Josephine Decker's Madeline's Madeline is having its exclusive online premiere on Mubi in the United Kingdom. It is showing May 10 – June 8, 2019, and a retrospective of Decker's work is showing May 7 – June 27, 2019.With only three features under her belt, Josephine Decker has already established herself as one of the most exhilarating young American filmmakers to have emerged in the 21st century. An actress, writer, director, and multimedia artist, Decker rose to prominence as a performer in a series of films directed by micro-budget wunderkind Joe Swanberg, and although her own directorial work clearly bears signs of the mumblecore aesthetic—handheld Dslr camerawork, improvised dialogue, non-professional actors, frank sexuality, an emphasis on performers and their bodies, an infectious Diy attitude—it also rejects the movement’s slavish adherence to naturalism. Instead, Decker’s cinema occupies a strange position between narrative and experimental cinema, employing intricate strategies of pictorial, aural, and temporal...
- 5/13/2019
- MUBI
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Annihilation (Alex Garland)
Without all its wild ideas and analogies, this would still be a ripping adventure yarn. Lucky for the cerebral audience members, writer/director Alex Garland is able to weave ideas regarding self-destruction, personal evolution, and the mutable quality of self. Natalie Portman anchors it all through her expressive performance as a woman who is threatened more by her own mind than a world filled with vicious mutations. – Brian R.
Where to Stream: Amazon Prime, Hulu
Beautiful Boy (Felix Van Groeningen)
There’s an interesting framing device within Felix Van Groeningen’s Beautiful Boy that strangely only frames the first half of the film. It...
Annihilation (Alex Garland)
Without all its wild ideas and analogies, this would still be a ripping adventure yarn. Lucky for the cerebral audience members, writer/director Alex Garland is able to weave ideas regarding self-destruction, personal evolution, and the mutable quality of self. Natalie Portman anchors it all through her expressive performance as a woman who is threatened more by her own mind than a world filled with vicious mutations. – Brian R.
Where to Stream: Amazon Prime, Hulu
Beautiful Boy (Felix Van Groeningen)
There’s an interesting framing device within Felix Van Groeningen’s Beautiful Boy that strangely only frames the first half of the film. It...
- 1/11/2019
- by Jordan Raup
- The Film Stage
Valérie Massadian makes her first on-screen appearance in Milla near the film’s midpoint. The writer/director/editor plays a small but crucial role as a housekeeper at a remote seaside hotel. We first see her in a wide shot, pushing a cleaning cart down an empty hallway. When the title character, a pregnant teenager with little education and few prospects, takes a job at the hotel, Massadian’s unnamed housekeeper takes the girl under her wing. They make a fascinating study in contrasts. Massadian’s movements are practiced and efficient, honed through decades of labor. Séverine Jonckeere, who plays Milla, is disinterested and inept, […]...
- 8/1/2018
- by Darren Hughes
- Filmmaker Magazine - Blog
Valérie Massadian makes her first on-screen appearance in Milla near the film’s midpoint. The writer/director/editor plays a small but crucial role as a housekeeper at a remote seaside hotel. We first see her in a wide shot, pushing a cleaning cart down an empty hallway. When the title character, a pregnant teenager with little education and few prospects, takes a job at the hotel, Massadian’s unnamed housekeeper takes the girl under her wing. They make a fascinating study in contrasts. Massadian’s movements are practiced and efficient, honed through decades of labor. Séverine Jonckeere, who plays Milla, is disinterested and inept, […]...
- 8/1/2018
- by Darren Hughes
- Filmmaker Magazine-Director Interviews
The Polish film festival will open with ’Capharnaum’ and close with ‘Happy As Lazzaro’.
Nadine Labaki’s Capharnaum will open and Alice Rohrwacher’s Happy As Lazzaro will close the New Horizons International Film Festival in Wroclaw in Poland which runs from July 26 to August 5, 2018.
Bold, uncompromising films by artists seeking new forms of expression are the hallmarks of this year’s main International Competition line-up of 12 titles which includes films from China, the Dominican Republic, Portugal and the Us, said artistic director Marcin Pieńkowski.
The films competing for the New Horizons Grand Prix include award winners from the last editions of the Locarno,...
Nadine Labaki’s Capharnaum will open and Alice Rohrwacher’s Happy As Lazzaro will close the New Horizons International Film Festival in Wroclaw in Poland which runs from July 26 to August 5, 2018.
Bold, uncompromising films by artists seeking new forms of expression are the hallmarks of this year’s main International Competition line-up of 12 titles which includes films from China, the Dominican Republic, Portugal and the Us, said artistic director Marcin Pieńkowski.
The films competing for the New Horizons Grand Prix include award winners from the last editions of the Locarno,...
- 7/10/2018
- by Martin Blaney
- ScreenDaily
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGWe found Kiyoshi Kurosawa's semi-serious, semi-tongue-in-cheek sci-fi film Before We Vanish one of the best premieres of last year. The trailer for the American release plays it straight, but captures the wry verve of the film. Highly recommended.We adore the output of Poverty Row studio Republic (Driftwood, The Inside Story, I've Always Loved You), but rarely have had the chance to see the movies on celluloid and looking good. So we'll be front row, center for the Museum of Modern Art's "Republic Rediscovered" series, curated by Martin Scorsese. But just as good as any of those 1940s classics is the trailer for the retrospective, cut by filmmaker Gina Telaroli.The first look at Don't Worry, He Won't Get Far on Foot, Gus Van Sant's new film, set to premiere at Sundance.
- 1/17/2018
- MUBI
Grasshopper Film has picked up the U.S. distribution rights to Milla, the French drama from filmmaker Valérie Massadian. The pic will bow in theaters next year followed by a VOD, home-video, and non-theatrical roll-out. It follows lovers Milla and Leo who live a clandestine life as their meager furnishings and sustenance countered by a love is neither a logic nor substitute. But such an existence will only last until forces of nature take hold. Where is there to go in its…...
- 12/13/2017
- Deadline
Studies in subtraction. Milla traces the arc of life solely through the in-betweens. Major upheavals occur, and we see both where they come from and their fallout, but not the events themselves. That is hardly new material for art films, but this is yet still something else. The big changes are background radiation, and the focus is entirely the mundane details of doing the laundry, working on a boat, cleaning a room, playing with a child. This isn’t slice of life work; its purview is too great, following the title character through a full coming of age. That macro-micro combination is utterly unique – the film’s focus can’t even be described as quotidian, because its sequences come from the moments that seem even smaller than that. I don’t think there’s a word in the English language for it.
Milla (Severine Jonckeere) and Leo (Luc Chessel) are...
Milla (Severine Jonckeere) and Leo (Luc Chessel) are...
- 11/14/2017
- by Daniel Schindel
- The Film Stage
The American Film Institute (AFI) has announced the films that will be featured in their New Auteurs and American Independents sections at the upcoming AFI Fest 2017 presented by Audi. Selections include a number of lauded features from around the festival circuit, including Cannes offerings like “I Am Not a Witch,” SXSW favorites like “Gemini” and “Mr. Roosevelt,” the Sundance breakout “Thoroughbreds,” and Joseph Kahn’s Toronto Midnight Madness favorite “Bodied,” among others.
Highlighting first- and second-time feature film directors, New Auteurs is designed as the festival’s platform for upcoming filmmakers from all over the world to showcase their new films. This year, the section includes 11 films, nine of which come from female directors. Similarly, AFI Fest’s American Independents section aims to represent the best of this year’s independent filmmaking. Pushing boundaries of form and content across narrative and documentary cinema, this section includes 11 films from both fresh...
Highlighting first- and second-time feature film directors, New Auteurs is designed as the festival’s platform for upcoming filmmakers from all over the world to showcase their new films. This year, the section includes 11 films, nine of which come from female directors. Similarly, AFI Fest’s American Independents section aims to represent the best of this year’s independent filmmaking. Pushing boundaries of form and content across narrative and documentary cinema, this section includes 11 films from both fresh...
- 10/16/2017
- by Kate Erbland
- Indiewire
The following essay was produced as part of the 2017 Locarno Critics Academy, a workshop for aspiring film critics that took place during the 70th edition of the Locarno Film Festival.
Locarno isn’t just home to a major European film festival. It’s also an ideal place for many Swiss and foreign families to travel in summer and enjoy its hot weather, pleasant cuisine, and serene lake. This makes it a terrific place for contemplating new movies.
Ironically, during the 70th edition of the Locarno Film Festival, many of the films outwardly questioned the value of traditional family life. Many viewers encountered the puzzling contrast of watching subversive movies, leaving the screening rooms, and watching very conventional heterosexual families enjoying their vacations. But this only made the power of these movies stand out.
“C’est moi” says Fanny Ardant, a transgender women, in “Lola Pater,” the film by the Franco-Algerian director Nadir Mokneche,...
Locarno isn’t just home to a major European film festival. It’s also an ideal place for many Swiss and foreign families to travel in summer and enjoy its hot weather, pleasant cuisine, and serene lake. This makes it a terrific place for contemplating new movies.
Ironically, during the 70th edition of the Locarno Film Festival, many of the films outwardly questioned the value of traditional family life. Many viewers encountered the puzzling contrast of watching subversive movies, leaving the screening rooms, and watching very conventional heterosexual families enjoying their vacations. But this only made the power of these movies stand out.
“C’est moi” says Fanny Ardant, a transgender women, in “Lola Pater,” the film by the Franco-Algerian director Nadir Mokneche,...
- 9/14/2017
- by Francisco Noronha
- Indiewire
Mrs. Fang director Wang BingBelow you will find the awards for the 70th Locarno Festival, as well as an index of our coverage.AWARDSInternational CompetitionGolden Leopard: Mrs. Fang (Wang Bing) Special Jury Prize: Good Manners (Juliana Rojas, Marco Dutra) Best Direction: F.J. Ossang (9 Doigts) Best Actress: Isabelle Huppert (Madame Hyde) Best Actor: Elliott Crosset Hove (Winter Brothers)Filmmakers of the Present Golden Leopard: ¾ (Ilian Metev) Special Jury Prize: Milla (Valerie Massadian) Prize for Best Emerging Director: Kim Dae-hwan (The First Lap) Special Mentions: Distant Constellation (Shevaun Mizrahi), Damned Summer (Pedro Cabeleira)Signs of Life Best Film: Cocote (Nelson Carlo De Los Santos Arias) Mantarraya Award: Phantasiesätze (Dane Komljen)First Feature Best First Feature: Scary Mother (Ana Urushadze)Art Peace Hotel Award: Meteors (Gürcan Keltek)Special Mention: Those Who Are Fine (Cyril Schäublin)Favorite MOMENTSFestival coverage by Daniel KasmanYacht Strafing, Gym Rivalry, Alcatraz Island: On Jacques Tourneur's Nick Carter, Master...
- 8/28/2017
- MUBI
Valérie Massadian. Photo by Locarno Festival | Marco Abram.Six years ago, Valérie Massadian won the Opera Prima, the Locarno Festival’s first feature prize, for Nana, a great film that has since developed a small but deeply impassioned following. She returned to the festival this year with Milla and received another award, the Special Jury Prize in the Filmmakers of the Present competition. Simultaneously tender and brutal, in the film 17-year-old Milla (Séverine Jonckeere) runs away with Leo (Luc Chessel) before a series of incidents cause her to mature faster than nature had intended and make the uneasy transition from childhood to motherhood. We sat in a shady courtyard in Locarno to speak with Massadian about Milla and how it relates to, and expands upon, the project she undertook with Nana, as well as what it means to make films with and about young women. This transcription may give an indication of her demeanor,...
- 8/28/2017
- MUBI
Update: Audience award winner revealed; Good Manners, Winter Brothers also among winners.
Documentary filmmaker Wang Bing became the fifth director from China in Locarno’s seven-decade history to win the top honour of the Golden Leopard at this year’s edition.
Mrs. Fang, which is the first documentray ever to win the festival’s top prize, follows the last days of a 67-year-old Alzheimer’s patient in southern China.
Previous Golden Leopard winners from China were Hongqui Li with Winter Vacation in 2010 and Xiaolu Guo with She, a Chinese a year before, as well as Shuo Wang with Father in 2000 and Yue Lü with Mr Zhao in 1998.
The decision by the international competition jury, headed by director Olivier Assayas, reflects a trend at international festivals of recent years for documentaries beating out competition from fiction productions.
While the special jury prize went to the Brazilian writing and directing team Juliana Rojas and Marco Dutra’s Good Manners about...
Documentary filmmaker Wang Bing became the fifth director from China in Locarno’s seven-decade history to win the top honour of the Golden Leopard at this year’s edition.
Mrs. Fang, which is the first documentray ever to win the festival’s top prize, follows the last days of a 67-year-old Alzheimer’s patient in southern China.
Previous Golden Leopard winners from China were Hongqui Li with Winter Vacation in 2010 and Xiaolu Guo with She, a Chinese a year before, as well as Shuo Wang with Father in 2000 and Yue Lü with Mr Zhao in 1998.
The decision by the international competition jury, headed by director Olivier Assayas, reflects a trend at international festivals of recent years for documentaries beating out competition from fiction productions.
While the special jury prize went to the Brazilian writing and directing team Juliana Rojas and Marco Dutra’s Good Manners about...
- 8/12/2017
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Days of Glory (1944)This year at the Locarno Festival I am looking for specific images, moments, techniques, qualities or scenes from films across the 70th edition's selection that grabbed me and have lingered past and beyond the next movie seen, whose characters, story and images have already begun to overwrite those that came just before.***“Like anything you will ever tell me,” dreamily says a Soviet dancer-turned partisan (Tamara Toumanova) to her lover and commander Vladmir (Gregory Peck in his first role), “it’s learned by heart.” Days of Glory (1944), a highly evocative masterpiece from Jacques Tourneur conjured in that brief moment during World War 2 when Hollywood was asked to make movies in support of our Soviet allies, with disjunctive, lyrical surrealness casts this dancer among the hardened Russian soldiers isolated in a crumbling, underground redoubt behind enemy lines. She comes from a world of art unknown to these fighters,...
- 8/11/2017
- MUBI
I would like to accompany 2011's Nana with a printed text at the door of a public screening, a text written precisely before the word “contextualize” (b. 1934) existed as the verb form of “context” (b. 1840).It would be Jean Epstein, 1921—"Now the tragedy is anatomical. The décor of the fifth act is this corner of a cheek torn by a smile. Waiting for the moment when 1,000 meters of intrigue converge in a muscular denouement satisfies me more than the rest of the film. Muscular preambles ripple beneath the skin. Shadows shift, tremble, hesitate. Something is being decided. A breeze of emotion underlines the mouth with clouds. The orography of the face vacillates. Seismic shocks begin."(…)"The film is nothing but a relay between the source of nervous energy and the auditorium which breathes its radiance…" (from “Magnification”)Or Antonin Artaud writing in 1927—"The human skin of things, the epidermis of...
- 2/6/2016
- by Andy Rector
- MUBI
Parents often grow used to hearing their children claim they hate them. The pain of the words becomes duller as it becomes clear that the phrase is nothing more than rebellious, interchangeable invective. What is truly heartrending is the knowledge that your child does not need you. Typically, parents learn this when young adults pack up their things and head off to college or to start their own homes. Valérie Massadian’s debut feature, Nana, inverts this model. The eponymous four year-old girl’s mother disappears from their rural home, but she doesn’t miss a beat. She continues to eat, play and even “reads” herself a bedtime story. The true pleasure of this film lies not merely in its unnerving premise, but in the confidence with which Massadian asserts her place in the history of European pictorial production. The film easily assumes the moniker “painterly,” not because of its predilection for vivid color,...
- 1/27/2013
- by Blair McClendon
- MUBI
Established as a platform for the fringe successes and overlooked treasures of the European festival scene, the Museum of the Moving Image’s new First Look festival in New York acts as a much-needed bright spot amid the winter doldrums. It’s also the perfect antidote to an awards season hangover, offering resolutely small movies colored with a strong avant-garde streak. From the mind-bending, color-coded world of Raya Martin’s Buenos noches, España to the abundant familial milieu of Papirosen, the inaugural edition of this new event proves consistently engrossing. Below is a concise guide to some of films showing, all but one of which are NYC premieres.
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
Papirosen (Gastón Solnicki, Argentina)
Like a bustling inter-generational novel without a beginning or end, Gastón Solnicki’s Papirosen is a scrambled collection of anecdotes, floating about in search of a story arc. It’s a presentation that seems frazzled at first, until...
- 1/6/2012
- MUBI
2012, the year in cinema, will be starting early, even before the Sundance-Rotterdam-Berlin marathon. The Museum of the Moving Image is launching a new series, First Look, showcasing 13 features and seven shorts, all of which — with the exception of Mark Jackson's Without and two shorts by Artavazd Peleshian — are New York premieres. Curated by Dennis Lim, Rachael Rakes and David Schwartz, First Look opens on January 6 with Chantal Akerman on hand to present Almayer's Folly and closes on January 15 with Raya Martin's presentation of his Buenas Noches, España.
The lineup in full (more or less in order of presentation):
Chantal Akerman's Almayer's Folly, an adaptation of Joseph Conrad's first novel. See Dan Sallitt's review, the Venice/Toronto roundup and Darren Hughes's interview with Akerman.
Philippe Garrel's That Summer (Un Eté brulant), which has just made Cahiers du Cinéma's top ten of 2011. See, too, Daniel...
The lineup in full (more or less in order of presentation):
Chantal Akerman's Almayer's Folly, an adaptation of Joseph Conrad's first novel. See Dan Sallitt's review, the Venice/Toronto roundup and Darren Hughes's interview with Akerman.
Philippe Garrel's That Summer (Un Eté brulant), which has just made Cahiers du Cinéma's top ten of 2011. See, too, Daniel...
- 12/9/2011
- MUBI
You'd think that Team Cinema Scope, having just covered Toronto 2011 more extensively — surely! — than any other single publication has ever covered a film festival in the histories of films and festivals combined, would take a month or two off to recover. But no, here's Issue 48, solid as any other.
Of Thom Andersen's 30 "Random Notes on a Projection of The Clock by Christian Marclay," here's the first: "The Clock is certainly dumb: a 24-hour movie made entirely from other movies in which the depicted screen time corresponds precisely to the actual time of the screening with plenty of clock inserts and shots in which clocks appear, sometimes incidentally. I'm sure I'm not the first to ask, why didn't I think of that? But is The Clock dumb enough?" Marclay, at any rate, is smart enough to have made not one, not two, but six editions of the piece, the last...
Of Thom Andersen's 30 "Random Notes on a Projection of The Clock by Christian Marclay," here's the first: "The Clock is certainly dumb: a 24-hour movie made entirely from other movies in which the depicted screen time corresponds precisely to the actual time of the screening with plenty of clock inserts and shots in which clocks appear, sometimes incidentally. I'm sure I'm not the first to ask, why didn't I think of that? But is The Clock dumb enough?" Marclay, at any rate, is smart enough to have made not one, not two, but six editions of the piece, the last...
- 10/4/2011
- MUBI
"At least you can see they're really trying to make a good festival," commented, with typical dry wit, one of the (very) few international colleagues the Brigade considers at least something of a crypto-Ferronian. Hard to argue with that, as Locarno's program still shows the signs of having to battle back and forth with the two heaviest lifters on the festival calendar, Cannes and Venice—yet mostly, the Ferroni Brigade had a grand time this year.
Of course, more often then not, when dispirited acquaintances met a merry Brigadier in between screenings, the answer to their inevitable question would be: "Coming from (and returning to) a retrospective, of course!"—but also among new films, we ended up with more truly interesting stuff than in the previous year. Not all of it true donkey material, for different reasons. Nevertheless, there were quite a few Ferronian pleasures out there, some of them more touching than others,...
Of course, more often then not, when dispirited acquaintances met a merry Brigadier in between screenings, the answer to their inevitable question would be: "Coming from (and returning to) a retrospective, of course!"—but also among new films, we ended up with more truly interesting stuff than in the previous year. Not all of it true donkey material, for different reasons. Nevertheless, there were quite a few Ferronian pleasures out there, some of them more touching than others,...
- 9/21/2011
- MUBI
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