Emerging star Lux Pascal, whose credits include Narcos, has joined the cast of Chilean director Alicia Scherson’s next film Summer War.
The co-production reunites Chile’s Araucaria Cine, Le Tiro from Argentina, and Nadador Cine from Uruguay.
Summer War will centre on a US champion of the board game Third Reich whose peaceful summer holiday in 1989 is shattered when a tourist mysteriously disappears at sea.
Scherson is adapting the screenplay from celebrated Chilean author Roberto Bolaño’s novel The Third Reich, which was discovered among his papers following his death in 2010.
Pascal, who is the sister of The Last Of Us...
The co-production reunites Chile’s Araucaria Cine, Le Tiro from Argentina, and Nadador Cine from Uruguay.
Summer War will centre on a US champion of the board game Third Reich whose peaceful summer holiday in 1989 is shattered when a tourist mysteriously disappears at sea.
Scherson is adapting the screenplay from celebrated Chilean author Roberto Bolaño’s novel The Third Reich, which was discovered among his papers following his death in 2010.
Pascal, who is the sister of The Last Of Us...
- 2/19/2024
- ScreenDaily
Other Mothers: Iriarte’s Debut a Murky Mix of Neo Noir and Melodrama
For his film debut Foremost the Night, Víctor Iriarte frames his peculiarly staged narrative through the words of famed Chilean novelist Roberto Bolano, quoting his 1999 novella Amulet. The passage confirms this will be a story about a terrible crime, but it will not appear to be so because it’s being told from a personal perspective. This is a story focused on the ‘who’ rather than the ‘what’ or ‘why,’ and thus takes on an automatically enigmatic tone thanks to the dramatic catalysts which inextricably frame the story, the details of which are fuzzy, out-of-focus horrors which the audience will be forced to fill in the pertinent details about, making everything feel all the more sinister.…...
For his film debut Foremost the Night, Víctor Iriarte frames his peculiarly staged narrative through the words of famed Chilean novelist Roberto Bolano, quoting his 1999 novella Amulet. The passage confirms this will be a story about a terrible crime, but it will not appear to be so because it’s being told from a personal perspective. This is a story focused on the ‘who’ rather than the ‘what’ or ‘why,’ and thus takes on an automatically enigmatic tone thanks to the dramatic catalysts which inextricably frame the story, the details of which are fuzzy, out-of-focus horrors which the audience will be forced to fill in the pertinent details about, making everything feel all the more sinister.…...
- 9/2/2023
- by Nicholas Bell
- IONCINEMA.com
There are movies that grab you by the throat and refuse to let go until the story ends. And there are others that playfully take your hand, guiding you into stories that blossom and fold in on themselves several times over, leading to endings that are more like beginnings.
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
- 5/18/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Going UNDERGROUNDEverybody and their dog, it seems, feels this off imperative to try to identify common themes in the handful of festival films they (we) (I) see in a given year. It's the Ghost of Hegel, I suppose, demanding that we make sense of our times by referring to some Zeitgeist. (Zeitgeist? Isn't this just as likely to Strand the FilmsWeLike in some oh-so-precious Music Box, to be unearthed years later by members of some as-yet-unassembled Cinema Guild? But I digress.) There may or may not be tendencies running through this year's feature selections, and if there are, that could have as much to do with the people who selected them than with any global mood. But there does seem to be a generalized turning-inward, with filmmakers making works about themselves and their immediate lives, the cinematic process, and the very complexities of communicating with other human beings. There are...
- 9/17/2015
- by Michael Sicinski
- MUBI
In The Big Sleep, published 75 years ago this week, the reading public met a very different kind of detective for the first time
Seventy-five years ago this week a revolution in crime-writing began when Knopf published The Big Sleep, Raymond Chandler's first novel. Reviews in 1939 were wary and unenthusiastic, however, and only gradually was it recognised that Chandler had pulled off a bold fusion of highbrow and lowbrow – much-applauded by authors such as Wh Auden, Graham Greene and Evelyn Waugh, but also much-imitated by fellow chroniclers of murder.
What was so new? Almost everything in the first chapter, which introduces Philip Marlowe as he visits the Sternwood family mansion. Marlowe speaks to us. Whereas Holmes, Poirot, Maigret, Sam Spade are observed externally, Marlowe is the detective as autobiographer, starting three consecutive sentences in the first paragraph with "I" (ending with "I was calling on four million dollars").
He is a private detective,...
Seventy-five years ago this week a revolution in crime-writing began when Knopf published The Big Sleep, Raymond Chandler's first novel. Reviews in 1939 were wary and unenthusiastic, however, and only gradually was it recognised that Chandler had pulled off a bold fusion of highbrow and lowbrow – much-applauded by authors such as Wh Auden, Graham Greene and Evelyn Waugh, but also much-imitated by fellow chroniclers of murder.
What was so new? Almost everything in the first chapter, which introduces Philip Marlowe as he visits the Sternwood family mansion. Marlowe speaks to us. Whereas Holmes, Poirot, Maigret, Sam Spade are observed externally, Marlowe is the detective as autobiographer, starting three consecutive sentences in the first paragraph with "I" (ending with "I was calling on four million dollars").
He is a private detective,...
- 2/6/2014
- by John Dugdale
- The Guardian - Film News
Attention people in Chile, Chileans or tourists visiting, there's a new movie opening today (June 6) and it's one of the most long-awaited Chilean productions of all year (besides the two films starring Michael Cera and directed by Sebastiàn Silva). Directed by Alicia Scherson and starring the international star Rutger Hauer (Hobo with a Shotgun, Blade Runner) and the most beloved young actress of Chile, Manuela Martelli (Machuca, B-Happy), The Future opens on more than 12 screens all over Chile, including the always classic "Cine Normandie," as well as in major chains.The film, based on the novel "Una novelita lumpen" by Chilean author Roberto Bolaño, follows Bianca (Martelli) and her brother after the death of their parents and how they reflect their life in a lonely apartment...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 6/6/2013
- Screen Anarchy
If May was a good month for Latin America cinema, June has also its highlights.Last week Chilean cinemas saw the premiere of Carne De Perro (Dog Flesh) from Fernando Guzzoni, winner of the Kutxa-New Directors Award of the San Sebastian International Film Festival 2013. We have yet to see its impact after its first weekend. Don't miss this gruesome and disturbing film about a former torturer facing his past during the Pinochet dictatorship. Disclaimer: no dogs were harmed in the making of this film. Alicia Scherson's third film will be hitting the screens on 6 June. Scherson first read Roberto Bolaño's book in 2005, the same year her sophomore film Play was being premiered around the globe. Il Futuro, with Manuela Martelli (Machuca) and Rutger Hauer in the...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 6/3/2013
- Screen Anarchy
Fall 2012 is a book lover's dream, featuring new releases from an overwhelming number of literary heavyweights. The coming election has further compressed the book release window for most big titles into September and October.
Whether you browse at your local bookstore, buy books online or are searching for something to top up your ereader, choosing what to read in the coming months will be a daunting prospect.
Zadie Smith, Junot Díaz, Michael Chabon and Emma Donoghue will each release much-anticipated works of fiction, and J.K. Rowling's very first adult novel, about which little has been said, will finally see the light of day.
Posthumous works by Roberto Bolaño, David Foster Wallace and Kurt Vonnegut are sure to make a big splash, too.
There are also non-fiction titles by Stephen Colbert, John Meacham, Neil Young and Talking Heads frontman David Byrne that might pique your interest.
In other words, plenty to read.
Whether you browse at your local bookstore, buy books online or are searching for something to top up your ereader, choosing what to read in the coming months will be a daunting prospect.
Zadie Smith, Junot Díaz, Michael Chabon and Emma Donoghue will each release much-anticipated works of fiction, and J.K. Rowling's very first adult novel, about which little has been said, will finally see the light of day.
Posthumous works by Roberto Bolaño, David Foster Wallace and Kurt Vonnegut are sure to make a big splash, too.
There are also non-fiction titles by Stephen Colbert, John Meacham, Neil Young and Talking Heads frontman David Byrne that might pique your interest.
In other words, plenty to read.
- 8/17/2012
- by Madeleine Crum
- Huffington Post
Second #6768, 112:48
Fragments:
1. Frank’s back to the camera.
2. Dorothy’s apartment stretched out in horizontal like a widescreen nightmare.
3. The vintage fridge, solid.
4. The black circle mirror above the bathroom pedestal sink. (If Roberto Bolaño had done the set design for Blue Velvet, the mirror would have been inscrutably evil.)
5. The silencer, attached.
6. The sconce on the wall above the couch, looking at first glance, in its isolated away, like the screaming mouth on Jeffrey’s wall.
7. The sadness of Dorothy’s husband’s dead paunch.
8. Frank’s death in under two minutes, uncertain at this point because Jeffrey, hiding in the closet, has not yet taken the loaded revolver from the Yellow Man’s jacket pocket.
9. The virus is Frank. Jeffrey—the “bug man” as Dorothy calls him—will exterminate him.
10. From the play Bug, by Tracy Letts:
Peter: Think.
Agnes: You brought the bugs . . . you have the bugs in your body,...
Fragments:
1. Frank’s back to the camera.
2. Dorothy’s apartment stretched out in horizontal like a widescreen nightmare.
3. The vintage fridge, solid.
4. The black circle mirror above the bathroom pedestal sink. (If Roberto Bolaño had done the set design for Blue Velvet, the mirror would have been inscrutably evil.)
5. The silencer, attached.
6. The sconce on the wall above the couch, looking at first glance, in its isolated away, like the screaming mouth on Jeffrey’s wall.
7. The sadness of Dorothy’s husband’s dead paunch.
8. Frank’s death in under two minutes, uncertain at this point because Jeffrey, hiding in the closet, has not yet taken the loaded revolver from the Yellow Man’s jacket pocket.
9. The virus is Frank. Jeffrey—the “bug man” as Dorothy calls him—will exterminate him.
10. From the play Bug, by Tracy Letts:
Peter: Think.
Agnes: You brought the bugs . . . you have the bugs in your body,...
- 7/27/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #4230, 70:30
In Roberto Bolaño’s short story “Days of 1978” (from the collection Last Evenings on Earth) one of the characters, upon hearing the voice of another character, suddenly and frightfully develops an unsettling and inexplicable image in his mind:
It [the voice] conjures up a silent black-and-white film in which, all of a sudden, the characters start shouting incomprehensibly at the top of their voices, while a red line appears in the middle of the screen and begins to widen and spread.
What to make of this? It’s nightmarish, but why? Perhaps it’s because what’s described is difficult to visualize: a line appears in the middle of the screen. Is it a vertical or horizontal line? Let’s imagine that the line is vertical, and that it divides two characters on the screen, and that as the line widens and spreads, it pushes the characters apart from each other.
In Roberto Bolaño’s short story “Days of 1978” (from the collection Last Evenings on Earth) one of the characters, upon hearing the voice of another character, suddenly and frightfully develops an unsettling and inexplicable image in his mind:
It [the voice] conjures up a silent black-and-white film in which, all of a sudden, the characters start shouting incomprehensibly at the top of their voices, while a red line appears in the middle of the screen and begins to widen and spread.
What to make of this? It’s nightmarish, but why? Perhaps it’s because what’s described is difficult to visualize: a line appears in the middle of the screen. Is it a vertical or horizontal line? Let’s imagine that the line is vertical, and that it divides two characters on the screen, and that as the line widens and spreads, it pushes the characters apart from each other.
- 3/14/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Today, audiences can head to theaters to see the re-release of Star Wars Episode 1: The Phantom Menace in 3-D. Regardless of how you feel about the much-maligned prequel, there’s no denying the Star Wars franchise made more than an impression on millions of moviegoers who experienced the magic of the first three films in theaters or on their TV screens. This week, EW‘s writers will be celebrating their complicated relationship with George Lucas’ beloved, yet contested, franchise with a series we call “How Star Wars changed my life.” And for those of you headed to the theaters this Friday…...
- 2/10/2012
- by Darren Franich
- EW.com - PopWatch
Second #3666, 61:06
After Frank and his gang leave the Slow Club, Jeffrey follows them. He is a detective, now. The scene is bathed in hellish red. The slow rumble of thunder ratchets up the tension. There is no one for Jeffrey, neither Dorothy nor Sandy. Not now, in the silence of his car. In fact, the movie has carried itself forward without functional dialogue for a while; it’s become pure cinema, where the images and sounds render dialogue obsolete, because of what use is dialogue in the bloodlands?
In 2666, by Roberto Bolaño, a character, Norton,
repeated, in German, there’s no turning back. And, paradoxically, she turned and walked off away from the pool and was lost in a forest that could barely be seen through the fog, a forest that gave off a red glow, and it was into this red glow that Norton disappeared.
The lighted phone...
After Frank and his gang leave the Slow Club, Jeffrey follows them. He is a detective, now. The scene is bathed in hellish red. The slow rumble of thunder ratchets up the tension. There is no one for Jeffrey, neither Dorothy nor Sandy. Not now, in the silence of his car. In fact, the movie has carried itself forward without functional dialogue for a while; it’s become pure cinema, where the images and sounds render dialogue obsolete, because of what use is dialogue in the bloodlands?
In 2666, by Roberto Bolaño, a character, Norton,
repeated, in German, there’s no turning back. And, paradoxically, she turned and walked off away from the pool and was lost in a forest that could barely be seen through the fog, a forest that gave off a red glow, and it was into this red glow that Norton disappeared.
The lighted phone...
- 2/10/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #3243, 54:03
“It’s a strange world, Sandy.”
***
“Frank is a . . . a very dangerous man.”
***
“You saw a lot in one night.”
***
“It is a strange world.”
These lines from around the moment of this frame collapse into one meaning, one meaning obvious to Sandy: that Jeffrey has fallen in love with Dorothy. Outside the church, Sandy is about to deliver her “robins” monologue, a monologue that securely nails Blue Velvet to the wall of sincerity. The shot itself is full of menace and beauty: the night, the soft illumination of the car’s interior, the troubling tree shadows on the church walls, the light coming through the stained glass windows.
In Roberto Bolaño’s The Savage Detectives, a character named Arturo (a stand-in for Bolaño) describes The Shining to another character:
Do you remember the novel that Torrance was writing? Arturo said suddenly. Torrance who? I said. The guy in the movie,...
“It’s a strange world, Sandy.”
***
“Frank is a . . . a very dangerous man.”
***
“You saw a lot in one night.”
***
“It is a strange world.”
These lines from around the moment of this frame collapse into one meaning, one meaning obvious to Sandy: that Jeffrey has fallen in love with Dorothy. Outside the church, Sandy is about to deliver her “robins” monologue, a monologue that securely nails Blue Velvet to the wall of sincerity. The shot itself is full of menace and beauty: the night, the soft illumination of the car’s interior, the troubling tree shadows on the church walls, the light coming through the stained glass windows.
In Roberto Bolaño’s The Savage Detectives, a character named Arturo (a stand-in for Bolaño) describes The Shining to another character:
Do you remember the novel that Torrance was writing? Arturo said suddenly. Torrance who? I said. The guy in the movie,...
- 1/20/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
The Third Reich is the latest in the long string of Roberto Bolaño works to be translated into English, but it stands out. Written in 1989, and discovered among his papers after his 2003 death, it isn’t one of his most accomplished works—The Savage Detectives and 2666 are far more ambitious, complete, satisfying novels. But it does shed light on his history. To be fully appreciated, The Third Reich needs the context of Bolaño’s career, since it’s almost impossible to separate the author he became from the mystifying, gripping work that appears out of ...
- 1/11/2012
- avclub.com
Second #2303, 38:23
In Roberto Bolaño newly published story “The Colonel’s Son,” the narrator describes a zombie movie he’s recently seen on TV. In fact, the entire story is a sordid summary of the movie, introduced like this:
I swear it was the most democratic, the most revolutionary film I’d seen in ages, and I don’t say that because the film in itself revolutionized anything; not at all, it was pathetic really, full of clichés and tired devices, yet every frame was infused with and gave off a revolutionary atmosphere . . .
At the moment of this frame, second #2303, Dorothy with her kitchen-drawer knife commands Jeffrey: “Get out of there! Get out! Put your hands up! On your head! Do it! Get on your knees! Do it!” The frame abounds in Hollywood myths and reversals of myth: the woman with the phallic knife, turning the tables on the whole...
In Roberto Bolaño newly published story “The Colonel’s Son,” the narrator describes a zombie movie he’s recently seen on TV. In fact, the entire story is a sordid summary of the movie, introduced like this:
I swear it was the most democratic, the most revolutionary film I’d seen in ages, and I don’t say that because the film in itself revolutionized anything; not at all, it was pathetic really, full of clichés and tired devices, yet every frame was infused with and gave off a revolutionary atmosphere . . .
At the moment of this frame, second #2303, Dorothy with her kitchen-drawer knife commands Jeffrey: “Get out of there! Get out! Put your hands up! On your head! Do it! Get on your knees! Do it!” The frame abounds in Hollywood myths and reversals of myth: the woman with the phallic knife, turning the tables on the whole...
- 12/2/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
I haven't seen a newsy item excite so many cinephiles in quite a while. Talking to Allocine, Ethan Hawke has let on that a followup to the delightfully Rohmeresque films he's made with Richard Linklater and Julie Delpy, Before Sunrise and Before Sunset, may be in the works. The Playlist's Simon Dang has the full video interview and has helpfully transcribed the money quote: "Well, I don't know what we're going to do but I know the three of us have been talking a lot in the last six months. All of three of us have been having similar feelings that we're ready to revisit those characters. There's nine years between the first two movies and, if we made the film next summer, it would be nine years again so we're really started thinking that would be a good thing to do. We're going to try write it this year.
- 11/23/2011
- MUBI
Is the Black Eyed Peas' 'I Gotta Feeling' a future classic? Will we still be watching The Office in 2111? Our critics and writers offer their tips for posterity
Which cultural artefacts created since 2000 will endure and speak to future generations? That was the question the American online magazine Slate posed to their contributors earlier this month, and the list of books, films, songs, TV shows, photographs and ideas they nominated – some great, others representative of their time or merely ubiquitous – made fascinating reading. It got us wondering: what kind of selection would experts on this side of the Atlantic come up with? We asked our critics to name their "new classics" of the millennium so far, and here is what they picked. Kf
Film
Slate chose: Mulholland Drive (2001), dir. David Lynch.
We choose: The Artist (2011), dir. Michel Hazanavicius. The Artist is a silent movie about the film industry's conversion to sound,...
Which cultural artefacts created since 2000 will endure and speak to future generations? That was the question the American online magazine Slate posed to their contributors earlier this month, and the list of books, films, songs, TV shows, photographs and ideas they nominated – some great, others representative of their time or merely ubiquitous – made fascinating reading. It got us wondering: what kind of selection would experts on this side of the Atlantic come up with? We asked our critics to name their "new classics" of the millennium so far, and here is what they picked. Kf
Film
Slate chose: Mulholland Drive (2001), dir. David Lynch.
We choose: The Artist (2011), dir. Michel Hazanavicius. The Artist is a silent movie about the film industry's conversion to sound,...
- 11/20/2011
- by Killian Fox, Philip French, Kitty Empire, William Skidelsky, Sean O'Hagan, Euan Ferguson, John Naughton
- The Guardian - Film News
Second #1927, 32:07
Jeffrey and Sandy have agreed on four honks of the car horn: this will warn Jeffrey to leave Dorothy’s apartment. Sandy waits in the car outside, in the night, in her own cocoon of nervous electricity. This is when Blue Velvet begins to go very, very dark, as Jeffrey makes his way through the India Ink of the screen into ever deeper and deeper blackness in what are perhaps the most psychologically violent moments in the film.
Where has Blue Velvet taken you?
When he woke up he thought he’d dreamed about a movie he’d seen the other day. But everything was different. The characters were black, so the movie in the dream was like a negative of the real movie. And different things happened, too. The plot was the same, but the ending was different or at some moment took an unexpected turn and became something completely different.
Jeffrey and Sandy have agreed on four honks of the car horn: this will warn Jeffrey to leave Dorothy’s apartment. Sandy waits in the car outside, in the night, in her own cocoon of nervous electricity. This is when Blue Velvet begins to go very, very dark, as Jeffrey makes his way through the India Ink of the screen into ever deeper and deeper blackness in what are perhaps the most psychologically violent moments in the film.
Where has Blue Velvet taken you?
When he woke up he thought he’d dreamed about a movie he’d seen the other day. But everything was different. The characters were black, so the movie in the dream was like a negative of the real movie. And different things happened, too. The plot was the same, but the ending was different or at some moment took an unexpected turn and became something completely different.
- 11/11/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Second #423 / 7:03
Four Asides
1. Holding the brown paper bag with the human ear in his hand, Jeffrey enters the Lumberton Police Station and asks, “Do you have a Detective Williams still working here?” There is a small-town familiarity to this shot, but also a hard-to-define, wavering menace, something you can feel but can’t quite detect. Some of this is generated from the stern, accusatory looks those in power give Jeffrey, as in this scene where the police officer behind the counter stares—his face unmoving—at him as he turns to go to Detective Williams. The same sort of dynamic will play out when he tries to explain how he came across the ear. It’s as if these figures of authority see and recognize Jeffrey’s voyeuristic tendencies and the crimes they will lead him to commit. They seem to understand what he plans to do before he does.
Four Asides
1. Holding the brown paper bag with the human ear in his hand, Jeffrey enters the Lumberton Police Station and asks, “Do you have a Detective Williams still working here?” There is a small-town familiarity to this shot, but also a hard-to-define, wavering menace, something you can feel but can’t quite detect. Some of this is generated from the stern, accusatory looks those in power give Jeffrey, as in this scene where the police officer behind the counter stares—his face unmoving—at him as he turns to go to Detective Williams. The same sort of dynamic will play out when he tries to explain how he came across the ear. It’s as if these figures of authority see and recognize Jeffrey’s voyeuristic tendencies and the crimes they will lead him to commit. They seem to understand what he plans to do before he does.
- 8/26/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Stephen King fans sure have a lot to look forward to. Along with his new novel 11/22/63, the eBook Mile 81, Carrie: The Musical's rebirth, and A&E's upcoming Bag of Bones adaptation, two new short stories are being published this fall! Read on for the details of each.
Per Lilja's Library, Granta Magazine's fall/winter issue will include King's story "The Dune." The issue, which is devoted to horror, no doubt in honor of Halloween, will be available for sale on October 27th and will also feature stories by Roberto Bolaño, Joy Williams, and Don DeLillo among others.
Second is "The Little Green God of Agony", which will appear in the A Book of Horrors anthology containing all-original stories by some of the most successful and exciting names in modern horror fiction. Cemetery Dance reports that "the story is good old fashioned Gothic horror at its best!" Along with King, the authors include by Ramsey Campbell,...
Per Lilja's Library, Granta Magazine's fall/winter issue will include King's story "The Dune." The issue, which is devoted to horror, no doubt in honor of Halloween, will be available for sale on October 27th and will also feature stories by Roberto Bolaño, Joy Williams, and Don DeLillo among others.
Second is "The Little Green God of Agony", which will appear in the A Book of Horrors anthology containing all-original stories by some of the most successful and exciting names in modern horror fiction. Cemetery Dance reports that "the story is good old fashioned Gothic horror at its best!" Along with King, the authors include by Ramsey Campbell,...
- 8/2/2011
- by The Woman In Black
- DreadCentral.com
From stage-door duties for the RSC, to the village famous for Straw Dogs, Observer writers reveal their idea of a perfect summer, past and present
● What are your tips for summer culture? Join the discussion
Kitty Empire
Pop critic
Let's be honest – the notion of summer as an extended golden period of rest and re-stimulation really now only applies to the young, the retired, or those in the teaching professions. The rest of us slog on, hoping to catch the odd festival (or maybe just gig in a park), marking time until camping in Cornwall or fly-drive to France, where finally luxuriating in the latest Alan Hollinghurst will come a distant second to stopping the youngest weeing in the hotel pool.
Once, though, I was artfully feckless too, making the rent by working as an usher for the Royal Shakespeare Company. "Good evening ladies and gentlemen, and welcome to the...
● What are your tips for summer culture? Join the discussion
Kitty Empire
Pop critic
Let's be honest – the notion of summer as an extended golden period of rest and re-stimulation really now only applies to the young, the retired, or those in the teaching professions. The rest of us slog on, hoping to catch the odd festival (or maybe just gig in a park), marking time until camping in Cornwall or fly-drive to France, where finally luxuriating in the latest Alan Hollinghurst will come a distant second to stopping the youngest weeing in the hotel pool.
Once, though, I was artfully feckless too, making the rent by working as an usher for the Royal Shakespeare Company. "Good evening ladies and gentlemen, and welcome to the...
- 8/1/2011
- by Kitty Empire, Mark Kermode, Rowan Moore, Philip French, Susannah Clapp, Laura Cumming, Luke Jennings, Fiona Maddocks, Rachel Cooke, Robert McCrum
- The Guardian - Film News
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