On Friday nights, IndieWire After Dark takes a feature-length beat to honor fringe cinema in the streaming age.
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: The Swan, The Twins, Their Wives, and Their Deaths
The line between midnight movies and arthouse cinema has always been blurrier than we might like to believe. Both niches exist to accommodate creators (and their fans) who crave something different from conventional Hollywood fare and are willing to seek out unorthodox screening options like festivals and independent theaters in order to scratch that itch. And while they have both produced plenty of forgettable fare from artists who became too comfortable existing in yesterday’s version of transgression — we’ve all...
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: The Swan, The Twins, Their Wives, and Their Deaths
The line between midnight movies and arthouse cinema has always been blurrier than we might like to believe. Both niches exist to accommodate creators (and their fans) who crave something different from conventional Hollywood fare and are willing to seek out unorthodox screening options like festivals and independent theaters in order to scratch that itch. And while they have both produced plenty of forgettable fare from artists who became too comfortable existing in yesterday’s version of transgression — we’ve all...
- 3/2/2024
- by Christian Zilko and Alison Foreman
- Indiewire
This post contains spoilers for "Hereditary" and "The Cook, the Thief, His Wife, and Her Lover."
Ari Aster became a big name in horror in 2018 with "Hereditary," but he'd had some practice at upsetting audiences by that point. All the way back in 2011, he caused a stir with his short film "The Strange Thing About The Johnsons," which focuses on a boy who sexually abuses his father over the course of his life. Aster said the film came from "an idea that sprouted between [him] and a few friends" about "taboos that weren't even taboos because they were so unfathomable." The short formed his thesis while studying at the American Film Institute's graduate school, and has since become infamous online as one of those films people claim they wish they never saw.
Aster brought that penchant for exploring deeply disturbing subject matter to "Hereditary," his first feature film. Depicting the disintegration...
Ari Aster became a big name in horror in 2018 with "Hereditary," but he'd had some practice at upsetting audiences by that point. All the way back in 2011, he caused a stir with his short film "The Strange Thing About The Johnsons," which focuses on a boy who sexually abuses his father over the course of his life. Aster said the film came from "an idea that sprouted between [him] and a few friends" about "taboos that weren't even taboos because they were so unfathomable." The short formed his thesis while studying at the American Film Institute's graduate school, and has since become infamous online as one of those films people claim they wish they never saw.
Aster brought that penchant for exploring deeply disturbing subject matter to "Hereditary," his first feature film. Depicting the disintegration...
- 2/19/2023
- by Joe Roberts
- Slash Film
Inspired by Sei Shōnagon’s first-century diary, Peter Greenaway’s The Pillow Book is an audio-visual tour de force, and a showcase for one of British cinema’s most singular talents.
Starring Vivian Wu (8½ Women), Ewan McGregor (Trainspotting) and Ken Ogata (Mishima: A Life in Four Chapters), the film is among Greenaway’s most daring and adventurous works.
Indicator Limited Edition Blu-ray Special Features:
High Definition remaster
Original stereo audio
Selected scenes commentary with Peter Greenaway (2015)
The Book of the Editor (2020): new interview with editor Chris Wyatt
Rosa (1992): performance film by Anne Teresa De Keersmaker’s Rosas dance company, directed by Peter Greenaway and shot by Sacha Vierny, presented in a new restoration from the original negative
Image gallery: on-set and promotional photography
Theatrical trailer
Original theatrical calligraphic subtitle presentation
New English subtitles for the deaf and hard-of-hearing
Limited edition exclusive 40-page booklet with a new essay by Adam Scovell,...
Starring Vivian Wu (8½ Women), Ewan McGregor (Trainspotting) and Ken Ogata (Mishima: A Life in Four Chapters), the film is among Greenaway’s most daring and adventurous works.
Indicator Limited Edition Blu-ray Special Features:
High Definition remaster
Original stereo audio
Selected scenes commentary with Peter Greenaway (2015)
The Book of the Editor (2020): new interview with editor Chris Wyatt
Rosa (1992): performance film by Anne Teresa De Keersmaker’s Rosas dance company, directed by Peter Greenaway and shot by Sacha Vierny, presented in a new restoration from the original negative
Image gallery: on-set and promotional photography
Theatrical trailer
Original theatrical calligraphic subtitle presentation
New English subtitles for the deaf and hard-of-hearing
Limited edition exclusive 40-page booklet with a new essay by Adam Scovell,...
- 12/7/2019
- by Rouven Linnarz
- AsianMoviePulse
“Open To Interpretation”
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
By Raymond Benson
Last Year at Marienbad should have had the marketing tagline: “Open to Interpretation,” for the film belongs at the top of a list entitled Movies That Make You Go ‘Huh??’
Alain Resnais’ enigmatic, surreal, and puzzling experimental picture from 1961, the follow-up to his acclaimed Hiroshima mon amour (1959), won the Golden Lion at the Venice Film Festival. The picture has been simultaneously praised and reviled since its release because audiences generally don’t know what to make of it.
Yes, it’s beautiful to look at. The cinematography by Sacha Vierny is magnificent in its black and white, widescreen splendor. The settings at such Baroque palaces as Nymphenburg and Schleissheim in Munich evoke a mysterious past that might be an alternate timeline. The music by Francis Seyrig might belong in a creepy cathedral with its gothic horror organ. The pace is slow, but the picture...
- 8/5/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
To mark the release of Last Year in Marienbad on 17th September, we’ve been given 1 copy to give away on Blu-ray.
A stunning new restoration of one of the most enigmatic and distinctive films ever made, this astounding collaboration between director Alain Resnais (Night and Fog) and leading French novelist Alain Robbe-Grillet is a key moment in the French New Wave.
In a baroque spa hotel, an unnamed sophisticate (Giorgio Albertazzi) attempts to persuade a similarly unnamed married woman (Delphine Seyrig) that they have not only previously met, but that they were also romantically involved and had planned to elope together. The woman recalls no such encounter and so begins a sensual and philosophical examination of the uncertainty of truth. Strikingly composed and beautifully shot in Cinemascope by Sacha Vierny, Last Year in Marienbad hypnotically merges chronology to radically blur the boundaries of reality and fantasy. A seductive and utterly fascinating cinematic puzzle,...
A stunning new restoration of one of the most enigmatic and distinctive films ever made, this astounding collaboration between director Alain Resnais (Night and Fog) and leading French novelist Alain Robbe-Grillet is a key moment in the French New Wave.
In a baroque spa hotel, an unnamed sophisticate (Giorgio Albertazzi) attempts to persuade a similarly unnamed married woman (Delphine Seyrig) that they have not only previously met, but that they were also romantically involved and had planned to elope together. The woman recalls no such encounter and so begins a sensual and philosophical examination of the uncertainty of truth. Strikingly composed and beautifully shot in Cinemascope by Sacha Vierny, Last Year in Marienbad hypnotically merges chronology to radically blur the boundaries of reality and fantasy. A seductive and utterly fascinating cinematic puzzle,...
- 9/16/2018
- by Competitions
- HeyUGuys.co.uk
In the films of Yorgos Lanthimos, sex, love, friendship and familial duty all exist only in their relation to the power they give people over each other. So while “The Favourite” stands apart from his best-known films by being a period piece, as well as his major feature that he did not write or co-write, it very much fits the intimate jockeying and gamesmanship on display in his earlier work.
Written by first-timer Deborah Davis and Aussie TV writer Tony McNamara, “The Favourite” plays like “All About Eve” as filtered through “The Draughtman’s Contract,” where women in bustles and corsets hopelessly outmaneuver men in wigs and breeches, and where everyone from the servants to the queen herself is playing the game and manipulating others to get what they want.
The queen in question is Queen Anne (Olivia Colman), ensconced in the estate of her lifelong friend Sarah Churchill, Duchess...
Written by first-timer Deborah Davis and Aussie TV writer Tony McNamara, “The Favourite” plays like “All About Eve” as filtered through “The Draughtman’s Contract,” where women in bustles and corsets hopelessly outmaneuver men in wigs and breeches, and where everyone from the servants to the queen herself is playing the game and manipulating others to get what they want.
The queen in question is Queen Anne (Olivia Colman), ensconced in the estate of her lifelong friend Sarah Churchill, Duchess...
- 8/30/2018
- by Alonso Duralde
- The Wrap
Scores on Screen is a column by Clare Nina Norelli on film soundtracks.When French documentarian Alain Resnais was commissioned to produce a short film about the 1945 bombing of Hiroshima, it initially seemed to him an impossible and daunting task. How does one convey onscreen the sheer magnitude of the horrific atomic attack and its devastating effects; how to reproduce on celluloid the ongoing trauma of that fateful August morning as experienced by the Japanese people? Resnais ultimately decided to focus his film on the “impossibility” of talking about, or fully knowing, the tragedy of Hiroshima. Eschewing the documentary form he was familiar with, the director instead embarked on his first narrative film, Hiroshima, mon amour (1959), enlisting the help of the celebrated French writer Marguerite Duras to write the film’s scenario and dialogue. Resnais still retained documentary-style images of the ruins of Hiroshima and the city’s survivors, but...
- 7/9/2018
- MUBI
A24’s “Hereditary” enjoys a 92 percent fresh rating on Rotten Tomatoes, and this weekend the studio hopes horror fans will overrun theaters as they did for “A Quiet Place” earlier this year. In the latest installment of the CineFix Directors Series, writer-director Ari Aster unpacks the opening beats from his first feature — “a family tragedy that curdles into a nightmare” — starring Toni Colette as Annie, a grieving daughter and miniaturist.
“Hereditary” begins with a wide shot of a dollhouse at the center of a room. The camera zooms in on one of the dollhouse’s bedrooms, which flickers to life as Annie’s husband (Gabriel Byrne) enters, carrying a blazer on a hanger. While viewers and the characters are oblivious to the family’s impending troubles, thanks to the film’s dollhouse motif, “there is also the feeling that we’re watching everything from a more knowing, sadistic perspective,” said Aster.
“Hereditary” begins with a wide shot of a dollhouse at the center of a room. The camera zooms in on one of the dollhouse’s bedrooms, which flickers to life as Annie’s husband (Gabriel Byrne) enters, carrying a blazer on a hanger. While viewers and the characters are oblivious to the family’s impending troubles, thanks to the film’s dollhouse motif, “there is also the feeling that we’re watching everything from a more knowing, sadistic perspective,” said Aster.
- 6/6/2018
- by Jenna Marotta
- Indiewire
Alain Resnais' deceptively conventional drama is really about interpersonal dynamics: lives lived in the here and now are really anchored in events and concerns from the past, that bleed into the present. Delphine Seyrig's antique dealer invites an old beau to visit, but instead of clarity and direction finds just more personal confusion. Muriel, ou Le temps d'un retour Blu-ray The Criterion Collection 824 1963 / Color / 1:66 widescreen / 116 min. / available through The Criterion Collection / Street Date July 19, 2016 / 39.95 Starring Delphine Seyrig, Jean-Pierre Kérien, Nita Klein, Jean-Baptiste Thiérrée, Claude Sainval, Laurence Badie, Jean Champion Cinematography Sacha Vierny Production Design Jacques Saulnier Film Editor Claudine Merlin, Kenout Peltier, Eric Pluet Original Music Paul Colline Written by Jean Cayrol Produced by Anatole Dauman Directed by Alain Resnais
Reviewed by Glenn Erickson
Back in film school we'd make pronouncements like, why do all movies have to have such structured plots, with organized conflicts and resolutions?...
Reviewed by Glenn Erickson
Back in film school we'd make pronouncements like, why do all movies have to have such structured plots, with organized conflicts and resolutions?...
- 7/29/2016
- by Glenn Erickson
- Trailers from Hell
The first and most powerful Holocaust reassessment extends the horror with the assertion that, in 1955, its reality is already fading from the world memory. Alain Resnais uses the form of the art movie and his own essay-film innovations to communicate the yawning wound in the human consciousness. Night and Fog Blu-ray The Criterion Collection 197 1955 / Color & B&W / 1:33 flat full frame / 32 min. / available through The Criterion Collection / Street Date July 19, 2016 / 39.95 Narrator Michel Bouquet Cinematography Ghislain Cloquet, Sacha Vierny Assistant Directors André Heinreich, Jean-Charles Lauthe, Chris Marker Film Editor Alain Resnais Original Music Hanns Eisler Written by Jean Cayrol Produced by Anatole Dauman, Samy Halfon, Philippe Lifchitz Directed by Alain Resnais
Reviewed by Glenn Erickson
Although I review more than my share of grim shows about the Holocaust, I don't think I have an unusually morbid curiosity; subjects like the Shoah and The Bomb are important problems difficult to fully understand.
Reviewed by Glenn Erickson
Although I review more than my share of grim shows about the Holocaust, I don't think I have an unusually morbid curiosity; subjects like the Shoah and The Bomb are important problems difficult to fully understand.
- 7/17/2016
- by Glenn Erickson
- Trailers from Hell
If beauty is in the eye of the beholder, then there will never be a definitive list of the greatest cinematography, but for our money, one of the finest polls has been recently conducted on the matter. Our friend Scout Tafoya polled over 60 critics on Fandor, including some of us here, and the results can be found in a fantastic video essay below. Rather than the various wordless supercuts that crowd Vimeo, Tafoya wrestles with his thoughts on cinematography as we see the beautiful images overlaid from the top 12 choices.
“I’ve been thinking of the world cinematographically since high school,” Scout says. “Sometime around tenth grade I started looking out windows, at crowds of my peers, at the girls I had crushes on, and imagining the best way to film them. Lowlight, mini-dv or 35mm? Curious and washed out like the way Emmanuel Lubezki shot Y Tu Mamá También,...
“I’ve been thinking of the world cinematographically since high school,” Scout says. “Sometime around tenth grade I started looking out windows, at crowds of my peers, at the girls I had crushes on, and imagining the best way to film them. Lowlight, mini-dv or 35mm? Curious and washed out like the way Emmanuel Lubezki shot Y Tu Mamá También,...
- 4/28/2016
- by Jordan Raup
- The Film Stage
Hiroshima mon amour
Written by Marguerite Duras
Directed by Alain Resnais
France/Japan, 1959
The first thing we see is a textured image of ash covered bodies. Indistinctly illuminated limbs are entwined in what appears to be a passionate embrace. Glistening particles of dust sprinkle down like snowfall. Then comes the dialogue. A woman recalls the devastating effects of the atomic bomb dropped on Hiroshima Aug. 6, 1945. She says she saw it all. A man says she didn’t see a thing. “How could I not have seen it?” she questions. We see images of it, but some of it is staged, presented for the camera, possibly from her point of view. That is, if she’s telling the truth. There is a graphically unsettling montage of photographs, reconstructions, and Japanese films, all chronicling the attack; there is a morbid museum containing artifacts of that fateful day, haunting reminders of the physical and material destruction.
Written by Marguerite Duras
Directed by Alain Resnais
France/Japan, 1959
The first thing we see is a textured image of ash covered bodies. Indistinctly illuminated limbs are entwined in what appears to be a passionate embrace. Glistening particles of dust sprinkle down like snowfall. Then comes the dialogue. A woman recalls the devastating effects of the atomic bomb dropped on Hiroshima Aug. 6, 1945. She says she saw it all. A man says she didn’t see a thing. “How could I not have seen it?” she questions. We see images of it, but some of it is staged, presented for the camera, possibly from her point of view. That is, if she’s telling the truth. There is a graphically unsettling montage of photographs, reconstructions, and Japanese films, all chronicling the attack; there is a morbid museum containing artifacts of that fateful day, haunting reminders of the physical and material destruction.
- 7/21/2015
- by Jeremy Carr
- SoundOnSight
Luis Buñuel movies on TCM tonight (photo: Catherine Deneuve in 'Belle de Jour') The city of Paris and iconoclastic writer-director Luis Buñuel are Turner Classic Movies' themes today and later this evening. TCM's focus on Luis Buñuel is particularly welcome, as he remains one of the most daring and most challenging filmmakers since the invention of film. Luis Buñuel is so remarkable, in fact, that you won't find any Hollywood hipster paying homage to him in his/her movies. Nor will you hear his name mentioned at the Academy Awards – no matter the Academy in question. And rest assured that most film critics working today have never even heard of him, let alone seen any of his movies. So, nowadays Luis Buñuel is un-hip, un-cool, and unfashionable. He's also unquestionably brilliant. These days everyone is worried about freedom of expression. The clash of civilizations. The West vs. The Other.
- 1/27/2015
- by Andre Soares
- Alt Film Guide
Catherine Deneuve: Style, beauty, and talent on TCM tonight A day to rejoice on Turner Classic Movies: Catherine Deneuve, one of the few true Living Film Legends, is TCM’s "Summer Under the Stars" star today, August 12, 2013. Catherine Deneuve is not only one of the most beautiful film actresses ever, she’s also one of the very best. In fact, the more mature her looks, the more fascinating she has become. Though, admittedly, Deneuve has always been great to look at, and she has been a mesmerizing screen presence since at least the early ’80s. ‘The Umbrellas of Cherbourg’: One of the greatest movie musicals ever Right now, TCM is showing one of the greatest movie musicals ever made, Jacques Demy’s Palme d’Or winner The Umbrellas of Cherbourg (1964), in which a very blonde, very young, very pretty, and very dubbed Catherine Deneuve (singing voice by Danielle Licari...
- 8/13/2013
- by Andre Soares
- Alt Film Guide
The Guardian's season of British cult classics continues with a moving family drama set in Liverpool and an offbeat tale of twin zoologists obsessed with death
Sick of Twilight? Can't bear the thought of Skyfall? In what can only be described as an inspired bit of counter-programming, the Guardian brings you the second in our series of British cult classics double bills, in conjuction with the BFI. The absolute acme of 1980s British auteurist cinema, Distant Voices, Still Lives and A Zed & Two Noughts couldn't be more different to the current breed of blockbuster: both intensely personal, inward-looking, and defiantly unconventional.
That's not to say these two films run on similar tracks; they themselves are practically polar opposites. Distant Voices was the 1988 feature debut of Terence Davies, the intensely neurotic Liverpudlian who would go on to make The House of Mirth and The Deep Blue Sea. Davies had already acquired...
Sick of Twilight? Can't bear the thought of Skyfall? In what can only be described as an inspired bit of counter-programming, the Guardian brings you the second in our series of British cult classics double bills, in conjuction with the BFI. The absolute acme of 1980s British auteurist cinema, Distant Voices, Still Lives and A Zed & Two Noughts couldn't be more different to the current breed of blockbuster: both intensely personal, inward-looking, and defiantly unconventional.
That's not to say these two films run on similar tracks; they themselves are practically polar opposites. Distant Voices was the 1988 feature debut of Terence Davies, the intensely neurotic Liverpudlian who would go on to make The House of Mirth and The Deep Blue Sea. Davies had already acquired...
- 11/16/2012
- by Andrew Pulver
- The Guardian - Film News
Fifty years on, footage has been unearthed of the filming of Alain Resnais's movie, bringing back vivid memories for Volker Schlörndorff, its assistant director
A group of anxious and shivering film technicians are standing around in the grounds of the Schleissheim castle in Munich. It's September 1960: the days are short and the light is fading. They are waiting for the next take, but the director – the only calm figure in the group – wants to shoot an elaborate tracking shot. The dolly wheels would stick in the gravel of the paths, so he has instructed the crew to board them over – and then to paint the gravel back in. Welcome to Alain Resnais's Last Year at Marienbad.
We know this happened because of some remarkable 8mm footage shot during the making of the film by one of its actors, Françoise Spira. She killed herself in 1965 and her footage vanished.
A group of anxious and shivering film technicians are standing around in the grounds of the Schleissheim castle in Munich. It's September 1960: the days are short and the light is fading. They are waiting for the next take, but the director – the only calm figure in the group – wants to shoot an elaborate tracking shot. The dolly wheels would stick in the gravel of the paths, so he has instructed the crew to board them over – and then to paint the gravel back in. Welcome to Alain Resnais's Last Year at Marienbad.
We know this happened because of some remarkable 8mm footage shot during the making of the film by one of its actors, Françoise Spira. She killed herself in 1965 and her footage vanished.
- 6/30/2011
- by Geoffrey Macnab
- The Guardian - Film News
Alain Resnais' Last Year at Marienbad Last Year At Marienbad Review Part II Sacha Vierny's cinematography, combined with Jasmine Chasney's editing, produces indelible effects. For instance, there are a few passages that swiftly intercut the seeming past with the seeming present, usually with the woman at the center of both scenes. Although the images from both times last only a second or less, the fact that one is set in dark grays and blacks, and the other in beaming whites, mesmerizes the viewer because the flashes back and forth between the two, via direct cuts, subliminally impresses the imagery deeper into the psyche, cementing it there with the strobe-like effect that acts as a cauterizing agent. Another excellent shot follows the second man and the woman into the hotel's lush Taj Mahal-like garden, where they see sculptures of stones and trees arranged in a geometric pattern. In...
- 3/25/2011
- by Dan Schneider
- Alt Film Guide
Jan 04, 2011
Hiroshima mon amour was the first feature directed by Alain Resnais. Besides establishing the director's international reputation, the film was one of several released in 1959 signalling the emergence of a new generation of French filmmakers working in a modernist narrative vein. Indeed, the film is considered something of a landmark in the history of modernist cinema. The film is also seen as an exemplary instance of artistic collaboration. The scenario by Marguerite Duras, photography of Sacha Vierny, editing of Henri Colpi, and musical score by Giovanni Fusco and Georges Delerue contribute to its ...Read more at MovieRetriever.com...
Hiroshima mon amour was the first feature directed by Alain Resnais. Besides establishing the director's international reputation, the film was one of several released in 1959 signalling the emergence of a new generation of French filmmakers working in a modernist narrative vein. Indeed, the film is considered something of a landmark in the history of modernist cinema. The film is also seen as an exemplary instance of artistic collaboration. The scenario by Marguerite Duras, photography of Sacha Vierny, editing of Henri Colpi, and musical score by Giovanni Fusco and Georges Delerue contribute to its ...Read more at MovieRetriever.com...
- 1/4/2011
- CinemaNerdz
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