 22.
In honor of another “season of Sondheim,” take a look back at every single Tony...
This fall will once again spotlight Sondheim. The tremendously successful Off-Broadway run of “Merrily” starring Jonathan Groff, Lindsay Mendez, and Daniel Radcliffe opens on Broadway on October 10, which will mark the first remounting since its original, unsuccessful run in 1981. In addition, his final musical “Here We Are,” which is based on two Luis Buñuel films—“The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel”—will have its highly-anticipated world premiere Off-Broadway, opening on October 22.
In honor of another “season of Sondheim,” take a look back at every single Tony...
- 9/29/2023
- by David Buchanan
- Gold Derby
Salvador Dalí is walking down a hotel corridor. A hotel corridor is being walked down by Salvador Dalí. In a hotel, there is a corridor down which Salvador Dalí walks. So begins — and begins and begins – Quentin Dupieux’s giddy, glitchy altogether delightful “Daaaaaali!” (imagine the title delivered by a practiced yodeler in the middle of a morning gargle). It’s the oldest and lo-fi-est of cinematic tricks: a few simple cuts make it seem like a hotel hallway’s finite, solid space is elastic, stretching from the lift doors into carpeted absurdity. Like the film as a whole, the gag gets funnier as it gets sillier, and becomes more of a homage to the surrealist painter’s ability to warp the reality around him, the more drunken its time-loop chronology.
“A story should have a beginning, a middle and an end, but not necessarily in that order,” said Godard,...
“A story should have a beginning, a middle and an end, but not necessarily in that order,” said Godard,...
- 9/10/2023
- by Jessica Kiang
- Variety Film + TV
Pedro Almodóvar, the most celebrated Spanish filmmaker since Luis Buñuel, will be the toast of the 2023 Toronto International Film Festival. There, his latest film — Strange Way of Life, a short Western starring Ethan Hawke and Pedro Pascal and set to be distributed by Sony Classics — will have its North American premiere; he’ll receive the Jeff Skoll Award in Impact Media at the TIFF Tribute Awards; and he’ll participate in an “In Conversation” discussion on Sept. 9.
Almodóvar has made 21 features, among them classics like 1988’s Women on the Verge of a Nervous Breakdown, which was nominated for the best foreign-language film Oscar; 1999’s All About My Mother, which won that Oscar; and 2002’s Talk to Her, for which he was nominated for best director and won the best original screenplay Oscar, marking only the fifth time that a non-English-language script had been awarded that trophy. But his past two...
Almodóvar has made 21 features, among them classics like 1988’s Women on the Verge of a Nervous Breakdown, which was nominated for the best foreign-language film Oscar; 1999’s All About My Mother, which won that Oscar; and 2002’s Talk to Her, for which he was nominated for best director and won the best original screenplay Oscar, marking only the fifth time that a non-English-language script had been awarded that trophy. But his past two...
- 9/8/2023
- by Scott Feinberg
- The Hollywood Reporter - Movie News
Quentin Dupieux rose to something resembling international prominence by directing a movie about a murderous tire named Robert and spent the next decade mocking everything from giant flies to superhero franchises with his distinct brand of surreal filmmaking. The French director seemingly lives to turn goofy premises into clever works of postmodernism that often have more in common with tongue-in-cheek pieces at contemporary art museums than Hollywood films. His love-it-or-hate-it aesthetic is so consistently strange that it’s laughable to suggest any film in his oeuvre was inevitable. But “Daaaaaali!” sure seems like the one movie that Dupieux was destined to make.
Dupieux’s exasperatingly titled “real fake biopic” about Salvador Dalí is a dreamlike tribute to the 20th century’s two most prominent surrealists: Dalí and Luis Buñuel. Ostensibly a story about a young journalist (Anaïs Demoustier) trying to interview the eccentric painter, the film takes its dramatic structure...
Dupieux’s exasperatingly titled “real fake biopic” about Salvador Dalí is a dreamlike tribute to the 20th century’s two most prominent surrealists: Dalí and Luis Buñuel. Ostensibly a story about a young journalist (Anaïs Demoustier) trying to interview the eccentric painter, the film takes its dramatic structure...
- 9/7/2023
- by Christian Zilko
- Indiewire
Do Not Expect Too Much From the End of the World.On the steep, cobbled street leading down from the GranRex cinema in Locarno, soon after emerging from El Rio y la Muerte, a deeply engrossing account of a bitter blood feud nourished by generations of Mexican machismo, I thought about Radu Jude's Do Not Expect Too Much From the End of the World. This was hardly an isolated incident. I had thought about Jude's movie while taking a bus to the other side of town the day before. I would be thinking about it again on a Zoom call the following week. Conversations with colleagues, a sandwich lunch on a bench, even some of my crisp-hotel-bed dreams were colored by the film, glancing off it, bumping into it, minding their own business only to be startled by it leaping out of a nearby shrubbery. When the guy in the...
- 9/6/2023
- MUBI
“Write about what you know,” the saying goes, and the same rule of thumb often applies to independent movies, with many a debuting filmmaker turning the camera on their own lives and families to create their first dramas. Such features as Trey Edward Shults’ Krisha, Greta Gerwig’s Lady Bird, Charlotte Wells’ Aftersun and even Ari Aster’s Hereditary are prime examples of the genre, and there are surely countless others.
Writer-director Lucy Kerr’s Family Portrait could be added to that list, except there’s a catch: If there’s drama, it exists somewhere beneath the surface, in a movie that’s filled with anxiety and foreboding without ever showcasing much of a plot. There is, in fact, a bare-bones narrative about a family coming together for their annual group photo — per the press notes, this happens just before the start of the Covid pandemic — but Kerr is less...
Writer-director Lucy Kerr’s Family Portrait could be added to that list, except there’s a catch: If there’s drama, it exists somewhere beneath the surface, in a movie that’s filled with anxiety and foreboding without ever showcasing much of a plot. There is, in fact, a bare-bones narrative about a family coming together for their annual group photo — per the press notes, this happens just before the start of the Covid pandemic — but Kerr is less...
- 8/9/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
You can scarcely surf the great streaming ocean without happening on a serial killer documentary or series, a fact that probably says more about us than the entertainment industry. All options, however, are not created equal. For every few quick-and-dirty procedurals, you’ll find something with real style and personality — something like The Lady of Silence: The Mataviejitas Murders, a zesty doc that walks right up to the edge of dark comedy, peers over the cliff, and takes a cheeky plunge into something weird and wonderful. Director Maria José Cuevas...
- 7/27/2023
- by Chris Vognar
- Rollingstone.com
Updated, 11:20 Am: The producers of Here We Are have announced the cast for the first production of Stephen Sondheim’s final musical.
Francois Battiste, Tracie Bennett, Bobby Cannavale, Micaela Diamond, Amber Gray, Jin Ha, Rachel Bay Jones, Denis O’Hare, Steven Pasquale, David Hyde Pierce, and Jeremy Shamos are set for the show, which opens September 28 for a limited Off Broadway engagement at The Shed.
Read details of the show below.
Previously, March 16: Stephen Sondheim’s final, long-awaited musical Here We Are will make its world premiere September 28 in a strictly limited Off Broadway engagement to be directed by two-time Tony winner Joe Mantello.
Formerly known as Square One, the final musical composed by Sondheim before his death in 2021 will be staged at The Shed, the Manhattan arts center that opened in 2019.
Additional information including specific production dates and casting will be announced soon. Producer Tom Kirdahy made the premiere announcement today.
Francois Battiste, Tracie Bennett, Bobby Cannavale, Micaela Diamond, Amber Gray, Jin Ha, Rachel Bay Jones, Denis O’Hare, Steven Pasquale, David Hyde Pierce, and Jeremy Shamos are set for the show, which opens September 28 for a limited Off Broadway engagement at The Shed.
Read details of the show below.
Previously, March 16: Stephen Sondheim’s final, long-awaited musical Here We Are will make its world premiere September 28 in a strictly limited Off Broadway engagement to be directed by two-time Tony winner Joe Mantello.
Formerly known as Square One, the final musical composed by Sondheim before his death in 2021 will be staged at The Shed, the Manhattan arts center that opened in 2019.
Additional information including specific production dates and casting will be announced soon. Producer Tom Kirdahy made the premiere announcement today.
- 7/17/2023
- by Greg Evans
- Deadline Film + TV
“Now I’m through with land and the land’s through with me,” says world-weary mariner Donkeyman (Arthur Shields) in The Long Voyage Home, succinctly expressing the dichotomy that runs through John Ford’s 1940 drama. Adapted by Dudley Nichols from four of Eugene O’Neill’s one-act plays, the film is deeply concerned with the threshold between land and sea.
Even when in port, the men working on the SS Glencairn are largely confined to the British cargo ship, and for logical reasons, such as police and military restrictions during wartime. Yet, through the aura of despondence and alienation so strongly established by Gregg Toland’s almost spectral cinematography, the men’s entrapment takes on a metaphysical significance not unlike that of the bourgeois individuals unable to exit the dining room in Luis Buñuel’s The Exterminating Angel.
For all the isolation and deprivation endured by the sailors, The Long Voyage Home is,...
Even when in port, the men working on the SS Glencairn are largely confined to the British cargo ship, and for logical reasons, such as police and military restrictions during wartime. Yet, through the aura of despondence and alienation so strongly established by Gregg Toland’s almost spectral cinematography, the men’s entrapment takes on a metaphysical significance not unlike that of the bourgeois individuals unable to exit the dining room in Luis Buñuel’s The Exterminating Angel.
For all the isolation and deprivation endured by the sailors, The Long Voyage Home is,...
- 7/11/2023
- by Derek Smith
- Slant Magazine
Eugene Hütz, founder and frontman with U.S. gypsy punk band Gogol Bordello, would likely to have ended up a painter wearing “dirty pants and long hair” had his parents not left the Soviet Union when he was 16.
“I would probably have become a painter, as there was more of a path paved in that in my family,” he says. “I was drawing most of my childhood and my uncle – Mikhail Mykolayev – is a pretty well-known painter who still lives in Kyiv.”
Fresh from playing a brief, impromptu solo guitar gig at the Karlovy Vary Film Festival, following the international premiere of a new documentary about the band, “Scream of My Blood: A Gogol Bordello Story,” Hütz fits the bill, although his khaki cargo pants are not paint spattered.
The singer was born in Kyiv, Ukraine, but the Hütz family left years of Communist oppression behind and moved to Western...
“I would probably have become a painter, as there was more of a path paved in that in my family,” he says. “I was drawing most of my childhood and my uncle – Mikhail Mykolayev – is a pretty well-known painter who still lives in Kyiv.”
Fresh from playing a brief, impromptu solo guitar gig at the Karlovy Vary Film Festival, following the international premiere of a new documentary about the band, “Scream of My Blood: A Gogol Bordello Story,” Hütz fits the bill, although his khaki cargo pants are not paint spattered.
The singer was born in Kyiv, Ukraine, but the Hütz family left years of Communist oppression behind and moved to Western...
- 7/8/2023
- by Nick Holdsworth
- Variety Film + TV
A kindred spirit of Luis Buñuel, but one whose existential compulsions are more palpable, Pier Paolo Pasolini perpetually rebelled against moral hegemony, commiserating with outcasts and creating and dying as one. Today, his canon has been co-opted by forces on the right and left, the faithful and the secular. Which is to say, he belongs to us all.
The Criterion Collection’s new box set, Pasolini 101, represents the most comprehensive collection of Pasolini’s films to date, collecting nine of his features, as well as two shorts (1963’s La Ricotta and 1969’s The Sequence of the Paper Flower) that he made for anthology films and two documentaries that he shot during his travels. In addition to his own work, the set’s extensive and richly informative extras, among them two commentary tracks and a 100-page book featuring an essay and notes on the films by critic James Quandt, remind us...
The Criterion Collection’s new box set, Pasolini 101, represents the most comprehensive collection of Pasolini’s films to date, collecting nine of his features, as well as two shorts (1963’s La Ricotta and 1969’s The Sequence of the Paper Flower) that he made for anthology films and two documentaries that he shot during his travels. In addition to his own work, the set’s extensive and richly informative extras, among them two commentary tracks and a 100-page book featuring an essay and notes on the films by critic James Quandt, remind us...
- 6/20/2023
- by Ed Gonzalez
- Slant Magazine
Sydney, June 11 (Ians) These days Jane Campion — Palme d’Or and Oscar-winning film director — is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing, writes ‘Variety’.
She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.
India, incidentally, is being represented at the Festival,...
She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.
India, incidentally, is being represented at the Festival,...
- 6/11/2023
- by Agency News Desk
- GlamSham
These days Jane Campion – Palme d’Or and Oscar-winning film director – is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing. She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.
On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...
The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.
On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...
- 6/11/2023
- by Patrick Frater
- Variety Film + TV
In an early scene of French director Stéphan Castang’s Cannes Critics’ Week entry Vincent Must Die, a colleague of the film’s titular protagonist whacks him around the head with his laptop. A little later, another workmate stabs him in the arm. “He’s just an average guy who wakes up one morning to discover that everyone wants to kill him,” Castang explains. The debut feature follows in the wake of Julia Ducournau’s Raw and Just Philippot’s The Swarm as French genre titles to be championed by the first and second film-focused Critics’ Week.
Castang came late to film directing after spending two decades working as a theatre actor. “I always wanted to write and direct films but then I took a very long detour,” he says. He finally started exploring filmmaking with a short film, French Kids — in which a group of rebellious high school students...
Castang came late to film directing after spending two decades working as a theatre actor. “I always wanted to write and direct films but then I took a very long detour,” he says. He finally started exploring filmmaking with a short film, French Kids — in which a group of rebellious high school students...
- 5/19/2023
- by Melanie Goodfellow
- Deadline Film + TV
French film legend Catherine Deneuve will be front and center at the Cannes Film Festival as the subject of the official poster for its 76th edition.
The shot of a young Deneuve in 1968 standing on the Pampelonne beach, near Saint Tropez, as the cameras roll on La Chamade by director Alain Cavalier is the iconic photo for the poster this year. The French romantic drama had Deneuve playing Lucile, the mistress of a wealthy man who misses the material comforts of life when she leaves him for a younger lover.
“Her heart beats frantically, hurriedly, passionately. Like the heart of cinema that the Festival de Cannes celebrates every year,? Cannes organizers said of the poster in a statement.
Côte d’Azur, 1968.
The iconic Catherine Deneuve embodies what cinema should never stop being: elusive, daring, irreverent. Here is the poster of the 76th Festival de Cannes. From May 16 to 27, let's celebrate the love of cinema.
The shot of a young Deneuve in 1968 standing on the Pampelonne beach, near Saint Tropez, as the cameras roll on La Chamade by director Alain Cavalier is the iconic photo for the poster this year. The French romantic drama had Deneuve playing Lucile, the mistress of a wealthy man who misses the material comforts of life when she leaves him for a younger lover.
“Her heart beats frantically, hurriedly, passionately. Like the heart of cinema that the Festival de Cannes celebrates every year,? Cannes organizers said of the poster in a statement.
Côte d’Azur, 1968.
The iconic Catherine Deneuve embodies what cinema should never stop being: elusive, daring, irreverent. Here is the poster of the 76th Festival de Cannes. From May 16 to 27, let's celebrate the love of cinema.
- 4/19/2023
- by Etan Vlessing
- The Hollywood Reporter - Movie News
The Cannes Film Festival has unveiled the poster for the 76th edition featuring none other than Gallic cinema icon Catherine Deneuve.
The black and white photo pictures the noted performer in the film “La Chamade” (Heartbeat), directed by Alain Cavalier. Shot in 1968 on Pampelonne beach, near Saint-Tropez, the film stars Deneuve as Lucile, who the festival describes as living a “worldly and superficial life, tinged with ease and a taste for luxury. Her heart beats frantically, hurriedly, passionately.”
Cannes official 2023 poster featuring Catherine Deneuve
The festival called her “an embodiment of cinema, far from what is conventional or appropriate. Without compromise and always in tune with her convictions, even if it means going against the grain of the times,” recalling that Deneuve has been the muse of filmmakers including Jacques Demy, Agnès Varda, Luis Buñuel, François Truffaut, Marco Ferreri, Manoel de Oliveira, André Téchiné, Emmanuelle Bercot and Arnaud Desplechin.
In...
The black and white photo pictures the noted performer in the film “La Chamade” (Heartbeat), directed by Alain Cavalier. Shot in 1968 on Pampelonne beach, near Saint-Tropez, the film stars Deneuve as Lucile, who the festival describes as living a “worldly and superficial life, tinged with ease and a taste for luxury. Her heart beats frantically, hurriedly, passionately.”
Cannes official 2023 poster featuring Catherine Deneuve
The festival called her “an embodiment of cinema, far from what is conventional or appropriate. Without compromise and always in tune with her convictions, even if it means going against the grain of the times,” recalling that Deneuve has been the muse of filmmakers including Jacques Demy, Agnès Varda, Luis Buñuel, François Truffaut, Marco Ferreri, Manoel de Oliveira, André Téchiné, Emmanuelle Bercot and Arnaud Desplechin.
In...
- 4/19/2023
- by Pat Saperstein
- Variety Film + TV
The Cannes Film Festival has unveiled the poster for its upcoming 76th edition which pays tribute to iconic French actress Catherine Deneuve. Scroll down to see it.
The image shows Deneuve standing on Pampelonne beach, near Saint-Tropez, for the shoot of Alain Cavalier’s 1968 romantic drama Heartbeat (La Chamade), adapted from the novel by Françoise Sagan.
Deneuve stars as a beautiful woman who oscillates between her older businessman lover and a charming young man of her own age, played by Michel Piccoli and Roger Van Hool.
“She plays Lucile, who leads a worldly and superficial life, tinged with ease and a taste for luxury. Her heart beats frantically, hurriedly, passionately,” said the festival in a statement. “Like the heart of cinema that the Festival de Cannes celebrates every year: its lively and embodied pulse can be heard everywhere. The heart of the 7th Art – of its artists, professionals, amateurs, press – beats like a drum,...
The image shows Deneuve standing on Pampelonne beach, near Saint-Tropez, for the shoot of Alain Cavalier’s 1968 romantic drama Heartbeat (La Chamade), adapted from the novel by Françoise Sagan.
Deneuve stars as a beautiful woman who oscillates between her older businessman lover and a charming young man of her own age, played by Michel Piccoli and Roger Van Hool.
“She plays Lucile, who leads a worldly and superficial life, tinged with ease and a taste for luxury. Her heart beats frantically, hurriedly, passionately,” said the festival in a statement. “Like the heart of cinema that the Festival de Cannes celebrates every year: its lively and embodied pulse can be heard everywhere. The heart of the 7th Art – of its artists, professionals, amateurs, press – beats like a drum,...
- 4/19/2023
- by Melanie Goodfellow
- Deadline Film + TV
Nothing beats a good car chase in a movie. These wacky stunts are a hallmark of modern Hollywood blockbusters, but they've been around since silent films. Nowadays, car-centric flicks conjure images of "The Fast & Furious" and "Mad Max" franchises. However, action doesn't always have to be the focus.
Cars playing an integral part in developing a main character always hold more weight for me than a gonzo chase scene. We see a sense of isolation from society in movies like "Taxi Driver" and "Drive." Meanwhile, in John Carpenter's 1983 horror, "Christine," the auto becomes a ruthless death machine. The Stephen King adaptation makes for a clever metaphor about bullying, acceptance, and toxic masculinity in teens.
It would be unfair to say that a car movie can't be enjoyed without the profound social commentary of a Martin Scorsese film or the brooding touches of Nicolas Winding Refn. Sometimes, we crave high-octane...
Cars playing an integral part in developing a main character always hold more weight for me than a gonzo chase scene. We see a sense of isolation from society in movies like "Taxi Driver" and "Drive." Meanwhile, in John Carpenter's 1983 horror, "Christine," the auto becomes a ruthless death machine. The Stephen King adaptation makes for a clever metaphor about bullying, acceptance, and toxic masculinity in teens.
It would be unfair to say that a car movie can't be enjoyed without the profound social commentary of a Martin Scorsese film or the brooding touches of Nicolas Winding Refn. Sometimes, we crave high-octane...
- 4/15/2023
- by Marta Djordjevic
- Slash Film
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