Though Richard Linklater’s Hit Man is about to debut in theaters and on Netflix––just after his under-the-radar documentary God Save Texas: Hometown Prison came to Max––the ever-prolific American was recently in Paris for Nouvelle Vague, his chronicle of the making of Godard’s Breathless. (If not more: casting notices for Jean-Pierre Léaud around the time of François Truffaut’s The 400 Blows and Martin Lassale around the time of Robert Bresson’s Pickpocket popped up.) With filming recently wrapped, one might expect a fall premiere––expectations bolstered by today’s unveiling of our first real look, courtesy (who else!) Cahiers du cinéma.
Therein one can find Guillaume Marbeck as Jean-Luc Godard (previously unveiled in a cast-and-crew portrait) and filming of a scene on the Champs-Elysees. Meanwhile, Jean-Louis Fernandez shared a set photo suggesting the production design team should be paid handsomely.
Find them below:
View this post...
Therein one can find Guillaume Marbeck as Jean-Luc Godard (previously unveiled in a cast-and-crew portrait) and filming of a scene on the Champs-Elysees. Meanwhile, Jean-Louis Fernandez shared a set photo suggesting the production design team should be paid handsomely.
Find them below:
View this post...
- 5/9/2024
- by Leonard Pearce
- The Film Stage
Between last week’s release of his under-the-radar documentary God Save Texas: Hometown Prison and the June release of his wildly entertaining crowdpleaser Hit Man Trailer: Glen Powell Shapeshifts for Richard Linklater’s Comedy, Arriving in June”>Hit Man, Richard Linklater is embarking on his next film. Set to shoot this month and April in Paris, his new feature will capture the beginnings of the French New Wave, centered on the making of Jean-Luc Godard’s 1960 debut masterpiece Breathless.
We now have our first piece of casting as our new Jean Seberg has been unveiled. Zoey Deutch has revealed her Seberg look on Instagram, with hair colorist Tracey Cunningham confirming it’s for the role of the French New Wave Icon, who made her breakout in Godard’s debut. The film will mark a reunion following Everybody Wants Some!! for Linklater and Deutch, who will deliver the latest portrayal of...
We now have our first piece of casting as our new Jean Seberg has been unveiled. Zoey Deutch has revealed her Seberg look on Instagram, with hair colorist Tracey Cunningham confirming it’s for the role of the French New Wave Icon, who made her breakout in Godard’s debut. The film will mark a reunion following Everybody Wants Some!! for Linklater and Deutch, who will deliver the latest portrayal of...
- 3/5/2024
- by Jordan Raup
- The Film Stage
“The last thing I hate is that life always forces us to keep moving forwards.”
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don't Travel Well”. Works such as Zhang Yimou's “Red Sorghum”, Andrei Konchalovsky's “Asya's Happiness” and Hou Hsiao-Hsien's “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as he writes...
In the aftermath of the New York Film Festival, reporter Vincent Canby wrote an article about the films of the festival he aptly named “Why Some Films Don't Travel Well”. Works such as Zhang Yimou's “Red Sorghum”, Andrei Konchalovsky's “Asya's Happiness” and Hou Hsiao-Hsien's “Daughter of the Nile” are mostly relevant thanks to their “sociology factor” Canby begins his article, an aspect that these works are and have been applauded for around the world while as films themselves they are not that interesting. Hou Hsiao-Hien, one of the most popular directors of Taiwanese New Cinema along with Edward Yang, was still trying to find a cinematic language for his films, one which strongly resembled the works of Yasujiro Ozu in terms of style and content, the sense of resignation, as he writes...
- 2/13/2024
- by Rouven Linnarz
- AsianMoviePulse
Back in 1992 Wes Anderson and Owen Wilson — who had met the University of Texas in Dallas and were roomies — decided to make a movie. But after spending $10,000 and shooting 13 minutes of the crime caper comedy “Bottle Rocket,” they ran out of money. Eventually, the short and the full script made its way to Oscar-winning writer/director/producer James L. Brooks. It just so happened that Columbia had a deal with Brooks to finance a low-budget film selected by the filmmaker. And in 1996, the feature-length version of “Bottle Rocket” was released with Owen Wilson, Luke Wilson and James Caan. Though the film didn’t set the box office on fire, critics realized Anderson was a new and exciting cinematic voice.
Anderson has made 11 feature films — his latest “Asteroid City” came out earlier this year — and has been nominated seven times for an Oscar including three for screenplay, two for animated features,...
Anderson has made 11 feature films — his latest “Asteroid City” came out earlier this year — and has been nominated seven times for an Oscar including three for screenplay, two for animated features,...
- 10/6/2023
- by Susan King
- Gold Derby
The werewolf, loup-garou, and the Lycanthrope are back in the brilliant thought-provoking film Wolfkin . Coming from the rich tradition of fiction such as Guy Endore’s 1933 seminal novel The Werewolf of Paris and the 1896 story The Were-wolf by Clemence Housman, this film is in my opinion an essential new addition to the werewolf film canon.
You can lump this film into the abyss of Folk Horror yet its just plain simple a damn good film from top to end credits because it tells an essential human story. Wolfkin (2022) a.k.a. Kommunioun is a Luxembourgian/French/Belgium production; directed by Jacques Molitor. The picture is elegantly shot and paced with true mastery and restraint, as does befit the subject matter of extreme, old-world control and remedy for the modern, uncontrolled animalistic urges.
Taking a cue from Hammer’s The Curse of the Werewolf (1961), Wolfkin (2022) reverses the fact that in that film,...
You can lump this film into the abyss of Folk Horror yet its just plain simple a damn good film from top to end credits because it tells an essential human story. Wolfkin (2022) a.k.a. Kommunioun is a Luxembourgian/French/Belgium production; directed by Jacques Molitor. The picture is elegantly shot and paced with true mastery and restraint, as does befit the subject matter of extreme, old-world control and remedy for the modern, uncontrolled animalistic urges.
Taking a cue from Hammer’s The Curse of the Werewolf (1961), Wolfkin (2022) reverses the fact that in that film,...
- 9/18/2023
- by Terry Sherwood
- Horror Asylum
"Barbie" might be a multimillion-dollar corporate product based on a ridiculously lucrative multimedia property, but it's also an earnest love letter to cinema history. Of course, that's nothing new for co-writer and director Greta Gerwig. A quick glimpse at the multi-hyphenate's filmography will reveal she's never shied away from openly acknowledging her influences. "Frances Ha," the 2012 dramedy Gerwig starred in and co-wrote with the film's director and her "Barbie" co-writer/real-life partner, Noah Baumbach, overtly tips its hat to the French New Wave, as does Gerwig's semi-autobiographical directorial debut, "Lady Bird" (her answer to Francois Truffaut's "The 400 Blows").
When it comes to "Barbie," there's no missing the references to "The Wizard of Oz" and Gene Kelly musicals like "An American in Paris," nor the deliberate parallels between the red pill/blue pill scene from "The Matrix" and Stereotypical Barbie (Margot Robbie) consulting Weird Barbie (Kate McKinnon) about her sudden existential crisis.
When it comes to "Barbie," there's no missing the references to "The Wizard of Oz" and Gene Kelly musicals like "An American in Paris," nor the deliberate parallels between the red pill/blue pill scene from "The Matrix" and Stereotypical Barbie (Margot Robbie) consulting Weird Barbie (Kate McKinnon) about her sudden existential crisis.
- 8/3/2023
- by Sandy Schaefer
- Slash Film
Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
Chances are that if you care about international cinema, you care about the French New Wave. A loose collective of young directors who came to define their country’s cinema as the 1950s gave way to the ’60s, the French New Wave gave cinema permission to be audacious and uncompromising while bolstering its style and personality. It was cool with purpose.
Jacques Rozier, the last living member of the Nouvelle Vague, died this week at 96. Rozier was a blind spot for me, but the French New Wave was my guide to grasping what the movies could be.
As a teenager, Jean-Luc Godard’s “Breathless” got me excited about the possibilities of the movies like nothing that came before. Francois Truffaut’s “The 400 Blows” was a formative encounter with the expansive possibilities of the coming-of-age story.
Chances are that if you care about international cinema, you care about the French New Wave. A loose collective of young directors who came to define their country’s cinema as the 1950s gave way to the ’60s, the French New Wave gave cinema permission to be audacious and uncompromising while bolstering its style and personality. It was cool with purpose.
Jacques Rozier, the last living member of the Nouvelle Vague, died this week at 96. Rozier was a blind spot for me, but the French New Wave was my guide to grasping what the movies could be.
As a teenager, Jean-Luc Godard’s “Breathless” got me excited about the possibilities of the movies like nothing that came before. Francois Truffaut’s “The 400 Blows” was a formative encounter with the expansive possibilities of the coming-of-age story.
- 6/17/2023
- by Eric Kohn
- Indiewire
Kohn’s Corner is a weekly column about the challenges and opportunities of sustaining American film culture.
When you’re living in the bubble of daily cinema life during the Cannes Film Festival, it’s hard to know if the rest of the world cares about any of the movies you’ve seen over the past two weeks. The obvious marketing hooks for “Indiana Jones and the Dial of Destiny” and “Killers of the Flower Moon” will take care of them. For everything else, who knows?
The last three Palme d’Or winner winners — “Triangle of Sadness,” “Titane,” and “Parasite” — leveraged their Cannes success into genuine cultural impact. The challenges in getting movies made and seen is higher than ever, but Cannes 2023 came ready for battle. Here are some of the most promising signs I found.
The French New Wave Isn’t Finished
For a generation of cinephiles, the death...
When you’re living in the bubble of daily cinema life during the Cannes Film Festival, it’s hard to know if the rest of the world cares about any of the movies you’ve seen over the past two weeks. The obvious marketing hooks for “Indiana Jones and the Dial of Destiny” and “Killers of the Flower Moon” will take care of them. For everything else, who knows?
The last three Palme d’Or winner winners — “Triangle of Sadness,” “Titane,” and “Parasite” — leveraged their Cannes success into genuine cultural impact. The challenges in getting movies made and seen is higher than ever, but Cannes 2023 came ready for battle. Here are some of the most promising signs I found.
The French New Wave Isn’t Finished
For a generation of cinephiles, the death...
- 5/26/2023
- by Eric Kohn
- Indiewire
Christophe Honoré's Winter Boy is now showing exclusively on Mubi starting April 28, 2023, in many countries in the series Luminaries.When Antoine Doinel first dons his checkered jacket and roams the streets of Paris in François Truffaut’s The 400 Blows (1959), the city air is so cold that his breath clouds the frame. Truffaut’s wintry film is a tale of isolation and frustration in the life of the young Doinel, a misbehaving schoolboy bored by la dictée and the stifling teachings of his professor. Out in the frostbitten night, he sleeps in a printing press and steals a typewriter, evoking his search for his own liberation and words to live by. To everyone else, he appears a troubled youth in need of institutionalization. To Truffaut, he is his younger self looking for his identity and the means to express it, a memory committed to film. When a filmmaker sets...
- 5/2/2023
- MUBI
When discussing the masters of French cinema, one name consistently stands out among the rest: François Truffaut. A pioneering director, screenwriter, and film critic, Truffaut left an indelible mark on the world of cinema, both in France and internationally. With a career spanning over three decades and numerous accolades to his name, Truffaut’s influence can be felt in the works of contemporary filmmakers to this day.
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
In this article, we will explore the life and career of François Truffaut, delving into the birth of the French New Wave, his key films, and his signature style and themes. We will also examine the impact Truffaut has had on contemporary filmmakers and his lasting legacy in French cinema. Finally, we will provide a list of essential François Truffaut films for those looking to immerse themselves in his remarkable body of work.
The Birth of the French New Wave
The French New Wave,...
- 4/26/2023
- by Movies Martin Cid Magazine
- Martin Cid Magazine - Movies
The French New Wave, or La Nouvelle Vague is one of the most important movements in film history. Its fresh energy and vision changed the cinematic landscape during the 50s and 60s and greatly impacted pop culture. The new wave of cinematic auteurs was on the rise and pushed back on the traditional form of filmmaking, instead focusing on social realism, experimentation, and depicting everyday life through the lens.
At the forefront of this movement were French directors François Truffaut, Francoise Bonnot, Éric Rohmer, Jacques Rivette, and Jean-Luc Godard who pushed visual and stylistic techniques. These included a move away from traditional storytelling by applying nonlinear narrative techniques, jump cuts, and handheld cameras that impacted cinema around the world and influenced a new movement of cinema in the United States.
This volume French New Wave: A Revolution in Design celebrates the groundbreaking poster art in selling these Nouvelle Vague films...
At the forefront of this movement were French directors François Truffaut, Francoise Bonnot, Éric Rohmer, Jacques Rivette, and Jean-Luc Godard who pushed visual and stylistic techniques. These included a move away from traditional storytelling by applying nonlinear narrative techniques, jump cuts, and handheld cameras that impacted cinema around the world and influenced a new movement of cinema in the United States.
This volume French New Wave: A Revolution in Design celebrates the groundbreaking poster art in selling these Nouvelle Vague films...
- 4/26/2023
- by Robert Lang
- Deadline Film + TV
Above: Original French release poster for Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles. Designer unknown.Jeanne Dielman wins again! Posted on the day that Chantal Akerman’s masterpiece was announced as the surprise come-from-behind winner of Sight and Sound’s decennial Greatest Films of All Time poll, the original poster for the film racked up close to 3,000 likes on my Movie Poster of the Day Instagram (helped perhaps by being paired with this photo of Akerman pensively smoking in front of the same poster back in the day). I have no doubt that any poster for the film posted on that day would have gotten a lot of attention, but I’d like to believe that some of the likes were for the poster itself: unassuming yet elegant (like Jd herself), foregrounding that radically mundane title, and containing nothing surplus to requirements, just Mrs. Dielman at her dining room table, waiting patiently,...
- 4/6/2023
- MUBI
Turner Classic Movies (TCM) offers a wide assortment of movies from the past that strikes nostalgia. However, there are also plenty of gems that allow audiences to discover other oldies to fill in their cinematic blindspots. Looking for something to watch this weekend between March 24-26? Here’s a look at the upcoming programming.
Friday, March 24 Jean-Pierre Léaud as Antoine Doinel | John Springer Collection/Corbis/Corbis via Getty Images
Starting just after midnight Eastern Standard Time, the TCM movies officially kick off the ending of the week in a big way. Ranging from the Oscar-nominated Mutiny on the Bounty from 1962 to the four-time Oscar-winning Network, there’s a little something for all viewers.
The notable standouts here are The 400 Blows, Diner, Dr. Strangelove, and Network.
The 400 Blows (1959) – 12:30 a.m. Est Diner (1982) – 2:30 a.m. Est Metropolitan (1990) – 4:30 a.m. Est The Sea Wolf (1941) – 6:15 a.m.
Friday, March 24 Jean-Pierre Léaud as Antoine Doinel | John Springer Collection/Corbis/Corbis via Getty Images
Starting just after midnight Eastern Standard Time, the TCM movies officially kick off the ending of the week in a big way. Ranging from the Oscar-nominated Mutiny on the Bounty from 1962 to the four-time Oscar-winning Network, there’s a little something for all viewers.
The notable standouts here are The 400 Blows, Diner, Dr. Strangelove, and Network.
The 400 Blows (1959) – 12:30 a.m. Est Diner (1982) – 2:30 a.m. Est Metropolitan (1990) – 4:30 a.m. Est The Sea Wolf (1941) – 6:15 a.m.
- 3/23/2023
- by Jeff Nelson
- Showbiz Cheat Sheet
While we’ve known the results of Jeanne Dielman Tops Sight and Sound‘s 2022 Greatest Films of All-Time List”>Sight & Sound’s once-in-a-decade greatest films of all-time poll for a few months now, the recent release of the individual ballots has given data-crunching cinephiles a new opportunity to dive deeper. We have Letterboxd lists detailing all 4,400+ films that received at least one vote and another expanding the directors poll, spreadsheets calculating every entry, and now a list ranking how many votes individual directors received for their films.
Tabulated by Genjuro, the list of 35 directors, with two pairs, puts Alfred Hitchcock back on top, while Chantal Akerman is at number two. Elsewhere in the top ten are David Lynch, Francis Ford Coppola, Jean-Luc Godard, Agnès Varda, Orson Welles, Yasujirō Ozu, and Stanley Kubrick, and tied for the tenth spot is Wong Kar Wai and Ingmar Bergman.
Check out the list below,...
Tabulated by Genjuro, the list of 35 directors, with two pairs, puts Alfred Hitchcock back on top, while Chantal Akerman is at number two. Elsewhere in the top ten are David Lynch, Francis Ford Coppola, Jean-Luc Godard, Agnès Varda, Orson Welles, Yasujirō Ozu, and Stanley Kubrick, and tied for the tenth spot is Wong Kar Wai and Ingmar Bergman.
Check out the list below,...
- 3/5/2023
- by Jordan Raup
- The Film Stage
Writer, director and occasional actor Philippe Garrel shot his first full-length movie, Marie pour mémoire, when he was only 19. That was amid the turmoil of May 1968, and since then he has made a new feature every few years, becoming a regular fixture in festivals and arthouses, especially in his native France.
Working with unknown or established actors, including Catherine Deneuve and Jean-Pierre Léaud, his intimate tales of emotional unrest — often the same story told again and again, during different epochs, in color or black-and-white — have turned him into a dependable auteur but also an acquired taste. If you don’t like French movies about love, sex, family, adultery and anguish, then you probably won’t like Garrel.
His work has always had an autobiographical bent to it, and one of his best films, 1970’s La Cicatrice Intérieure, starred his girlfriend at the time, Nico of The Velvet Underground. But his latest feature,...
Working with unknown or established actors, including Catherine Deneuve and Jean-Pierre Léaud, his intimate tales of emotional unrest — often the same story told again and again, during different epochs, in color or black-and-white — have turned him into a dependable auteur but also an acquired taste. If you don’t like French movies about love, sex, family, adultery and anguish, then you probably won’t like Garrel.
His work has always had an autobiographical bent to it, and one of his best films, 1970’s La Cicatrice Intérieure, starred his girlfriend at the time, Nico of The Velvet Underground. But his latest feature,...
- 2/21/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Robert Dalva, the film editor who earned an Oscar nomination for his work on the touching family adventure The Black Stallion and collaborated with director Joe Johnston on five films, including Jumanji and Captain America: The First Avenger, has died. He was 80.
Dalva died Jan. 27 of lymphoma in Marin County, California, his son Matthew Dalva told The Hollywood Reporter.
Dalva attended USC film school in the same class with George Lucas, and he went to work with him and Francis Ford Coppola in 1969 as the pair launched their innovative American Zoetrope production company in San Francisco.
The relationship paid off when Lucas hired Dalva to handle second-unit photography — he shot the land speeder going across the desert — on the original Star Wars (1977).
On the Coppola-produced Black Stallion (1979), starring Mickey Rooney in an Oscar-nominated performance, Dalva partnered with director Carroll Ballard, who also did second-unit work on Star Wars.
“We had...
Dalva died Jan. 27 of lymphoma in Marin County, California, his son Matthew Dalva told The Hollywood Reporter.
Dalva attended USC film school in the same class with George Lucas, and he went to work with him and Francis Ford Coppola in 1969 as the pair launched their innovative American Zoetrope production company in San Francisco.
The relationship paid off when Lucas hired Dalva to handle second-unit photography — he shot the land speeder going across the desert — on the original Star Wars (1977).
On the Coppola-produced Black Stallion (1979), starring Mickey Rooney in an Oscar-nominated performance, Dalva partnered with director Carroll Ballard, who also did second-unit work on Star Wars.
“We had...
- 2/6/2023
- by Mike Barnes and Christy Piña
- The Hollywood Reporter - Movie News
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Happening (Audrey Diwan)
Diwan’s sophomore feature is an unglamorous, straightforward film that tells a simple story about an ordinary girl. It is also the single most intense, shatteringly empathetic thing I’ve seen all year. Carried by Anamaria Vartolomei’s fiercely committed performance, the ’60s-set drama takes on the subject of unintended pregnancy and illustrates how far from a political / religious issue it can be when it happens to you. Abortion has been dealt with in landmark films, but the intimacy of perspective achieved here feels truly unmatched. A vital call for kindness like no other. – Zhuo-Ning Su
Where Stream: Hulu
M3GAN (Gerard Johnstone)
Not outwardly terrifying, director Gerard Johnstone’s sci-fi slasher features a lifelike AI doll named M3GAN,...
Happening (Audrey Diwan)
Diwan’s sophomore feature is an unglamorous, straightforward film that tells a simple story about an ordinary girl. It is also the single most intense, shatteringly empathetic thing I’ve seen all year. Carried by Anamaria Vartolomei’s fiercely committed performance, the ’60s-set drama takes on the subject of unintended pregnancy and illustrates how far from a political / religious issue it can be when it happens to you. Abortion has been dealt with in landmark films, but the intimacy of perspective achieved here feels truly unmatched. A vital call for kindness like no other. – Zhuo-Ning Su
Where Stream: Hulu
M3GAN (Gerard Johnstone)
Not outwardly terrifying, director Gerard Johnstone’s sci-fi slasher features a lifelike AI doll named M3GAN,...
- 1/27/2023
- by Jordan Raup
- The Film Stage
Ignore the Sitcom Title — ‘The Fabelmans’ Is the Rare Great Movie About the Ecstasy of Making Movies
When I saw Steven Spielberg’s “The Fabelmans” at the Toronto Film Festival in September, I absolutely loved it. And while I never expected the film to be some breakout smash, my hope for it — and my cautiously optimistic prediction — is that it would find a hook into the culture. I assumed that a drama about how Steven Spielberg got to be the genius he is would resonate, in a big way, with movie fans from multiple generations. Okay, not so much with those under 35. But that still leaves a lot of us!
“The Fabelmans,” I think, has a bad title — it sounds like a sitcom starring David Schwimmer and Mayim Bialik as the parents. But the movie is a rapt and enveloping experience, a true memoir on film. Like all good memoirs, the movie is about a few things at once — in this case, the adventure of growing up,...
“The Fabelmans,” I think, has a bad title — it sounds like a sitcom starring David Schwimmer and Mayim Bialik as the parents. But the movie is a rapt and enveloping experience, a true memoir on film. Like all good memoirs, the movie is about a few things at once — in this case, the adventure of growing up,...
- 11/26/2022
- by Owen Gleiberman
- Variety Film + TV
Truffaut’s portrait of a young misfit at war with his school, his family and himself, is never sentimental but always heartrending – in the words of Godard, “rigorous and tender.” The movie was the first of four films featuring Jean-Pierre Léaud as Antoine Doinel who, over the course of 20 years, grew from beleaguered adolescent to jaded roué.
The post The 400 Blows appeared first on Trailers From Hell.
The post The 400 Blows appeared first on Trailers From Hell.
- 11/23/2022
- by Charlie Largent
- Trailers from Hell
Amir Naderi’s 1984 “The Runner” is often lauded as the first movie to emerge from post-revolutionary Iran and for having one of the best child performances of all time with Madjid Niroumand. It’s now receiving a new restoration that will debut at Film Forum on October 28 and run through November 10, with Naderi and Niroumand appearing in person for screenings. It will then make its way around the country. Exclusively on IndieWire, watch the new trailer below.
In “The Runner,” an illiterate 11-year-old orphan (Niroumand), living alone in an abandoned tanker in the Iranian port city of Abadan, survives by shining shoes, selling water, and diving for deposit bottles, while being bullied by both adults and competing older kids. But he finds solace by dreaming about departing cargo ships and airplanes and by running — seemingly to nowhere.
The movie has echoes of Vittorio De Sica’s “Shoeshine” and “The Bicycle Thief,...
In “The Runner,” an illiterate 11-year-old orphan (Niroumand), living alone in an abandoned tanker in the Iranian port city of Abadan, survives by shining shoes, selling water, and diving for deposit bottles, while being bullied by both adults and competing older kids. But he finds solace by dreaming about departing cargo ships and airplanes and by running — seemingly to nowhere.
The movie has echoes of Vittorio De Sica’s “Shoeshine” and “The Bicycle Thief,...
- 10/4/2022
- by Ryan Lattanzio
- Indiewire
Actor/writer/director Ethan Hawke discusses a few of his favorite films with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Explorers (1985) – Glenn Erickson’s Blu-ray review
The Verdict (1982)
The Color Of Money (1986) – Rod Lurie’s trailer commentary
Nobody’s Fool (1994)
Three Faces Of Eve (1957)
Mr. And Mrs. Bridge (1990)
North By Northwest (1959)
Torn Curtain (1966)
Psycho (1960) – John Landis’s trailer commentary
Frenzy (1972) – Joe Dante’s trailer commentary
Topaz (1969)
Boyhood (2014)
An Officer and a Gentleman (1982)
Blue Collar (1978) – Josh Olson’s trailer commentary
First Reformed (2017) – Glenn Erickson’s trailer commentary
Taxi Driver (1976) – Rod Lurie’s trailer commentary
The Left Handed Gun (1958)
Hombre (1967)
Hud (1963)
Butch Cassidy And The Sundance Kid (1969)
The Life And Times Of Judge Roy Bean (1972) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Buffalo Bill And The Indians, Or Sitting Bull’s History Lesson (1976) – Glenn Erickson’s Blu-ray review
The Outrage (1964)
Rashomon (1950) – Brian Trenchard-Smith’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
Explorers (1985) – Glenn Erickson’s Blu-ray review
The Verdict (1982)
The Color Of Money (1986) – Rod Lurie’s trailer commentary
Nobody’s Fool (1994)
Three Faces Of Eve (1957)
Mr. And Mrs. Bridge (1990)
North By Northwest (1959)
Torn Curtain (1966)
Psycho (1960) – John Landis’s trailer commentary
Frenzy (1972) – Joe Dante’s trailer commentary
Topaz (1969)
Boyhood (2014)
An Officer and a Gentleman (1982)
Blue Collar (1978) – Josh Olson’s trailer commentary
First Reformed (2017) – Glenn Erickson’s trailer commentary
Taxi Driver (1976) – Rod Lurie’s trailer commentary
The Left Handed Gun (1958)
Hombre (1967)
Hud (1963)
Butch Cassidy And The Sundance Kid (1969)
The Life And Times Of Judge Roy Bean (1972) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Buffalo Bill And The Indians, Or Sitting Bull’s History Lesson (1976) – Glenn Erickson’s Blu-ray review
The Outrage (1964)
Rashomon (1950) – Brian Trenchard-Smith’s trailer commentary,...
- 10/4/2022
- by Kris Millsap
- Trailers from Hell
Jean-Luc Godard, the pioneering French New Wave director who challenged and upended conventional filmmaking methods for over half a century, died today according to multiple reports in the French media. He was 91.
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
Godard’s celebrity mystique was defined by the image of the enigmatic chain-smoking auteur, adorned in sunglasses while indulging in existential insight, revolutionary politics, and radical ideas about art. But his career never rested on that cartoonish brand.
Though he would remain most famous for his first feature, the 1960 meta-noir “Breathless,” that iconic debut kickstarted a lifetime of ambitious, often confrontational work. His filmography consists of everything from genre deconstructions to political screeds and avant-garde gambles designed to confuse and provoke new avenues for an evolving art form. Through it all, Godard remained a divisive figure whose prolific output embodied — and often interrogated — the cultural and intellectual proclivities of French society and the world at large.
His legacy...
- 9/13/2022
- by Eric Kohn
- Indiewire
Jean-Luc Godard, the father of modern cinema whose impish, combative provocations threw down a gauntlet with which all those who came in his wake must contend, died Tuesday. He was 91.
The director died at his home by assisted suicide in Rolle, Switzerland, where that practice is legal, Godard’s longtime legal adviser Patrick Jeanneret told The New York Times.
Jeanneret added that the filmmaker had “multiple disabling pathologies” and “decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough.’ “
In a career that began with 1960’s groundbreaking Breathless,...
The director died at his home by assisted suicide in Rolle, Switzerland, where that practice is legal, Godard’s longtime legal adviser Patrick Jeanneret told The New York Times.
Jeanneret added that the filmmaker had “multiple disabling pathologies” and “decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough.’ “
In a career that began with 1960’s groundbreaking Breathless,...
- 9/13/2022
- by Tim Grierson
- Rollingstone.com
No director has done more to deconstruct the myth of the suburban American family than Steven Spielberg. Dissertations have been written and documentaries made on the subject. And now, at the spry young age of 75, Spielberg himself weighs in on where his preoccupations come from in “The Fabelmans,” a personal account of his upbringing that feels like listening to two and a half hours’ worth of well-polished cocktail-party anecdotes, only better, since he’s gone to the trouble of staging them all for our benefit. Spielberg’s a born storyteller, and these are arguably his most precious stories.
From the first movie he saw (“The Greatest Show on Earth”) to memories of meeting filmmaker John Ford on the Paramount lot, this endearing, broadly appealing account of how Spielberg was smitten by the medium — and why the prodigy nearly abandoned picture-making before his career even started — holds the keys to so...
From the first movie he saw (“The Greatest Show on Earth”) to memories of meeting filmmaker John Ford on the Paramount lot, this endearing, broadly appealing account of how Spielberg was smitten by the medium — and why the prodigy nearly abandoned picture-making before his career even started — holds the keys to so...
- 9/11/2022
- by Peter Debruge
- Variety Film + TV
Every director, it seems, has a deeply personal coming-of-age story to tell, from Francois Truffaut’s “The 400 Blows” to Lee Isaac Chung’s “Minari” to Alfonso Cuaron’s “Roma.” And lately, every Toronto International Film Festival has made one of those films a centerpiece of its lineup. Last year, it was Kenneth Branagh’s “Belfast,” which won TIFF’s audience award and went on to receive an Oscar nomination for Best Picture; this year, it’s Steven Spielberg’s “The Fabelmans,” which had its world premiere on Saturday night in the Visa Screening Room at the Princess of Wales Theatre.
Based on Spielberg’s childhood in New Jersey (briefly), Phoenix (longer) and Northern California (for a stormy stretch in high school), “The Fabelmans” is a sweet look back at a boy who was transfixed by the movies from the moment he saw “The Greatest Show on Earth” in 1952, and...
Based on Spielberg’s childhood in New Jersey (briefly), Phoenix (longer) and Northern California (for a stormy stretch in high school), “The Fabelmans” is a sweet look back at a boy who was transfixed by the movies from the moment he saw “The Greatest Show on Earth” in 1952, and...
- 9/11/2022
- by Steve Pond
- The Wrap
Say what you will about Quentin Tarantino, but he never backs down from a controversial take. The filmmaker has made a career out of his ability to elevate the exploitation films he loves into high art, and has never shied away from defending the cinema that inspired him. And his tendency to appreciate the lowbrow is matched by a willingness to criticize some of cinema’s most revered figures when he thinks the praise they get is unwarranted.
The September issue of Sight & Sound features an interview with Tarantino and his “Video Archives Podcast” co-host Roger Avary and highlighted several notable clips from their podcast. Per usual, Tarantino didn’t mince words when discussing his film opinions. When discussing the films of Claude Chabrol on an episode of the show, he found time to criticize the work of François Truffaut, particularly the thrillers that the director made later in his career.
The September issue of Sight & Sound features an interview with Tarantino and his “Video Archives Podcast” co-host Roger Avary and highlighted several notable clips from their podcast. Per usual, Tarantino didn’t mince words when discussing his film opinions. When discussing the films of Claude Chabrol on an episode of the show, he found time to criticize the work of François Truffaut, particularly the thrillers that the director made later in his career.
- 8/27/2022
- by Christian Zilko
- Indiewire
His parents were Nouvelle Vague royalty and he went on to star in one of the sexiest movies ever made. Now the actor and director is refining his “banter à la française” in a scramble to get his new film finished for Cannes
For Louis Garrel, the centre of the universe is located at the Cannes film festival. “It’s like a particle accelerator, like that place in Switzerland,” he says. “Your disappointments there are bigger, and your joy is bigger.” He is calling from Paris, where he is tinkering with the edit of his latest film The Innocent; his fourth feature as a director but the first to get an airing in Cannes’s galactic-sized Louis Lumière auditorium. At the time of our conversation he’s got 10 days to nail down the finer details: “It’s like being back at school. I used to leave everything to the last minute.
For Louis Garrel, the centre of the universe is located at the Cannes film festival. “It’s like a particle accelerator, like that place in Switzerland,” he says. “Your disappointments there are bigger, and your joy is bigger.” He is calling from Paris, where he is tinkering with the edit of his latest film The Innocent; his fourth feature as a director but the first to get an airing in Cannes’s galactic-sized Louis Lumière auditorium. At the time of our conversation he’s got 10 days to nail down the finer details: “It’s like being back at school. I used to leave everything to the last minute.
- 5/18/2022
- by Phil Hoad
- The Guardian - Film News
Mubi, the global curated film streaming service, production company and film distributor, has announced the introduction of its one-of-a-kind curator model in the country in partnership with critically acclaimed Director, Al Jafree Md Yusop. As part of the collaboration, Al Jafree has carefully handpicked a selection of ten diverse films for the platform, giving film enthusiasts looking for distinct content an opportunity to experience these films through the lens of the director. This maiden curated selection will be available to viewers under the ‘Hand-picked by Al Jafree Md Yusop’ spotlight starting March 18, 2022.
From Krzysztof Kieślowski’s The Double Life of Veronique, to Wong Kar Wai’s multi award-winning In The Mood For Love and Agnes Varda’s Vagabond, to Abbas Kiarostami’s Taste of Cherry, the curation boasts of gems from Asian and global classics, to all-time favourites catering to distinct cinematic sensibilities. Other notable titles from the curation include...
From Krzysztof Kieślowski’s The Double Life of Veronique, to Wong Kar Wai’s multi award-winning In The Mood For Love and Agnes Varda’s Vagabond, to Abbas Kiarostami’s Taste of Cherry, the curation boasts of gems from Asian and global classics, to all-time favourites catering to distinct cinematic sensibilities. Other notable titles from the curation include...
- 3/22/2022
- by Suzie Cho
- AsianMoviePulse
“Po-Yu Chen is a Taiwanese film writer, director, video editor who is now based in Los Angeles. He graduated with a Film Mfa degree from Columbia University, majoring in Directing/Screenwriting. He’s always interested in the topic of solitude and the close relationship of people in the city and what a transformation of a place could have an impact on an individual. And he is always passionate about digging into deep, complex relationships between characters through the narrative story.
His latest film, The Day He Returns, is under post-production right now. His other works Something in the Water (2020), won 2018 Sloan Foundation production grants and now streaming at the Museum of Moving Image; Happy Birthday to Me(2019), selected to CineCina Film Festival in 2019 premiered in New York City and was selected by Asian Movie Pulse magazine as one of the best films in 2021; Paint Again, selected to screen in 2021 Taiwanese Biennial Film Festival.
His latest film, The Day He Returns, is under post-production right now. His other works Something in the Water (2020), won 2018 Sloan Foundation production grants and now streaming at the Museum of Moving Image; Happy Birthday to Me(2019), selected to CineCina Film Festival in 2019 premiered in New York City and was selected by Asian Movie Pulse magazine as one of the best films in 2021; Paint Again, selected to screen in 2021 Taiwanese Biennial Film Festival.
- 3/18/2022
- by Adam Symchuk
- AsianMoviePulse
Filmmaker Boaz Yakin discusses some of his favorite films with hosts Josh Olson and Joe Dante.
Show Notes:
Movies Referenced In This Episode
Aviva (2020)
The Harder They Fall (2021)
The Harder They Come (1972)
Reservoir Dogs (1992)
Pulp Fiction (1994)
Fresh (1994)
Mo’ Better Blues (1990)
Safe (2012)
Scream (2022)
The Punisher (1989)
The Adventures of Robin Hood (1938)
Kagemusha (1980) – Bernard Rose’s trailer commentary
Mean Streets (1973)
Jaws (1975) – Josh Olson’s trailer commentary
The 400 Blows (1959) – Robert Weide’s trailer commentary
Yojimbo (1961)
Dodes’ka-den (1970)
Short Cuts (1993) – Glenn Erickson’s Criterion Blu-ray commentary
Casablanca (1942) – John Landis’s trailer commentary
Coonskin (1975) – Larry Karaszewski’s trailer commentary
Fritz The Cat (1972) – Mick Garris’s trailer commentary, Charlie Largent’s Blu-ray review
The Lord of the Rings (1978)
Wizards (1977)
Heavy Traffic (1973) – Larry Karaszewski’s trailer commentary, Randy Fuller’s wine pairing
The Warriors (1979)
Quintet (1979)
Brewster McCloud (1970) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Blu-ray review
Mash (1970)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary,...
Show Notes:
Movies Referenced In This Episode
Aviva (2020)
The Harder They Fall (2021)
The Harder They Come (1972)
Reservoir Dogs (1992)
Pulp Fiction (1994)
Fresh (1994)
Mo’ Better Blues (1990)
Safe (2012)
Scream (2022)
The Punisher (1989)
The Adventures of Robin Hood (1938)
Kagemusha (1980) – Bernard Rose’s trailer commentary
Mean Streets (1973)
Jaws (1975) – Josh Olson’s trailer commentary
The 400 Blows (1959) – Robert Weide’s trailer commentary
Yojimbo (1961)
Dodes’ka-den (1970)
Short Cuts (1993) – Glenn Erickson’s Criterion Blu-ray commentary
Casablanca (1942) – John Landis’s trailer commentary
Coonskin (1975) – Larry Karaszewski’s trailer commentary
Fritz The Cat (1972) – Mick Garris’s trailer commentary, Charlie Largent’s Blu-ray review
The Lord of the Rings (1978)
Wizards (1977)
Heavy Traffic (1973) – Larry Karaszewski’s trailer commentary, Randy Fuller’s wine pairing
The Warriors (1979)
Quintet (1979)
Brewster McCloud (1970) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Blu-ray review
Mash (1970)
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary,...
- 2/22/2022
- by Kris Millsap
- Trailers from Hell
Veteran actor and frequent scene stealer Bruce Davison joins Josh Olson and Joe Dante to discuss a few of his favorite films.
Show Notes: Movies Referenced In This Episode
Extra School (2017)
Gone With The Wind (1939)
Willard (1971) – Joe Dante’s review, Lee Broughton’s Blu-ray review
Fortune And Men’s Eyes (1971)
Short Cuts (1993) – Glenn Erickson’s Blu-ray review
Longtime Companion (1989)
Last Summer (1969) – Larry Karaszewski’s trailer commentary
Short Eyes (1977)
The Manor (2021)
Ulzana’s Raid (1972) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review and All-Region Blu-ray review
King Solomon’s Mines (1950) – John Landis’s trailer commentary
Snow White and the Seven Dwarves (1937)
Them! (1954) – Joe Dante’s trailer commentary
Tarantula (1955) – Joe Dante’s trailer commentary, Glenn Erickson’s Blu-ray review
20,000 Leagues Under The Sea (1954) – Mick Garris’s trailer commentary, Glenn Erickson’s Blu-ray review
Spartacus (1960) – Larry Cohen’s trailer commentary, Glenn Erickson’s Blu-ray review
Ben-Hur (1959) – John Landis’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
Extra School (2017)
Gone With The Wind (1939)
Willard (1971) – Joe Dante’s review, Lee Broughton’s Blu-ray review
Fortune And Men’s Eyes (1971)
Short Cuts (1993) – Glenn Erickson’s Blu-ray review
Longtime Companion (1989)
Last Summer (1969) – Larry Karaszewski’s trailer commentary
Short Eyes (1977)
The Manor (2021)
Ulzana’s Raid (1972) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review and All-Region Blu-ray review
King Solomon’s Mines (1950) – John Landis’s trailer commentary
Snow White and the Seven Dwarves (1937)
Them! (1954) – Joe Dante’s trailer commentary
Tarantula (1955) – Joe Dante’s trailer commentary, Glenn Erickson’s Blu-ray review
20,000 Leagues Under The Sea (1954) – Mick Garris’s trailer commentary, Glenn Erickson’s Blu-ray review
Spartacus (1960) – Larry Cohen’s trailer commentary, Glenn Erickson’s Blu-ray review
Ben-Hur (1959) – John Landis’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary,...
- 2/8/2022
- by Kris Millsap
- Trailers from Hell
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.It’s not always necessary to know a filmmaker’s biography in order to fully appreciate his or her work, but in the case of François Truffaut, it is not only beneficial, it may also be unavoidable. Few directors have so ardently worn their lives on their cinematic sleeve as Truffaut, persistently projecting his passions on the screen for all to see. Born February 6, 1932, he was a child of World War II, but only later in his career was that great tragedy the subject of conspicuous focus. Rather, his recurring concerns were of a more personal nature, ranging and reappearing throughout his work in the form of fleeting flirtations and complex affairs, the multifaceted unrest of childhood, and, of course, the cinema itself. As a wayward young man, Truffaut found refuge...
- 2/2/2022
- MUBI
"As fresh, playful, and enigmatic as ever." BFI has released a brand new trailer for the 60th anniversary re-release of François Truffaut's iconic classic Jules et Jim. The film originally opened in France on January 23rd, 1962 - exactly 60 years ago this week. It's getting a full theatrical re-release in the UK in February. No US plan has been set yet. François Truffaut's hugely popular New Wave classic sees Jeanne Moreau at her most ebullient as Catherine, a Parisian beauty caught up in a complex ménage à trois with the two friends of the title – one Austrian, the other French – just before the First World War. "A romantic rollercoaster of a movie, it’s fast, funny, stylish and affecting all at once." From BFI: "This re-release of Jules et Jim is part of a major Truffaut retrospective which also includes a re-release of The 400 Blows, a two-month season at BFI Southbank,...
- 1/26/2022
- by Alex Billington
- firstshowing.net
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
The Fever (Maya Da-Rin)
The Fever, director-cum-visual artist Da-Rin’s first full-length feature project, puts a human face to a statistic that hardly captures the genocide Brazil is suffering. This is not just a wonderfully crafted, superb exercise in filmmaking, a multilayered tale that seesaws between social realism and magic. It is a call to action, an unassuming manifesto hashed in the present tense but reverberating as a plea from a world already past us, a memoir of sorts. – Leonardo G. (full review)
Where to Stream: The Criterion Channel
French New Wave
Dive into one of the most fertile eras of moving pictures with a new massive 45-film series on The Criterion Channel dedicated to the French New Wave. Highlights include Le...
- 1/7/2022
- by Jordan Raup
- The Film Stage
Sony’s “Spider-Man: No Way Home” continued its reign at the top of the U.K. and Ireland box office for the third weekend in a row with £6.05 million ($8.2 million). The film now has a total of £69.8 million ($94.5 million), according to numbers from Comscore.
Disney prequel “The King’s Man” bowed strongly in second position with £3.4 million. “Clifford the Big Red Dog,” released by eOne, collected £778,802 in third place and now has a total of £5.9 million after four weekends.
In its second weekend, “The Matrix Resurrections” took £760,427 in fourth position and now has a total of £5.2 million. Rounding off the top five was Disney release, Steven Spielberg’s “West Side Story,” with £397,792. The film has collected £5.08 million after four weekends.
After being snubbed at the Academy Awards’ international feature category, Julia Ducournau’s Cannes winner “Titane” was released by Altitude and collected £121,920 in ninth position in its debut weekend.
Reliance Entertainment’s Bollywood cricket epic “’83,...
Disney prequel “The King’s Man” bowed strongly in second position with £3.4 million. “Clifford the Big Red Dog,” released by eOne, collected £778,802 in third place and now has a total of £5.9 million after four weekends.
In its second weekend, “The Matrix Resurrections” took £760,427 in fourth position and now has a total of £5.2 million. Rounding off the top five was Disney release, Steven Spielberg’s “West Side Story,” with £397,792. The film has collected £5.08 million after four weekends.
After being snubbed at the Academy Awards’ international feature category, Julia Ducournau’s Cannes winner “Titane” was released by Altitude and collected £121,920 in ninth position in its debut weekend.
Reliance Entertainment’s Bollywood cricket epic “’83,...
- 1/4/2022
- by Naman Ramachandran
- Variety Film + TV
Paris-based Carlotta Films, a leading player in the distribution of heritage cinema, is preparing a number of major releases next year, including a retrospective of Pier Paolo Pasolini and a showcase of works by Hungarian filmmaker Béla Tarr. Commemorating the 100th anniversary of Pasolini’s birth, the retrospective will featuring restored versions of “Accattone” (1961), “Mamma Roma” (1962) and others.
Carlotta is currently at the Lumière Festival and International Classic Film Market in Lyon, where it’s launching several titles, including 4K restorations of François Truffaut’s five-picture series “The Adventures of Antoine Doinel,” released between 1959 and 1979. They include “The 400 Blows,” “Antoine and Colette,” “Stolen Kisses,” “Bed and Board” and “Love on the Run.” Carlotta is releasing the films, newly restored in 4K by MK2, in French theaters and on DVD/Blu-ray in December. They are part of Carlotta’s ongoing collaboration with Paris-based MK2 that also included the 2020 release of a Claude Chabrol collection.
Carlotta is currently at the Lumière Festival and International Classic Film Market in Lyon, where it’s launching several titles, including 4K restorations of François Truffaut’s five-picture series “The Adventures of Antoine Doinel,” released between 1959 and 1979. They include “The 400 Blows,” “Antoine and Colette,” “Stolen Kisses,” “Bed and Board” and “Love on the Run.” Carlotta is releasing the films, newly restored in 4K by MK2, in French theaters and on DVD/Blu-ray in December. They are part of Carlotta’s ongoing collaboration with Paris-based MK2 that also included the 2020 release of a Claude Chabrol collection.
- 10/15/2021
- by Ed Meza
- Variety Film + TV
With it being seven years since his last live-action film, 2014’s The Grand Budapast Hotel, Wes Anderson is hard at work. Following a Cannes premiere, The French Dispatch finally arrives in limited theaters on October 22 followed by a wide release the following week, and he’s already shooting his next film (recently revealed to have the title Asteroid City) outside of Madrid with Tilda Swinton, Bill Murray, Adrien Brody, Tom Hanks, Margot Robbie, Rupert Friend, Jason Schwartzman, Scarlett Johansson, Bryan Cranston, Hope Davis, Jeffrey Wright, Liev Schreiber, Tony Revolori, and Matt Dillon.
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
As is the case with all of his work, Wes Anderson synthesizes cinema history in his own specific language and for The French Dispatch he has provided a list of influences. As revealed in a promotional book sent to The Flim Stage and styled after the film’s magazine, 32 films are listed that “provided inspiration to the filmmakers,...
- 10/12/2021
- by Jordan Raup
- The Film Stage
The worlds of contemporary geopolitics and narrative independent filmmaking collide in You Resemble Me, a movie that shape-shifts from a first act coming-of-age tale into something searing and provocative, and ripped straight from the headlines. Bold and scattered, it marks a formidable debut for Dina Amer, a first time director who emerges with no shortage of credentials: an award-winning journalist of Egyptian and American extraction (her work has featured in CNN and the New York Times) and associate producer of the Oscar nominated The Square, Amer is perhaps best known for her role as a political correspondent for Vice (also producer here), a job that that took her to the front lines of human-trafficking in Syria, among other precarious situations.
At the start, You Resemble Me plays a bit like Deniz Ergüven’s Mustang. We’re in France this time, but the lighting is just as lovely and natural, the mood just as vital,...
At the start, You Resemble Me plays a bit like Deniz Ergüven’s Mustang. We’re in France this time, but the lighting is just as lovely and natural, the mood just as vital,...
- 9/16/2021
- by Rory O'Connor
- The Film Stage
Film directors have been exploring their own childhood memories on screen for decades, and the honor roll of notable films that have come from that exploration ranges from Francois Truffaut’s “The 400 Blows” to George Lucas’ “American Graffiti,” from Louis Malle’s “Au Revoir les Enfants” to Cameron Crowe’s “Almost Famous,” Mike Mills’ “20th Century Women” to Lee Isaac Chung’s “Minari,” from John Boorman’s “Hope and Glory” to Alfonso Cuaron’s “Roma.” Writer-director-actor Kenneth Branagh has now tried his hand at the genre, and to say that “Belfast” brings out the best in him would be an understatement.
Visually stunning, emotionally wrenching and gloriously human, “Belfast” takes one short period from Branagh’s life and finds in it a coming-of-age story, a portrait of a city fracturing in an instant and a profoundly moving lament for what’s been lost during decades of strife in his homeland of Northern Ireland.
Visually stunning, emotionally wrenching and gloriously human, “Belfast” takes one short period from Branagh’s life and finds in it a coming-of-age story, a portrait of a city fracturing in an instant and a profoundly moving lament for what’s been lost during decades of strife in his homeland of Northern Ireland.
- 9/13/2021
- by Steve Pond
- The Wrap
No artist captures the aimless pain of alienation quite like Tsai Ming-liang. His first feature, 1992’s “Rebels of the Neon God,” can almost be described as “The 400 Blows,” by way of “Taipei Story,” (only stranger) Tsai being quite possibly the third most influential director of Taiwan’s second New Wave movement, alongside Edward Yang and Hou Hsiao-hsien.
Continue reading Taiwanese New Wave Master Tsai Ming-Liang Discusses His Film ‘Days’ & Ideas On “Art Museum Cinema” [Interview] at The Playlist.
Continue reading Taiwanese New Wave Master Tsai Ming-Liang Discusses His Film ‘Days’ & Ideas On “Art Museum Cinema” [Interview] at The Playlist.
- 8/12/2021
- by Andrew Bundy
- The Playlist
“Authenticity” is the holy grail for a certain type of narrative filmmaking. Specifically, films that make a virtue of depicting poor people and the “issues” they face. Quite often, an improvisational, doc-style aesthetic helps cement the idea that we’re just peering in. Gaining a privileged insight into “real lives.” But it bears stating that such films are artificial constructs too.
With my debut feature, “Lorelei,” I wanted to try something different. I grew up in a low-income family — my dad works in construction and neither of my parents graduated high school — so this is personal for me. My interior life, my imaginary life, allowed me do things that weren’t expected for someone from my background: get into my dream college, win a scholarship to attend film school and, now, direct a feature film.
I don’t fetishize verisimilitude, nor consider it a byword for truth. Growing up, it was the opposite,...
With my debut feature, “Lorelei,” I wanted to try something different. I grew up in a low-income family — my dad works in construction and neither of my parents graduated high school — so this is personal for me. My interior life, my imaginary life, allowed me do things that weren’t expected for someone from my background: get into my dream college, win a scholarship to attend film school and, now, direct a feature film.
I don’t fetishize verisimilitude, nor consider it a byword for truth. Growing up, it was the opposite,...
- 7/30/2021
- by Sabrina Doyle
- Variety Film + TV
Documentarian Senain Kheshgi takes us through a few of her favorite documentaries.
Show Notes: Movies Referenced In This Episode
American Movie (1999)
Dog Day Afternoon (1975) – Katt Shea’s trailer commentary
The French Connection (1971) – Dennis Lehane’s trailer commentary, Mark Pellington’s trailer commentary
Grey Gardens (1975)
Salesman (1969)
Real Life (1979)
Hoop Dreams (1994)
Seven Up! (1964)
Don’t Look Back (1967)
Primary (1960)
The Thin Blue Line (1988)
Reds (1981)
The Trial of the Chicago 7 (2020) – Dennis Cozzalio’s 2020 best-of list
High School (1968)
Hospital (1970)
Titicut Follies (1967)
Harlan County, USA (1976)
Salaam Bombay! (1988)
Mississippi Masala (1991)
India Cabaret (1985)
The 400 Blows (1959) – Robert Weide’s trailer commentary
Bicycle Thieves (1949) – Dennis Cozzalio’s Muriel Awards column
Shoeshine (1946)
Citizen Kane (1941) – John Landis’s trailer commentary
Day For Night (1973) – Neil Labute’s trailer commentary
Sherman’s March (1986)
Capturing The Friedmans (2003)
I Think We’re Alone Now (2008)
The Mole Agent (2020)
The Act of Killing (2012)
Other Notable Items
Walter Hill
Walton Goggins
The Majority
Mark Borchardt
Mike Schank
The...
Show Notes: Movies Referenced In This Episode
American Movie (1999)
Dog Day Afternoon (1975) – Katt Shea’s trailer commentary
The French Connection (1971) – Dennis Lehane’s trailer commentary, Mark Pellington’s trailer commentary
Grey Gardens (1975)
Salesman (1969)
Real Life (1979)
Hoop Dreams (1994)
Seven Up! (1964)
Don’t Look Back (1967)
Primary (1960)
The Thin Blue Line (1988)
Reds (1981)
The Trial of the Chicago 7 (2020) – Dennis Cozzalio’s 2020 best-of list
High School (1968)
Hospital (1970)
Titicut Follies (1967)
Harlan County, USA (1976)
Salaam Bombay! (1988)
Mississippi Masala (1991)
India Cabaret (1985)
The 400 Blows (1959) – Robert Weide’s trailer commentary
Bicycle Thieves (1949) – Dennis Cozzalio’s Muriel Awards column
Shoeshine (1946)
Citizen Kane (1941) – John Landis’s trailer commentary
Day For Night (1973) – Neil Labute’s trailer commentary
Sherman’s March (1986)
Capturing The Friedmans (2003)
I Think We’re Alone Now (2008)
The Mole Agent (2020)
The Act of Killing (2012)
Other Notable Items
Walter Hill
Walton Goggins
The Majority
Mark Borchardt
Mike Schank
The...
- 7/27/2021
- by Kris Millsap
- Trailers from Hell
Kaouther Ben Hania: “It’s basically that the Faust legend is our daily bread.”
Kaouther Ben Hania’s gripping The Man Who Sold His Skin (Oscar-nominated for Best International Feature Film), shot by Christopher Aoun (Nadine Labaki’s Capernaum) with a score from Amin Bouhafa (Abderrahmane Sissako’s Timbuktu and Fanny Liatard and Jérémy Trouilh’s Gagarine with Evgueni Galperine and Sacha Galperine), stars Yahya Mahayni, Dea Liane, Koen De Bouw, and Monica Bellucci.
Connections to the auction scene with Cary Grant in Alfred Hitchcock’s North By Northwest, Kim Novak sitting in the museum in Vertigo, Jean-Pierre Léaud’s white lie in François Truffaut's The 400 Blows, Faust, peacocks, and the “long journey in preparation” for writer/director Kaouther Ben Hania, all came up in the first part of our in-depth conversation on Tunisia’s Oscar submission The Man Who Sold His Skin.
Kaouther Ben Hania on...
Kaouther Ben Hania’s gripping The Man Who Sold His Skin (Oscar-nominated for Best International Feature Film), shot by Christopher Aoun (Nadine Labaki’s Capernaum) with a score from Amin Bouhafa (Abderrahmane Sissako’s Timbuktu and Fanny Liatard and Jérémy Trouilh’s Gagarine with Evgueni Galperine and Sacha Galperine), stars Yahya Mahayni, Dea Liane, Koen De Bouw, and Monica Bellucci.
Connections to the auction scene with Cary Grant in Alfred Hitchcock’s North By Northwest, Kim Novak sitting in the museum in Vertigo, Jean-Pierre Léaud’s white lie in François Truffaut's The 400 Blows, Faust, peacocks, and the “long journey in preparation” for writer/director Kaouther Ben Hania, all came up in the first part of our in-depth conversation on Tunisia’s Oscar submission The Man Who Sold His Skin.
Kaouther Ben Hania on...
- 3/31/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Guy Maddin on Bertrand Tavernier: “He really taught me how to love the Lumières because they had always been as dry as dust before. Thanks to him and his voice and his delight, his Gallic delight, I think of them every day now.” Photo: Anne-Katrin Titze
Prior to meeting with Guy Maddin yesterday for a Zoom conversation on The Rabbit Hunters, starring Isabella Rossellini as Federico Fellini and Giulietta Masina combined into one persona, I passed on the very sad news that Bertrand Tavernier had died.
In 2019, Bertrand Tavernier was appointed to be UniFrance’s American Ambassador for New York’s Rendez-Vous with French Cinema and was scheduled to introduce François Truffaut’s The 400 Blows. He was unable to attend at the last moment and was replaced by Paul Schrader who did the honours.
Anne-Katrin Titze: Hello!
Guy Maddin: Great to see you!
Akt: Great to see you too!
Prior to meeting with Guy Maddin yesterday for a Zoom conversation on The Rabbit Hunters, starring Isabella Rossellini as Federico Fellini and Giulietta Masina combined into one persona, I passed on the very sad news that Bertrand Tavernier had died.
In 2019, Bertrand Tavernier was appointed to be UniFrance’s American Ambassador for New York’s Rendez-Vous with French Cinema and was scheduled to introduce François Truffaut’s The 400 Blows. He was unable to attend at the last moment and was replaced by Paul Schrader who did the honours.
Anne-Katrin Titze: Hello!
Guy Maddin: Great to see you!
Akt: Great to see you too!
- 3/26/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Following up his most ambitious film yet, the glorious space opera Ad Astra, James Gray is setting his sights a bit smaller for his next film. Armageddon Time is inspired by his mid-80s upbringing in Queens’ Kew-Forest School, and also involves its principal as well as board member Fred Trump. Led by Robert De Niro, Cate Blanchett, Donald Sutherland, Oscar Isaac, and Anne Hathaway, the director said last summer that The 400 Blows and Amarcord were key influences on the project.
Now, he’s revealed an intriguing role for one of his actors. “Cate Blanchett is going to play Donald Trump’s sister which is the weirdest sentence I have ever said,” Gray revealed in Qumra event (via Screen Daily). “She’s only in it for three days, she’s doing me a favor. She has a really long speech to deliver, it’s a real scene-stealer. I’ve...
Now, he’s revealed an intriguing role for one of his actors. “Cate Blanchett is going to play Donald Trump’s sister which is the weirdest sentence I have ever said,” Gray revealed in Qumra event (via Screen Daily). “She’s only in it for three days, she’s doing me a favor. She has a really long speech to deliver, it’s a real scene-stealer. I’ve...
- 3/17/2021
- by Jordan Raup
- The Film Stage
Writer, director, producer Nicole Holofcener joins podcast hosts Josh Olson and Joe Dante to discuss some of her favorite films.
Show Notes: Movies Referenced In This Episode
Enough Said (2013)
True Romance (1993)
Coming Home (1978)
Bound for Glory (1976)
Hal (2018)
The Best Years Of Our Lives (1946)
The Cowboys (1972)
Harold And Maude (1971)
Conrack (1974)
Norma Rae (1979)
Midnight Cowboy (1969)
Miller’s Crossing (1990)
Naked (1993)
The Short And Curlies (1987)
Short Cuts (1993)
Nashville (1975)
McCabe and Mrs. Miller (1971)
Heaven Can Wait (1978)
Here Comes Mr. Jordan (1941)
The Father (2020)
Carnal Knowledge (1971)
Sex, Lies And Videotape (1989)
Jaws (1975)
Abbott and Costello Meet The Mummy (1955)
Abbott and Costello Meet Frankenstein (1948)
World Without End (1956)
Boogie Nights (1997)
Blue Velvet (1986)
Goodfellas (1990)
Adaptation (2002)
Synecdoche, New York (2008)
Lolita (1962)
The Shining (1980)
A Clockwork Orange (1971)
Dr. Strangelove (1964)
Paths of Glory (1957)
Dog Day Afternoon (1975)
12 Angry Men (1957)
A Serious Man (2009)
Inside Llewyn Davis (2013)
The Big Lebowski (1998)
The Ballad of Buster Scruggs (2018)
The Man Who Wasn’t There (2001)
Intolerable Cruelty (2003)
Capote (2005)
A History of Violence (2005)
The 400 Blows...
Show Notes: Movies Referenced In This Episode
Enough Said (2013)
True Romance (1993)
Coming Home (1978)
Bound for Glory (1976)
Hal (2018)
The Best Years Of Our Lives (1946)
The Cowboys (1972)
Harold And Maude (1971)
Conrack (1974)
Norma Rae (1979)
Midnight Cowboy (1969)
Miller’s Crossing (1990)
Naked (1993)
The Short And Curlies (1987)
Short Cuts (1993)
Nashville (1975)
McCabe and Mrs. Miller (1971)
Heaven Can Wait (1978)
Here Comes Mr. Jordan (1941)
The Father (2020)
Carnal Knowledge (1971)
Sex, Lies And Videotape (1989)
Jaws (1975)
Abbott and Costello Meet The Mummy (1955)
Abbott and Costello Meet Frankenstein (1948)
World Without End (1956)
Boogie Nights (1997)
Blue Velvet (1986)
Goodfellas (1990)
Adaptation (2002)
Synecdoche, New York (2008)
Lolita (1962)
The Shining (1980)
A Clockwork Orange (1971)
Dr. Strangelove (1964)
Paths of Glory (1957)
Dog Day Afternoon (1975)
12 Angry Men (1957)
A Serious Man (2009)
Inside Llewyn Davis (2013)
The Big Lebowski (1998)
The Ballad of Buster Scruggs (2018)
The Man Who Wasn’t There (2001)
Intolerable Cruelty (2003)
Capote (2005)
A History of Violence (2005)
The 400 Blows...
- 3/16/2021
- by Kris Millsap
- Trailers from Hell
South Korean filmmaker Hong Sangsoo has been a particular favorite at the Berlin Film Festival for quite some time — he won the Best Director prize there last year for The Woman Who Ran — and he’s back again this year with another competition entry, Introduction. A study of indecision and uncertainty in the realms of family, career and amour, this very brief (just 66 minutes) and visually appealing black-and-white drama can be a bit confusing, as the writer-director makes little effort to define the characters and their relationships with one another. But it also contains some vibrant intimate scenes, as the principals feel their way toward life-defining emotions and decisions.
This is the prolific writer-director’s 25th film in as many years, and if it’s sometimes difficult to remember which is which, it’s for a good reason; they’re all talky affairs in which mostly young people go on...
This is the prolific writer-director’s 25th film in as many years, and if it’s sometimes difficult to remember which is which, it’s for a good reason; they’re all talky affairs in which mostly young people go on...
- 3/2/2021
- by Todd McCarthy
- Deadline Film + TV
Lee Isaac Chung’s “Minari” just got a big fat Christmas present from the Hollywood Foreign Press Association, whose rules forced producers to submit the Korean immigrant drama in the Golden Globes foreign language category, an identical situation to Lulu Wang’s “The Farewell” at the 2020 Globes. Controversy erupted from Wang and others, because it means that the film will not compete for Best Motion Picture Drama, although its actors are eligible in acting categories.
So why is this a good thing?
Most Oscar voters have never heard of “Minari.” After the movie burst out of Sundance 2020 with rave reviews and the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award, A24 was juggling release options, knowing that despite all their best efforts, indie box office smash “The Farewell” ($17.7 million domestic) never landed an Oscar nomination, instead taking home Best Feature at the Independent Spirit Awards.
So why is this a good thing?
Most Oscar voters have never heard of “Minari.” After the movie burst out of Sundance 2020 with rave reviews and the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award, A24 was juggling release options, knowing that despite all their best efforts, indie box office smash “The Farewell” ($17.7 million domestic) never landed an Oscar nomination, instead taking home Best Feature at the Independent Spirit Awards.
- 12/24/2020
- by Anne Thompson
- Indiewire
Lee Isaac Chung’s “Minari” just got a big fat Christmas present from the Hollywood Foreign Press Association, whose rules forced producers to submit the Korean immigrant drama in the Golden Globes foreign language category, an identical situation to Lulu Wang’s “The Farewell” at the 2020 Globes. Controversy erupted from Wang and others, because it means that the film will not compete for Best Motion Picture Drama, although its actors are eligible in acting categories.
So why is this a good thing?
Most Oscar voters have never heard of “Minari.” After the movie burst out of Sundance 2020 with rave reviews and the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award, A24 was juggling release options, knowing that despite all their best efforts, indie box office smash “The Farewell” ($17.7 million domestic) never landed an Oscar nomination, instead taking home Best Feature at the Independent Spirit Awards.
So why is this a good thing?
Most Oscar voters have never heard of “Minari.” After the movie burst out of Sundance 2020 with rave reviews and the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award, A24 was juggling release options, knowing that despite all their best efforts, indie box office smash “The Farewell” ($17.7 million domestic) never landed an Oscar nomination, instead taking home Best Feature at the Independent Spirit Awards.
- 12/24/2020
- by Anne Thompson
- Thompson on Hollywood
With the arrival of Alex Wheatle, the fourth of five installments that make up Small Axe, Steve McQueen’s adamant and penetrating series of roughly hourlong dramas centering on the Black immigrant community experience in post-World War II Britain, the emerging core concern is the hypocrisy involved in the nation laying out the welcome mat to newcomers in the first place while denying opportunity once they’ve arrived. The theme could hardly be clearer than it is in this episode, which sees the eponymous young lad bounced around for years by social services before becoming involved in the Brixton Uprising of April 1981. The reason we’re seeing a film about him now is that, some years later, Wheatle emerged as a successful writer.
Ferocious police brutality by the London police is a recurring hallmark in McQueen’s compelling series; the authorities shut down a popular Caribbean restaurant in Mangrove and...
Ferocious police brutality by the London police is a recurring hallmark in McQueen’s compelling series; the authorities shut down a popular Caribbean restaurant in Mangrove and...
- 11/30/2020
- by Todd McCarthy
- Deadline Film + TV
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.