The North Bend Film Festival is back this July with a hybrid edition that will have a mix of in-person programming, along with virtual screenings and special events. Here's a look at the festival's extensive offering, including a screening of The Blazing World, a conversation with Richard Kelly, and much, much more:
The North Bend Film Festival returns this summer with a hybrid festival taking place July 15-18, 2021. The in-person portion of the fest returns audience members to the historic art deco North Bend Theatre for a curated offering of feature film and short screenings, while both the virtual and physical programs will be complemented by special events, conversations with filmmakers, and immersive experiences. The majority of titles will be exclusive either to physical or virtual programs, with only a few overlaps making for a unique festival experience however you choose to attend.
This year's festival will open with the in-person screening of Swan Song,...
The North Bend Film Festival returns this summer with a hybrid festival taking place July 15-18, 2021. The in-person portion of the fest returns audience members to the historic art deco North Bend Theatre for a curated offering of feature film and short screenings, while both the virtual and physical programs will be complemented by special events, conversations with filmmakers, and immersive experiences. The majority of titles will be exclusive either to physical or virtual programs, with only a few overlaps making for a unique festival experience however you choose to attend.
This year's festival will open with the in-person screening of Swan Song,...
- 6/16/2021
- by Jonathan James
- DailyDead
While the summer movie season will kick off shortly––and we’ll be sharing a comprehensive preview on the arthouse, foreign, indie, and (few) studio films worth checking out––on the streaming side, The Criterion Channel and Mubi have unveiled their May 2021 lineups and there’s a treasure trove of highlights to dive into.
Timed with Satyajit Ray’s centenary, The Criterion Channel will have a retrospective of the Indian master, along with series on Gena Rowlands, Robert Ryan, Mitchell Leisen, Michael Almereyda, Josephine Decker, and more. In terms of recent releases, they’ll also feature Fire Will Come, The Booksellers, and the new restoration of Tom Noonan’s directorial debut What Happened Was….
On Mubi, in anticipation of Undine, they’ll feature two essential early features by Christian Petzold, Jerichow and The State That I Am In, along with his 1990 short documentary Süden. Also amongst the lineup is Sophy Romvari’s Still Processing,...
Timed with Satyajit Ray’s centenary, The Criterion Channel will have a retrospective of the Indian master, along with series on Gena Rowlands, Robert Ryan, Mitchell Leisen, Michael Almereyda, Josephine Decker, and more. In terms of recent releases, they’ll also feature Fire Will Come, The Booksellers, and the new restoration of Tom Noonan’s directorial debut What Happened Was….
On Mubi, in anticipation of Undine, they’ll feature two essential early features by Christian Petzold, Jerichow and The State That I Am In, along with his 1990 short documentary Süden. Also amongst the lineup is Sophy Romvari’s Still Processing,...
- 4/26/2021
- by Jordan Raup
- The Film Stage
“Women Make Film.” The title of Irish film savant Mark Cousins’ sprawling 14-hour follow-up to “The Story of Film” serves both as a statement of fact and, if punctuated slightly differently, a call to action: “Women, Make Film!”
Where the earlier documentary was a monumental survey of the medium, attempting to cram its entire history into a single project, with footage shot through the windshields of cars on nearly every continent. He and editor Timo Langer have assembled montage upon montage of magic moments, the vast majority plucked from films even I was unfamiliar with, amounting to an invaluable film appreciation workshop. It’s ideal for those with open minds and eclectic tastes, such as festival audiences and subscribers of Turner Classic Movies and The Criterion Channel, where the film can be absorbed in bite-size chunks.
“This is a film school of sorts in which all the teachers are women,...
Where the earlier documentary was a monumental survey of the medium, attempting to cram its entire history into a single project, with footage shot through the windshields of cars on nearly every continent. He and editor Timo Langer have assembled montage upon montage of magic moments, the vast majority plucked from films even I was unfamiliar with, amounting to an invaluable film appreciation workshop. It’s ideal for those with open minds and eclectic tastes, such as festival audiences and subscribers of Turner Classic Movies and The Criterion Channel, where the film can be absorbed in bite-size chunks.
“This is a film school of sorts in which all the teachers are women,...
- 9/1/2020
- by Peter Debruge
- Variety Film + TV
Cinema St. Louis presents the 12th Annual Robert Classic French Film Festival which takes place April 10th – 26th 2020. The location this year are both Webster University’s Moore Auditorium (470 E Lockwood Ave) and Washington University’s Brown Hall Auditorium, Forsyth & Skinker boulevards.
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. This year’s featured films span the decades from the 1920s through the 1980s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features a quartet of such works: Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacqueline Audry’s “Olivia,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.”
The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way,...
The 12th Annual Robert Classic French Film Festival — presented by TV5MONDE and produced by Cinema St. Louis — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. This year’s featured films span the decades from the 1920s through the 1980s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year features a quartet of such works: Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacqueline Audry’s “Olivia,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.”
The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way,...
- 3/6/2020
- by Tom Stockman
- WeAreMovieGeeks.com
Agnès was an artist. And like all artists, she made our lives different. She captured life through the most normal lens to reveal what is beautiful and strange about it, while also working tirelessly to expose the false truths. Her presence in the world was absolutely unique but also intuitive, such that nothing surprised us coming from her: an idea, a phrase, a photograph, a documentary.
It’s thanks to her film “The Gleaners and I” — which I saw at Cannes in 2000 as a simple festivalgoer — that, when I became artistic director a year later, I made it a point to program documentaries and essay films in the official selection. And what an extraordinary moment it was, in 2017, to welcome her for “Faces Places” in the grande salle of the Palais!
Agnès was the vital link in an invisible chain of women filmmakers, rubbing elbows with Alice Guy Blaché and Germaine Dulac,...
It’s thanks to her film “The Gleaners and I” — which I saw at Cannes in 2000 as a simple festivalgoer — that, when I became artistic director a year later, I made it a point to program documentaries and essay films in the official selection. And what an extraordinary moment it was, in 2017, to welcome her for “Faces Places” in the grande salle of the Palais!
Agnès was the vital link in an invisible chain of women filmmakers, rubbing elbows with Alice Guy Blaché and Germaine Dulac,...
- 4/2/2019
- by Thierry Frémaux
- Variety Film + TV
Germaine Dulac At The Billy Wilder | 10899 Wilshire Blvd.
For a long a time unseen and for even longer under-recognized, the films of French artist Germaine Dulac have recently begun a long-overdue process of reappraisal with exhibitions in France and New York. In September, Los Angeles cinephiles get their chance to discover the work of this pioneering theorist and influential figure of feminist film and theater when the UCLA Film and Television Archive hosts a four-night retrospective of Dulac’s wide-ranging catalog. Indeed, part of the reason Dulac’s work has never been broadly accounted for (other than the fact ...
For a long a time unseen and for even longer under-recognized, the films of French artist Germaine Dulac have recently begun a long-overdue process of reappraisal with exhibitions in France and New York. In September, Los Angeles cinephiles get their chance to discover the work of this pioneering theorist and influential figure of feminist film and theater when the UCLA Film and Television Archive hosts a four-night retrospective of Dulac’s wide-ranging catalog. Indeed, part of the reason Dulac’s work has never been broadly accounted for (other than the fact ...
Germaine Dulac At The Billy Wilder | 10899 Wilshire Blvd.
For a long a time unseen and for even longer under-recognized, the films of French artist Germaine Dulac have recently begun a long-overdue process of reappraisal with exhibitions in France and New York. In September, Los Angeles cinephiles get their chance to discover the work of this pioneering theorist and influential figure of feminist film and theater when the UCLA Film and Television Archive hosts a four-night retrospective of Dulac’s wide-ranging catalog. Indeed, part of the reason Dulac’s work has never been broadly accounted for (other than the fact ...
For a long a time unseen and for even longer under-recognized, the films of French artist Germaine Dulac have recently begun a long-overdue process of reappraisal with exhibitions in France and New York. In September, Los Angeles cinephiles get their chance to discover the work of this pioneering theorist and influential figure of feminist film and theater when the UCLA Film and Television Archive hosts a four-night retrospective of Dulac’s wide-ranging catalog. Indeed, part of the reason Dulac’s work has never been broadly accounted for (other than the fact ...
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
As the restoration of Andrei Rublev begins its run, a Germaine Dulac series commences.
Spectacle
Fans of Asian cinema (or anything remotely outside the mainstream) cannot miss the series on Sogo Ishii, “the godfather of Japanese cyberpunk cinema.”
A one-night retrospective of actor-director Frank Mosley is being held, as the below trailer will evince.
Film Society of Lincoln Center
As the restoration of Andrei Rublev begins its run, a Germaine Dulac series commences.
Spectacle
Fans of Asian cinema (or anything remotely outside the mainstream) cannot miss the series on Sogo Ishii, “the godfather of Japanese cyberpunk cinema.”
A one-night retrospective of actor-director Frank Mosley is being held, as the below trailer will evince.
- 8/24/2018
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSOn the occasion of Spike Lee's latest release, BlacKkKlansman, reports have surfaced stating that the filmmaker was paid $200,000 to "help develop a public awareness campaign that would aim to strengthen the partnership between the [New York Police Department] and the communities it serves."Wes Anderson's follow-up to the Japan-set Isle of Dogs will be a musical in post-wwii France, according to a report by French publication Charente Libre.Recommended VIEWINGThe first teaser trailer of Alfonso Cuarón's Roma, his first film since Gravity in 2013. Set in a tumultuous era of political transition in early 1970s Mexico, the semi-autobiographical film boasts lush black-and-white cinematography by Cuarón himself. Roma will have its world premiere at this year's Venice Film Festival, and will continue onto the Toronto International Film Festival and the New York Film Festival.
- 8/23/2018
- MUBI
This Saturday, March 10th at 7pm, The Rats and People Motion Picture Orchestra will provide music for a Germaine Dulac Silent Double Bill: The Cigarette (1919) and The Smiling Madame Beudet (1923). Tickets are $15 for this special event which takes place at Webster University’s Moore Auditorium (470 East Lockwood). Tickets can be purchased in advance Here
There’s nothing better than silent films accompanied by live music! The Rats and People is a treasure and St. Louis is lucky to have them here. I’ve seen them perform with silent films several times, often at The St. Louis International Film Festival, and usually at Webster University’s Moore Auditorium and it’s always a stunning good time at the movies. You’ll have the chance to see them perform their magic this Saturday, March 10th at the Germaine Dulac Double Bill.
A pioneering filmmaker and feminist, Germaine Dulac toggled between commercial and avant-garde modes,...
There’s nothing better than silent films accompanied by live music! The Rats and People is a treasure and St. Louis is lucky to have them here. I’ve seen them perform with silent films several times, often at The St. Louis International Film Festival, and usually at Webster University’s Moore Auditorium and it’s always a stunning good time at the movies. You’ll have the chance to see them perform their magic this Saturday, March 10th at the Germaine Dulac Double Bill.
A pioneering filmmaker and feminist, Germaine Dulac toggled between commercial and avant-garde modes,...
- 3/6/2018
- by Tom Stockman
- WeAreMovieGeeks.com
The Tenth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series continues this weekend. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema. This year’s fest kicked off last weekend with a screening of Bertrand Tavernier’s acclaimed documentary My Journey Through French Cinema.
There are two more events for the Tenth Annual Robert Classic French Film Festival happening this weekend:
Saturday, March 9th at 7:30pm – Casque D’Or. Ticket information can be found Here
Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance — the French equivalent of the legend of Frankie and Johnny. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani...
There are two more events for the Tenth Annual Robert Classic French Film Festival happening this weekend:
Saturday, March 9th at 7:30pm – Casque D’Or. Ticket information can be found Here
Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance — the French equivalent of the legend of Frankie and Johnny. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani...
- 3/6/2018
- by Tom Stockman
- WeAreMovieGeeks.com
The Tenth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series starts this Friday, March 2nd. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema. This year’s fest kicks off with a screening of Bertrand Tavernier’s acclaimed documentary My Journey Through French Cinema, the director’s personal reflections on key films and filmmakers. Several of the works he highlights — such as Jacques Becker’s “Casque d’or” and Jean-Pierre Melville’s “Le Samouraï” — are screened at this year’s fest.
Tickets: $13 General Admission. Cinema St. Louis Members: $10. Students: $10. Webster. U students: Free. Tickets for My Journey Through French Cinema can be purchased Here
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
Friday,...
Tickets: $13 General Admission. Cinema St. Louis Members: $10. Students: $10. Webster. U students: Free. Tickets for My Journey Through French Cinema can be purchased Here
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
Friday,...
- 2/26/2018
- by Tom Stockman
- WeAreMovieGeeks.com
The 10th Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the 1990s, offering a revealing overview of French cinema.
This year’s fest kicks off with a screening of Bertrand Tavernier’s acclaimed documentary “My Journey Through French Cinema,” the director’s personal reflections on key films and filmmakers. Several of the works he highlights — such as Jacques Becker’s “Casque d’or” and Jean-Pierre Melville’s “Le Samouraï” — are screened at this year’s fest.
The fest annually includes significant restorations, and this year features New Wave master Jacques Rivette’s visually sumptuous “La belle noiseuse.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with Jean Renoir...
This year’s fest kicks off with a screening of Bertrand Tavernier’s acclaimed documentary “My Journey Through French Cinema,” the director’s personal reflections on key films and filmmakers. Several of the works he highlights — such as Jacques Becker’s “Casque d’or” and Jean-Pierre Melville’s “Le Samouraï” — are screened at this year’s fest.
The fest annually includes significant restorations, and this year features New Wave master Jacques Rivette’s visually sumptuous “La belle noiseuse.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with Jean Renoir...
- 1/18/2018
- by Tom Stockman
- WeAreMovieGeeks.com
Foreplays is a column that explores under-known short films by renowned directors. Germaine Dulac's The Smiling Madame Beudet (1923) is free to watch below. As the calendar hanging on one of the walls repeatedly reminds us, the action of Germaine Dulac’s The Smiling Madame Beudet (1923) comprises only two days. On the 29th of April, Madame Beudet spends the evening alone at home, and decides to kill her husband. She puts bullets in the empty gun that he frequently uses to perform a parody of suicide. On the 30th of April, Madame tries to undo what she arranged the night before, but is unsuccessful. Not knowing that the gun is loaded, Monsieur Beudet begins performing his fake suicide but, at the last moment, instead points the gun at his wife. This shot, however, also fails. The Smiling Madame Beudet tells the story of this failed act of “double murder.”***When...
- 1/5/2018
- MUBI
Revelations about Harvey Weinstein’s history of sexual assault jolted the film industry around the world. Yet even as victims continue to speak out, much of the community has been stunned into another silence.
Generations of former Weinstein employees, including those who toiled on his staff during the seminal Miramax days, refuse to speak publicly for fear that the association could make them complicit. Others who collaborated with Weinstein — an expansive Venn diagram of publicists, sales agents, programmers, and their institutions — remain wary of saying anything that could somehow drag them further into his orbit.
The Cannes Film Festival, where Weinstein was the steward for Palme d’Or winners “sex, lies and videotape” and “Pulp Fiction,” is no exception. Taking precedence over any other conversation, the world’s most revered gathering of international cineastes prefer to fixate on the art form. Cannes didn’t create Weinstein, but it was the...
Generations of former Weinstein employees, including those who toiled on his staff during the seminal Miramax days, refuse to speak publicly for fear that the association could make them complicit. Others who collaborated with Weinstein — an expansive Venn diagram of publicists, sales agents, programmers, and their institutions — remain wary of saying anything that could somehow drag them further into his orbit.
The Cannes Film Festival, where Weinstein was the steward for Palme d’Or winners “sex, lies and videotape” and “Pulp Fiction,” is no exception. Taking precedence over any other conversation, the world’s most revered gathering of international cineastes prefer to fixate on the art form. Cannes didn’t create Weinstein, but it was the...
- 10/23/2017
- by Eric Kohn
- Indiewire
“Portrait Of The Artist As A Young And Old Man”
By Raymond Benson
David Lynch is today’s foremost surrealist. In many ways, he has taken up the mantle begun by those artists of the 1920s who attempted to present in tangible, visual forms the juxtapositions, bizarre logic, and beauty/horror of dreams. Salvador Dalí, Luis Buñuel, Man Ray, Germaine Dulac, René Magritte—to name a few.
Most people know Lynch from his films, but as this thoughtful and insightful documentary reveals, he is and has always been primarily a painter. Lynch began his career in the “art life” studying and practicing fine art… and he sort of fell into filmmaking along the way. Even today, despite his recent foray back into television with Twin Peaks—The Return on Showtime, Lynch spends most of his time in his home studio drinking coffee, smoking cigarettes, and painting.
The film is narrated...
By Raymond Benson
David Lynch is today’s foremost surrealist. In many ways, he has taken up the mantle begun by those artists of the 1920s who attempted to present in tangible, visual forms the juxtapositions, bizarre logic, and beauty/horror of dreams. Salvador Dalí, Luis Buñuel, Man Ray, Germaine Dulac, René Magritte—to name a few.
Most people know Lynch from his films, but as this thoughtful and insightful documentary reveals, he is and has always been primarily a painter. Lynch began his career in the “art life” studying and practicing fine art… and he sort of fell into filmmaking along the way. Even today, despite his recent foray back into television with Twin Peaks—The Return on Showtime, Lynch spends most of his time in his home studio drinking coffee, smoking cigarettes, and painting.
The film is narrated...
- 9/13/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
By the time 1926 had rolled around, German expressionism, and the horror films it produced, was already in full swing. The time of the horror film as a viable form of filmmaking had begun. However, there are several elements of import that need to be addressed before moving onto expressionism. By this point, French impressionism was the source of the era’s most important works in the evolution of film technique, language and style in Europe. However, by this point it had begun to lose steam. Most filmmakers who had attempted impressionism had not found the success to which Abel Gance (La Roue), Jean Epstein (Coeur fidèle) and Germaine Dulac (La Souriante Madame Beudet) had achieved. Though this would be the year that Jean Renoir...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 2/15/2017
- Screen Anarchy
New York’s Anthology Film Archives has announced the lineup for its ambitious Woman With a Movie Camera: Female Film Directors Before 1950,” which runs September 15 — 28. Among the spotlighted filmmakers are Gene Gauntier, Lois Weber and Alice Guy-Blaché, though many more will be featured during the two-week series as well. Full lineup below.
“The Girl Spy Before Vicksburg” (Sidney Olcott & Gene Gauntier)
“Further Adventures of the Girl Spy” (Sidney Olcott)
“The Colleen Bawn” (Sidney Olcott & Gene Gauntier)
“Broadway Love” (Ida May Park)
“The Adventures of Prince Achmed” (Lotte Reiniger)
Read More: The Rock Named World’s Highest-Paid Actor, Earning Nearly $20 Million More Than Highest-Paid Actress, Jennifer Lawrence
“The Rosary” and “Suspense” (Lois Weber & Phillips Smalley)
“Shoes” (Lois Weber)
“The Holy Night” (Elvira Notari)
“Humankind” (Elvira Giallanella)
“The Drunken Mattress” (Alice Guy-Blaché)
“The Strike” (Alice Guy-Blaché)
“The New Love and the Old” (Alice Guy-Blaché)
“The Roads That Lead Home” (Alice Guy-Blaché)
“The...
“The Girl Spy Before Vicksburg” (Sidney Olcott & Gene Gauntier)
“Further Adventures of the Girl Spy” (Sidney Olcott)
“The Colleen Bawn” (Sidney Olcott & Gene Gauntier)
“Broadway Love” (Ida May Park)
“The Adventures of Prince Achmed” (Lotte Reiniger)
Read More: The Rock Named World’s Highest-Paid Actor, Earning Nearly $20 Million More Than Highest-Paid Actress, Jennifer Lawrence
“The Rosary” and “Suspense” (Lois Weber & Phillips Smalley)
“Shoes” (Lois Weber)
“The Holy Night” (Elvira Notari)
“Humankind” (Elvira Giallanella)
“The Drunken Mattress” (Alice Guy-Blaché)
“The Strike” (Alice Guy-Blaché)
“The New Love and the Old” (Alice Guy-Blaché)
“The Roads That Lead Home” (Alice Guy-Blaché)
“The...
- 8/25/2016
- by Michael Nordine
- Indiewire
Hannah Bonner Mar 8, 2019
Gender equality continues to be an ongoing issue in Hollywood. We examine why that is and who are 26 voices you should look for.
While Green Book winning Best Picture at the 2019 Oscars was a sour surprise for many viewers, and Olivia Colman’s Best Actress win pure sweetness, the Oscars was glaringly predictable in one key area before the red carpet even unfurled. The absence of women directors (again!) in the Best Director and Best Picture category points to the sustained systematic exclusion of females from two of the most acclaimed, and coveted, prizes in Hollywood.
The Hollywood industry hasn’t cottoned much to female directors. How else do we explain that women account for 4.6 percent of directors of major studio films as of 2015? How else do we explain that it wasn’t until 2010 that a woman won an Oscar for Best Director (Kathryn Bigelow for The Hurt Locker...
Gender equality continues to be an ongoing issue in Hollywood. We examine why that is and who are 26 voices you should look for.
While Green Book winning Best Picture at the 2019 Oscars was a sour surprise for many viewers, and Olivia Colman’s Best Actress win pure sweetness, the Oscars was glaringly predictable in one key area before the red carpet even unfurled. The absence of women directors (again!) in the Best Director and Best Picture category points to the sustained systematic exclusion of females from two of the most acclaimed, and coveted, prizes in Hollywood.
The Hollywood industry hasn’t cottoned much to female directors. How else do we explain that women account for 4.6 percent of directors of major studio films as of 2015? How else do we explain that it wasn’t until 2010 that a woman won an Oscar for Best Director (Kathryn Bigelow for The Hurt Locker...
- 2/10/2016
- Den of Geek
Délia Film
Despite what some people might say, surrealism isn’t just a descriptive term encompassing anything remotely odd, or avant-garde. Surrealist films aren’t just films that attempt to use mind-bending visuals to come across as surreal or hallucinatory; they’re films that wholeheartedly adopt Surrealist aesthetics, often being directly influenced by the surrealist movement of the 1920s itself.
It was in 1928 that the filmmaker Germaine Dulac directed the very first Surrealist film: The Seashell And The Clergyman. Since then, the movement has developed and expanded, evolving from a small group of Frenchman into a diverse, multitalented community of artists and filmmakers.
In short, surrealist films are films that attempt to capture the random, illogic, and often downright disturbing imaginings of our dreams. They achieve what they do in multiple ways: some utilise editing techniques that create a sense of disorientation; some rely on unpredictable and seemingly nonsensical narratives...
Despite what some people might say, surrealism isn’t just a descriptive term encompassing anything remotely odd, or avant-garde. Surrealist films aren’t just films that attempt to use mind-bending visuals to come across as surreal or hallucinatory; they’re films that wholeheartedly adopt Surrealist aesthetics, often being directly influenced by the surrealist movement of the 1920s itself.
It was in 1928 that the filmmaker Germaine Dulac directed the very first Surrealist film: The Seashell And The Clergyman. Since then, the movement has developed and expanded, evolving from a small group of Frenchman into a diverse, multitalented community of artists and filmmakers.
In short, surrealist films are films that attempt to capture the random, illogic, and often downright disturbing imaginings of our dreams. They achieve what they do in multiple ways: some utilise editing techniques that create a sense of disorientation; some rely on unpredictable and seemingly nonsensical narratives...
- 1/15/2016
- by Richard John Dorricott
- Obsessed with Film
Danièle Delorme: 'Gigi' 1949 actress and pioneering female film producer. Danièle Delorme: 'Gigi' 1949 actress was pioneering woman producer, politically minded 'femme engagée' Danièle Delorme, who died on Oct. 17, '15, at the age of 89 in Paris, is best remembered as the first actress to incarnate Colette's teenage courtesan-to-be Gigi and for playing Jean Rochefort's about-to-be-cuckolded wife in the international box office hit Pardon Mon Affaire. Yet few are aware that Delorme was featured in nearly 60 films – three of which, including Gigi, directed by France's sole major woman filmmaker of the '40s and '50s – in addition to more than 20 stage plays and a dozen television productions in a show business career spanning seven decades. Even fewer realize that Delorme was also a pioneering woman film producer, working in that capacity for more than half a century. Or that she was what in French is called a femme engagée...
- 12/5/2015
- by Andre Soares
- Alt Film Guide
With Fantastic Fest taking over the Alamo Drafthouse South Lamar for the next week, not nearly as many specialty screenings as usual are going on in town. You will not, however, notice a lack of new releases in area theaters. I'll track those down below, but first I'll take a look at what is going on across town if you aren't engaging with the fest.
On Tuesday, the Austin Film Society will be screening Antonioni's 1966 mod classic Blow Up at the Marchesa. This special evening includes a 60s themed cocktail hour starting at 6:30 pm, complete with a "complimentary 60s themed hair and nail bar" courtesy of the Aveda Institute. The film will be introduced by Ned Rifkin at 7:30 pm. Bonus: if you show up dressed in your favorite 60s clothes, you may win a prize for the evening.
The Afs Screening Room is the place to be on...
- 9/19/2014
- by Matt Shiverdecker
- Slackerwood
"Nobody's really captured the quality of a film festival," observed musician/composer Neil Brand, "You're doing something that's pleasurable, but then the fatigue sets in..." It's true—a celluloid feast like Il Cinema Ritrovato in Bologna is a particular case, too, since so many of the films are rarities. It's like being a cake specialist and suddenly somebody offers you fifty magnificent cakes of unique recipe but says "You have to eat them all in an hour or I'll take them away and you'll never see them again." You plunge in, and even when nausea starts to replace pleasure you can't bring yourself to stop...
Cinephiles like to grumble, and the venues of Bologna attract a certain amount of criticism (one has a bar which runs between the front row and the screen, cutting the subtitles in half; air conditioning is switched on and off at random; and then there's...
Cinephiles like to grumble, and the venues of Bologna attract a certain amount of criticism (one has a bar which runs between the front row and the screen, cutting the subtitles in half; air conditioning is switched on and off at random; and then there's...
- 7/7/2014
- by David Cairns
- MUBI
There are very few directors who have worked almost entirely within the field of surrealism. But the directors we most associate with this style of film, are Luis Buñuel, a Spanish director who had a lengthy career producing surreal films and David Lynch who is known as the Modern Master of Surrealism.
But basing the whole list on the works of Buñuel and Lynch would be to ignore the other great contributions to the canon of surrealism. They deserve as much exposure as the directors who work with surrealism as their primary medium of art. Some pretty far out films have been produced by directors embracing surrealism and ten of them are listed below for your perusal.
10. The Seashell And The Clergyman (1928)
A priest suffers a lot of bizarre erotic hallucinations and dreams about a general’s wife whom he is lusting after.
Banned by the BBFC because they couldn...
But basing the whole list on the works of Buñuel and Lynch would be to ignore the other great contributions to the canon of surrealism. They deserve as much exposure as the directors who work with surrealism as their primary medium of art. Some pretty far out films have been produced by directors embracing surrealism and ten of them are listed below for your perusal.
10. The Seashell And The Clergyman (1928)
A priest suffers a lot of bizarre erotic hallucinations and dreams about a general’s wife whom he is lusting after.
Banned by the BBFC because they couldn...
- 2/6/2014
- by Clare Simpson
- Obsessed with Film
My, those Cinema St. Louis guys are tres occupé! Hot off the heels of their Q-Fest (the St. Louis Gay and Lesbian Film Festival), the Classic French Film Festival starts up this week at the same location. Discover the French culture! The Classic French Film Festival is sponsored by TV5MONDE USA , the French channel in the Us. I’ve never watched it but I’m sure it’s very French!
A downloadable Pdf of the fest’s program can be found Here
http://www.cinemastlouis.org/sites/default/files/downloads/2013/fffest2013_3lores.pdf
The Cinema St. Louis page about the event is Here
http://www.cinemastlouis.org/classic-french-film-festival
All films will be shown in the Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave.
$12 general admission, $10 for students and Cinema St. Louis members, free for Webster U. students
This is the Fifth Annual Classic French Film Festival,...
A downloadable Pdf of the fest’s program can be found Here
http://www.cinemastlouis.org/sites/default/files/downloads/2013/fffest2013_3lores.pdf
The Cinema St. Louis page about the event is Here
http://www.cinemastlouis.org/classic-french-film-festival
All films will be shown in the Winifred Moore Auditorium, Webster University’s Webster Hall, 470 E. Lockwood Ave.
$12 general admission, $10 for students and Cinema St. Louis members, free for Webster U. students
This is the Fifth Annual Classic French Film Festival,...
- 6/10/2013
- by Tom Stockman
- WeAreMovieGeeks.com
The 26th annual Images Festival will be taking over Toronto on April 11-20 with an epic series of experimental film screenings, media installations, expanded cinema performances, workshops, artist talks and tons more. With so much going on, the Underground Film Journal is just listing all the screening events below. For everything Images has to offer, please visit their official website.
Before the screenings list, here are some of the highlights:
Opening Night: Accompanying the documentary imagery of prolific filmmaker Robert Todd will be live music performed by electronic music deconstructionist Tim Hecker. Plus, there will be a new audiovisual work by SlowPitch called Emoralis, which pairs images of snails with crackly and droning rhythms.
Closing Night: Corredor will be a live performance piece combining South American imagery by artist Alexandra Gelis, accompanied by live music by drummer Hamid Drake and saxophonist David Mott.
Live Performances: Jodie Mack will provide live...
Before the screenings list, here are some of the highlights:
Opening Night: Accompanying the documentary imagery of prolific filmmaker Robert Todd will be live music performed by electronic music deconstructionist Tim Hecker. Plus, there will be a new audiovisual work by SlowPitch called Emoralis, which pairs images of snails with crackly and droning rhythms.
Closing Night: Corredor will be a live performance piece combining South American imagery by artist Alexandra Gelis, accompanied by live music by drummer Hamid Drake and saxophonist David Mott.
Live Performances: Jodie Mack will provide live...
- 4/11/2013
- by Mike Everleth
- Underground Film Journal
This Week’s Must Read: Nelson Carvajal wrote a very nice piece about a typically neglected subject: Women of the Avant-Garde, covering the work of Germaine Dulac, Maya Deren, Shirley Clarke, Janie Geiser and others.Speaking of Maya Deren, Making Light of It scanned and posted her “Notes, Essays, Letters.” Also, Ron Rice’s “Diaries, Notebooks, Sketches.”Donna k. reviews the acclaimed Holy Motors by Leos Carax, calling it the “best film I have seen in a loooong time … that explores the complications of the current cinematic landscape.”
J.J. Murphy reviews Tim Sutton’s debut feature Pavilion and praises it for the unexpected directions the narrative springs off to.I’m sure most of you reading this know all about Herschell Gordon Lewis, but Michael Varrati has an extremely nice profile the notorious horror filmmaker.Most people don’t write about the soundtrack to the infamous Cannibal Holocaust, but Electric...
J.J. Murphy reviews Tim Sutton’s debut feature Pavilion and praises it for the unexpected directions the narrative springs off to.I’m sure most of you reading this know all about Herschell Gordon Lewis, but Michael Varrati has an extremely nice profile the notorious horror filmmaker.Most people don’t write about the soundtrack to the infamous Cannibal Holocaust, but Electric...
- 2/3/2013
- by Mike Everleth
- Underground Film Journal
To celebrate their 5th anniversary, the Arizona Underground Film Festival has expanded to a whopping nine nights on Sept. 21-29 for a cinematic event the likes of Tucson has never seen before!
The shenanigans kick off with the opening night film The Legend of Kaspar Hauser, an experimental Italian feature directed by Davide Manuli and starring Vincent Gallo as the hero and the villain to a strange young boy, then end with the closing night film Jason M. Solomon’s nostalgic documentary 7 Years Underground: A 60′s Tale, which profiles the legendary Cafe Au Go Go in NYC that hosted such up-and-coming acts such as Jimi Hendrix, Frank Zappa, George Carlin, Lily Tomlin and more.
In between those two films lies a twisted carnage of movie mayhem, including Spencer Parsons’ demented homage to ’70s mystery cartoons Saturday Morning Massacre; Michael Melamedoff exploitative semi-doc The Exhibitionists; Stephen Amis’ Australian WWII sci-fi...
The shenanigans kick off with the opening night film The Legend of Kaspar Hauser, an experimental Italian feature directed by Davide Manuli and starring Vincent Gallo as the hero and the villain to a strange young boy, then end with the closing night film Jason M. Solomon’s nostalgic documentary 7 Years Underground: A 60′s Tale, which profiles the legendary Cafe Au Go Go in NYC that hosted such up-and-coming acts such as Jimi Hendrix, Frank Zappa, George Carlin, Lily Tomlin and more.
In between those two films lies a twisted carnage of movie mayhem, including Spencer Parsons’ demented homage to ’70s mystery cartoons Saturday Morning Massacre; Michael Melamedoff exploitative semi-doc The Exhibitionists; Stephen Amis’ Australian WWII sci-fi...
- 9/14/2012
- by Mike Everleth
- Underground Film Journal
From the pioneers of the silver screen to today's new realism, French directors have shaped film-making around the world
France can, with some justification, claim to have invented the whole concept of cinema. Film historians call The Arrival of a Train at La Ciotat Station, the 50-second film by the Lumière brothers first screened in 1895, the birth of the medium.
But the best-known early pioneer, who made films with some kind of cherishable narrative value, was Georges Méliès, whose 1902 short A Trip to the Moon is generally heralded as the first science-fiction film, and a landmark in cinematic special effects. Meanwhile, Alice Guy-Blaché, Léon Gaumont's one-time secretary, is largely forgotten now, but with films such as L'enfant de la barricade trails the status of being the first female film-maker.
The towering achievement of French cinema in the silent era was undoubtedly Abel Gance's six-hour biopic of Napoleon (1927), which...
France can, with some justification, claim to have invented the whole concept of cinema. Film historians call The Arrival of a Train at La Ciotat Station, the 50-second film by the Lumière brothers first screened in 1895, the birth of the medium.
But the best-known early pioneer, who made films with some kind of cherishable narrative value, was Georges Méliès, whose 1902 short A Trip to the Moon is generally heralded as the first science-fiction film, and a landmark in cinematic special effects. Meanwhile, Alice Guy-Blaché, Léon Gaumont's one-time secretary, is largely forgotten now, but with films such as L'enfant de la barricade trails the status of being the first female film-maker.
The towering achievement of French cinema in the silent era was undoubtedly Abel Gance's six-hour biopic of Napoleon (1927), which...
- 3/22/2011
- by Andrew Pulver
- The Guardian - Film News
The annual Bird’s Eye View Film Festival was held in London from 8th March to 17th. This year saw a major theme exploring women’s role in gothic and horror cinema with live accompaniments to silent classics, a screening of Kathryn Bigelow’s Near Dark and a specially commissioned score and live performance by Grammy award-winner Imogen Heap to Germaine Dulac’s The Seashell and the Clergyman (1928).
Bloody Women: From Gothic To Horror wasn’t the only thing going down with screenings, workshops, seminars and talks on the role women play in the medium we all know and love. In an art form still ruled largely by men it’s nice to see a film festival celebrate the female perspective, and not only that, deliver some downright brilliant films.
Below is a report on a collection of films and events we attended this great year.
Victor Sjostrom’s 1928 melodrama,...
Bloody Women: From Gothic To Horror wasn’t the only thing going down with screenings, workshops, seminars and talks on the role women play in the medium we all know and love. In an art form still ruled largely by men it’s nice to see a film festival celebrate the female perspective, and not only that, deliver some downright brilliant films.
Below is a report on a collection of films and events we attended this great year.
Victor Sjostrom’s 1928 melodrama,...
- 3/21/2011
- by Martyn Conterio
- FilmShaft.com
Given the recent furore over certain Sky Sports presenters being a bunch of sexist bastards, it seems a relevant time to celebrate the female contribution to cinema – which is still largely unappreciated with women directors still making up a small percentage of directors and other creatives. But they’re awesome and they’ve now got their own festival to show off their work.
We’ve been sent over the press release and festival line up. The Bird’s Eye View Film Festival takes place in London from March 8th – 17th. The programme includes new films, documentaries, retrospectives and panel discussions.
From the press release:
The hotly anticipated Birds Eye View Film Festival 2011 (Bev) programme has been announced by Rosamund Pike at a private launch event on 25 January. The Festival returns for its seventh annual celebration of women filmmakers from 8-17 March at BFI Southbank, the Ica the Southbank Centre, with...
We’ve been sent over the press release and festival line up. The Bird’s Eye View Film Festival takes place in London from March 8th – 17th. The programme includes new films, documentaries, retrospectives and panel discussions.
From the press release:
The hotly anticipated Birds Eye View Film Festival 2011 (Bev) programme has been announced by Rosamund Pike at a private launch event on 25 January. The Festival returns for its seventh annual celebration of women filmmakers from 8-17 March at BFI Southbank, the Ica the Southbank Centre, with...
- 1/26/2011
- by Martyn Conterio
- FilmShaft.com
In the fall of 1946, Frank Stauffacher mounted a major, and very influential, retrospective of avant-garde film in the U.S. at the San Francisco Museum of Art. The series was called “Art in Cinema” and it featured ten different programs from filmmakers in the U.S., France, Germany and Canada.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
By the mid-’40s, the avant-garde hadn’t taken a strong hold in the U.S. yet, so the majority of the films screened came from Europe, or by Europeans who relocated to the U.S. However, by that time also, the European avant-garde had pretty much completely petered out. Still, Stauffacher wanted to show that there was a continuity to avant-garde film history that, up until that point, had yet to be fully considered.
In conjunction with the series, the San Francisco Museum of Art published a catalog, pretty much like one would find with any major art exhibit.
- 12/15/2010
- by Mike Everleth
- Underground Film Journal
Disablity Film Festival Day, Nationwide
Marking the Un's International Day Of Persons With Disabilities, this day event brings vibrancy, weirdness and a touch of glamour to more than 20 UK cinemas. There are four components: short films from the leading Oska Bright learning disability film-makers' festival; Film Council-funded disability-related shorts; 1986 BBC movie Raspberry Ripple, starring John Gordon Sinclair as a wheelchair user with a gangster movie fantasy life (enriched by a Faye Dunaway cameo), and last and least politically correct, an archive trawl through dated attitudes to disability including a 1920s fundraiser for "the cripples of Leicester" and a 1970s interview with the world's smallest woman.
Nationwide, Fri
Twin Peaks Festival, London
You could say that modern cult TV was born the day that Laura Palmer died, and despite 20 years of X-Files and Losts, it seems that David Lynch and Mark Frost's surrealistic small town full of secrets is still...
Marking the Un's International Day Of Persons With Disabilities, this day event brings vibrancy, weirdness and a touch of glamour to more than 20 UK cinemas. There are four components: short films from the leading Oska Bright learning disability film-makers' festival; Film Council-funded disability-related shorts; 1986 BBC movie Raspberry Ripple, starring John Gordon Sinclair as a wheelchair user with a gangster movie fantasy life (enriched by a Faye Dunaway cameo), and last and least politically correct, an archive trawl through dated attitudes to disability including a 1920s fundraiser for "the cripples of Leicester" and a 1970s interview with the world's smallest woman.
Nationwide, Fri
Twin Peaks Festival, London
You could say that modern cult TV was born the day that Laura Palmer died, and despite 20 years of X-Files and Losts, it seems that David Lynch and Mark Frost's surrealistic small town full of secrets is still...
- 11/27/2010
- by Steve Rose
- The Guardian - Film News
Germaine Dulac is possibly best known for the British film censor's verdict on her 1928 experimental-surreal freak-out The Seashell and the Clergyman: "...apparently meaningless. If there is a meaning, it is doubtless offensive." And even then, that quote is often misapplied to Buñuel's Un chien andalou, which came later.
Dulac's career was relatively brief, like all too many female filmmakers, but during the fifteen years when she was prolifically active, she pushed into a whole range of interesting experimental areas, exploring cinematic answers to poetic and musical forms, and more or less inventing surrealist cinema. The Smiling Madame Beudet (1923) represents both an experimental expressionist-impressionist approach to narrative, and also succeeds as a truly agonizing suspense film, and a feminist argument.
We are in Province, and a series of attractive location shots set the scene, somewhat prosaically. But "behind the facades of these tranquil houses, the hearts, the passions." Madame Beudet is a middle-aged,...
Dulac's career was relatively brief, like all too many female filmmakers, but during the fifteen years when she was prolifically active, she pushed into a whole range of interesting experimental areas, exploring cinematic answers to poetic and musical forms, and more or less inventing surrealist cinema. The Smiling Madame Beudet (1923) represents both an experimental expressionist-impressionist approach to narrative, and also succeeds as a truly agonizing suspense film, and a feminist argument.
We are in Province, and a series of attractive location shots set the scene, somewhat prosaically. But "behind the facades of these tranquil houses, the hearts, the passions." Madame Beudet is a middle-aged,...
- 4/29/2010
- MUBI
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