The Video Essay is a joint project of Mubi and Filmadrid International Film Festival. Film analysis and criticism forged a new path with the arrival of the video essay. The limits of this discipline are constantly expanding; new essayists are finding innovative ways to study the history of cinema through moving images. This non-competitive section of the festival is designed to offer this format the platform and visibility it deserves.This selection of seven video essays was programmed by the editors of Notebook and the programmers of Filmadrid. In the coming weeks, a video essay from the program will premiere each Friday on Notebook.Jeu by Daniel TurnerDaniel TourneurWhen Jacques Rivette was asked about how he approached the filming of Out 1 (1971), he replied: “To begin with, the single idea was that of jeu in all the senses of the word: actors’ performance, the interplay of the characters, but also...
- 6/8/2024
- MUBI
Vladimir and Rosa.“Cinema contains everything. It joins writing, painting, music. It is the most complete art.”—Juliet Berto, Ciné-Bulles, 19861Juliet Berto burst onto the Parisian film scene in the rich late 60s period of experimentation and radicalization, just as the New Wave diverged into competing streams of political and humanist directors. Her biography (what scant details are publicly available) is mythical, and tragically short: Annie Jamet, born and living in southern France, attends a Grenoble film screening where Jean-Luc Godard is present; the director, captivated by 19-year-old Annie, offers her a role in his film 2 or 3 Things I Know About Her. Annie moved to Paris, and by the end 1967, Juliet Berto (as she is credited onscreen) had appeared in three Godard films, a relationship that would deepen over the course of the radical 60s. Berto then worked with Jacques Rivette during the 70s as a key collaborator and...
- 6/1/2022
- MUBI
Michael Lonsdale, the actor who played an iconic villain in 1979’s James Bond movie “Moonraker” and starred in 1973’s “The Day of the Jackal,” has died. The British-French actor was 89 at the time of his passing.
“I must unfortunately confirm the passing of Michael Lonsdale, our dear talent for so many years,” Lonsdale’s agent, Olivier Loiseau, said in a statement to TheWrap Monday.
In “Moonraker,” which starred Roger Moore as 007, Lonsdale had the role of bad guy Hugo Drax, an industrialist with plans to poison all of humanity and then repopulate Earth from his space station.
For “Day of the Jackal,” the British-French political thriller directed by Fred Zinnemann, Lonsdale played Deputy Commissioner Claude Lebel, starring opposite Edward Fox as “the Jackal.” Lonsdale’s performance in the film earned him a supporting actor BAFTA nomination.
Though “Moonraker” and “The Day of the Jackal” are the parts American audiences probably best remember Lonsdale for,...
“I must unfortunately confirm the passing of Michael Lonsdale, our dear talent for so many years,” Lonsdale’s agent, Olivier Loiseau, said in a statement to TheWrap Monday.
In “Moonraker,” which starred Roger Moore as 007, Lonsdale had the role of bad guy Hugo Drax, an industrialist with plans to poison all of humanity and then repopulate Earth from his space station.
For “Day of the Jackal,” the British-French political thriller directed by Fred Zinnemann, Lonsdale played Deputy Commissioner Claude Lebel, starring opposite Edward Fox as “the Jackal.” Lonsdale’s performance in the film earned him a supporting actor BAFTA nomination.
Though “Moonraker” and “The Day of the Jackal” are the parts American audiences probably best remember Lonsdale for,...
- 9/21/2020
- by Jennifer Maas
- The Wrap
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe Venice Film Festival is moving forward with its plans for a “real red carpet” and theatrical screenings this September. The Toronto International Film Festival has also announced its plans for a mix of physical and virtual screenings, with fifty new features set to premiere.Recommended VIEWINGFrom June 22-29, watch Bruce Conner's Looking For Mushrooms, a "psychedelic travelogue film" that follows Conner and his wife Jean as they hunt for mushrooms in rural Oaxaca. The new trailer for Werner Herzog's latest feature, Family Romance, LLC. Mubi is releasing the film, which premiered at last year's Cannes Film Festival, on July 4 in many countries, following a free preview on July 3.
A teaser trailer for Kiyoshi Kurosawa's upcoming romance thriller, Wife of a Spy, co-written with Ryusuke Hamaguchi (!) and starring Yu Aoi.Recommended...
A teaser trailer for Kiyoshi Kurosawa's upcoming romance thriller, Wife of a Spy, co-written with Ryusuke Hamaguchi (!) and starring Yu Aoi.Recommended...
- 6/24/2020
- MUBI
Jacques Rivette's Out 1, Noli Me Tangere (1971) is showing on Mubi in the United States.There’s a lot of confusion about what improvisation in movies consists of—when it is or isn’t used, and sometimes what it means when it is used. Those who think that the dialogue in Orson Welles’ The Other Side of the Wind is improvised don’t realize that the screenplay by Welles and Oja Kodar with that dialogue was published years ago, long before the film’s posthumous completion. It’s worth adding, however, that the film’s mise en scène was improvised by Welles on a daily basis. Similarly, those misled by director Robert Altman’s dreamy pans and seemingly random zooms in The Long Goodbye into concluding that the actors must be inventing their own lines are ignoring the careful work done by screenwriter Leigh Brackett, not to mention Raymond Chandler.
- 6/21/2020
- MUBI
A decade in the making, Mariano Llinás’ “La Flor” opens this weekend from Grasshopper Film. Clocking in at over 13 hours across six “episodes,” “La Flor” brings a whole new meaning to the concept of binge-watching. Each episode stars Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. It’s an epic of subplots within subplots, unexpected digressions, and genres on top of genres — from a B-movie to a musical to a spy thriller, a period piece, a remake of a French classic, and, finally, to something altogether metafictional.
Grasshopper promises a “wildly entertaining… adventure in scale and duration” — and quite possibly in patience as well. “La Flor” earns its place among history’s very long movies, from Raúl Ruiz’s “Mysteries of Lisbon,” Jacques Rivette’s “Out 1” and Bela Tarr’s “Sátántangó” to pretty much anything directed by Lav Diaz, the modern master of slow cinema.
Originally, “La Flor...
Grasshopper promises a “wildly entertaining… adventure in scale and duration” — and quite possibly in patience as well. “La Flor” earns its place among history’s very long movies, from Raúl Ruiz’s “Mysteries of Lisbon,” Jacques Rivette’s “Out 1” and Bela Tarr’s “Sátántangó” to pretty much anything directed by Lav Diaz, the modern master of slow cinema.
Originally, “La Flor...
- 8/2/2019
- by Ryan Lattanzio
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSDavid Cronenberg on the set of CrashThis year's Venice Film Festival will premiere a brand new 4K restoration of David Cronenberg's cult classic Crash. "Seems like only yesterday that we were shooting it," Cronenberg says. Iranian filmmaker Mohammad Rasoulof, best known for films Manuscripts Don't Burn (2013) and A Man of Integrity (2017), has been sentenced to one year in prison for "propaganda against the state," highlighting the plight of artists in Iran. Recommended VIEWINGBehold, the official trailer for Martin Scorsese's The Irishman, starring Robert De Niro, Al Pacino, and Joe Pesci. A first look at Robert Eggers' The Lighthouse, the follow-up to The Witch, which follows two men struggling for both physical and mental survival in a tower on an isolated island. Notebook's Cannes correspondent Leonardo Goi describes the film as...
- 7/31/2019
- MUBI
Joining the rarified pantheon of expansive cinematic storytelling occupied by the likes of Rainer Werner Fassbinder’s Berlin Alexanderplatz, Jacques Rivette’s Out 1, Claude Lanzmann’s Shoah, Wang Bing’s West of the Tracks, and any number of Lav Diaz films comes Mariano Llinás’ 14-hour epic La Flor. Following a festival tour including Locarno, New York, and Toronto, Grasshopper Film will now unleash the cinematic event of the year starting next week in New York City and we’re pleased to premiere the trailer.
A decade in the making and shot across three continents, the film stars Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes across six episodes, each bringing a different genre to the table, from a bonkers B-movie about mummies to a musical to a spy thriller to a Renoir remake and beyond. Llinás, who burst onto the international filmmaking scene with 2008’s four-hour Extraordinary Stories,...
A decade in the making and shot across three continents, the film stars Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes across six episodes, each bringing a different genre to the table, from a bonkers B-movie about mummies to a musical to a spy thriller to a Renoir remake and beyond. Llinás, who burst onto the international filmmaking scene with 2008’s four-hour Extraordinary Stories,...
- 7/25/2019
- by Leonard Pearce
- The Film Stage
At the 56th New York Film Festival there were titles that have intrigued, beguiled, and challenged viewers, perhaps none more so than Mariano Llinás’ fourteen-hour grand experiment La Flor and Orson Welles’ posthumously released The Other Side of The Wind. The former will be lucky to achieve any life after the festival; the latter will be widely available through Netflix next month. These are both films of grand ambition, creativity, and reflexivity. Quite coincidentally, both feature films within films that underscore this reflexivity, center the process of filmmaking for viewers, and show Llinás and Welles unlocking a kind of creative freedom that very few are privileged to make and be seen in such a way.
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
- 10/17/2018
- by The Film Stage
- The Film Stage
What is one to do with a 14-hour film? That’s what Mariano Llinás's La Flor, his first feature since 2008’s brilliant Extraordinary Stories, boasts as its runtime, and since virtually the moment it was announced, the answer seems to be “talk about its length.” There are a handful of films of legendary duration scattered throughout the annals of film history—Jacques Rivette’s 11-hour Out 1 (1971), Claude Lanzmann’s 10-hour Shoah (1985), Wang Bing’s 9-hour West of the Tracks (2002)—plus the odd miniseries or two, but evidently not enough for the collective film community to greet another with anything other than shock and awe. So, again, what is one to do? We might begin by describing it. As its director informs us in the first scene, La Flor consists of six separate stories, which we might be tempted to even call six separate films, all made with the same four actresses.
- 10/1/2018
- MUBI
To mark the release of the restoration of The Nun, out now, we’ve been given a Blu-ray bundle including The Nun, The Essential Godard Collection, La Prisonnière, Belle de Jour and Lola to give away.
In the Xviii century, Suzanne Simonin (Anna Karina) is locked in a convent against her will. She finds for a while some comfort with the Mother Superior, but then she dies and is replaced by a sadistic woman than cannot stop blaming and punishing Suzanne. The young lady gets the right to move to another convent, however, she remains determined to recover her freedom.
Jacques Rivette (1928 – 2016) was a French film director and film critic, known for his contributions to the French New Wave and the influential magazine (dubbed the ‘instrument of combat’ of the New Wave) Cahiers du Cinéma, of which he was editor throughout the first half of the 1960s. Extremely prolific throughout his career,...
In the Xviii century, Suzanne Simonin (Anna Karina) is locked in a convent against her will. She finds for a while some comfort with the Mother Superior, but then she dies and is replaced by a sadistic woman than cannot stop blaming and punishing Suzanne. The young lady gets the right to move to another convent, however, she remains determined to recover her freedom.
Jacques Rivette (1928 – 2016) was a French film director and film critic, known for his contributions to the French New Wave and the influential magazine (dubbed the ‘instrument of combat’ of the New Wave) Cahiers du Cinéma, of which he was editor throughout the first half of the 1960s. Extremely prolific throughout his career,...
- 10/1/2018
- by Competitions
- HeyUGuys.co.uk
Each year, the Sundance Film Festival faces expectations established by the previous edition. Assessing program quality often becomes secondary to following the hype, and the festival is defined by the movies that cost the most and have the greatest promise of commercial viability. However, in 2018 the question isn’t which Sundance movies are this year’s “The Big Sick,” “Mudbound” or “Call Me By Your Name;” it’s ultimately more constructive to consider what’s not.
See More:The 2018 IndieWire Sundance Bible: Every Review, Interview, and News Item Posted During the Festival
In year of cautious buyers and fewer blockbuster breakouts, smaller and stranger movies stepped into the foreground, dividing audiences and fueling thoughtful conversations. (When one Sundance first-timer for whom English was a second language asked me to define “hype,” I replied, “Everything you should ignore.”) In a consumer age dominated by customized viewing habits, a festival that’s hard...
See More:The 2018 IndieWire Sundance Bible: Every Review, Interview, and News Item Posted During the Festival
In year of cautious buyers and fewer blockbuster breakouts, smaller and stranger movies stepped into the foreground, dividing audiences and fueling thoughtful conversations. (When one Sundance first-timer for whom English was a second language asked me to define “hype,” I replied, “Everything you should ignore.”) In a consumer age dominated by customized viewing habits, a festival that’s hard...
- 1/23/2018
- by Eric Kohn
- Indiewire
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