The 52nd annual Ann Arbor Film Festival will be a jam-packed experimental feature and short film screening event running for six days and nights, this time on March 25-30.
Opening Night will feature a reception and an after-party, and stuffed between those will be a block of nine short films, including new ones by Bryan Boyce, Michael Robinson, Jennifer Reeder and Martha Colburn, as well as a never-before-released work by the legendary Bruce Baillie called Little Girl in which Baillie captured scenes of natural beauty.
Special Events scattered throughout the festival include a retrospective of indie filmmaker Penelope Spheeris that will feature her rock ‘n’ roll-based work, including the original The Decline of Western Civilization, plus The Decline of Western Civilization Part III, her influential punk film Suburbia (screening twice) and a collection of short films.
There will also be several films and presentations by filmmaking scholar Thom Andersen, such...
Opening Night will feature a reception and an after-party, and stuffed between those will be a block of nine short films, including new ones by Bryan Boyce, Michael Robinson, Jennifer Reeder and Martha Colburn, as well as a never-before-released work by the legendary Bruce Baillie called Little Girl in which Baillie captured scenes of natural beauty.
Special Events scattered throughout the festival include a retrospective of indie filmmaker Penelope Spheeris that will feature her rock ‘n’ roll-based work, including the original The Decline of Western Civilization, plus The Decline of Western Civilization Part III, her influential punk film Suburbia (screening twice) and a collection of short films.
There will also be several films and presentations by filmmaking scholar Thom Andersen, such...
- 3/18/2014
- by Mike Everleth
- Underground Film Journal
In her new book Rachel Cooke re-examines the 1950s through 10 women who pioneered in their careers. In this extract she tells the stories of sisters-in-law Muriel and Betty Box, two prominent women in the British film industry
Until recently, anyone who wanted to see the film To Dorothy a Son had to lock themselves deep in the bowels of the British Film Institute off Tottenham Court Road, London, and watch it on an old Steenbeck editing machine. A little-known comedy from 1954, To Dorothy is no one's idea of a classic. It has an infuriating star in Shelley Winters, a creaky screenplay by Peter Rogers (later the producer of the Carry On series) and a set that looks as if it is on loan from a local amateur dramatics society.
We are in the home of Tony (John Gregson) and his baby-faced wife, Dorothy (Peggy Cummins). Dorothy is heavily pregnant, and confined to bed.
Until recently, anyone who wanted to see the film To Dorothy a Son had to lock themselves deep in the bowels of the British Film Institute off Tottenham Court Road, London, and watch it on an old Steenbeck editing machine. A little-known comedy from 1954, To Dorothy is no one's idea of a classic. It has an infuriating star in Shelley Winters, a creaky screenplay by Peter Rogers (later the producer of the Carry On series) and a set that looks as if it is on loan from a local amateur dramatics society.
We are in the home of Tony (John Gregson) and his baby-faced wife, Dorothy (Peggy Cummins). Dorothy is heavily pregnant, and confined to bed.
- 10/5/2013
- by Rachel Cooke
- The Guardian - Film News
Cyclescreen 2011, a bicycle film festival enjoying a successful second year, showed exciting new and classic cycling films
Cycling and art have a long history. For Toulouse-Lautrec, track racing in 1890's Paris was an essential part of the city's vivid twilight. Duchamp's bicycle wheel is a powerful symbol: like his Fountain (the urinal), it is both everyday and a little bit subversive.
Since its invention, the bike has stoked the passion of diverse artists, some for the circus hustle of the race, others the egalitarian potency of the original and best mass transport. Last week's Cyclescreen 2011, a bicycle film festival enjoying a successful second year at the Watershed in Bristol, presented exciting new work and some of the best classic cycling films.
The best cycling films capture the anarchic buzz of sleepy provincial town transformed into gladiatorial grandstand, and the short films Pour un Maillot Jaune, by Claude Lelouch, and Vive le Tour,...
Cycling and art have a long history. For Toulouse-Lautrec, track racing in 1890's Paris was an essential part of the city's vivid twilight. Duchamp's bicycle wheel is a powerful symbol: like his Fountain (the urinal), it is both everyday and a little bit subversive.
Since its invention, the bike has stoked the passion of diverse artists, some for the circus hustle of the race, others the egalitarian potency of the original and best mass transport. Last week's Cyclescreen 2011, a bicycle film festival enjoying a successful second year at the Watershed in Bristol, presented exciting new work and some of the best classic cycling films.
The best cycling films capture the anarchic buzz of sleepy provincial town transformed into gladiatorial grandstand, and the short films Pour un Maillot Jaune, by Claude Lelouch, and Vive le Tour,...
- 8/26/2011
- by Matthew Wright
- The Guardian - Film News
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