The Cannes Directors’ Fortnight section has unveiled its lineup for the 2024 festival, which will open with This Life of Mine, the final feature from the late French director Sophie Fillières. The drama features Agnès Jaoui as a woman whose identity starts to unravel when she turns 55. Fillières died shortly after wrapping principal photography on the film and her children finished post-production.
There are four U.S. titles in the feature section of the non-competitive sidebar: Tyler Taormina’s Christmas Eve In Miller’s Point, Carson Lund’s Eephus, India Donaldson’s Good One and Gazer from Ryan J. Sloan.
Christmas Eve in Miller’s Point, starring Michael Cera, Elsie Fisher, Francesca Scorsese. Ben Shenkman, Gregg Turkington, Sawyer Spielberg, Maria Dizzia and newcomer Matilda Fleming, follows four generations as they gather for what might be their last Christmas in the family home. Lund, who lensed Christmas Eve, makes his feature debut with Eephus,...
There are four U.S. titles in the feature section of the non-competitive sidebar: Tyler Taormina’s Christmas Eve In Miller’s Point, Carson Lund’s Eephus, India Donaldson’s Good One and Gazer from Ryan J. Sloan.
Christmas Eve in Miller’s Point, starring Michael Cera, Elsie Fisher, Francesca Scorsese. Ben Shenkman, Gregg Turkington, Sawyer Spielberg, Maria Dizzia and newcomer Matilda Fleming, follows four generations as they gather for what might be their last Christmas in the family home. Lund, who lensed Christmas Eve, makes his feature debut with Eephus,...
- 4/16/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
by Cláudio Alves
Appearing on 77 ballots, Spike Jonze's Her was the most voted film.
Two years ago, Sight & Sound released the results of their polls, voted by critics and filmmakers, on the best pictures ever made. Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles topped the former, causing various reactions that ranged from ecstatic to outraged. In total, the 2100 participants voted for 4366 unique titles. And yet, much great cinema was left without a single vote. In response, Ángel González devised another project for They Shoot Pictures, Don't They?, focusing on all those films the Sight & Sound voters ignored. A new list was devised based on the ballots of 839 critics and cinephiles. This time around, 4336 films received at least one vote - think of it as an alternative canon.
Nathaniel and I were among the lucky voters, with a few of our picks making the A-List of 1030 titles.
Appearing on 77 ballots, Spike Jonze's Her was the most voted film.
Two years ago, Sight & Sound released the results of their polls, voted by critics and filmmakers, on the best pictures ever made. Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles topped the former, causing various reactions that ranged from ecstatic to outraged. In total, the 2100 participants voted for 4366 unique titles. And yet, much great cinema was left without a single vote. In response, Ángel González devised another project for They Shoot Pictures, Don't They?, focusing on all those films the Sight & Sound voters ignored. A new list was devised based on the ballots of 839 critics and cinephiles. This time around, 4336 films received at least one vote - think of it as an alternative canon.
Nathaniel and I were among the lucky voters, with a few of our picks making the A-List of 1030 titles.
- 4/12/2024
- by Cláudio Alves
- FilmExperience
BFI Distribution has acquired UK-Ireland distribution rights to the film catalogue of late Belgian filmmaker Chantal Akerman.
The collection of 20 fiction and documentary features and short films was acquired from the Fondation Chantal Akerman, in partnership with the Royal Film Archive of Belgium.
BFI Distribution will give a theatrical re-release in 2025 to Akerman’s 1975 feature Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles as part of a package of Akerman films.
The package is part of a wider BFI project in 2025 to celebrate Akerman, including a retrospective season at London’s BFI Southbank, BFI Blu-ray releases and titles on BFI Player.
The collection of 20 fiction and documentary features and short films was acquired from the Fondation Chantal Akerman, in partnership with the Royal Film Archive of Belgium.
BFI Distribution will give a theatrical re-release in 2025 to Akerman’s 1975 feature Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles as part of a package of Akerman films.
The package is part of a wider BFI project in 2025 to celebrate Akerman, including a retrospective season at London’s BFI Southbank, BFI Blu-ray releases and titles on BFI Player.
- 4/9/2024
- ScreenDaily
The Cannes Directors’ Fortnight program has always done things a little differently than the rest of the vaunted film festival, and this year will be no different. The independent section is preparing to give out the first audience award in the history of the festival. Even better? It’s designed to honor beloved Belgian filmmaker Chantal Akerman.
Launched in 1969 and held alongside the Cannes Film Festival each year, Directors’ Fortnight has consistently been one of the more audience-friendly elements of Cannes, and has always been open to the public. As part of its 2024 edition, those audience will now get to vote on the just-announced People’s Choice Award, which is being supported by the Fondation Chantal Akerman and will award the filmmaker of the winning feature €7,500, which will be presented at the closing ceremony.
Each year, “in addition to professionals and other accredited guests, the Fortnight opens its doors to...
Launched in 1969 and held alongside the Cannes Film Festival each year, Directors’ Fortnight has consistently been one of the more audience-friendly elements of Cannes, and has always been open to the public. As part of its 2024 edition, those audience will now get to vote on the just-announced People’s Choice Award, which is being supported by the Fondation Chantal Akerman and will award the filmmaker of the winning feature €7,500, which will be presented at the closing ceremony.
Each year, “in addition to professionals and other accredited guests, the Fortnight opens its doors to...
- 3/27/2024
- by Kate Erbland
- Indiewire
Cannes Film Festival’s Directors’ Fortnight section will launch a new audience award at this year’s festival, named in honor of the late Belgian director Chantal Akerman. It marks the first time in the history of Cannes that the audience will choose a festival winner.
Professionals and industry attendees, as well as ordinary moviegoers at the Cannes sidebar, will vote on the Directors’ Fortnight winner. The winning film will receive €7,500 ($8,100) in prize money from the Chantal Akerman Foundation and will be announced at the section’s closing ceremony.
Akerman chose Fortnight to premiere her 1975 masterpiece, Jeanne Dielman, 23 quai du Commerce – 1080 Brussels, a feminist drama that topped the most recent Sight and Sound poll by filmmakers and critics as the greatest movie of all time.
Throughout the years, Akerman remained loyal to Fortnight, screening such films as Golden Eighties (1986), Sud (1999), La Captive (2000) and Tombée de Nuit sur Shanghaï (2007) in the Cannes section.
Professionals and industry attendees, as well as ordinary moviegoers at the Cannes sidebar, will vote on the Directors’ Fortnight winner. The winning film will receive €7,500 ($8,100) in prize money from the Chantal Akerman Foundation and will be announced at the section’s closing ceremony.
Akerman chose Fortnight to premiere her 1975 masterpiece, Jeanne Dielman, 23 quai du Commerce – 1080 Brussels, a feminist drama that topped the most recent Sight and Sound poll by filmmakers and critics as the greatest movie of all time.
Throughout the years, Akerman remained loyal to Fortnight, screening such films as Golden Eighties (1986), Sud (1999), La Captive (2000) and Tombée de Nuit sur Shanghaï (2007) in the Cannes section.
- 3/27/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Cannes Directors’ Fortnight is launching a new People’s Choice audience award at its upcoming edition, running alongside the main festival from May 15-26.
The parallel section said the award, which comes with a €7,500 cash prize, was in keeping with the spirit of the event, which has always been open to members of the public alongside cinema professionals since its launch in 1969.
It will be the first audience award to be introduced in Cannes, across the Official Selection and the parallel sections of Directors’ Fortnight, Critics’ Week and Acid.
“Every year, in addition to professionals and other accredited guests, the Fortnight opens its doors to thousands of cinephiles from around the world, in order to share its selection in a welcoming setting, giving filmmakers the opportunity to meet the first audience for their films, and the audiences a chance to take part in Q&As with film teams,” Directors’ Fortnight said in a statement.
The parallel section said the award, which comes with a €7,500 cash prize, was in keeping with the spirit of the event, which has always been open to members of the public alongside cinema professionals since its launch in 1969.
It will be the first audience award to be introduced in Cannes, across the Official Selection and the parallel sections of Directors’ Fortnight, Critics’ Week and Acid.
“Every year, in addition to professionals and other accredited guests, the Fortnight opens its doors to thousands of cinephiles from around the world, in order to share its selection in a welcoming setting, giving filmmakers the opportunity to meet the first audience for their films, and the audiences a chance to take part in Q&As with film teams,” Directors’ Fortnight said in a statement.
- 3/27/2024
- by Melanie Goodfellow
- Deadline Film + TV
Chantal Akerman left us far too soon. Her work was singular and extraordinary; certainly, it's an incredible achievement to have made one of the greatest films of all time at the tender age of 25.. Both the amount and range of her filmography showcases the extent of her talents, and her influence still extends to this day. Criterion have issued a new box set, feature nine of her early works - shorts, features, fiction, and documentary - along with footage from uncompleted films, interviews with Akerman and others, highlighting her early formation and development of her signature style and thematic ideas. It's also a time capsule for a revolutionary era...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/26/2024
- Screen Anarchy
On its face, Criterion’s Chantal Akerman Masterpieces, 1968–1978 is an essential set for offering key early works, some more obscure than others, from the career of one of the great film artists. But the pleasures here run deeper. Akerman used each of her initial films as a springboard to the next, and watching them in chronological order sees her consolidating and complicating her aesthetic and thematic preoccupations with each successive project.
Consider Akerman’s first film, 1968’s Saute ma ville. Akerman made this 13-minute short at the age of 18, and its debt to the antic energy and seriocomic political inclinations of the French New Wave makes it an outlier in a body of work fixated on structuralism and more meditative atmospheres. Yet in the film’s depiction of a young woman (Akerman herself) trashing her apartment emerges an outlandish expression of what will become a more somberly explored theme in upcoming shorts,...
Consider Akerman’s first film, 1968’s Saute ma ville. Akerman made this 13-minute short at the age of 18, and its debt to the antic energy and seriocomic political inclinations of the French New Wave makes it an outlier in a body of work fixated on structuralism and more meditative atmospheres. Yet in the film’s depiction of a young woman (Akerman herself) trashing her apartment emerges an outlandish expression of what will become a more somberly explored theme in upcoming shorts,...
- 1/26/2024
- by Jake Cole
- Slant Magazine
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSGuy Maddin’s next film, Rumours, recently wrapped production in Hungary. The ensemble piece is led by Cate Blanchett and Alicia Vikander, who play world leaders who end up stranded in a forest during the annual G7 summit. Maddin has shared a breathless, spoof press release (below) announcing the film, describing the project as “an elevated dramedy and erotico-political threnody cum sylvan moodbank.”Paul Thomas Anderson is also at work on something new. So far, all we know is that his project is set in the present day and will star Leonardo DiCaprio, Sean Penn, and Regina Hall. Production begins in California later this year.Recommended VIEWINGOne of the most exciting rediscoveries of the 2023 Il Cinema Ritrovato festival was the restoration of David Schickele’s Bushman...
- 1/17/2024
- MUBI
Every 10 years, the British Film Institute pulls together critics from around the world to vote on its “Sight and Sound” poll to determine the best films ever made. In the most recent poll, traditional heavy-hitters like “Vertigo” and “Citizen Kane” were pushed aside as a new film was crowned the greatest.
According to the critics, the best film ever made is “Jeanne Dielman, 23, quai du Commerce, 1080 Brussels” from 1975. You can catch this classic with a 7-day free trial of Max. In fact, a whopping 41 films from this list can be found on Max.
7-Day Free Trial $9.99+ / month Max via amazon.com
The list contains masterworks from geniuses like Kubrick, Chaplin, Scorsese, Wilder, Godard, Miyazaki, and Hitchcock. The most recent films on the list both come from 2019: “Parasite” and “Portrait of a Lady on Fire.”
So pop the popcorn and fire up your favorite streaming device. Here’s the list of movies that surpass all others.
According to the critics, the best film ever made is “Jeanne Dielman, 23, quai du Commerce, 1080 Brussels” from 1975. You can catch this classic with a 7-day free trial of Max. In fact, a whopping 41 films from this list can be found on Max.
7-Day Free Trial $9.99+ / month Max via amazon.com
The list contains masterworks from geniuses like Kubrick, Chaplin, Scorsese, Wilder, Godard, Miyazaki, and Hitchcock. The most recent films on the list both come from 2019: “Parasite” and “Portrait of a Lady on Fire.”
So pop the popcorn and fire up your favorite streaming device. Here’s the list of movies that surpass all others.
- 12/29/2023
- by Ben Bowman
- The Streamable
Following The Film Stage’s collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
The greatest year in cinema since the monumental offerings of 2007––a transformative year that set the seeds for this very site to come into existence––2023 offered a resounding affirmative that indeed the medium is alive and well: auteurs flexing what they do best, newcomers providing a hopeful voice for the future of filmmaking, along with a plethora of worthwhile offers. Along with my personal favorites when it came to U.S. releases, two films also premiered that would’ve topped this list had they come out in 2023: Bertrand Bonello’s The Beast and Víctor Erice’s still-shockingly-undistributed Close Your Eyes.
While they didn’t make the top 15 cut below, I must make mention for the most essential, one-and-done viewing of the year with De Humani Corporis...
The greatest year in cinema since the monumental offerings of 2007––a transformative year that set the seeds for this very site to come into existence––2023 offered a resounding affirmative that indeed the medium is alive and well: auteurs flexing what they do best, newcomers providing a hopeful voice for the future of filmmaking, along with a plethora of worthwhile offers. Along with my personal favorites when it came to U.S. releases, two films also premiered that would’ve topped this list had they come out in 2023: Bertrand Bonello’s The Beast and Víctor Erice’s still-shockingly-undistributed Close Your Eyes.
While they didn’t make the top 15 cut below, I must make mention for the most essential, one-and-done viewing of the year with De Humani Corporis...
- 12/25/2023
- by Jordan Raup
- The Film Stage
Paul Schrader’s colorful Facebook page has become a favorite resource for cinephiles in recent years, as the “First Reformed” director shares his stream-of-consciousness thoughts on everything from his Oscar ballot to “Sound of Freedom.” The former critic regularly offers his opinions on new releases as well, often posting polarizing reviews with his trademark candor.
In a new interview with The Independent, Schrader was asked about his process of reviewing movies on Facebook. Schrader defended the practice, calling it “very efficient” and suggesting that writing long-form reviews could hurt his ability to work.
“I can’t really be a film reviewer because there are things you can say that are detrimental to your career,” Schrader said, noting that he never criticizes actors or friends like Martin Scorsese on the public platform.
Schrader was asked about his recent post about Emerald Fennell’s “Saltburn” in which he quipped that the film...
In a new interview with The Independent, Schrader was asked about his process of reviewing movies on Facebook. Schrader defended the practice, calling it “very efficient” and suggesting that writing long-form reviews could hurt his ability to work.
“I can’t really be a film reviewer because there are things you can say that are detrimental to your career,” Schrader said, noting that he never criticizes actors or friends like Martin Scorsese on the public platform.
Schrader was asked about his recent post about Emerald Fennell’s “Saltburn” in which he quipped that the film...
- 12/9/2023
- by Christian Zilko
- Indiewire
Michael Fassbender is a killer with a meditative streak.
The actor leads David Fincher’s drama “The Killer” as an assassin who begins to have a psychological crisis in a world with no moral compass.
The official synopsis reads: After a fateful near miss, an assassin battles his employers — and himself — on an international hunt for retribution he insists isn’t personal. Solitary, cold, methodical, and unencumbered by scruples or regrets, a killer waits in the shadows, watching for his next target. Yet, the longer he waits, the more he thinks he’s losing his mind, if not his cool.
The Netflix film is based on the graphic novel of the same name by Alexis Nolent Aka Matz, which “Se7en” screenwriter Andrew Kevin Walker adapted for the screen. Tilda Swinton, Charles Parnell, Arliss Howard, and Sophie Charlotte also star. Ceán Chaffin produces.
Director Fincher also reunites with Oscar-winning “Mank” cinematographer...
The actor leads David Fincher’s drama “The Killer” as an assassin who begins to have a psychological crisis in a world with no moral compass.
The official synopsis reads: After a fateful near miss, an assassin battles his employers — and himself — on an international hunt for retribution he insists isn’t personal. Solitary, cold, methodical, and unencumbered by scruples or regrets, a killer waits in the shadows, watching for his next target. Yet, the longer he waits, the more he thinks he’s losing his mind, if not his cool.
The Netflix film is based on the graphic novel of the same name by Alexis Nolent Aka Matz, which “Se7en” screenwriter Andrew Kevin Walker adapted for the screen. Tilda Swinton, Charles Parnell, Arliss Howard, and Sophie Charlotte also star. Ceán Chaffin produces.
Director Fincher also reunites with Oscar-winning “Mank” cinematographer...
- 10/27/2023
- by Samantha Bergeson
- Indiewire
Above: first US teaser poster for Poor Things. Design by Vasilis Marmatakis.I don’t know whether it’s because of the power of Yorgos Lanthimos, or the popularity of Emma Stone, or the sheer genius of designer Vasilis Marmatakis, or a combination of all of them, but three out of the four most liked posters on my Movie Poster of the Day Instagram over the past six months have all been posters for Lanthimos’s latest, Poor Things. The teaser above is now the most liked poster ever on my feed.Breaking up the Poor Things monopoly at number two is Polish designer Maks Bereski’s fan-art design for Ridley Scott’s yet-to-be-released Napoleon, which also went through the roof with over 4,000 likes when I posted it in June in conjunction with my article on Bereski and his favorite movie posters. Instagram likes are a fickle thing but it...
- 10/12/2023
- MUBI
Land of Talk today shared “Sitcom,” the silken third single off their forthcoming new album Performances, due out this Friday via Saddle Creek, alongside a video directed by Ana-Maria Espino Trudel. “A lot of my love of music is just from long car rides with my dad listening to Christopher Cross, Fine Young Cannibals, and Whitney Houston. He’s not a musician but I feel like I’m almost having a conversation with my dad through a lot of my records,” explains Lizzie Powell, the creative force behind Land of Talk. “Recently, I got into a really big Christopher Cross phase. On this song, I thought I could try to write like that. I was also watching a lot of Family Ties and older sitcoms. The keys part kind of evoked that classic TV intro from the ‘70s and ‘80s.”
Of the video, Espino Trudel explains, “I wanted ‘Sitcom’ to...
Of the video, Espino Trudel explains, “I wanted ‘Sitcom’ to...
- 10/10/2023
- by Music Martin Cid Magazine
- Martin Cid Music
“The Killer” is setting a new target: the New York Film Festival.
IndieWire can confirm that David Fincher’s latest film is a surprise addition to the Spotlight Selection at NYFF 2023. “The Killer” will screen October 14 at 7:00 p.m. at the Netflix-owned Paris Theater and October 15 at 8:45 p.m. at the Walter Reade Theater at Lincoln Center.
Based on the graphic novel of the same name by Alexis Nolent Aka Matz, the film’s logline reads: “After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.”
Michael Fassbender leads the film as the titular assassin who has a psychological crisis. Tilda Swinton, Charles Parnell, Arliss Howard, and Sophie Charlotte also star. Ceán Chaffin produces.
“Se7en” screenwriter Andrew Kevin Walker adapted the graphic novel which was originally published in the French language by Editions Casterman. Luc Jacamon illustrated.
IndieWire can confirm that David Fincher’s latest film is a surprise addition to the Spotlight Selection at NYFF 2023. “The Killer” will screen October 14 at 7:00 p.m. at the Netflix-owned Paris Theater and October 15 at 8:45 p.m. at the Walter Reade Theater at Lincoln Center.
Based on the graphic novel of the same name by Alexis Nolent Aka Matz, the film’s logline reads: “After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.”
Michael Fassbender leads the film as the titular assassin who has a psychological crisis. Tilda Swinton, Charles Parnell, Arliss Howard, and Sophie Charlotte also star. Ceán Chaffin produces.
“Se7en” screenwriter Andrew Kevin Walker adapted the graphic novel which was originally published in the French language by Editions Casterman. Luc Jacamon illustrated.
- 9/26/2023
- by Samantha Bergeson
- Indiewire
This writer is not necessarily fond of Quebecois director Denis Côté’s experiments, which oscillate between slow-cinema, documentary, and deeply unfunny deadpan comedies. Yet his newest film Mademoiselle Kenopsia, though highly self-conscious, is strangely effective, connecting for once his formal and thematic concerns––if simply because the experiment in “boredom” is put to a more pointed use than the easy festival requirements.
At only 77 minutes, Mademoiselle Kenopsia doesn’t wear out its welcome, other than maybe a few sequences that ring tedious or suggest the film is filling time. We find our recognizable figure of the times, and modern Jeanne Dielman figure-of-sorts (Larissa Corriveau), working a job somewhere between janitor and watchwoman (like if you wanted a whole movie of that time in The Simpsons where Milhouse was a night watchman at the cracker factory Bart bought). Her job takes place in a rotting figure of the past: an abandoned...
At only 77 minutes, Mademoiselle Kenopsia doesn’t wear out its welcome, other than maybe a few sequences that ring tedious or suggest the film is filling time. We find our recognizable figure of the times, and modern Jeanne Dielman figure-of-sorts (Larissa Corriveau), working a job somewhere between janitor and watchwoman (like if you wanted a whole movie of that time in The Simpsons where Milhouse was a night watchman at the cracker factory Bart bought). Her job takes place in a rotting figure of the past: an abandoned...
- 9/13/2023
- by Ethan Vestby
- The Film Stage
“Portrait of a Lady on Fire” was Céline Sciamma’s big breakout moment, but the French director was clearly a major talent in the making from the very start of her career.
In 2007, the then 29-year-old filmmaker premiered her first feature at Cannes Film Festival, after writing the movie’s script during her final year at the prestigious film school La Fémis. The story of three teen girls awakening to their sexualities during a single summer, “Water Lillies” featured Sciamma’s future romantic partner and collaborator Adèle Haenel, and established the type of female-focused and queer stories she would spend her entire career bringing to the screen.
Following the positive reception of “Water Lillies,” Sciamma chased it with 2011’s “Tomboy,” a sharply observed coming-of-age about a 10-year-old exploring their gender identity. 2014’s “Girlhood,” about four Black teen girls living in Paris, brought Sciamma further attention, thanks to a much talked...
In 2007, the then 29-year-old filmmaker premiered her first feature at Cannes Film Festival, after writing the movie’s script during her final year at the prestigious film school La Fémis. The story of three teen girls awakening to their sexualities during a single summer, “Water Lillies” featured Sciamma’s future romantic partner and collaborator Adèle Haenel, and established the type of female-focused and queer stories she would spend her entire career bringing to the screen.
Following the positive reception of “Water Lillies,” Sciamma chased it with 2011’s “Tomboy,” a sharply observed coming-of-age about a 10-year-old exploring their gender identity. 2014’s “Girlhood,” about four Black teen girls living in Paris, brought Sciamma further attention, thanks to a much talked...
- 9/12/2023
- by Wilson Chapman
- Indiewire
David Fincher made an appearance in Venice on Sunday to promote his new Michael Fassbender-led Netflix film “The Killer.” While his press conference largely focused on praising his collaborators and expressing his excitement for his new crime thriller, he also briefly addressed the ongoing Writers Guild of America and SAG-AFTRA strikes. Fincher expressed hope that the two guilds could reach mutually beneficial deals with the AMPTP because he can “see both sides” of the dispute.
His comments didn’t impress Boots Riley. The “I’m a Virgo” director took to Twitter to criticize Fincher’s answer about the strikes — and cited a comment about Fassbender’s character as evidence that Fincher’s films propogate a “distorted worldview.”
"My hope is someone will see this film and get very nervous about the person in line behind them at Home Depot"
This is who he hopes his films will convince ppl to see as their enemy.
His comments didn’t impress Boots Riley. The “I’m a Virgo” director took to Twitter to criticize Fincher’s answer about the strikes — and cited a comment about Fassbender’s character as evidence that Fincher’s films propogate a “distorted worldview.”
"My hope is someone will see this film and get very nervous about the person in line behind them at Home Depot"
This is who he hopes his films will convince ppl to see as their enemy.
- 9/3/2023
- by Christian Zilko
- Indiewire
Editor’s note: This review was originally published at the 2023 Venice Film Festival. Netflix releases the film in limited theaters on Friday, October 27, with a streaming release to follow on Friday, November 10.
Like the “Jeanne Dielman” of assassin movies, “The Killer” centers on how the self-started glitches in one character’s routine cause their carefully ordered world to fall slowly off its axis. David Fincher’s sleek if small genre exercise plants us into the orbital sockets of an unnamed killer-for-hire, played by Michael Fassbender, whose self-deceptions catch up to him amid a contract job gone just about an inch wrong in Paris.
There are few surprises in this straight-line thriller, well-executed within a millimeter of its life as ever by the “Gone Girl” and “Social Network” director. Here, the perfectionist, you-might-say-control-freak director punches up a nimbly sketched screenplay by “Seven” scribe Andrew Kevin Walker that evokes no sympathy for its protagonist,...
Like the “Jeanne Dielman” of assassin movies, “The Killer” centers on how the self-started glitches in one character’s routine cause their carefully ordered world to fall slowly off its axis. David Fincher’s sleek if small genre exercise plants us into the orbital sockets of an unnamed killer-for-hire, played by Michael Fassbender, whose self-deceptions catch up to him amid a contract job gone just about an inch wrong in Paris.
There are few surprises in this straight-line thriller, well-executed within a millimeter of its life as ever by the “Gone Girl” and “Social Network” director. Here, the perfectionist, you-might-say-control-freak director punches up a nimbly sketched screenplay by “Seven” scribe Andrew Kevin Walker that evokes no sympathy for its protagonist,...
- 9/3/2023
- by Ryan Lattanzio
- Indiewire
NYC Weekend Watch is our weekly round-up of repertory offerings.
Paris Theater
The Paris reopens with a new Dolby Atmos screen and a 70mm series featuring Playtime, Lawrence of Arabia, 2001 and more.
Metrograph
One of France’s greatest directors and producers, Paul Vecchiali, is subject of a new retrospective that includes Jeanne Dielman and the terrific, too-little-seen Simone Barbès.
Bam
The Thin Red Line, Solaris, and more play in “Intimate Epics.”
Film at Lincoln Center
A retrospective of Korean cinema’s “golden decade” has begun.
Roxy Cinema
Passing the torch to Chapo Trap House‘s Movie Mindset, the 35mm print of Rio Bravo is now playing under their guardianship; Madonna fans can flock to Vision Quest, Who’s That Girl, Evita, and Spike Lee’s Girl 6 on 35mm.
Film Forum
Michael Roemer’s great The Plot Against Harry and the Tarantino-presented Winter Kills both screen on 35mm; Contempt continues
Museum of Modern Art...
Paris Theater
The Paris reopens with a new Dolby Atmos screen and a 70mm series featuring Playtime, Lawrence of Arabia, 2001 and more.
Metrograph
One of France’s greatest directors and producers, Paul Vecchiali, is subject of a new retrospective that includes Jeanne Dielman and the terrific, too-little-seen Simone Barbès.
Bam
The Thin Red Line, Solaris, and more play in “Intimate Epics.”
Film at Lincoln Center
A retrospective of Korean cinema’s “golden decade” has begun.
Roxy Cinema
Passing the torch to Chapo Trap House‘s Movie Mindset, the 35mm print of Rio Bravo is now playing under their guardianship; Madonna fans can flock to Vision Quest, Who’s That Girl, Evita, and Spike Lee’s Girl 6 on 35mm.
Film Forum
Michael Roemer’s great The Plot Against Harry and the Tarantino-presented Winter Kills both screen on 35mm; Contempt continues
Museum of Modern Art...
- 9/1/2023
- by Nick Newman
- The Film Stage
Yvonne Rainer’s first film is a fascinating immersion in radical art practice in all its meta-narrative incoherence and mess
Here is the first film from avant garde film-maker Yvonne Rainer, showing as part of a retrospective of her work at the Ica in London, affording viewers a chance to appreciate the wonky, wonderful weirdness that was integral to the New York experimental art scene in the early 1970s. Aptly enough for an artist who started her career in the dance world (having studied with such luminaries as Martha Graham and Merce Cunningham), Rainer grounds this in the world of dance, opening with a rehearsal of a company running through different moves. Don’t be alarmed if no sound is coming through – it’s meant to be that way. Rainer plays throughout with audience expectations and need for narrative closure, offering little titbits of story and then whipping them away...
Here is the first film from avant garde film-maker Yvonne Rainer, showing as part of a retrospective of her work at the Ica in London, affording viewers a chance to appreciate the wonky, wonderful weirdness that was integral to the New York experimental art scene in the early 1970s. Aptly enough for an artist who started her career in the dance world (having studied with such luminaries as Martha Graham and Merce Cunningham), Rainer grounds this in the world of dance, opening with a rehearsal of a company running through different moves. Don’t be alarmed if no sound is coming through – it’s meant to be that way. Rainer plays throughout with audience expectations and need for narrative closure, offering little titbits of story and then whipping them away...
- 8/14/2023
- by Leslie Felperin
- The Guardian - Film News
You can approach old classics just like new films, argued participants during Locarno’s Heritage Monday panel.
“I talked to an exhibitor in Paris and they don’t consider repertory cinema to be different from contemporary cinema. They are collapsing both models into one and it’s very interesting,” said K.J. Relth-Miller of the Academy Museum.
Swiss Film Archive director Frédéric Maire noted that they also mix “fresh” films with older titles. “This idea of separating them can be useful for communication, but we try to avoid it. Yesterday, I was watching [Daniel Schmid’s 1974 film] ‘La Paloma’ [at the festival] and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.
Such an approach can be beneficial also when it comes to raising audience’s awareness, argued Film Movement’s Erin Farrell.
“When we talk about ‘heritage films’ in the same breath as our new releases,...
“I talked to an exhibitor in Paris and they don’t consider repertory cinema to be different from contemporary cinema. They are collapsing both models into one and it’s very interesting,” said K.J. Relth-Miller of the Academy Museum.
Swiss Film Archive director Frédéric Maire noted that they also mix “fresh” films with older titles. “This idea of separating them can be useful for communication, but we try to avoid it. Yesterday, I was watching [Daniel Schmid’s 1974 film] ‘La Paloma’ [at the festival] and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.
Such an approach can be beneficial also when it comes to raising audience’s awareness, argued Film Movement’s Erin Farrell.
“When we talk about ‘heritage films’ in the same breath as our new releases,...
- 8/8/2023
- by Marta Balaga
- Variety Film + TV
She only has three solo directorial efforts under her belt, but Greta Gerwig has quickly become one of the most highly respected filmmakers working today. Her 2017 coming-of-age drama “Lady Bird” was an instant teen classic upon release, and her 2019 adaptation of “Little Women” received similar rapturous acclaim, becoming the definitive film version of the classic book.
And in July, after an agonizing three year wait and acting a lead role in partner Noah Baumbach’s “White Noise,” Gerwig came back to theaters as a director with one of the biggest films of the year. “Barbie” is a colorful studio comedy based on the classic dolls from Mattel, starring Margot Robbie and Ryan Gosling as the titular Barbie and her heartthrob Ken. (He’s just Ken!) And it’s smashing box office numbers
Gerwig perhaps isn’t the obvious director to choose for bringing the thematically thorny Barbie universe to cinemas; before “Lady Bird,...
And in July, after an agonizing three year wait and acting a lead role in partner Noah Baumbach’s “White Noise,” Gerwig came back to theaters as a director with one of the biggest films of the year. “Barbie” is a colorful studio comedy based on the classic dolls from Mattel, starring Margot Robbie and Ryan Gosling as the titular Barbie and her heartthrob Ken. (He’s just Ken!) And it’s smashing box office numbers
Gerwig perhaps isn’t the obvious director to choose for bringing the thematically thorny Barbie universe to cinemas; before “Lady Bird,...
- 8/2/2023
- by Wilson Chapman
- Indiewire
It’s been eight months since the latest Sight and Sound Best Films of All Time poll was released, and Paul Schrader is still annoyed by how quickly “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles” ascended to the top spot on the list.
In a new interview with Sight and Sound, Schrader once again voiced his discomfort with Chantal Akerman’s 1975 film being named the greatest film of all time. While the “Master Gardener” has not taken issue with the quality of the film, he sees its prominent spot on the list as the result of an insincere attempt to highlight more female filmmakers.
“They did two things to rig the ballot, and a third thing happened societally,” Schrader said of the latest poll. “The first was that they vastly expanded the contributors. You’ve got people who are not actual film critics weighing in on a critical poll, and the...
In a new interview with Sight and Sound, Schrader once again voiced his discomfort with Chantal Akerman’s 1975 film being named the greatest film of all time. While the “Master Gardener” has not taken issue with the quality of the film, he sees its prominent spot on the list as the result of an insincere attempt to highlight more female filmmakers.
“They did two things to rig the ballot, and a third thing happened societally,” Schrader said of the latest poll. “The first was that they vastly expanded the contributors. You’ve got people who are not actual film critics weighing in on a critical poll, and the...
- 7/22/2023
- by Christian Zilko
- Indiewire
Holding an extended closing shot on a character’s face has often been an effective way to illuminate whatever thoughts and feelings are running through their head, to keep them resonating through the end credits and even beyond. The device worked exceptionally well in Call Me by Your Name, Benediction and Michael Clayton.
Wim Wenders ends his eloquent and emotionally rich Japanese drama, Perfect Days, with such a shot, held tight on the extraordinarily expressive face of Koji Yakusho as his character drives through Tokyo reflecting on the rewards and perhaps also the regrets of his life with the same spirit of openness and acceptance, embracing the sadness as much as the joy.
The song that this resolutely analog man is listening to on his car cassette player is a Nina Simone standard that has become one of the most overused tracks in contemporary movies. But it fits the scene...
Wim Wenders ends his eloquent and emotionally rich Japanese drama, Perfect Days, with such a shot, held tight on the extraordinarily expressive face of Koji Yakusho as his character drives through Tokyo reflecting on the rewards and perhaps also the regrets of his life with the same spirit of openness and acceptance, embracing the sadness as much as the joy.
The song that this resolutely analog man is listening to on his car cassette player is a Nina Simone standard that has become one of the most overused tracks in contemporary movies. But it fits the scene...
- 5/25/2023
- by David Rooney
- The Hollywood Reporter - Movie News
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
György Fehér’s remarkable, Béla Tarr-produced Twilight opens in a new restoration (read Z.W. Lewis on the film and its history here) while Ryûsuke Hamaguchi’s early feature Passion continues screening (read Daniel Eagen’s interview with him here).
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself, further work by Akerman and Michael Snow; a program of Maya Deren movies plays on 16mm this Sunday; Sunrise plays on 35mm this Sunday, while Coraline shows in 3D.
Roxy Cinema
Resident Evil, Spring Breakers, and The Terminator have 35mm showings while Dennis Hopper’s Out of the Blue and The Trial screen in 4K restorations.
Light Industry
The Hong Kong Category III (read: very dirty) films of Fan Ho play this weekend, including a special 16mm presentation on Sunday.
Film at Lincoln Center
György Fehér’s remarkable, Béla Tarr-produced Twilight opens in a new restoration (read Z.W. Lewis on the film and its history here) while Ryûsuke Hamaguchi’s early feature Passion continues screening (read Daniel Eagen’s interview with him here).
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself, further work by Akerman and Michael Snow; a program of Maya Deren movies plays on 16mm this Sunday; Sunrise plays on 35mm this Sunday, while Coraline shows in 3D.
Roxy Cinema
Resident Evil, Spring Breakers, and The Terminator have 35mm showings while Dennis Hopper’s Out of the Blue and The Trial screen in 4K restorations.
Light Industry
The Hong Kong Category III (read: very dirty) films of Fan Ho play this weekend, including a special 16mm presentation on Sunday.
- 4/21/2023
- by Nick Newman
- The Film Stage
When the initial list of titles debuting at the 2023 Cannes Film Festival was announced last week we wrote that there would be more to come. We know that Wes Anderson, Todd Haynes, and Jonathan Glazer will compete with international directors like Wang Bing, Wim Wenders, Alice Rohwacher, and Nuri Bilge Ceylan for the Palme D’Or, and that Martin Scorsese’s “Killers of the Flower Moon,” James Mangold’s “Indiana Jones and the Dial of Destiny,” Steve McQueen’s documentary “Occupied City,” and Sam Levinson’s series “The Idol” will also show out-of-competition at le Palais des Festivals et des Congrès adjacent to one of the Mediterranean’s most famous yacht basins.
But just a short stroll down le Boulevard de la Croisette (though it can sometimes take ya 15 minutes or more when it’s crowded) is the Jw Marriott Cannes, completed in 1992, and wow do those peach-pastel colors and gold-tinted glass show it!
But just a short stroll down le Boulevard de la Croisette (though it can sometimes take ya 15 minutes or more when it’s crowded) is the Jw Marriott Cannes, completed in 1992, and wow do those peach-pastel colors and gold-tinted glass show it!
- 4/18/2023
- by Jordan Hoffman
- Gold Derby
Life World
Film Stage contributor Matthew Danger Lippman hosts a screening of Tom Green’s masterpiece Freddy Got Fingered this Friday, with tickets for $5 at the door, on the occasion of its 22nd anniversary. (Read Matthew’s interview with Green for the 20th.)
Film at Lincoln Center
Ryûsuke Hamaguchi’s early feature Passion has begun screening (read our interview with him here) while a series of films selected by Ari Aster begins, featuring films by Hitchcock, Nicholas Ray, Tai, and more.
Roxy Cinema
The Bedroom Window, featuring the Huppert-Guttenberg romance you never knew you wanted has 35mm showings Friday and Saturday, while Barbarella plays on the latter; on Sunday, new cult sensation For the Plasma screens, while Meg “U.S. Girls” Remy hosts a (currently sold-out) screening of Dennis Hopper’s Out of the Blue that includes music videos.
IFC Center
Gregg Araki’s The Doom Generation shows in a...
Film Stage contributor Matthew Danger Lippman hosts a screening of Tom Green’s masterpiece Freddy Got Fingered this Friday, with tickets for $5 at the door, on the occasion of its 22nd anniversary. (Read Matthew’s interview with Green for the 20th.)
Film at Lincoln Center
Ryûsuke Hamaguchi’s early feature Passion has begun screening (read our interview with him here) while a series of films selected by Ari Aster begins, featuring films by Hitchcock, Nicholas Ray, Tai, and more.
Roxy Cinema
The Bedroom Window, featuring the Huppert-Guttenberg romance you never knew you wanted has 35mm showings Friday and Saturday, while Barbarella plays on the latter; on Sunday, new cult sensation For the Plasma screens, while Meg “U.S. Girls” Remy hosts a (currently sold-out) screening of Dennis Hopper’s Out of the Blue that includes music videos.
IFC Center
Gregg Araki’s The Doom Generation shows in a...
- 4/14/2023
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
The Last Temptation of Christ and The Flowers of St. Francis have 35mm showings for Easter Weekend, while Barbarella and The Terminator also screen on film; Ken Jacobs’ Two Wrenching Departures plays on Sunday with Jacobs present.
IFC Center
Gregg Araki presents Something Wild on 35mm this Friday, while his film The Doom Generation opens in a director’s cut; Beau Travail offers a Claire Denis fix; Before Sunrise, Before Sunset, and Before Midnight screen, while Akira and Barb Wire have late showings, with Wild Things showing on 35mm.
Bam
One of Shôhei Imamura’s last films, Warm Water Under a Red Bridge, is screening, while “Queering the Canon” offers films by Lizzie Borden, Funeral Parade of Roses, and more.
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Varda,...
Roxy Cinema
The Last Temptation of Christ and The Flowers of St. Francis have 35mm showings for Easter Weekend, while Barbarella and The Terminator also screen on film; Ken Jacobs’ Two Wrenching Departures plays on Sunday with Jacobs present.
IFC Center
Gregg Araki presents Something Wild on 35mm this Friday, while his film The Doom Generation opens in a director’s cut; Beau Travail offers a Claire Denis fix; Before Sunrise, Before Sunset, and Before Midnight screen, while Akira and Barb Wire have late showings, with Wild Things showing on 35mm.
Bam
One of Shôhei Imamura’s last films, Warm Water Under a Red Bridge, is screening, while “Queering the Canon” offers films by Lizzie Borden, Funeral Parade of Roses, and more.
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Varda,...
- 4/7/2023
- by Nick Newman
- The Film Stage
Above: Original French release poster for Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles. Designer unknown.Jeanne Dielman wins again! Posted on the day that Chantal Akerman’s masterpiece was announced as the surprise come-from-behind winner of Sight and Sound’s decennial Greatest Films of All Time poll, the original poster for the film racked up close to 3,000 likes on my Movie Poster of the Day Instagram (helped perhaps by being paired with this photo of Akerman pensively smoking in front of the same poster back in the day). I have no doubt that any poster for the film posted on that day would have gotten a lot of attention, but I’d like to believe that some of the likes were for the poster itself: unassuming yet elegant (like Jd herself), foregrounding that radically mundane title, and containing nothing surplus to requirements, just Mrs. Dielman at her dining room table, waiting patiently,...
- 4/6/2023
- MUBI
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Snow, Bresson, and Pasolini; somewhat different from Jeanne Dielman, Godzilla vs. Megalon plays Friday and Sunday.
Anthology Film Archives
A Joe Dante retrospective begins; films by Luis Buñuel and Chaplin screen through the weekend in Essential Cinema.
Film Forum
The recently restored Finnish classic Eight Deadly Shots begins its two-part run; Bob Fosse’s Sweet Charity and The Conformist continue; two Harold Lloyd movies screen; The Jackie Robinson Story plays on 35mm this Sunday.
Film at Lincoln Center
The newly restored Drylongso continues screening. (Read our interview with director Cauleen Smith here.)
IFC Center
White Material, Chocolat, and Beau Travail offer a Claire Denis fix; Before Sunrise and Before Sunset screen, while Fight Club, Akira, Jaws, Barb Wire, and Poison Ivy have late showings,...
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Snow, Bresson, and Pasolini; somewhat different from Jeanne Dielman, Godzilla vs. Megalon plays Friday and Sunday.
Anthology Film Archives
A Joe Dante retrospective begins; films by Luis Buñuel and Chaplin screen through the weekend in Essential Cinema.
Film Forum
The recently restored Finnish classic Eight Deadly Shots begins its two-part run; Bob Fosse’s Sweet Charity and The Conformist continue; two Harold Lloyd movies screen; The Jackie Robinson Story plays on 35mm this Sunday.
Film at Lincoln Center
The newly restored Drylongso continues screening. (Read our interview with director Cauleen Smith here.)
IFC Center
White Material, Chocolat, and Beau Travail offer a Claire Denis fix; Before Sunrise and Before Sunset screen, while Fight Club, Akira, Jaws, Barb Wire, and Poison Ivy have late showings,...
- 3/31/2023
- by Nick Newman
- The Film Stage
Announced in Deadline on March 23, a remake of Alfred Hitchcock's 1958 film "Vertigo" may very well be in the works. It's likely the cineastes of the world screwed up their faces in disapproval. "Vertigo" might be considered one of cinema's more indelible classics, and it regularly appears near the top — or at the top — of lists of the best movies of all time. Indeed, back in 2012, it surpassed "Citizen Kane" as the #1 film on the famed Sight & Sound poll. It has since been supplanted by Chantal Akerman's 1975 film "Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles."
Briefly: "Vertigo" is a psychodrama about a police investigator named Scottie (James Stewart) who is hired by an old friend to follow his wife Madeline (Kim Novak). Madeline has been behaving strangely, and she seems to be convinced that she is possessed (?) by a dead woman she saw in a portrait. Scottie ends up saving...
Briefly: "Vertigo" is a psychodrama about a police investigator named Scottie (James Stewart) who is hired by an old friend to follow his wife Madeline (Kim Novak). Madeline has been behaving strangely, and she seems to be convinced that she is possessed (?) by a dead woman she saw in a portrait. Scottie ends up saving...
- 3/28/2023
- by Witney Seibold
- Slash Film
The headline of this column is doubtlessly unfair. I’m judging a movie before I’ve seen it, before it has even been made. Given the vast volume of junky indifferent product that now slides through the megaplex, and the streaming ocean, on a weekly basis, why not settle in for an ambitious remake of “Vertigo,” Alfred Hitchcock’s romantically kinky and voluptuous dream thriller of 1958? At least it’s not “Texas Chainsaw Xviii” or another “Minions” movie. At least it will be interesting (right?).
Robert Downey Jr., who is in talks to produce and possibly star in a remake of “Vertigo” at Paramount (home of the original film), is a great actor. But once he became a box-office superstar, 15 years ago, with “Iron Man,” he got sucked into the escapist vortex of Marvel and “Sherlock Holmes” and duds like “Dolittle.” Downey, who is about to turn 58, needs to rediscover himself as an actor.
Robert Downey Jr., who is in talks to produce and possibly star in a remake of “Vertigo” at Paramount (home of the original film), is a great actor. But once he became a box-office superstar, 15 years ago, with “Iron Man,” he got sucked into the escapist vortex of Marvel and “Sherlock Holmes” and duds like “Dolittle.” Downey, who is about to turn 58, needs to rediscover himself as an actor.
- 3/25/2023
- by Owen Gleiberman
- Variety Film + TV
The Director’s Fortnight didn’t simply give itself a new coat of paint but rather a heart transplant. Quinzaine des Réalisateurs is now a thing of the past and Quinzaine des cinéastes takes care of the gender pronoun issues. Artistic Director Paolo Moretti’s reign was cut short and the 55th edition will be piloted by Julien Rejl. We’re assuming that the section will keep in its subversive spirit, especially in a year where Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles took over the Best Film of all time number one spot in the recently published Sight & Sound but what types of films will be programmed is anyone’s guess.…...
- 3/22/2023
- by Eric Lavallée
- IONCINEMA.com
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
The thing you should know about Skinamarink going in is that it’s a movie which does everything in its power to not be a movie. Call it an experience, call it an experiment, call it a nightmare simulator. Whatever it is, it’s unlike any movie you’ll see this year, skirting almost every cinematic convention you’ve ever heard about.
The actors’ faces, for example, are never shown. Virtually every shot seems to have no clear focus, with objects and subjects obscured or only partially in-frame, the camera seemingly misplaced and left on by mistake. Shots are often uncomfortably long and lingering, the image quality is oppressively lo-fi, and there’s no traditional soundtrack to speak of. On the surface, it’s almost as if the movie wasn’t meant to be watched by an audience at all. But Skinamarink, directed by Kyle Edward Ball in his feature debut,...
The actors’ faces, for example, are never shown. Virtually every shot seems to have no clear focus, with objects and subjects obscured or only partially in-frame, the camera seemingly misplaced and left on by mistake. Shots are often uncomfortably long and lingering, the image quality is oppressively lo-fi, and there’s no traditional soundtrack to speak of. On the surface, it’s almost as if the movie wasn’t meant to be watched by an audience at all. But Skinamarink, directed by Kyle Edward Ball in his feature debut,...
- 2/2/2023
- by David Crow
- Den of Geek
After last month kicked off with Sight and Sound unveiling of their once-in-a-decade greatest films of all-time poll, detailing the 100 films that made the cut that were led by Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, they’ve now unveiled the full critics’ top 250. While the discourse up until now has featured many wondering why certain directors were totally absent and why other films that previously made the top 100 were left out, more clarity has arrived with this update.
Check out some highlights we clocked below, the full list here, and return on March 2 when all ballots and comments will be unveiled.
The films closest to making the top 100 were Rio Bravo, The House Is Black, and Vagabond, which tied for #103. Four directors absent in the top 100––Terrence Malick, Paul Thomas Anderson, Hou Hsiao-hsien, and Jacques Demy––have two films each in the top 250: The Tree of Life...
Check out some highlights we clocked below, the full list here, and return on March 2 when all ballots and comments will be unveiled.
The films closest to making the top 100 were Rio Bravo, The House Is Black, and Vagabond, which tied for #103. Four directors absent in the top 100––Terrence Malick, Paul Thomas Anderson, Hou Hsiao-hsien, and Jacques Demy––have two films each in the top 250: The Tree of Life...
- 1/31/2023
- by Jordan Raup
- The Film Stage
Writer/Director Joe Cornish discusses a few of his favorite movies with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Attack The Block (2011)
Rocks (2019)
Poltergeist (1982)
Gremlins (1984)
Avanti! (1972)
Picnic At Hanging Rock (1975)
The Last Wave (1977)
Witness (1985)
Dead Poets Society (1989)
Fearless (1993)
Master And Commander: The Far Side Of The World (2003)
Gallipoli (1981)
The Year Of Living Dangerously (1982)
The Cars That Ate Paris (1974)
The Adventures Of Buckaroo Banzai (1984)
Remo Williams: The Adventure Begins (1985)
The Man Who Would Be King (1975)
Kingsman: The Secret Service (2014)
The Rescuers (1977)
Bedknobs And Broomsticks (1971)
The Rescuers Down Under (1990)
The Spy Who Loved Me (1977)
Moonraker (1979)
The Adventures Of Tintin (2011)
Bambi (1942)
Dumbo (1941)
Close Encounters Of The Third Kind (1977)
Forbidden Planet (1956)
This Island Earth (1955)
Earth Vs. The Flying Saucers (1956)
The Thing From Another World (1951)
Matinee (1993)
The Lord Of The Rings (1978)
The Omen (1976)
Damien: Omen II (1978)
Omen III: The Final Conflict (1981)
Battleship Potemkin (1925)
The Exorcist (1973)
The Exterminator (1980)
Friday The 13th...
Show Notes: Movies Referenced In This Episode
Attack The Block (2011)
Rocks (2019)
Poltergeist (1982)
Gremlins (1984)
Avanti! (1972)
Picnic At Hanging Rock (1975)
The Last Wave (1977)
Witness (1985)
Dead Poets Society (1989)
Fearless (1993)
Master And Commander: The Far Side Of The World (2003)
Gallipoli (1981)
The Year Of Living Dangerously (1982)
The Cars That Ate Paris (1974)
The Adventures Of Buckaroo Banzai (1984)
Remo Williams: The Adventure Begins (1985)
The Man Who Would Be King (1975)
Kingsman: The Secret Service (2014)
The Rescuers (1977)
Bedknobs And Broomsticks (1971)
The Rescuers Down Under (1990)
The Spy Who Loved Me (1977)
Moonraker (1979)
The Adventures Of Tintin (2011)
Bambi (1942)
Dumbo (1941)
Close Encounters Of The Third Kind (1977)
Forbidden Planet (1956)
This Island Earth (1955)
Earth Vs. The Flying Saucers (1956)
The Thing From Another World (1951)
Matinee (1993)
The Lord Of The Rings (1978)
The Omen (1976)
Damien: Omen II (1978)
Omen III: The Final Conflict (1981)
Battleship Potemkin (1925)
The Exorcist (1973)
The Exterminator (1980)
Friday The 13th...
- 1/24/2023
- by Kris Millsap
- Trailers from Hell
Tár writer/director Todd Field discusses a few of his favorite movies with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
Show Notes: Movies Referenced In This Episode
You Only Live Twice (1967) – Dana Gould’s trailer commentary
Tár (2022)
Man With A Movie Camera (1929)
Battleship Potemkin (1925)
Koyaanisqatsi (1982)
The Big Parade (1925)
Lawrence Of Arabia (1962)
The Crowd (1928)
Star Wars (1977)
The Servant (1963)
Parasite (2019) – Glenn Erickson’s Blu-ray review, Dennis Cozzalio’s review
The Three Musketeers (1973) – Josh Olson’s trailer commentary
Figures In A Landscape (1970)
M (1931)
M (1951)
I Am Cuba (1964)
The Cranes Are Flying (1957) – Glenn Erickson’s Criterion Blu-ray review
Letter Never Sent (1960)
Shadows of Forgotten Ancestors (1965)
Butch Cassidy And The Sundance Kid (1969)
The Towering Inferno (1974) – George Hickenlooper’s trailer commentary
The Great Waldo Pepper (1975)
The Sting (1973)
The World of Henry Orient (1964) – Larry Karaszewski’s trailer commentary
Thelma And Louise (1991)
Murmur Of The Heart (1971)
The Silent World (1956)
Opening Night (1977)
The Killing Of A Chinese Bookie (1976) – Larry Karaszewski’s...
- 1/10/2023
- by Kris Millsap
- Trailers from Hell
A boy’s best friend may be his mother, but Variety has named Alfred Hitchcock’s seminal proto-slasher Psycho as the best film ever made.
In the opening of their write-up for Alfred Hitchcock’s Psycho, Variety writes, “There’s hardly a frame of Alfred Hitchcock’s cataclysmic slasher masterpiece that isn’t iconic. If you don’t believe us, consider the following: Eyes. Holes. Birds. Drains. Windshield wipers. A shower. A torso. A knife. “Blood, blood!” A Victorian stairway. Mother in her rocking chair.”
Summing it up, Variety wrote, “More than perhaps any movie ever made, Psycho is a film you can watch again and again and again. It’s a movie that speaks to us now more than ever, because it shows us, in every teasingly sinister moment, how life itself came to feel like a fun house poised over an abyss.”
That should give a clear idea...
In the opening of their write-up for Alfred Hitchcock’s Psycho, Variety writes, “There’s hardly a frame of Alfred Hitchcock’s cataclysmic slasher masterpiece that isn’t iconic. If you don’t believe us, consider the following: Eyes. Holes. Birds. Drains. Windshield wipers. A shower. A torso. A knife. “Blood, blood!” A Victorian stairway. Mother in her rocking chair.”
Summing it up, Variety wrote, “More than perhaps any movie ever made, Psycho is a film you can watch again and again and again. It’s a movie that speaks to us now more than ever, because it shows us, in every teasingly sinister moment, how life itself came to feel like a fun house poised over an abyss.”
That should give a clear idea...
- 12/23/2022
- by Mathew Plale
- JoBlo.com
Roxy Cinema
Friday offers Amadeus on 35mm, Hardcore, and Christmas Evil.
Film at Lincoln Center
Lars von Trier’s The Kingdom II, restored in a new director’s cut, begins a run.
Metrograph
Hou Hsiao-hsien’s Millennium Mambo, newly restored in 4K is now playing, alongside more films from Taipei and new holiday classics.
Film Forum
The Rules of the Game screens in a new 4K restoration; Orson Welles’ The Trial, restored in 4K, continues a run, as does The Draughtsman’s Contract; Star Wars screens this Sunday.
Museum of the Moving Image
The director’s cut series offers A Short Film About Killing and A Short Film About Love on Friday, while Seeds screens; The Shop Around the Corner plays Friday and Saturday, the latter day offering The Muppet Christmas Carol.
IFC Center
Freshly anointed the greatest film of all-time, Jeanne Dielman continues a run, while the second-greatest, Vertigo,...
Friday offers Amadeus on 35mm, Hardcore, and Christmas Evil.
Film at Lincoln Center
Lars von Trier’s The Kingdom II, restored in a new director’s cut, begins a run.
Metrograph
Hou Hsiao-hsien’s Millennium Mambo, newly restored in 4K is now playing, alongside more films from Taipei and new holiday classics.
Film Forum
The Rules of the Game screens in a new 4K restoration; Orson Welles’ The Trial, restored in 4K, continues a run, as does The Draughtsman’s Contract; Star Wars screens this Sunday.
Museum of the Moving Image
The director’s cut series offers A Short Film About Killing and A Short Film About Love on Friday, while Seeds screens; The Shop Around the Corner plays Friday and Saturday, the latter day offering The Muppet Christmas Carol.
IFC Center
Freshly anointed the greatest film of all-time, Jeanne Dielman continues a run, while the second-greatest, Vertigo,...
- 12/23/2022
- by Nick Newman
- The Film Stage
Roxy Cinema
We’re proud to kick off The Film Stage Presents, a new screening series at the Roxy that begins with 35mm showings of Steven Spielberg’s The Terminal and Always this Saturday. Readers will receive a discounted 12 ticket with mention of our program at the Roxy’s box office.
Quad Cinema
The director’s edit of Going All the Way begins a run, and Film Stage co-founder Dan Mecca will host the Q&a on Sunday.
Anthology Film Archives
An Ozu series focuses on his reworkings of earlier films, i.e. prints of the best movies ever made.
Film at Lincoln Center
Lars von Trier’s The Kingdom, restored in a new director’s cut, begins a run.
Japan Society
The 2001 anime Metropolis screens on 35mm Friday night, with a giveaway being held.
Film Forum
Orson Welles’ The Trial, restored in 4K, continues a run; The Draughtsman’s Contract and Paris,...
We’re proud to kick off The Film Stage Presents, a new screening series at the Roxy that begins with 35mm showings of Steven Spielberg’s The Terminal and Always this Saturday. Readers will receive a discounted 12 ticket with mention of our program at the Roxy’s box office.
Quad Cinema
The director’s edit of Going All the Way begins a run, and Film Stage co-founder Dan Mecca will host the Q&a on Sunday.
Anthology Film Archives
An Ozu series focuses on his reworkings of earlier films, i.e. prints of the best movies ever made.
Film at Lincoln Center
Lars von Trier’s The Kingdom, restored in a new director’s cut, begins a run.
Japan Society
The 2001 anime Metropolis screens on 35mm Friday night, with a giveaway being held.
Film Forum
Orson Welles’ The Trial, restored in 4K, continues a run; The Draughtsman’s Contract and Paris,...
- 12/16/2022
- by Nick Newman
- The Film Stage
A lot of life is boring. Well, maybe not boring, but pedestrian. Rote and pedestrian. We wash ourselves, earn money, run errands, buy stuff, and prepare our sustenance. So-called “slow cinema” can capture this connective tissue of our lives and there is no more relevant example than Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, the film that just topped Sight and Sound’s decennial “greatest film” poll.
Up from 36th place in 2012, is Jeanne Dielman really the greatest film of all time? No, of course not. Neither was Vertigo. Citizen Kane had a stronger case, but isn’t the whole notion of a “greatest” film futile? I couldn’t possibly reduce cinema to a single title and I wouldn’t want to. Not even a top 10 would be a worthwhile endeavour.
Anyway, hype aside, what is Jeanne Dielman all about? This question has seen Chantal Akerman’s film leapfrog some 12,000 places...
Up from 36th place in 2012, is Jeanne Dielman really the greatest film of all time? No, of course not. Neither was Vertigo. Citizen Kane had a stronger case, but isn’t the whole notion of a “greatest” film futile? I couldn’t possibly reduce cinema to a single title and I wouldn’t want to. Not even a top 10 would be a worthwhile endeavour.
Anyway, hype aside, what is Jeanne Dielman all about? This question has seen Chantal Akerman’s film leapfrog some 12,000 places...
- 12/13/2022
- by Jack Hawkins
- HeyUGuys.co.uk
Director Luca Guadagnino discusses a few of his favorite films with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Bones And All (2022)
A Bigger Splash (2015)
Suspiria (2018)
Call Me By Your Name (2017)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Salò, or the 120 Days of Sodom (1975)
Amarcord (1973) – Bernard Rose’s trailer commentary
Lawrence of Arabia (1962)
Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary, Charlie Largent’s review
After Hours (1985) – Brian Trenchard-Smith’s trailer commentary
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary, Dennis Cozzalio’s review
Journey To Italy (1954)
Empire Of The Sun (1987)
The Flower Of My Secret (1995)
The Last Emperor (1987) – John Landis’s trailer commentary
1900 (1976)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairing, Glenn Erickson’s Blu-ray review
Suspiria (1977) – Edgar Wright’s U.S. and international trailer commentaries,...
Show Notes: Movies Referenced In This Episode
Bones And All (2022)
A Bigger Splash (2015)
Suspiria (2018)
Call Me By Your Name (2017)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Salò, or the 120 Days of Sodom (1975)
Amarcord (1973) – Bernard Rose’s trailer commentary
Lawrence of Arabia (1962)
Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary, Charlie Largent’s review
After Hours (1985) – Brian Trenchard-Smith’s trailer commentary
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary, Dennis Cozzalio’s review
Journey To Italy (1954)
Empire Of The Sun (1987)
The Flower Of My Secret (1995)
The Last Emperor (1987) – John Landis’s trailer commentary
1900 (1976)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairing, Glenn Erickson’s Blu-ray review
Suspiria (1977) – Edgar Wright’s U.S. and international trailer commentaries,...
- 12/13/2022
- by Kris Millsap
- Trailers from Hell
The recent Greatest Films of All Time list made by Sight and Sound was obviously controversial, naming Chantal Akerman’s “Jeanne Dielman, 23 Commerce Quay, 1080 Brussels,” the greatest film of all time. I tend not to get worked up over these lists cause it’s just voting and math—no one is trying to collectively conspire against you and your taste with some agenda, ok?— and it’s tough to get mad at arithmetic and a democratic process.
Continue reading ‘The Conformist’ 4K Restoration Trailer: Bernardo Bertolucci’s Chilling Masterpiece Of Fascism Returns To The Big Screen at The Playlist.
Continue reading ‘The Conformist’ 4K Restoration Trailer: Bernardo Bertolucci’s Chilling Masterpiece Of Fascism Returns To The Big Screen at The Playlist.
- 12/9/2022
- by Rodrigo Perez
- The Playlist
Japan Society
One of Japan’s great living directors, Shunji Iwai, is highlighted in “Love Letters,” a four-film retrospective.
Anthology Film Archives
Histoire(s) du cinéma plays in its entirety on Saturday and Sunday as part of an ongoing Godard series.
Roxy Cinema
Every Man for Himself and A Serious Man play on 35mm this Friday; the latter encores Sunday, when a print of Close Encounters also screens.
Film Forum
Orson Welles’ The Trial, restored in 4K, begins a run; The Princess Bride screens this Sunday.
Film at Lincoln Center
The retrospective of Yoshimitsu Morita has its final weekend.
Museum of the Moving Image
The director’s cut series offers Heaven’s Gate on Friday and Saturday, while Fanny and Alexander screens this Sunday.
IFC Center
Freshly anointed the greatest film of all-time, Jeanne Dielman begins a run, as does It’s a Wonderful Life; Suspiria, Pet Sematary, Hellboy, Pan’s Labyrinth, Suspiria,...
One of Japan’s great living directors, Shunji Iwai, is highlighted in “Love Letters,” a four-film retrospective.
Anthology Film Archives
Histoire(s) du cinéma plays in its entirety on Saturday and Sunday as part of an ongoing Godard series.
Roxy Cinema
Every Man for Himself and A Serious Man play on 35mm this Friday; the latter encores Sunday, when a print of Close Encounters also screens.
Film Forum
Orson Welles’ The Trial, restored in 4K, begins a run; The Princess Bride screens this Sunday.
Film at Lincoln Center
The retrospective of Yoshimitsu Morita has its final weekend.
Museum of the Moving Image
The director’s cut series offers Heaven’s Gate on Friday and Saturday, while Fanny and Alexander screens this Sunday.
IFC Center
Freshly anointed the greatest film of all-time, Jeanne Dielman begins a run, as does It’s a Wonderful Life; Suspiria, Pet Sematary, Hellboy, Pan’s Labyrinth, Suspiria,...
- 12/9/2022
- by Nick Newman
- The Film Stage
Why are people so frigid when it comes to foreign films? When Korean filmmaker Bong Joon-ho, upon receiving a Golden Globe for his 2019 drama Parasite, spoke wryly about overcoming “the one-inch-tall barrier of subtitles”, his words were tinged with a long-held truth. For many people, foreign cinema has always been a daunting proposition, a confection to be enjoyed by snobs and dyed-in-the-wool cinephiles. “Foreign film” is, of course, an umbrella term too wide to be useful: works of accessible pop entertainment like Seven Samurai or Playtime are lumped in with challenging arthouse fare like Jeanne Dielman. But it’s a term that persists in the minds of the public. With a few very occasional exceptions – Crouching Tiger, Hidden Dragon; Life is Beautiful – foreign-language films have always struggled to find a wide audience in the West. And yet, look at the UK’s current Netflix film rankings, and you will see...
- 12/7/2022
- by Louis Chilton
- The Independent - Film
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our email newsletter by clicking here.NEWSJeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles.At last, Sight & Sound have released the results of the 2022 Greatest Films of All Time critics’ poll. 1,639 ballots later, Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) has risen to the number-one spot, accompanied by a new piece from Laura Mulvey. The New York Times offers a useful interactive feature to unpack how the rankings have evolved over time.The American documentarian Julia Reichert—best known for Growing Up Female (1971), Union Maids (1976), and the Oscar-winning American Factory (2019)—died last week of cancer at age 76. Eric Hynes wrote an elegant appreciation of her work in a 2020 piece for Crosscuts, published by the Walker Art Center: Consistently through half a century of filmmaking, Reichert spends time with people.
- 12/6/2022
- MUBI
The British Film Institute's "Sight & Sound" magazine has named director Chantal Akerman's 1975 feature "Jeanne Dielman, 23, quai du commerce, 1080 Bruxelle", widely appreciated for its 'slow cinema' technique, as the 'greatest movie of all time', pushing Alfred Hitchcock’s "Vertigo" into second place and Orson Welles' "Citizen Kane into third:
"...'Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles' stars Delphine Seyrig as a widowed woman. The film documents her daily routine, over a three-day period. She cooks, does household chores, takes care of her teenage son and does sex work to make ends meet..."...
"...'Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles' stars Delphine Seyrig as a widowed woman. The film documents her daily routine, over a three-day period. She cooks, does household chores, takes care of her teenage son and does sex work to make ends meet..."...
- 12/4/2022
- by Unknown
- SneakPeek
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