Above: Dau. DegenerationThere comes a scene in Dau. Degeneration, the smorgasbord of a film co- directed by Ilya Khrzhanovsky and Ilya Permyakov, when a pig is painted with anti-semitic and anti-democratic slogans, dragged out of a pigsty to a boarding house, where residents (mostly members of scientific community) are having dinner, and then savagely slaughtered and hacked to bits before them, by a ruthless Kgb-agent-in-training, as blood and guts gush out. The long scene’s visceral shock says much about Dau as a project—an endurance test of sorts, which the Dau directors and cast undertook by secluding themselves for three years to film what, by now, reportedly amounts to 700 hours of footage. The saga is dedicated to the malice of Soviet Russia, but, as one of the actors present at the Berlin Film Festival where the film premiered put it, truly to how Russia never digested its past,...
- 3/4/2020
- MUBI
The star and director of Gett: The Trial Of Viviane Amsalem has passed away following a prolonged battle with cancer.
Ronit Elkabetz, Israeli leading actress and director, has passed away at the age of 51, following a prolonged battle with cancer. She is survived by her husband and two three-year-old twins.
The daughter of a hairdresser and a postal employee, Elkabetz didn’t study acting, but broke into the profession in 1990 after an earlier career as a model.
In 1997 she moved to Paris to study acting with Ariane Mnouchkine, supporting herself as a waitress before she was invited to the famous Avignon Theatre Festival to do a one woman show on the life Martha Graham.
Her strong, powerful, outspoken personality and remarkable camera presence left an indelible mark from her very early films and TV performances. She threw herself into every part she assumed with a fierce, desperate commitment, that seemed to take possession of her whole...
Ronit Elkabetz, Israeli leading actress and director, has passed away at the age of 51, following a prolonged battle with cancer. She is survived by her husband and two three-year-old twins.
The daughter of a hairdresser and a postal employee, Elkabetz didn’t study acting, but broke into the profession in 1990 after an earlier career as a model.
In 1997 she moved to Paris to study acting with Ariane Mnouchkine, supporting herself as a waitress before she was invited to the famous Avignon Theatre Festival to do a one woman show on the life Martha Graham.
Her strong, powerful, outspoken personality and remarkable camera presence left an indelible mark from her very early films and TV performances. She threw herself into every part she assumed with a fierce, desperate commitment, that seemed to take possession of her whole...
- 4/19/2016
- by dfainaru@netvision.net.il (Edna Fainaru)
- ScreenDaily
Two of director Philippe de Broca’s earliest renowned titles get new restorations and are available for the first time on Blu-ray, That Man From Rio (1964) and Up to His Ears (1965), the first two titles from a loose James Bond spoof trilogy featuring Jean-Paul Belmondo. Certainly ahead of his time, de Broca’s amusing adventure films are much more than the kind of lowbrow entertainment that would come to typify the genre known as spoof, and this became a notable inspiration for Steven Spielberg’s Indiana Jones films, particularly 1981’s Raiders of the Lost Ark.
Inspired by the adventures of Belgian cartoonist Herge’s Tintin adventures (which also provided the basis for a 2011 Steven Spielberg adaptation), a prized Amazonian statue is stolen from a Parisian museum. Three such statues left South American on an expedition that involved the late father of Agnes (Francoise Dorleac) and and two colleagues. Professor Catalan...
Inspired by the adventures of Belgian cartoonist Herge’s Tintin adventures (which also provided the basis for a 2011 Steven Spielberg adaptation), a prized Amazonian statue is stolen from a Parisian museum. Three such statues left South American on an expedition that involved the late father of Agnes (Francoise Dorleac) and and two colleagues. Professor Catalan...
- 4/14/2015
- by Nicholas Bell
- IONCINEMA.com
Inspired by Robert Redford's continuing success, here are another four artists over 70 at the top of their profession
I've just entered the final year of my 20s. As a friend informed me last week, I am not the kids any more. I disputed this. I am too the kids! But in the end I had to concede his point. Small children on public transport call me "the lady", not "the girl". ("Daddy Daddy, the lady is making faces at me"). Professors at conferences no longer assume I'm a postgraduate helper, and have stopped asking me to bring them tea and monocles. There's also an internal change, which, if anthropomorphised and given voice might scream: "You're nearly fecking 30 woman! Shouldn't you have accomplished something by now?"
Thankfully, Robert Redford has silenced my demons. At 76, he plans to step back from Sundance, the incredible independent film festival he founded in 1981. This...
I've just entered the final year of my 20s. As a friend informed me last week, I am not the kids any more. I disputed this. I am too the kids! But in the end I had to concede his point. Small children on public transport call me "the lady", not "the girl". ("Daddy Daddy, the lady is making faces at me"). Professors at conferences no longer assume I'm a postgraduate helper, and have stopped asking me to bring them tea and monocles. There's also an internal change, which, if anthropomorphised and given voice might scream: "You're nearly fecking 30 woman! Shouldn't you have accomplished something by now?"
Thankfully, Robert Redford has silenced my demons. At 76, he plans to step back from Sundance, the incredible independent film festival he founded in 1981. This...
- 4/26/2013
- by Emer O'Toole
- The Guardian - Film News
Sex-crazed business man? Gay icon? Drug addict or anti-imperialist cipher? The many faces of Don Giovanni
In the Don Giovanni that has just opened in Paris, the eponymous hero has become an irredeemable sex pest of a businessman. Too much power and sex has corroded his soul. Perhaps you work with him. Perhaps you are him. At the end, in his nocturnal office, Giovanni is stabbed through the heart by the co-worker he sexually assaulted in act one, thrown through a window by a crowd of downtrodden cleaners, at least one of whom he tried to grope, and then accompanied to hell by the rotting corpse of the CEO he murdered at the outset. Twenty-first century moral? Don't stay late at the office.
The desperate Don's comeuppance, though, strikes me as unfair. As Kierkegaard noted in Either/Or, Don Giovanni is the opera's erotically animating presence. "His passion resonates everywhere...
In the Don Giovanni that has just opened in Paris, the eponymous hero has become an irredeemable sex pest of a businessman. Too much power and sex has corroded his soul. Perhaps you work with him. Perhaps you are him. At the end, in his nocturnal office, Giovanni is stabbed through the heart by the co-worker he sexually assaulted in act one, thrown through a window by a crowd of downtrodden cleaners, at least one of whom he tried to grope, and then accompanied to hell by the rotting corpse of the CEO he murdered at the outset. Twenty-first century moral? Don't stay late at the office.
The desperate Don's comeuppance, though, strikes me as unfair. As Kierkegaard noted in Either/Or, Don Giovanni is the opera's erotically animating presence. "His passion resonates everywhere...
- 4/12/2012
- by Stuart Jeffries
- The Guardian - Film News
Like many, I've been anxiously awaiting the arrival of the new film journal that Adrian Martin and Girish Shambu have been working on for months now. Today's the day. The theme of the inaugural issue of Lola is "Histories."
Girish has already drawn up a guide, pulling quotes from each of the essays, so briefly, "Histories" features Joe McElhaney on his "passion for aging filmmakers, the older the better"; William D Routt's expansive consideration of Lubitsch; Andrew Klevan on "films which put the in-between at their centre"; Luc Moullet, with his irresistible title: "Ah Yes! Griffith was a Marxist!"; Richard Porton on Dušan Makavejev's Wr: Mysteries of the Organism (1971); Shigehiko Hasumi: "Stated briefly, my hypothesis is that the medium of film has not yet truly incorporated sound as an essential component of its composition."; Sylvia Lawson on Australian cinema's relationship with the nation's history; Stephen Goddard on the ways...
Girish has already drawn up a guide, pulling quotes from each of the essays, so briefly, "Histories" features Joe McElhaney on his "passion for aging filmmakers, the older the better"; William D Routt's expansive consideration of Lubitsch; Andrew Klevan on "films which put the in-between at their centre"; Luc Moullet, with his irresistible title: "Ah Yes! Griffith was a Marxist!"; Richard Porton on Dušan Makavejev's Wr: Mysteries of the Organism (1971); Shigehiko Hasumi: "Stated briefly, my hypothesis is that the medium of film has not yet truly incorporated sound as an essential component of its composition."; Sylvia Lawson on Australian cinema's relationship with the nation's history; Stephen Goddard on the ways...
- 8/17/2011
- MUBI
[Terrence Malick's The Tree of Life won the Palme d'Or at Cannes Film Festival 2011]
If I were to state that the most interesting filmmaker alive and making films today is an American named Terrence Malick, the statement is likely to be met with stares, dead silence, or some incredulous query like “What, not Steven Spielberg?”
Who is this Malick? Unlike his American peer Spielberg, who has made over 30 well-received movies, Malick has only made four. By the number game, Malik is a loser. Unlike Spielberg, whose bearded face and personal details are splashed all over countless newspapers and magazines, even the resourceful Time magazine had trouble locating a recent photograph of Malick, notorious for eluding journalists and for including “no personal publicity clauses” incorporated in his contracts with movie studios. And unlike Spielberg who dropped out of his Long Beach University course, Malick has attended Harvard and Oxford Universities, is a Rhodes Scholar and has even taught philosophy at the Massachusetts Institute of Technology...
If I were to state that the most interesting filmmaker alive and making films today is an American named Terrence Malick, the statement is likely to be met with stares, dead silence, or some incredulous query like “What, not Steven Spielberg?”
Who is this Malick? Unlike his American peer Spielberg, who has made over 30 well-received movies, Malick has only made four. By the number game, Malik is a loser. Unlike Spielberg, whose bearded face and personal details are splashed all over countless newspapers and magazines, even the resourceful Time magazine had trouble locating a recent photograph of Malick, notorious for eluding journalists and for including “no personal publicity clauses” incorporated in his contracts with movie studios. And unlike Spielberg who dropped out of his Long Beach University course, Malick has attended Harvard and Oxford Universities, is a Rhodes Scholar and has even taught philosophy at the Massachusetts Institute of Technology...
- 5/23/2011
- by Jugu Abraham
- DearCinema.com
By Ali Naderzad - August 6, 2010
Just before the Locarno Film Festival which opened this week, Screen Comment sat down with jury member Golshifteh Farahani, who will help vet the very visible international competition program.
The first thing you notice about her is her eyes. Big, intense, and a gaze that is at times uneasy. She wears almost no make-up—her only whim a pair of fashionable sunglasses which she quickly removes after sitting down at the Paris restaurant where we met. I ask if she’s had time to enjoy the vibrant French cultural life, and she raves about a new play by Ariane Mnouchkine. But she also mentions being constantly on the road, working on a new film, her music or doing press meets. The conversation soon turns to the repression back in Tehran. Lately, the state’s new politique—which to the outsider appears like a game of...
Just before the Locarno Film Festival which opened this week, Screen Comment sat down with jury member Golshifteh Farahani, who will help vet the very visible international competition program.
The first thing you notice about her is her eyes. Big, intense, and a gaze that is at times uneasy. She wears almost no make-up—her only whim a pair of fashionable sunglasses which she quickly removes after sitting down at the Paris restaurant where we met. I ask if she’s had time to enjoy the vibrant French cultural life, and she raves about a new play by Ariane Mnouchkine. But she also mentions being constantly on the road, working on a new film, her music or doing press meets. The conversation soon turns to the repression back in Tehran. Lately, the state’s new politique—which to the outsider appears like a game of...
- 8/6/2010
- by Screen Comment
- Screen Comment
A series of symposia, screenings, and special events will complement the schedule for Lincoln Center Festival 09 which opens this Tuesday night, July 7, with the U.S. premiere of Le Theatre du Soleil's compassionate Les Éphémères, staged by Ariane Mnouchkine, and the N.Y. premiere of Ivanov by Anton Chekhov, performed by Budapest's Katona József Theatre and staged by Tamás Ascher.
- 7/6/2009
- BroadwayWorld.com
The Lincoln Center Festival 09 opens July 7 and offers 56 performances by artists and ensembles from 14 countries. The festival will be held at six venues on and off the Lincoln Center campus and Park Avenue Armory.
The special focus of this year's festival will be world-renowned European theater companies from France, Poland, Hungary, Russia and Italy.
The festival will be opened by Le Théâtre du Soleil's Les Éphémčres on July 7 in Park Avenue Armory's Wade Thompson Drill Hall. It will be directed by Ariane Mnouchkine. Also on opening night, the Katona József Theatre from Hungary will make its New York premiere with Tamás Ascher's much-acclaimed staging of Chekhov's Ivanov at the Gerald Lynch Theater at John Jay College.
The festival runs from July 7 through July 26. Tickets can be purchased via CenterCharge 212-721-6500, online at www.LincolnCenterFestival.org, and at the Avery Fisher Hall and Alice Tully Hall Box Offices, 65th Street and Broadway.
The special focus of this year's festival will be world-renowned European theater companies from France, Poland, Hungary, Russia and Italy.
The festival will be opened by Le Théâtre du Soleil's Les Éphémčres on July 7 in Park Avenue Armory's Wade Thompson Drill Hall. It will be directed by Ariane Mnouchkine. Also on opening night, the Katona József Theatre from Hungary will make its New York premiere with Tamás Ascher's much-acclaimed staging of Chekhov's Ivanov at the Gerald Lynch Theater at John Jay College.
The festival runs from July 7 through July 26. Tickets can be purchased via CenterCharge 212-721-6500, online at www.LincolnCenterFestival.org, and at the Avery Fisher Hall and Alice Tully Hall Box Offices, 65th Street and Broadway.
- 6/17/2009
- icelebz.com
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