NYC Weekend Watch is our weekly round-up of repertory offerings.
Paris Theater
Prints of Salò, Make Way for Tomorrow, The Turin Horse, There Will Be Blood, Twin Peaks: Fire Walk with Me, Au Hasard Balthazar, and Rome, Open City all screen for “Bleak Week.”
Film at Lincoln Center
Films by Minnelli, Bergman, Powell and Pressburger, Lubitsch, and more screen in an Annie Baker-curated series.
Anthology Film Archives
A five-film Aki Kaurismäki retrospective begins, while “Essential Cinema” brings von Stroheim’s Greed on Friday.
Film Forum
Vittorio De Sica’s Shoeshine begins playing in a new restoration, while films by Jim Jarmusch, George Miller, and more screen in “Out of the 80s“; Stormy Weather shows on Sunday.
Museum of the Moving Image
The Last of the Mohicans and The Bridges of Madison County play on 35mm as part of “See It Big at the ’90s Multiplex”; an Agnieszka Holland retrospective continues...
Paris Theater
Prints of Salò, Make Way for Tomorrow, The Turin Horse, There Will Be Blood, Twin Peaks: Fire Walk with Me, Au Hasard Balthazar, and Rome, Open City all screen for “Bleak Week.”
Film at Lincoln Center
Films by Minnelli, Bergman, Powell and Pressburger, Lubitsch, and more screen in an Annie Baker-curated series.
Anthology Film Archives
A five-film Aki Kaurismäki retrospective begins, while “Essential Cinema” brings von Stroheim’s Greed on Friday.
Film Forum
Vittorio De Sica’s Shoeshine begins playing in a new restoration, while films by Jim Jarmusch, George Miller, and more screen in “Out of the 80s“; Stormy Weather shows on Sunday.
Museum of the Moving Image
The Last of the Mohicans and The Bridges of Madison County play on 35mm as part of “See It Big at the ’90s Multiplex”; an Agnieszka Holland retrospective continues...
- 6/14/2024
- by Nick Newman
- The Film Stage
Mk2 Films, the Paris-based outfit behind Justine Triet’s Oscar-nominated “Anatomy of a Fall,” is set to restore Robert Bresson’s “Four Nights of a Dreamer,” a romantic drama which competed at the Berlinale in 1971 and disappeared from screens in 1985.
MK2 Films, the division of a major arthouse cinema chain in France, will digitize “Four Nights of a Dreamer” in 4K and will bring it to global theatres in 2024.
“Four Nights of a Dreamer” is the 10th film directed by Bresson and the only one which wasn’t restored. His other credits include “Mouchette,” “Au Hasard Balthazar” and “Pickpocket.”
Inspired by Fyodor Dostoevsky’s novel “White Nights,” “Four Nights of a Dreamer” revolves around a meeting on the Pont Neuf between a dreamy young man and a distraught young woman who will confide in each other over four nights. It stars Guillaume des Forêts, Isabelle Weingarten, Jean-Maurice Monnoyer. The film...
MK2 Films, the division of a major arthouse cinema chain in France, will digitize “Four Nights of a Dreamer” in 4K and will bring it to global theatres in 2024.
“Four Nights of a Dreamer” is the 10th film directed by Bresson and the only one which wasn’t restored. His other credits include “Mouchette,” “Au Hasard Balthazar” and “Pickpocket.”
Inspired by Fyodor Dostoevsky’s novel “White Nights,” “Four Nights of a Dreamer” revolves around a meeting on the Pont Neuf between a dreamy young man and a distraught young woman who will confide in each other over four nights. It stars Guillaume des Forêts, Isabelle Weingarten, Jean-Maurice Monnoyer. The film...
- 2/16/2024
- by Elsa Keslassy
- Variety Film + TV
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
It’s a big week for Oscar contenders on streaming services. All four of our picks for awards contenders to stream this weekend are current Oscar nominees. We’re going to be upfront with you: three of the picks will make you very sad. And the fourth one isn’t exactly “Ted Lasso,” either. Hopefully, you’re ready for some heavy stuff this late winter weekend.
The contender to watch this weekend: “Babylon”
You may have been waiting for Damien Chazelle’s hedonistic historical epic to come to streaming, where you can pause the three-hour-plus film for a bathroom break. Brad Pitt, Margot Robbie, and Diego Calva star as denizens of Hollywood trying to survive the transition from silent films to talkies. The film has underperformed in a lot of ways – it didn’t turn a profit at the box office, got mixed reviews from critics, and didn’t earn...
The contender to watch this weekend: “Babylon”
You may have been waiting for Damien Chazelle’s hedonistic historical epic to come to streaming, where you can pause the three-hour-plus film for a bathroom break. Brad Pitt, Margot Robbie, and Diego Calva star as denizens of Hollywood trying to survive the transition from silent films to talkies. The film has underperformed in a lot of ways – it didn’t turn a profit at the box office, got mixed reviews from critics, and didn’t earn...
- 2/25/2023
- by Liam Mathews
- Gold Derby
Now in his mid-80s, Polish director Jerzy Skolimowski proved that age is just a number when his film Eo premiered in Cannes last year, earning him the Jury Prize for this picaresque story of a donkey on the move, from good situations to bad. His lucky streak continued this year when the film was Oscar-nominated for Best International Feature — surprisingly, his first nod from the Academy in a career spanning 60 years.
Related Story Pawel Mykietyn Admits He Loved The “Crazy” Of Composing Music For A Wandering Donkey In Poland’s Oscar Entry ‘Eo’ – Sound & Screen Related Story 'Fire Of Love' Team On Their Volcanic Love Story For The Ages – Contenders Film: The Nominees Related Story Alice Rohrwacher & Alfonso Cuarón's 'Le Pupille' Draws Inspiration From Classic Italian Cinema – Contenders Film: The Nominees
Accompanied by his wife and writing partner Ewa Piaskowska for a panel at Deadline’s Contenders Film: The Nominees event,...
Related Story Pawel Mykietyn Admits He Loved The “Crazy” Of Composing Music For A Wandering Donkey In Poland’s Oscar Entry ‘Eo’ – Sound & Screen Related Story 'Fire Of Love' Team On Their Volcanic Love Story For The Ages – Contenders Film: The Nominees Related Story Alice Rohrwacher & Alfonso Cuarón's 'Le Pupille' Draws Inspiration From Classic Italian Cinema – Contenders Film: The Nominees
Accompanied by his wife and writing partner Ewa Piaskowska for a panel at Deadline’s Contenders Film: The Nominees event,...
- 2/18/2023
- by Damon Wise
- Deadline Film + TV
A circus donkey embarks on a long, lonely journey, meeting human kindness and cruelty, in this strangely beautiful Oscar contender
By far the most intriguing category at the 95th Academy Awards is that of best international feature. While German director Edward Berger’s All Quiet on the Western Front seems an obvious pack leader (it’s up for nine awards – including best picture), there’s buzz around Colm Bairéad’s The Quiet Girl (the first Irish feature to be nominated in this category), and enthusiastic support for Santiago Mitre’s historical drama Argentina, 1985. But the dark horse – or rather donkey – is Eo, the strangely wonderful Polish entry from veteran director Jerzy Skolimowski, inspired by Robert Bresson’s 1966 French masterpiece Au hasard Balthazar.
“This film was made out of our love for animals and nature,” says a closing intertitle, reassuring viewers that “the animals’ wellbeing on set was always our first...
By far the most intriguing category at the 95th Academy Awards is that of best international feature. While German director Edward Berger’s All Quiet on the Western Front seems an obvious pack leader (it’s up for nine awards – including best picture), there’s buzz around Colm Bairéad’s The Quiet Girl (the first Irish feature to be nominated in this category), and enthusiastic support for Santiago Mitre’s historical drama Argentina, 1985. But the dark horse – or rather donkey – is Eo, the strangely wonderful Polish entry from veteran director Jerzy Skolimowski, inspired by Robert Bresson’s 1966 French masterpiece Au hasard Balthazar.
“This film was made out of our love for animals and nature,” says a closing intertitle, reassuring viewers that “the animals’ wellbeing on set was always our first...
- 2/5/2023
- by Mark Kermode
- The Guardian - Film News
Ted Fendt's Outside Noise is showing exclusively on Mubi in most countries starting August 31, 2022, in the series The New Auteurs as well as the series Missed Connections: Three Films by Ted Fendt.The feeling hasn’t changed. I write this having just returned to Germany from the United States. Like my past two visits, it again confirmed to me that I was right to follow the nagging pull and leave. To a large degree, Outside Noise deals with the last years I spent in New York. At some point, a strong sense of stasis, the feeling that I couldn’t develop any further there, began to overwhelm me. Perhaps there were things I could have changed, but I couldn’t articulate what was in my head. Through a bit of chance or gentle encouragement, circumstances led me to Vienna and Berlin, and toward this film.It is clear to me now,...
- 8/31/2022
- MUBI
Keep track of all the submissions for best international feature at the 2023 Academy Awards.
Entries for the 2023 Oscar for best international feature are underway, and Screen is profiling each one on this page.
Scroll down for profiles of each Oscar entry
An international feature film is defined as a feature-length motion picture produced outside the US with a predominantly (more than 50) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between January 1, 2022 and November 30, 2022. The deadline for submissions to the Academy is October 3, 2022.
A shortlist of 15 finalists is...
Entries for the 2023 Oscar for best international feature are underway, and Screen is profiling each one on this page.
Scroll down for profiles of each Oscar entry
An international feature film is defined as a feature-length motion picture produced outside the US with a predominantly (more than 50) non-English dialogue track and can include animated and documentary features.
Submitted films must have been released theatrically in their respective countries between January 1, 2022 and November 30, 2022. The deadline for submissions to the Academy is October 3, 2022.
A shortlist of 15 finalists is...
- 8/30/2022
- by Screen staff
- ScreenDaily
This year, the Cannes Film Festival kicked off with a restoration of Jean Eustache’s 1973 ménage à trois scandal “The Mother and the Whore” and concluded with a screening of controversial Palme d’Or winner “Triangle of Sadness,” creating an odd kind of symmetry for the event’s 75th anniversary edition. Made half a century apart, Eustache and Östlund’s rhyming triangles were hardly the only parallels to be found at Cannes — though anyone who’s ever binge-watched movies at a major festival knows the feeling of such connections, often just a fluke of the order in which you see movies whose images and ideas inevitably resonate with one another.
Masked in screening rooms full of Covid-defiant strangers, I somehow managed to screen all 21 films in competition this year, and such similarities were myriad, while the masterpieces were scarce.
Consider this could-be coincidence: Roughly midway through Östlund’s diamond-sharp, influencer-skewering...
Masked in screening rooms full of Covid-defiant strangers, I somehow managed to screen all 21 films in competition this year, and such similarities were myriad, while the masterpieces were scarce.
Consider this could-be coincidence: Roughly midway through Östlund’s diamond-sharp, influencer-skewering...
- 5/30/2022
- by Peter Debruge
- Variety Film + TV
Cannes — The awards show for the 75th anniversary Cannes Film Festival is underway, hosted by “Benedetta” star Virginie Efira, bringing 12 days of competition between 21 international features to a close. The jury spread the wealth, awarding three more prizes than typically expected of them — two ties and a special anniversary award.
Tying for second place, Claire Denis’ “Stars at Noon” and Lukas Dhont’s “Close” shared the Grand Prix, eliciting boos from the press room. In Denis’ divisive — but undeniably seductive — tropical drama, Margaret Qualley plays an American journalist whose assignment in Nicaragua has run its course, forcing her to use her wits and her wiles to find a way out of the country, with the help of a seductive stranger (Joe Alwyn).
Korean director Park Chan-Wook won best director honors for his Hitchcockian thriller “Decision to Leave,” in which a detective falls for the widow of a murder victim. After...
Tying for second place, Claire Denis’ “Stars at Noon” and Lukas Dhont’s “Close” shared the Grand Prix, eliciting boos from the press room. In Denis’ divisive — but undeniably seductive — tropical drama, Margaret Qualley plays an American journalist whose assignment in Nicaragua has run its course, forcing her to use her wits and her wiles to find a way out of the country, with the help of a seductive stranger (Joe Alwyn).
Korean director Park Chan-Wook won best director honors for his Hitchcockian thriller “Decision to Leave,” in which a detective falls for the widow of a murder victim. After...
- 5/28/2022
- by Peter Debruge
- Variety Film + TV
Notebook is covering the Cannes Film Festival with an ongoing correspondence between critics Leonardo Goi and Lawrence Garcia, and editor Daniel Kasman.Eo.Dear Lawrence and Leo,These days, big festivals seem so wary of disturbing attendees, whether on the business or press side, that radical works of cinema are rarely placed directly in the spotlight. Thus when we get a token art-first-commerce-second-(or not at all) bone thrown to a receptive viewer like me, I’m both delighted at the bold choice, and brought face to face with the fact it's not taken more often. (Past examples in Cannes: anything by Malick; Carax’s Holy Motors; Godard’s Goodbye to Language; Kiarostami et fils’ 24 Frames.) This year the refreshment of audacity adventure was Eo, a modern version of Robert Bresson’s Au hasard Balthazar (1966), a tale of humankind's kindness towards and, more often, mistreatment of a donkey, directed by...
- 5/25/2022
- MUBI
How would a humble animal perceive humanity? "Eo" attempts to answer that question by following a lowly donkey through the ups and downs of his life.
Directed by Jerzy Skolimowski, "Eo" is based on the 1966 Robert Bresson film, "Au Hasard Balthazar." Much like its predecessor, it's told from the point-of-view of a donkey ... and the choice of animal is no coincidence. Throughout human history, the donkey has been our beast of burden and poor Eo is no different. He starts out as a circus performer — part of a slightly surreal act in a Polish circus alongside his handler and loving owner, who...
The post Eo Review: A Damning Take On Humanity's Relationship With Animals [Cannes] appeared first on /Film.
Directed by Jerzy Skolimowski, "Eo" is based on the 1966 Robert Bresson film, "Au Hasard Balthazar." Much like its predecessor, it's told from the point-of-view of a donkey ... and the choice of animal is no coincidence. Throughout human history, the donkey has been our beast of burden and poor Eo is no different. He starts out as a circus performer — part of a slightly surreal act in a Polish circus alongside his handler and loving owner, who...
The post Eo Review: A Damning Take On Humanity's Relationship With Animals [Cannes] appeared first on /Film.
- 5/22/2022
- by Ryan Leston
- Slash Film
“What if this movie’s just a donkey green screened onto a bunch of Koyaanisqatsi-looking footage?” I joked to a friend as the lights dimmed for Polish master Jerzy Skolimowski’s new film, Eo. It wasn’t, but honestly I wasn’t as far off as I thought. Touted as a remake of Robert Bresson’s 1966 classic Au hasard Balthazar, the 84 year-old’s latest offers one of the more radical updates of that film imaginable. Pitched somewhere between sacrilege and tribute, Eo is an […]
The post Cannes 2022: Eo, Enys Men first appeared on Filmmaker Magazine.
The post Cannes 2022: Eo, Enys Men first appeared on Filmmaker Magazine.
- 5/21/2022
- by Blake Williams
- Filmmaker Magazine - Blog
“What if this movie’s just a donkey green screened onto a bunch of Koyaanisqatsi-looking footage?” I joked to a friend as the lights dimmed for Polish master Jerzy Skolimowski’s new film, Eo. It wasn’t, but honestly I wasn’t as far off as I thought. Touted as a remake of Robert Bresson’s 1966 classic Au hasard Balthazar, the 84 year-old’s latest offers one of the more radical updates of that film imaginable. Pitched somewhere between sacrilege and tribute, Eo is an […]
The post Cannes 2022: Eo, Enys Men first appeared on Filmmaker Magazine.
The post Cannes 2022: Eo, Enys Men first appeared on Filmmaker Magazine.
- 5/21/2022
- by Blake Williams
- Filmmaker Magazine-Director Interviews
In one of analytic philosopher Ludwig Wittgenstein’s most widely shared quotes, he mused that “if a lion could talk, we would not understand him.” The barrier of language and gulf of understanding between man and animal is the subject of the quite wondrous Eo, a true surprise from the great Polish filmmaker Jerzy Skolimowski, now enjoying his mid-80s. It is adapted—freely inspired may be a better term—from Robert Bresson’s iconic 1966 film Au Hasard Balthazar; from Eo’s opening minutes any memory or sense of that masterpiece’s forbidding stature is banished—we’re dealing with quite a different animal here. No, it isn’t as good. But it’s different, and a companion piece that flatters both that film and itself.
For Bresson—a cruel moralist, but definitely not a sadist—the donkey Balthazar was meant to unveil the human capacity for sin; with intensely...
For Bresson—a cruel moralist, but definitely not a sadist—the donkey Balthazar was meant to unveil the human capacity for sin; with intensely...
- 5/20/2022
- by David Katz
- The Film Stage
Donkey Skin: Skolimowski Restages Bresson for the Modern Age
Robert Bresson’s 1966 film Au Hasard Balthazar is considered a masterpiece, though its reputation took a few years to catch on with its merits. Based on a passage from Dostoevsky’s The Idiot, it tells the tale of a titular donkey as he passes between owners, left to die after we’ve experienced examples of the seven deadly sins. The legendary Jerzy Skolimowski updates the exercise in his latest film Eo.
Godard hailed the original film as representing “the world in an hour and a half”.…...
Robert Bresson’s 1966 film Au Hasard Balthazar is considered a masterpiece, though its reputation took a few years to catch on with its merits. Based on a passage from Dostoevsky’s The Idiot, it tells the tale of a titular donkey as he passes between owners, left to die after we’ve experienced examples of the seven deadly sins. The legendary Jerzy Skolimowski updates the exercise in his latest film Eo.
Godard hailed the original film as representing “the world in an hour and a half”.…...
- 5/20/2022
- by Nicholas Bell
- IONCINEMA.com
Give an animal a name, and it becomes a lot more difficult to send it to the glue factory. But people don’t stop using paste simply because they’ve made an equine friend. Named for the animal it follows from owner to owner, through various hardships and across national borders, “Eo” is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy, wide eyes of a donkey whom we come to adore.
“Eo’s” inspiration is obvious. In Robert Bresson’s 1966 “Au Hasard Balthazar,” two kids christened a newborn donkey in the film’s opening minutes. By the end, when Balthazar sighed his last breath, audiences wept, such was the attachment they had formed. Polish director Jerzy Skolimowski reckons Bresson’s relatively austere classic was the only time he shed a tear in the cinema. Now, at the...
“Eo’s” inspiration is obvious. In Robert Bresson’s 1966 “Au Hasard Balthazar,” two kids christened a newborn donkey in the film’s opening minutes. By the end, when Balthazar sighed his last breath, audiences wept, such was the attachment they had formed. Polish director Jerzy Skolimowski reckons Bresson’s relatively austere classic was the only time he shed a tear in the cinema. Now, at the...
- 5/19/2022
- by Peter Debruge
- Variety Film + TV
A version of this preview of this year’s Cannes Film Festival lineup appeared in the Cannes edition of TheWrap magazine.
As the film industry — from the mightiest moguls to the scrappiest indie-theater owners — struggles to bring movies and moviegoing back to pre-covid standards, look to this year’s Cannes Film Festival to trumpet the cause, starting with a splashy premiere of “Top Gun: Maverick” that’s clearly meant to send out an international message: “Remember summer movies? You love those. And they’re back!”
Beyond that Paramount blockbuster, Cannes 2022 seems to be delivering more of what the annual event is known for, in the best ways (providing an international platform for some of the world’s greatest films and filmmakers) and in the worst.
Even with its recurring shortcomings, the Cannes lineup provides an impressive menu of titles that cineastes everywhere have been eagerly awaiting, from David Cronenberg’s...
As the film industry — from the mightiest moguls to the scrappiest indie-theater owners — struggles to bring movies and moviegoing back to pre-covid standards, look to this year’s Cannes Film Festival to trumpet the cause, starting with a splashy premiere of “Top Gun: Maverick” that’s clearly meant to send out an international message: “Remember summer movies? You love those. And they’re back!”
Beyond that Paramount blockbuster, Cannes 2022 seems to be delivering more of what the annual event is known for, in the best ways (providing an international platform for some of the world’s greatest films and filmmakers) and in the worst.
Even with its recurring shortcomings, the Cannes lineup provides an impressive menu of titles that cineastes everywhere have been eagerly awaiting, from David Cronenberg’s...
- 5/16/2022
- by Alonso Duralde
- The Wrap
Malayali filmmaker John Abraham is rightly regarded as one of the most influential talents in the vast history of Indian cinema. While his magnum opus is undoubtedly the 1986 masterpiece “Amma Ariyan“, one needs to experience Abraham’s filmography in its entirety to properly understand his avant-garde sensibilities. His second film, “Donkey in a Brahmin Village”, represents a unique cultural palimpsest that has generated a legacy of its own due to the director’s posthumous recognition and subsequent critical revaluation. The recipient of national awards like the Best Feature Film in Tamil and an entry in the Ibn’s list of “100 greatest Indian films of all time,” the film is now recognised as an indispensable manifestation of John Abraham’s unsettling artistic vision.
Inspired by Robert Bresson’s 1966 drama “Au Hasard Balthazar “(which was based on a passage from Fyodor Dostoyevsky’s “The Idiot”), Abraham presents us with a disturbing parable...
Inspired by Robert Bresson’s 1966 drama “Au Hasard Balthazar “(which was based on a passage from Fyodor Dostoyevsky’s “The Idiot”), Abraham presents us with a disturbing parable...
- 5/1/2021
- by Swapnil Dhruv Bose
- AsianMoviePulse
Ramin Bahrani, Oscar-nominated writer/director of The White Tiger, discusses a few of his favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
The White Tiger (2021)
Man Push Cart (2005)
Chop Shop (2007)
99 Homes (2015)
The Boys From Fengkuei (1983)
The Time To Live And The Time To Die (1985)
The Killing Of A Chinese Bookie (1976)
Bicycle Thieves (1948)
La Terra Trema (1948)
Umberto D (1952)
Where Is The Friend’s Home? (1987)
Nomadland (2020)
The Runner (1984)
Bashu, the Little Stranger (1989)
A Moment Of Innocence a.k.a. Bread And Flower Pot (1996)
The House Is Black (1963)
The Conversation (1974)
Mean Streets (1973)
Nashville (1975)
Aguirre, The Wrath Of God (1972)
The Enigma Of Kaspar Hauser (1974)
Paris, Texas (1984)
Cléo from 5 to 7 (1962)
Vagabond (1985)
Luzzu (2021)
Bait (2019)
Sweet Sixteen (2002)
Abigail’s Party (1977)
Meantime (1983)
Fish Tank (2009)
Do The Right Thing (1989)
Malcolm X (1992)
Nothing But A Man (1964)
Goodbye Solo (2008)
The Spook Who Sat By The Door (1973)
Dekalog (1989)
The Double Life Of Veronique...
Show Notes: Movies Referenced In This Episode
The White Tiger (2021)
Man Push Cart (2005)
Chop Shop (2007)
99 Homes (2015)
The Boys From Fengkuei (1983)
The Time To Live And The Time To Die (1985)
The Killing Of A Chinese Bookie (1976)
Bicycle Thieves (1948)
La Terra Trema (1948)
Umberto D (1952)
Where Is The Friend’s Home? (1987)
Nomadland (2020)
The Runner (1984)
Bashu, the Little Stranger (1989)
A Moment Of Innocence a.k.a. Bread And Flower Pot (1996)
The House Is Black (1963)
The Conversation (1974)
Mean Streets (1973)
Nashville (1975)
Aguirre, The Wrath Of God (1972)
The Enigma Of Kaspar Hauser (1974)
Paris, Texas (1984)
Cléo from 5 to 7 (1962)
Vagabond (1985)
Luzzu (2021)
Bait (2019)
Sweet Sixteen (2002)
Abigail’s Party (1977)
Meantime (1983)
Fish Tank (2009)
Do The Right Thing (1989)
Malcolm X (1992)
Nothing But A Man (1964)
Goodbye Solo (2008)
The Spook Who Sat By The Door (1973)
Dekalog (1989)
The Double Life Of Veronique...
- 4/20/2021
- by Kris Millsap
- Trailers from Hell
One day, you will die. It may not be tomorrow––as the characters in Amy Seimetz’s vivid, unsettling new feature She Dies Tomorrow believe––but it’s a universal truth for us all. To celebrate the film’s release, or at least cope with corporeal impermanence, we’ve shared our favorite films that explore mortality.
A handful of the below selections may comfort you as we collectively march into the sweet embrace of death, others provide a distressing glimpse at our body’s demise, and some explore all that humanity can offer––a feat which poses the question of what one is doing with their time before shuffling off this mortal coil.
A.I. Artificial Intelligence (Steven Spielberg)
In thinking about mortality, it’s often zooming out to the big picture and mysteries of our galaxy that can induce the most existential of questions. Steven Spielberg understood this with grand...
A handful of the below selections may comfort you as we collectively march into the sweet embrace of death, others provide a distressing glimpse at our body’s demise, and some explore all that humanity can offer––a feat which poses the question of what one is doing with their time before shuffling off this mortal coil.
A.I. Artificial Intelligence (Steven Spielberg)
In thinking about mortality, it’s often zooming out to the big picture and mysteries of our galaxy that can induce the most existential of questions. Steven Spielberg understood this with grand...
- 8/14/2020
- by The Film Stage
- The Film Stage
With streaming dominating the industry — and suddenly becoming the “new normal” in a changing world — IndieWire is taking a closer look at the news cycle, breaking down what really matters to provide a clear picture of what companies are winning the streaming wars, and how they’re pulling ahead.
By looking at trends and the latest developments, Streaming Wars Report: Indie Edition will offer a clear picture of what’s happening overall and day-to-day in streaming for the indie set. Check out the latest Streaming Wars Report for updates to the bigger players in the industry.
More from IndieWireStreamers See Huge Subscriber Gains as Viewers Seek Out Indoor EntertainmentStream of the Day: How 'Ganja & Hess' Became Much More Than a Black Vampire Story Buzzy Originals
Can Indie Streamers Keep Up as Studios Pivot to VOD?
This week, I watched both “Bloodshot” and “The Way Back” from the safety of my own home,...
By looking at trends and the latest developments, Streaming Wars Report: Indie Edition will offer a clear picture of what’s happening overall and day-to-day in streaming for the indie set. Check out the latest Streaming Wars Report for updates to the bigger players in the industry.
More from IndieWireStreamers See Huge Subscriber Gains as Viewers Seek Out Indoor EntertainmentStream of the Day: How 'Ganja & Hess' Became Much More Than a Black Vampire Story Buzzy Originals
Can Indie Streamers Keep Up as Studios Pivot to VOD?
This week, I watched both “Bloodshot” and “The Way Back” from the safety of my own home,...
- 3/27/2020
- by Kate Erbland
- Indiewire
On Wednesday, Series Mania hosts digital presentations of drama series projects developed during a writing residency attended by 12 writers from France and Israel, whose credits include leading shows like “The Bureau,” “Fauda” and “Braquo.”
The week-long residency, initiated by France’s Cnc and Israel’s Gesher Multicultural Film Fund, was supervised by Italian scriptwriter Stefano Sardo and Israeli writer-producer Yoram Mandel. Five projects have been selected for Series Mania.
Espionage thriller “The Loyalists” by Alix Deniger and Eran B.Y., centers on two agents from rival intelligence agencies – a devious Israeli family guy and a straightforward French ladies’ man. They are forced to cooperate in a sophisticated operation to seduce and manipulate a Syrian scientist and his secret mistress – the Syrian defense minister’s daughter – in order to prevent a biological attack on Israel.
Deniger is a serving police commander, with 34 years of experience, including 11 years working in anti-terrorist intelligence. He...
The week-long residency, initiated by France’s Cnc and Israel’s Gesher Multicultural Film Fund, was supervised by Italian scriptwriter Stefano Sardo and Israeli writer-producer Yoram Mandel. Five projects have been selected for Series Mania.
Espionage thriller “The Loyalists” by Alix Deniger and Eran B.Y., centers on two agents from rival intelligence agencies – a devious Israeli family guy and a straightforward French ladies’ man. They are forced to cooperate in a sophisticated operation to seduce and manipulate a Syrian scientist and his secret mistress – the Syrian defense minister’s daughter – in order to prevent a biological attack on Israel.
Deniger is a serving police commander, with 34 years of experience, including 11 years working in anti-terrorist intelligence. He...
- 3/23/2020
- by Leo Barraclough
- Variety Film + TV
Snd, the commercial arm of French TV network M6, has acquired international sales rights to “Doubt” and “A Perfect Man,” a pair of four-part French thriller series, in the run-up to Mipcom.
“Doubt” was created by Sophie Lebarbier and Fanny Robert, the duo behind the hit French procedural series “Profiling.” Directed by Laure de Butler, “Doubt” revolves around a man who was just sentenced to 15 years in prison for a murder. The series follows one of the former jury members who starts having doubts about the man’s guilt after the verdict is given and hires a private detective.
Currently in post-production, “Doubt” stars Ophélia Kolb (“Call my agent”) and Stanley Weber (“Borgia”). It’s produced by Beaubourg Fiction, whose credits include “Profilage,” “Falco” and “Balthazar.”
“A Perfect Man,” meanwhile, follows the neighbor of a man suspected of having murdered his wife and children who is convinced of his innocence...
“Doubt” was created by Sophie Lebarbier and Fanny Robert, the duo behind the hit French procedural series “Profiling.” Directed by Laure de Butler, “Doubt” revolves around a man who was just sentenced to 15 years in prison for a murder. The series follows one of the former jury members who starts having doubts about the man’s guilt after the verdict is given and hires a private detective.
Currently in post-production, “Doubt” stars Ophélia Kolb (“Call my agent”) and Stanley Weber (“Borgia”). It’s produced by Beaubourg Fiction, whose credits include “Profilage,” “Falco” and “Balthazar.”
“A Perfect Man,” meanwhile, follows the neighbor of a man suspected of having murdered his wife and children who is convinced of his innocence...
- 10/7/2019
- by Elsa Keslassy
- Variety Film + TV
No filmmaker has ever loved anything as much as Abdellatif Kechiche loves butts.
Bringing up the rear of this year’s Cannes lineup in more ways than one, Kechiche’s “Mektoub, My Love: Intermezzo” — an oft-threatened but completely unsolicited sequel to his 2017 bomb, “Mektoub, My Love: Canto Uno” — devotes about 60% of its runtime to extreme close-ups of jiggling female derrieres. And while that horrifyingly unexaggerated statistic may sound like a bit of a red flag to begin with, it only gets worse when you consider that “Intermezzo” is the same length as “Lawrence of Arabia”.
Of course, none of this is much of a surprise. Not anymore. As shocking as it was when Kechiche celebrated his 2013 Palme d’Or win by pivoting to posteriors, “Canto Uno” made it irrevocably clear the filmmaker has no regrets for the wanton fetishization of nubile flesh that separated “Blue Is the Warmest Color” from his earlier,...
Bringing up the rear of this year’s Cannes lineup in more ways than one, Kechiche’s “Mektoub, My Love: Intermezzo” — an oft-threatened but completely unsolicited sequel to his 2017 bomb, “Mektoub, My Love: Canto Uno” — devotes about 60% of its runtime to extreme close-ups of jiggling female derrieres. And while that horrifyingly unexaggerated statistic may sound like a bit of a red flag to begin with, it only gets worse when you consider that “Intermezzo” is the same length as “Lawrence of Arabia”.
Of course, none of this is much of a surprise. Not anymore. As shocking as it was when Kechiche celebrated his 2013 Palme d’Or win by pivoting to posteriors, “Canto Uno” made it irrevocably clear the filmmaker has no regrets for the wanton fetishization of nubile flesh that separated “Blue Is the Warmest Color” from his earlier,...
- 5/23/2019
- by David Ehrlich
- Indiewire
Stars: Anne Wiazemsky, François Lafarge, Philippe Asselin, Walter Green | Written and Directed by Robert Bresson
Robert Bresson’s mid-career misery-fest is often cited as a masterpiece (it’s sitting pretty on a perfect Metacritic score), although having now endured Au Hasard Balthazar twice in my life I must simply be blind to its supposed power. Using the seven deadly sins as its backdrop and its equine star as a stand-in for faith, it’s an absurdly grim allegory, and one which feels like a chore even at ninety minutes.
The wisp of a plot follows the travails of the titular donkey, once a beloved pet of rural girl Marie (Anne Wiazemsky). Balthazar is effectively sold into slavery, and the film charts the parallel lives led by the pair: Balthazar into old age and Marie into her teenage years. It seems that, without the love of each other, both are bound...
Robert Bresson’s mid-career misery-fest is often cited as a masterpiece (it’s sitting pretty on a perfect Metacritic score), although having now endured Au Hasard Balthazar twice in my life I must simply be blind to its supposed power. Using the seven deadly sins as its backdrop and its equine star as a stand-in for faith, it’s an absurdly grim allegory, and one which feels like a chore even at ninety minutes.
The wisp of a plot follows the travails of the titular donkey, once a beloved pet of rural girl Marie (Anne Wiazemsky). Balthazar is effectively sold into slavery, and the film charts the parallel lives led by the pair: Balthazar into old age and Marie into her teenage years. It seems that, without the love of each other, both are bound...
- 4/29/2019
- by Rupert Harvey
- Nerdly
A Very Curious Girl. Courtesy of Lobster Films.Nelly Kaplan’s eloquent, vitriolic comedies are often social parables of vengeance, in which the weak rise up to serve the powerful their comeuppance. Joan Dupont recently described in Film Quarterly how the Argentine-born Kaplan had a modest start: She arrived in France, in 1953, at the age of 22, with mere 50 dollars and a letter of introduction to Cinémathèque française Director Henri Langois. She then worked as assistant director to film legend Abel Gance, with whom she had a romance, and launched her own career, making some fifteen films, among them vivacious comedies, documentary portraits of artists, and films for television—including a documentary, Abel Gance and His Napoléon (1984), about the filming of Gance’s epic, Napoléon (1927). And yet, despite her promising start and her having worked into the early 1990s, by the time Dupont wrote about her, Kaplan had been mostly forgotten.
- 4/11/2019
- MUBI
Bodard worked with iconic directors Jacques Demy, Agnès Varda, Robert Bresson, Jean-Luc Godard, Maurice Pialat, Alain Resnais and Claude Miller.
Legendary French producer Mag Bodard, who worked with iconic directors Jacques Demy, Agnès Varda, Robert Bresson, Jean-Luc Godard, Maurice Pialat, Alain Resnais and Claude Miller, has died at the age of 103-years-old.
Bodard, whose heyday was in the 1960s and 70s, got her first producer credit in 1962 on Norbert Carbonnaux’s comedy The Dance, featuring Françoise Dorléac in her first starring role opposite Jean-Pierre Cassel.
The crew featured production designer Jacques Saulnier, who would go on to work closely with Resnais,...
Legendary French producer Mag Bodard, who worked with iconic directors Jacques Demy, Agnès Varda, Robert Bresson, Jean-Luc Godard, Maurice Pialat, Alain Resnais and Claude Miller, has died at the age of 103-years-old.
Bodard, whose heyday was in the 1960s and 70s, got her first producer credit in 1962 on Norbert Carbonnaux’s comedy The Dance, featuring Françoise Dorléac in her first starring role opposite Jean-Pierre Cassel.
The crew featured production designer Jacques Saulnier, who would go on to work closely with Resnais,...
- 3/1/2019
- by Melanie Goodfellow
- ScreenDaily
On November 30, 1970, New York City’s Anthology Film Archives opened its doors as the first ever “museum of film” at its original location at 425 Lafayette Street. That was an invitation-only Opening Night event with the first public screening occurring the following night, December 1.
A previous article on the Underground Film Journal uncovered the first five nights of screenings at the Anthology, and the reaction in the NYC press to this unique movie theater.
Digging around in the digital archives of the Village Voice, the Journal has been able to piece together most of the screening lineups for the month of December. Unfortunately, these archives do not contain issues for the last week of November nor the first week of December, so we do not have screening info for December 5-9.
However, below are the screenings for December 10-30. The Anthology’s original plan was to have three screenings every night...
A previous article on the Underground Film Journal uncovered the first five nights of screenings at the Anthology, and the reaction in the NYC press to this unique movie theater.
Digging around in the digital archives of the Village Voice, the Journal has been able to piece together most of the screening lineups for the month of December. Unfortunately, these archives do not contain issues for the last week of November nor the first week of December, so we do not have screening info for December 5-9.
However, below are the screenings for December 10-30. The Anthology’s original plan was to have three screenings every night...
- 8/5/2018
- by Mike Everleth
- Underground Film Journal
Jean-Luc Godard called Robert Bresson’s Au Hasard Balthazar “the world in an hour and a half,” and revisiting the film over 50 years after its release, it’s hard to disagree. There’s not a lot of plot in the conventional sense; Bresson simply follows the life of a donkey as he passes through various owners and uses the animal as a linking device between episodes depicting the human condition in all its variety — though he does tend toward the darker side of the emotional spectrum. For all the talk of salvation and transcendence in Bresson’s films that has been going […]...
- 6/1/2018
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
Jean-Luc Godard called Robert Bresson’s Au Hasard Balthazar “the world in an hour and a half,” and revisiting the film over 50 years after its release, it’s hard to disagree. There’s not a lot of plot in the conventional sense; Bresson simply follows the life of a donkey as he passes through various owners and uses the animal as a linking device between episodes depicting the human condition in all its variety — though he does tend toward the darker side of the emotional spectrum. For all the talk of salvation and transcendence in Bresson’s films that has been going […]...
- 6/1/2018
- by Jim Hemphill
- Filmmaker Magazine - Blog
May is going to be a good month for fans of the Romanian New Wave, as Cristian Mungiu’s two most recent films are both joining the Criterion Collection. “Graduation” and “Beyond the Hills” will be released alongside new additions “Midnight Cowboy,” “The Other Side of Hope,” and “Moonrise”; “Mishima: A Life in Four Chapters” and “Au hasard Balthazar,” which have already been released on DVD, are getting Blu-ray upgrades.
“Au hasard Balthazar”
“A profound masterpiece from one of the most revered filmmakers in the history of cinema, director Robert Bresson’s ‘Au hasard Balthazar’ follows the donkey Balthazar as he is passed from owner to owner, some kind and some cruel but all with motivations outside of his understanding. Balthazar, whose life parallels that of his first keeper, Marie, is truly a beast of burden, suffering the sins of humankind. But despite his powerlessness, he accepts his fate nobly.
“Au hasard Balthazar”
“A profound masterpiece from one of the most revered filmmakers in the history of cinema, director Robert Bresson’s ‘Au hasard Balthazar’ follows the donkey Balthazar as he is passed from owner to owner, some kind and some cruel but all with motivations outside of his understanding. Balthazar, whose life parallels that of his first keeper, Marie, is truly a beast of burden, suffering the sins of humankind. But despite his powerlessness, he accepts his fate nobly.
- 2/16/2018
- by Michael Nordine
- Indiewire
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This December will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Monday, January 1
Anatomy of a Murder*: Edition #600
A virtuoso James Stewart plays a small-town Michigan lawyer who takes on a difficult case: the defense of a young army lieutenant (Ben Gazzara) accused of murdering a local tavern owner who he believes raped his wife (Lee Remick). Featuring an outstanding supporting cast-with a young George C. Scott as a fiery prosecutor and the legendary attorney Joseph N. Welch as the judge – and an influential score by Duke Ellington, this gripping envelope-pusher was groundbreaking for the frankness of its discussion of sex. But more than anything else, it...
To sign up for a free two-week trial here.
Monday, January 1
Anatomy of a Murder*: Edition #600
A virtuoso James Stewart plays a small-town Michigan lawyer who takes on a difficult case: the defense of a young army lieutenant (Ben Gazzara) accused of murdering a local tavern owner who he believes raped his wife (Lee Remick). Featuring an outstanding supporting cast-with a young George C. Scott as a fiery prosecutor and the legendary attorney Joseph N. Welch as the judge – and an influential score by Duke Ellington, this gripping envelope-pusher was groundbreaking for the frankness of its discussion of sex. But more than anything else, it...
- 1/5/2018
- by Ryan Gallagher
- CriterionCast
Foreplays is a column that explores under-known short films by renowned directors. Jean-Luc Godard & Anne-Marie Miéville's Liberté et Patrie (2002) is free to watch below. Mubi's retrospective For Ever Godard is showing from November 12, 2017 - January 16, 2018 in the United States.I. One of the most beautiful essay films ever made, Liberté et Patrie (2002) turns out to also be one of the most accessible collaborations of Jean-Luc Godard and Anne-Marie Miéville. The deeply moving lyricism of this short may astonish even those spectators who arrive to it casually, without any prior knowledge of the filmmakers’s oeuvre. Contrary to other works by the couple, Liberté et Patrie is built on a recognizable narrative strong enough to easily accommodate all the unconventionalities of the piece: a digressive structure full of bursts of undefined emotion; an unpredictable rhythm punctuated by sudden pauses, swift accelerations, intermittent blackouts and staccatos; a mélange of materials where...
- 12/11/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe luminously thoughtful French actress Anne Wiazemsky, indelible for her starring roles in Robert Bresson's Au hasard Balthazar, Jean-Luc Godard's Le chinoise, Pier Paolo Pasolini's Teorema and Porcile, and Philippe Garrel's L'enfant secret, has died at the age of 70. Part of her memoir Un an après has been adapted in the controversial film Redoubtable, which premiered at Cannes this year.Significant writings concerning Miramax and The Weinstein Company co-founder Harvey Weinstein's sexual abuse are appearing far and wide: Ronan Farrow for The New Yorker, Jodi Kantor & Rachel Abrams for The New York Times, Heather Graham for Variety, and Naveen Kumar for Vice. Recommended VIEWINGUploaded five months ago and undiscovered until now: Neil Bahadur has found the first trailer for Alan Rudolph's first film in 15 years, Ray Meets Helen.
- 10/11/2017
- MUBI
Distinctive French actor who made an extraordinary debut in Au Hasard Balthazar and became a star of the Nouvelle Vague
“At the age of 17 I was chosen,” recalled Anne Wiazemsky of the moment in April 1965 when the film director Robert Bresson cast her in Au Hasard Balthazar. She had no formal training – for Bresson an essential requirement – and, as well as an aura of mystery, possessed a soft, flat voice perfectly suited to deliver opaque lines. She appeared at once fragile and headstrong, introspective and direct, sensuous and ironically detached. There was a quiet, radiant intensity to her fathomless gaze, as of pure, still waters running deep.
Related: Anne Wiazemsky, French actor, novelist and muse to Jean-Luc Godard, dies aged 70
Continue reading...
“At the age of 17 I was chosen,” recalled Anne Wiazemsky of the moment in April 1965 when the film director Robert Bresson cast her in Au Hasard Balthazar. She had no formal training – for Bresson an essential requirement – and, as well as an aura of mystery, possessed a soft, flat voice perfectly suited to deliver opaque lines. She appeared at once fragile and headstrong, introspective and direct, sensuous and ironically detached. There was a quiet, radiant intensity to her fathomless gaze, as of pure, still waters running deep.
Related: Anne Wiazemsky, French actor, novelist and muse to Jean-Luc Godard, dies aged 70
Continue reading...
- 10/10/2017
- by James S Williams
- The Guardian - Film News
The French author and actress Anne Wiazemsky, whose haunting debut as the star of Robert Bresson’s classic Au Hasard Balthazar led to a movie career that she would later revisit in her celebrated writings, died in Paris on Thursday. An intriguing character in the history of European art film, Wiazemsky lent her…
Read more...
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- 10/7/2017
- by Ignatiy Vishnevetsky
- avclub.com
Anne Wiazemsky, the actress best known as the star of “Au Hasard Balthazar” and for her appearances in French New Wave movies, has died at 70 after a battle with breast cancer. Her brother confirmed the news with the Afp. Wiazemsky was the second wife of Jean-Luc Godard and appeared in his 1967 dramas “La chinoise” and “Week End.”
The actress got her breakthrough in 1966 when Robert Bresson cast her in the lead role of Marie in “Au Hasard Balthazar.” The film memorably chronicled the relationship between the character, a shy farm girl, and her beloved donkey as they grow old and drift apart. Wiazemsky was only 18 year old when she appeared in the movie but became an instant favorite of Bresson. Her acting career continued until the late 1980s and she starred in films directed by Pier Paolo Pasolini (“Teorema,” “Pigsty”) and Philippe Garrel (“L’enfant secret”).
Most recently, Wiazemsky had...
The actress got her breakthrough in 1966 when Robert Bresson cast her in the lead role of Marie in “Au Hasard Balthazar.” The film memorably chronicled the relationship between the character, a shy farm girl, and her beloved donkey as they grow old and drift apart. Wiazemsky was only 18 year old when she appeared in the movie but became an instant favorite of Bresson. Her acting career continued until the late 1980s and she starred in films directed by Pier Paolo Pasolini (“Teorema,” “Pigsty”) and Philippe Garrel (“L’enfant secret”).
Most recently, Wiazemsky had...
- 10/5/2017
- by Zack Sharf
- Indiewire
"Plunge into the intrinsic range of unfamiliar expressions, inside this wild sanctuary that offers a sonorious glimpse into the reveries, melodies, and rhapsodies of a great donkey orchestra." What is undoubtedly one of the strangest documentaries of 2017, David Redmon and Ashley Sabin's portrait of empathy on the most maligned of beasts, the humble Donkey, plays out like a fly-on-the-tail Frederick Wiseman film. Do Donkey's Act? is kind of an inversion of Titicut Follies through the needles-eye of Au Hasard Balthazar, only ponderously plush with purple prose, narrated with picnic panache by none other than Willem Dafoe. It takes about 10 minutes or so to get into the rhythm of the film, but once you hang-five on the vibe (bro), the unconventional presentation becomes...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 9/28/2017
- Screen Anarchy
Any list of the greatest foreign directors currently working today has to include Jean-Pierre and Luc Dardenne. The directors first rose to prominence in the mid 1990s with efforts like “The Promise” and “Rosetta,” and they’ve continued to excel in the 21st century with titles such as “The Kid With A Bike” and “Two Days One Night,” which earned Marion Cotillard a Best Actress Oscar nomination.
Read MoreThe Dardenne Brothers’ Next Film Will Be a Terrorism Drama
The directors will be back in U.S. theaters with the release of “The Unknown Girl” on September 8, which is a long time coming considering the film first premiered at the Cannes Film Festival in 2016. While you continue to wait for their new movie, the brothers have provided their definitive list of 79 movies from the 20th century that you must see. La Cinetek published the list in full and is hosting many...
Read MoreThe Dardenne Brothers’ Next Film Will Be a Terrorism Drama
The directors will be back in U.S. theaters with the release of “The Unknown Girl” on September 8, which is a long time coming considering the film first premiered at the Cannes Film Festival in 2016. While you continue to wait for their new movie, the brothers have provided their definitive list of 79 movies from the 20th century that you must see. La Cinetek published the list in full and is hosting many...
- 8/7/2017
- by Zack Sharf
- Indiewire
We’re living in a golden age of genre films, and there may be no better proof than the Fantasia International Film Festival, the three-week-long celebration of international genre efforts currently in the midst of its 21st year. The lineup is comprised of more than 150 features from all over the world, but that figure is dwarfed by the 300 short films showing across multiple sections. Too often, shorts are marginalized at film festivals, lumped into categories that designate them as calling cards for features and nothing more. Not so at Fantasia, where a number of the shorts showcase the precise visions of filmmakers looking to shock, frighten and unsettle audiences with concise approaches that hardly demand the padding of a feature-length running time.
Fantasia’s programming stands out from other genre festivals in that it doesn’t exclusively focus on outrageous horror movies, B-grade science fiction, or other stereotypes associated with the term “genre.
Fantasia’s programming stands out from other genre festivals in that it doesn’t exclusively focus on outrageous horror movies, B-grade science fiction, or other stereotypes associated with the term “genre.
- 7/15/2017
- by Eric Kohn
- Indiewire
Sofia Coppola now represents just the second woman of seventy Cannes Best Director Award winners. That’s a baffling male slant of 68 to two. The Beguiled, her prize winner, is an immaculate exercise in aesthetic restraint. Every facet of its design is an echo of the screams curdling beneath a relentless Southern gentility.
Critical to this masterfully controlled technique is Coppola’s Oscar-nominated cinematographer Philippe Le Sourd Afc. Philippe and I discuss the film’s use of perspective, his unique low-contrast take on visual oppression, and how camera movement can disrupt the emotion of a scene.
Philippe shot Kodak V3 500T 5219 and pull processed the entire negative by a stop for reduced grain, contrast, and range in the shadows. Shot with an Arricam Lt body Cooke S2’s and Panavision Ultra Speeds for their delicate rendering and fast apertures. Panavision customized a ‘close-up filter’ for Le Sourd to imitate the 1860’s style Petzval lensed portraits.
Critical to this masterfully controlled technique is Coppola’s Oscar-nominated cinematographer Philippe Le Sourd Afc. Philippe and I discuss the film’s use of perspective, his unique low-contrast take on visual oppression, and how camera movement can disrupt the emotion of a scene.
Philippe shot Kodak V3 500T 5219 and pull processed the entire negative by a stop for reduced grain, contrast, and range in the shadows. Shot with an Arricam Lt body Cooke S2’s and Panavision Ultra Speeds for their delicate rendering and fast apertures. Panavision customized a ‘close-up filter’ for Le Sourd to imitate the 1860’s style Petzval lensed portraits.
- 7/13/2017
- by [email protected] (Aaron Hunt)
- Cinelinx
When looking at a director’s canon upon its completion and in its entirety, the final piece of work is more often than not a key text in the broader understanding of the respective oeuvre. Be it something as relatively modern as Robert Altman’s masterpiece A Prairie Home Companion or a classic gem like the underrated Fritz Lang picture The Thousand Eyes Of Doctor Mabuse, these career-capping works may not be the director’s greatest achievement, but they see the director at a defining moment in their career.
However, few “final films” may be as singularly important in a director’s career as the one that would close out Robert Bresson’s legendary life, L’argent.
Now available on Criterion DVD and Blu-ray, L’argent tells the story of not so much a living character as it does an entity that runs roughshot over the lives of many. Similar...
However, few “final films” may be as singularly important in a director’s career as the one that would close out Robert Bresson’s legendary life, L’argent.
Now available on Criterion DVD and Blu-ray, L’argent tells the story of not so much a living character as it does an entity that runs roughshot over the lives of many. Similar...
- 7/12/2017
- by Joshua Brunsting
- CriterionCast
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSBlind DetectiveThe San Francisco Museum of Modern Art will hosting what we believe—and correct us if we'r wrong—is the first significant retrospective in the United States of the great Hong Kong genre director Johnnie To.Recommended VIEWINGFor one more day only Gabe Klinger's Double Play: James Benning and Richard Linklater, a 2013 documentary about two directors on different ends of American independent cinema, will be available to watch for free on Vimeo.A lovely collaboration between Thai auteur Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives) and Japanese composer (and sometimes actor) Ryuichi Sakamoto on the video for a track on his new album, async. Related: the director and composer are holding a short film competition stemming from the album. Critics Christopher Small and James Corning have lately been contributing excellent video essays to the Notebook on such directors as William Friedkin, John Carpenter, and Ernst Lubitsch. For Fandor, they've made another excellent directorial dive, in this case into the contradictory cinema of Hollywood comedy director Leo McCarey.Kirsten Dunst and Elle Fanning shoot "Girls Gone Wild 1863" behind the scenes of Sofia Coppola's The Beguiled. Warning: risqué ankle footage!Recommended Reading
The new issues of Cahiers du cinéma (out now) and Cinema Scope (coming soon) both focus on the just-completely Cannes Film Festival and have Robert Pattinson in the Safdie brothers' Good Time on the cover. Cahiers editor Stéphane Delorme has written a scathing, and to our eyes accurate, assessment of the festival, which we're reading in (please excuse us) adapted Google translation:The program of the Official is truly a program, in the programmatic sense: it has encouraged a certain type of hateful, hollow and pretentious cinema which is becoming sadly the cinema of our time.... In this context, two small wonders emerged: Good Time by the Safdies and The Day After by Hong Sang-soo... Dumont, Garrel, Claire Denis, everyone would have deserved the Palme. Authors in an insolent form that are renewed (musical comedy, sex, comedy) and who still know what it means to stage, edit, plan.This week the great American actress Gina Rowlands celebrated her 85th birthday, and Sheila O'Malley has written an excellent article on her and some of her key performances for RogerEbert.com:Rowlands' work has a way of creating anxiety in viewers. The boundary line between character and actress is obliterated; or, it was never there in the first place. Her work is so unlike what we see from most other actresses (even very good ones) that it's unnerving to watch.Alfred Hitchcock on the set of RopeAmerican Cinematographer has republished an essential 1967 interview with "The Cameraman's Director," Alfred Hitchcock:Q: Do you feel that lighting is perhaps the most important single element in the creation of cinematic mood?
A: Motion picture mood is often thought of as almost exclusively a matter of lighting, dark lighting. It isn’t. Mood is apprehension. That’s what you’ve got in that crop-duster scene. In other words, as I said years and years ago, I prefer “murder by the babbling brook.” you’ve got some of that in The Trouble With Harry. Where did I lay the dead body? Among the most beautiful colors I could find. Autumn in Vermont. Went up there and waited for the leaves to turn. We did it in counterpoint. I wanted to take a nasty taste away by making the setting beautiful. I have sometimes been accused of building a film around an effect, but in my sort of film you often have to do that if you want to get something other than the cliche.We think it's safe to say that Twin Peaks: The Return, despite being 7 episodes and nearly as many hours in, remains a mystery. We're hosting on-going and in-depth recaps of the episodes as they premiere, and at Filmmaker magazine Michael Sicinski has proposed five ideas about David Lynch and Mark Frost's new...thing:This transfer of violent energy is connected to the Black Lodge [...] but more significantly it is related to the program before us. Lynch is warning us that Twin Peaks is not background TV, and that in certain respects it is dangerous stuff. Sorry, young lovers. You need to watch that glass box carefully, because you’re strapping in for the long haul.EXTRASSome jaw-dropping analysis by Jean-Luc Godard on the relationship between film and television, courtesy of critic Max Nelson.From the Filmadrid festival, a meeting of two great figures in the film world: scholar Laura Mulvey and filmmaker Jonas Mekas.Confirming the sense of humor of Robert Bresson (he who put Chaplin's The Gold Rush and City Lights as his favorite films) is this photo of the perhaps the greatest of all filmmakers riding the donkey that appeared in his masterpiece Au hazard Balthazar.
The new issues of Cahiers du cinéma (out now) and Cinema Scope (coming soon) both focus on the just-completely Cannes Film Festival and have Robert Pattinson in the Safdie brothers' Good Time on the cover. Cahiers editor Stéphane Delorme has written a scathing, and to our eyes accurate, assessment of the festival, which we're reading in (please excuse us) adapted Google translation:The program of the Official is truly a program, in the programmatic sense: it has encouraged a certain type of hateful, hollow and pretentious cinema which is becoming sadly the cinema of our time.... In this context, two small wonders emerged: Good Time by the Safdies and The Day After by Hong Sang-soo... Dumont, Garrel, Claire Denis, everyone would have deserved the Palme. Authors in an insolent form that are renewed (musical comedy, sex, comedy) and who still know what it means to stage, edit, plan.This week the great American actress Gina Rowlands celebrated her 85th birthday, and Sheila O'Malley has written an excellent article on her and some of her key performances for RogerEbert.com:Rowlands' work has a way of creating anxiety in viewers. The boundary line between character and actress is obliterated; or, it was never there in the first place. Her work is so unlike what we see from most other actresses (even very good ones) that it's unnerving to watch.Alfred Hitchcock on the set of RopeAmerican Cinematographer has republished an essential 1967 interview with "The Cameraman's Director," Alfred Hitchcock:Q: Do you feel that lighting is perhaps the most important single element in the creation of cinematic mood?
A: Motion picture mood is often thought of as almost exclusively a matter of lighting, dark lighting. It isn’t. Mood is apprehension. That’s what you’ve got in that crop-duster scene. In other words, as I said years and years ago, I prefer “murder by the babbling brook.” you’ve got some of that in The Trouble With Harry. Where did I lay the dead body? Among the most beautiful colors I could find. Autumn in Vermont. Went up there and waited for the leaves to turn. We did it in counterpoint. I wanted to take a nasty taste away by making the setting beautiful. I have sometimes been accused of building a film around an effect, but in my sort of film you often have to do that if you want to get something other than the cliche.We think it's safe to say that Twin Peaks: The Return, despite being 7 episodes and nearly as many hours in, remains a mystery. We're hosting on-going and in-depth recaps of the episodes as they premiere, and at Filmmaker magazine Michael Sicinski has proposed five ideas about David Lynch and Mark Frost's new...thing:This transfer of violent energy is connected to the Black Lodge [...] but more significantly it is related to the program before us. Lynch is warning us that Twin Peaks is not background TV, and that in certain respects it is dangerous stuff. Sorry, young lovers. You need to watch that glass box carefully, because you’re strapping in for the long haul.EXTRASSome jaw-dropping analysis by Jean-Luc Godard on the relationship between film and television, courtesy of critic Max Nelson.From the Filmadrid festival, a meeting of two great figures in the film world: scholar Laura Mulvey and filmmaker Jonas Mekas.Confirming the sense of humor of Robert Bresson (he who put Chaplin's The Gold Rush and City Lights as his favorite films) is this photo of the perhaps the greatest of all filmmakers riding the donkey that appeared in his masterpiece Au hazard Balthazar.
- 6/22/2017
- MUBI
Art meets science on Nat Geo’s series “Breakthrough,” when critically acclaimed filmmakers like Ana Lily Amirpour decide to put their skills into telling stories about the latest innovations and how they can change our lives.
The “A Girl Walks Home Alone at Night” director spoke to IndieWire about why she decided to direct an episode of the series, which returns for a second season on Tuesday, May 2.
“I was excited to collaborate with Nat Geo because I’ve been a fan of since I was a kid; I grew up watching shows on nature and science with my Dad, who’s also a big fan,” she said. “And when I sat down with the producers of ‘Breakthrough,’ discussing possible topics I could tackle, I found myself drawn to the topic of cancer treatment without really knowing why.
Read More: IndieWire and FilmStruck’s ‘Movies That Inspire Me’: Ana Lily Amirpour...
The “A Girl Walks Home Alone at Night” director spoke to IndieWire about why she decided to direct an episode of the series, which returns for a second season on Tuesday, May 2.
“I was excited to collaborate with Nat Geo because I’ve been a fan of since I was a kid; I grew up watching shows on nature and science with my Dad, who’s also a big fan,” she said. “And when I sat down with the producers of ‘Breakthrough,’ discussing possible topics I could tackle, I found myself drawn to the topic of cancer treatment without really knowing why.
Read More: IndieWire and FilmStruck’s ‘Movies That Inspire Me’: Ana Lily Amirpour...
- 5/2/2017
- by Ben Travers and Hanh Nguyen
- Indiewire
"Plunge into the intrinsic range of unfamiliar expressions, inside this wild sanctuary that offers a sonorious glimpse into the reveries, melodies, and rhapsodies of a great donkey orchestra." What will undoubtedly be the strangest film I catch at the 2017 edition of Hot Docs, David Redmon and Ashley Sabin's document of empathy on the most maligned of beasts, the humble Donkey, plays out like a fly-on-the-tail Frederick Wiseman film, Do Donkey's Act? is kind of an inversion of Titicut Follies through the needles-eye of Au Hasard Balthazar, only ponderously plush with purple prose, narrated with picnic panache by none other than Willem Dafoe. It takes about 10 minutes or so to get into the rhythm of the film, but once you hang-five on the vibe...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/2/2017
- Screen Anarchy
The woods hold an unmistakable allure, familiar yet unknown, idyllic, yet fraught with peril. They are the heart of Happy Times Will Come, shot in natural light, which often means that viewers are abandoned in darkness to develop our senses. Indeed, the film thrusts us into the stark indigo night where a pair of fugitives scurrying up a steep hill are long heard before they are seen. Once the sun peeks out, dappling everything in its midst to beguiling effect, it’s not difficult to acclimate to the sights–the crooked crags aside a crisp brook or a verdant curtain of trees. Meanwhile, the young men, peculiarly unplaceable in time, forage for mushrooms or tussle in the high grass. Combining personal history and fabricated folklore, Italian director Alessandro Comodin imbues the alpine setting, already easy on the eyes, with a spectral glow and timelessness. The effect extends to a brief interlude of talking head interviews,...
- 3/28/2017
- MUBI
Close-Up is a column that spotlights films now playing on Mubi. The retrospective The Many Sins of Walerian Borowczyk is showing February 12 - June 18, 2017 in the United States and in many other countries around the world.As the reverberation of horses fervently neighing and clomping their hooves begins to permeate the opening credit soundtrack of The Beast, one may recall the similarly orchestrated donkey brays that introduce Robert Bresson’s Au hasard Balthazar (1966). Or, given its title, and the very basic concept of a young woman becoming enamored with an savage creature, one may be tempted to compare this 1975 feature to the many variations of Gabrielle-Suzanne Barbot de Villeneuve’s classic fairy tale, La belle et la bête. One would be more than a little confounded, however, by making either inadequate association. If Walerian Borowczyk’s semi-porn-semi-art-semi-monster movie bears any resemblance to another film or story, it would be...
- 3/21/2017
- MUBI
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series started last Friday and continues the next two weekends — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
- 3/21/2017
- by Tom Stockman
- WeAreMovieGeeks.com
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series started last Friday and continues the next two weekends — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints.
- 3/14/2017
- by Tom Stockman
- WeAreMovieGeeks.com
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