Presiding over the 75th edition of the Cannes Film Festival, director Thierry Frémaux has assembled some serious Hollywood star power, world cinema auteurs amid indications that despite Covid, the film world is buzzing with anticipation for the films, the deals and most of all the glamour the fest brings.
While Frémaux has been credited with expanding the horizons of the Cannes Film Festival since taking over the reins of its Official Selection in 2001, he’s also been praised for building relationships with American studios and filmmakers.
This year, he’s lured them back in spite of the ongoing pandemic, with a lineup including James Gray’s “Armageddon Time,” David Cronenberg’s “Crimes of the Future,” Joseph Kosinski’s “Top Gun: Maverick,” Kelly Reichardt’s “Showing Up,” George Miller’s “Three Thousand Years of Longing” and Baz Luhrmann’s “Elvis.”
“My first red carpet was for ‘Moulin Rouge!’ with Baz Luhrmann...
While Frémaux has been credited with expanding the horizons of the Cannes Film Festival since taking over the reins of its Official Selection in 2001, he’s also been praised for building relationships with American studios and filmmakers.
This year, he’s lured them back in spite of the ongoing pandemic, with a lineup including James Gray’s “Armageddon Time,” David Cronenberg’s “Crimes of the Future,” Joseph Kosinski’s “Top Gun: Maverick,” Kelly Reichardt’s “Showing Up,” George Miller’s “Three Thousand Years of Longing” and Baz Luhrmann’s “Elvis.”
“My first red carpet was for ‘Moulin Rouge!’ with Baz Luhrmann...
- 5/11/2022
- by Elsa Keslassy
- Variety Film + TV
A few hours after unveiling Cannes Film Festival’s 2022 Official Selection on the Champs Elysees, artistic director Thierry Fremaux sat down with Variety to discuss the festival’s drive to not give in to calls for a cultural boycott of Russian films and filmmakers, efforts to have more female directors in competition, discussions to bring back streamers in a near future and what those rumors about David Lynch in the lineup were about. The all-star competition lineup of this upcoming 75th edition boasts no less than four Palme d’Or winning directors, including Japanese master Kore-eda Hirokazu (Japan) and Swedish helmer Ruben Ostlund (“Triangle of Sadness”), as well new films by David Cronenberg (“Crimes of the Future”), Kelly Reichardt (”Showing Up”), James Gray (“Armageddon Time”) and dissident Russian director Kirill Serebrennikov (“Tchaïkovski’s Wife”).
Congrats on putting together this wonderful lineup. I think it’s the most exciting Cannes lineup...
Congrats on putting together this wonderful lineup. I think it’s the most exciting Cannes lineup...
- 4/14/2022
- by Elsa Keslassy
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSLate last month, we were saddened by the death of Jean Douchet, whose criticism as co-editor-in-chief of Cahiers du cinéma and as a mentor figure for many in the French film community was invaluable. Recommended VIEWINGKino Lorber's first trailer for Kantemir Balagov's Beanpole, which follows the bond between two women in post-wwii Leningrad. Read Ela Bittencourt's Close-Up on the film, which received its online premiere in the UK on Mubi earlier this fall. Corneliu Porumboiu's The Whistlers, a crime thriller about a cop, a mob in the Canary Islands, and El Siblo, an intricate indigenous language that involves whistling. Recommended READINGMichael Cimino and Robert De Niro on the set of The Deer HunterThe Guardian has published an excerpt of One Shot: The Making of The Deer Hunter, which includes exclusive photos from Robert De Niro's personal collection.
- 12/11/2019
- MUBI
Jean Douchet, the legendary film critic, bon vivant and one of the last remaining survivors of the French New Wave, died in Paris Thursday. He was 90.
Co-editor-in-chief, along with Eric Rohmer, of the Cahiers du cinéma during its heyday in the late 1950s and early ‘60s, Douchet was one of the core members, alongside critics turned filmmakers Jean-Luc Godard, François Truffaut, Claude Chabrol and Jacques Rivette, of a generation that would change both French cinema and movies in general.
Unlike his contemporaries, Douchet didn’t become a director himself, although he did make a short film, entitled ...
Co-editor-in-chief, along with Eric Rohmer, of the Cahiers du cinéma during its heyday in the late 1950s and early ‘60s, Douchet was one of the core members, alongside critics turned filmmakers Jean-Luc Godard, François Truffaut, Claude Chabrol and Jacques Rivette, of a generation that would change both French cinema and movies in general.
Unlike his contemporaries, Douchet didn’t become a director himself, although he did make a short film, entitled ...
- 11/22/2019
- The Hollywood Reporter - Film + TV
Jean Douchet, the legendary film critic, bon vivant and one of the last remaining survivors of the French New Wave, died in Paris Thursday. He was 90.
Co-editor-in-chief, along with Eric Rohmer, of the Cahiers du cinéma during its heyday in the late 1950s and early ‘60s, Douchet was one of the core members, alongside critics turned filmmakers Jean-Luc Godard, François Truffaut, Claude Chabrol and Jacques Rivette, of a generation that would change both French cinema and movies in general.
Unlike his contemporaries, Douchet didn’t become a director himself, although he did make a short film, entitled ...
Co-editor-in-chief, along with Eric Rohmer, of the Cahiers du cinéma during its heyday in the late 1950s and early ‘60s, Douchet was one of the core members, alongside critics turned filmmakers Jean-Luc Godard, François Truffaut, Claude Chabrol and Jacques Rivette, of a generation that would change both French cinema and movies in general.
Unlike his contemporaries, Douchet didn’t become a director himself, although he did make a short film, entitled ...
- 11/22/2019
- The Hollywood Reporter - Movie News
Of the many critics and cineastes to emerge from the French New Wave, 88-year-old Jean Douchet is probably one of the best known in his homeland, but also one of the least read or watched.
That's because, after joining the Cahiers du Cinema during its heyday in the late 1950s, and then serving as deputy editor-in-chief alongside Eric Rohmer until 1963, Douchet would more or less devote the next 50-odd years of his life to teaching — not teaching in the traditional sense of a classroom or textbook, but presenting movies at cine-clubs, cinematheques and film schools across France, engaging...
That's because, after joining the Cahiers du Cinema during its heyday in the late 1950s, and then serving as deputy editor-in-chief alongside Eric Rohmer until 1963, Douchet would more or less devote the next 50-odd years of his life to teaching — not teaching in the traditional sense of a classroom or textbook, but presenting movies at cine-clubs, cinematheques and film schools across France, engaging...
- 5/26/2017
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
The 2017 Cannes Film Festival has announced the lineup for Cannes Classics, a selection of vintage films and masterpieces from the history of cinema. This year’s program is dedicated primarily to the history of the festival, and includes one short film and five new documentaries.
Read More: Cannes Adds Roman Polanski Film to Lineup
Highlights from the lineup include “Belle du Jour” (1967), Luis Bunuel’s classic about a housewife who dabbles in prostitution, and “All That Jazz ” (1979) Bob Fosse’s story of a womanizing, drug-using dancer played by Roy Scheider. There is also the documentary “Filmworker,” which tells the story of Leon Vitali, an actor who abandoned his career after “Barry Lyndon” to become Stanley Kubrick’s right hand man and creative collaborator behind the scenes.
Rights holders to the films decide whether to screen them in 2K or 4K, or use an original print. Jean Vigo’s “L’Atalante,...
Read More: Cannes Adds Roman Polanski Film to Lineup
Highlights from the lineup include “Belle du Jour” (1967), Luis Bunuel’s classic about a housewife who dabbles in prostitution, and “All That Jazz ” (1979) Bob Fosse’s story of a womanizing, drug-using dancer played by Roy Scheider. There is also the documentary “Filmworker,” which tells the story of Leon Vitali, an actor who abandoned his career after “Barry Lyndon” to become Stanley Kubrick’s right hand man and creative collaborator behind the scenes.
Rights holders to the films decide whether to screen them in 2K or 4K, or use an original print. Jean Vigo’s “L’Atalante,...
- 5/3/2017
- by Graham Winfrey
- Indiewire
Strand will focus on the history of Cannes for the festival’s 70th anniversary.
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
Nagisa Oshima’s 1976 film Ai No Korîda (In The Realm Of The Senses/L’Empire Des Sens), Luis Buñuel’s 1967 classic Belle De Jour (Beauty Of The Day...
- 5/3/2017
- ScreenDaily
While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.
From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes
1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina.
From 1946 to 1992, from René Clément to Victor Erice, sixteen history-making films of the Festival de Cannes
1946: La Bataille du Rail (Battle of the Rails) by René Clément (1h25, France): Grand Prix International de la mise en scène and Prix du Jury International.
Presented by Ina.
- 5/3/2017
- by Jordan Raup
- The Film Stage
I was standing outside the hotel room of a movie icon, unsure quite what I would find on the find on the other side of the door. It was the final day of the 2016 Cannes Film Festival, and after a week of frantic coordinating with various schedulers, I’d finally managed to land an interview with Jean-Pierre Léaud. He had just played the lead role in “The Death of Louis Xiv,” and still endured the impact of enacting his death for the cameras.
Léaud became one of international cinema’s most famous faces at 14, when he starred in Francois Truffaut’s seminal French New Wave debut “The 400 Blows.” As the adolescent Antoine Doinel, who spends much of the movie acting out at school and at home while witnessing the dissolution of his parents’ marriage, Léaud quickly became the defining face of angst-riddled youth. The movie’s memorable closing freeze-frame...
Léaud became one of international cinema’s most famous faces at 14, when he starred in Francois Truffaut’s seminal French New Wave debut “The 400 Blows.” As the adolescent Antoine Doinel, who spends much of the movie acting out at school and at home while witnessing the dissolution of his parents’ marriage, Léaud quickly became the defining face of angst-riddled youth. The movie’s memorable closing freeze-frame...
- 3/31/2017
- by Eric Kohn
- Indiewire
The death of a king, the death of cinema: in Albert Serra’s La mort de Louis Xiv we watch French New Wave legend Jean-Pierre Léaud embody the Sun King as a living body sinking into the shadows, slipping away while his attendants, doctors and sycophants carefully tend to him as if all will be fine. But will it? An actor synonymous with the 1960s re-invention of cinema, made in close collaboration with such epoch-defining directors as François Truffaut, Jean-Luc Godard, and Jacques Rivette, Léaud is now 71, five years younger than the age the most ambitious, powerful, and famous of French kings died of gangrene. The title spoils the fun on purpose: Albert Serra’s film is not about what happens; rather, it’s paying homage a king among men, the fading into the dark of a man inseparable from modern cinema.Those familiar with this Catalan director’s radical...
- 9/10/2016
- MUBI
The following text is an excerpt from an essay commissioned by the specialist publishing house Hatori Press (Japan) for a tribute to the great critic, scholar and teacher Shigehiko Hasumi on the occasion of his 80th birthday (29 April 2016). Other contributors to this book (slated to appear in both Japanese and English editions) include Pedro Costa, Chris Fujiwara and Richard I. Suchenski. Beyond Prof. Hasumi’s many achievements in criticism and education (he was President of the University of Tokyo between 1997 and 2001), his ‘method,’ his unique way of seeing and speaking about films, has served as an immense inspiration for a generation of directors in Japan including Kiyoshi Kurosawa and Shinji Aoyama. The online magazines Rouge (www.rouge.com.au) and Lola (www.lolajournal.com), co-edited by Martin, provide the best access to Hasumi’s work in English (see references in the notes below).Leos Carax and Shigehiko Hasumi. Photo by Michiko Yoshitake.
- 3/30/2016
- by Adrian Martin
- MUBI
Every film creates a world, and every filmmaker a universe. Some prove uninhabitable. Given the rarity of Kiju Yoshida’s films, the grandeur with which Arrow Films is presenting them, and the way they were talked about – three films “united by their radical politics and an even more radical shooting style”; “bleak but dreamlike” – I dove into this set quite curious and excited. I found Yoshida’s universe to be one of the most tumultuous I’ve yet encountered. Even oblique films tend to carry with them a bit of poetry and emotional momentum. I think especially of films like Last Year at Marienbad, The Mirror, Goodbye to Language, or Flowers of Shanghai, all of which are so exciting and riveting despite my not initially knowing what they were really about at all.
At least two of the films in this three-film set gave me no such pleasures; Coup d...
At least two of the films in this three-film set gave me no such pleasures; Coup d...
- 3/8/2016
- by Scott Nye
- CriterionCast
After shooting Little Odessa, his first feature film at the age of 25, James Gray has only four films at 42. The biggest gap in the span of his career is the 9-year one that ensued after Harvey Weinstein got his dirty paws on The Yards and forced Gray to tack on a happy ending, before the director returned with 2007's We Own the Night. Gray may be far from prolific—mostly because he has continually struggled to find both funding and a proper audience—but if we look at his career in a quality over quantity sense, he's among the most impressive in contemporary American cinema: few can compete with his eye for composition, his understanding of light and shadow, his musical sensibility, and of course he's been eliciting some of the most memorable performances. This is thanks in part to having made three (soon to be four) films in a row with Joaquin Phoenix,...
- 10/30/2012
- by Adam Cook
- MUBI
News.
Above: Harris Savides. Photo by Brigette Lancombe for Interview magazine.
We were saddened and shocked to hear of the passing of one of film's great cinematographers, Harris Savides. Our brief note includes an indelible clip from Gerry, one of his collaborations with Gus Van Sant. David Hudson has rounded up commentary at Fandor.
One of Savides' chief collaborators, director David Fincher, is also in the news with an animated film project that's appealing to Kickstarter to get funded.
Two big trailer debuts have sprung on us over the last week. One's the second trailer for Quentin Tarantino's Django Unchained:
...and the other is the first full trailer for Kathryn Bigelow's Zero Dark Thirty:
Filmmaker Jon Jost has started a petition calling for Ray Carney to return underground director Mark Rappaport's film materials. As the petition explains:
"In 2005, when Mark Rappaport moved to France, Ray Carney,...
Above: Harris Savides. Photo by Brigette Lancombe for Interview magazine.
We were saddened and shocked to hear of the passing of one of film's great cinematographers, Harris Savides. Our brief note includes an indelible clip from Gerry, one of his collaborations with Gus Van Sant. David Hudson has rounded up commentary at Fandor.
One of Savides' chief collaborators, director David Fincher, is also in the news with an animated film project that's appealing to Kickstarter to get funded.
Two big trailer debuts have sprung on us over the last week. One's the second trailer for Quentin Tarantino's Django Unchained:
...and the other is the first full trailer for Kathryn Bigelow's Zero Dark Thirty:
Filmmaker Jon Jost has started a petition calling for Ray Carney to return underground director Mark Rappaport's film materials. As the petition explains:
"In 2005, when Mark Rappaport moved to France, Ray Carney,...
- 10/17/2012
- by Notebook
- MUBI
Marthe Keller in Black Sunday (1977)
Catherine Grant's post-holiday return to blogging and tweeting has reminded me that some of her invaluable pointers to online resources over the past couple of weeks slipped right on past me during the year-end crunch. High time to catch up:
The new World Picture, #6, bears the ominous title "Wrong."
"The Disgust Issue" of Film-Philosophy. In her introduction, guest editor Tina Kendall notes an increasing interdisciplinary "concern with thinking through the relations between bodily sensation, emotion, and cognition (especially as these are mediated by films and other cultural forms), and with probing the political, moral, and ethical implications that arise from those particular conditions of embodiment."
The second issue of Cinema: Journal of Philosophy and the Moving Image.
Stoffel Debuysere has collected and posted hours of video from Goodbye Cinema, Hello Cinephilia, an event that took place in October in Brussels. The talks and discussions are led by Adrian Martin,...
Catherine Grant's post-holiday return to blogging and tweeting has reminded me that some of her invaluable pointers to online resources over the past couple of weeks slipped right on past me during the year-end crunch. High time to catch up:
The new World Picture, #6, bears the ominous title "Wrong."
"The Disgust Issue" of Film-Philosophy. In her introduction, guest editor Tina Kendall notes an increasing interdisciplinary "concern with thinking through the relations between bodily sensation, emotion, and cognition (especially as these are mediated by films and other cultural forms), and with probing the political, moral, and ethical implications that arise from those particular conditions of embodiment."
The second issue of Cinema: Journal of Philosophy and the Moving Image.
Stoffel Debuysere has collected and posted hours of video from Goodbye Cinema, Hello Cinephilia, an event that took place in October in Brussels. The talks and discussions are led by Adrian Martin,...
- 1/3/2012
- MUBI
Jacques Rancière, Philippe Lafosse and the public in conversation about Straub-Huillet after a screening of From the Clouds to the Resistance and Workers, Peasants
Monday, February 16, 2004, Jean Vigo Cinema, Nice, France
Above: From the Clouds to the Resistance.
Philippe Lafosse: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other points.
Jacques Ranciere: First, a word apropos the “and” of “Politics and Aesthetics”: this doesn’t mean that there’s art on the one hand and politics on the other, or that there would be a formal procedure on the one hand and political messages on the other.
Monday, February 16, 2004, Jean Vigo Cinema, Nice, France
Above: From the Clouds to the Resistance.
Philippe Lafosse: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other points.
Jacques Ranciere: First, a word apropos the “and” of “Politics and Aesthetics”: this doesn’t mean that there’s art on the one hand and politics on the other, or that there would be a formal procedure on the one hand and political messages on the other.
- 11/7/2011
- MUBI
Japanese cinema isn’t all Takeshi Miike, Battle Royale, Takeshi Kitano and Akira Kurosawa you know. Director Kenji Mizoguchi took a more poetic and no less masterful approach to his work which is being celebrated in an amazing boxset collection released by Eureka’s Masters of Cinema label from 23rd January focusing on the man’s 1950s classic-after-classic output.
We’ve been sent over a press release with details of what films feature and what extra features there are. FilmShaft’s Alex Wagner is a big Mizoguchi fan, so imagine he’s excited by this news! So if you’re a connoisseur of Japanese film or a film student wanting to look good in class by saying something like, “well Mizoguchi’s Street of Shame is largely considered by many critics to be one of the greatest films of the 20th century”, this boxset is definitely for you.
Eureka! have...
We’ve been sent over a press release with details of what films feature and what extra features there are. FilmShaft’s Alex Wagner is a big Mizoguchi fan, so imagine he’s excited by this news! So if you’re a connoisseur of Japanese film or a film student wanting to look good in class by saying something like, “well Mizoguchi’s Street of Shame is largely considered by many critics to be one of the greatest films of the 20th century”, this boxset is definitely for you.
Eureka! have...
- 1/5/2011
- by Martyn Conterio
- FilmShaft.com
This week, a few readers noted on my Facebook page that I had been away from Pajiba for a while. The story of my absence is not a particularly entertaining one, as I was simply bogged down with various types of school work and a Ta assignment for a European Film History class. I had originally thought about typing up one review a week based on the class screenings, yet my eyes proved to be too big for my stomach. So, in the midst of my spring break, I've decided to strike a conservative compromise: I'll write up one review of one film screened in class, François Truffaut's French New Wave masterpiece Jules and Jim (Jules et Jim, 1962).
While I already highlighted some of the historical and theoretical concerns of New Wave in my review of Jean-Luc Godard's Contempt, this is arguably the more relevant place to offer up a summary.
While I already highlighted some of the historical and theoretical concerns of New Wave in my review of Jean-Luc Godard's Contempt, this is arguably the more relevant place to offer up a summary.
- 3/25/2010
- by Drew Morton
By Michael Atkinson
One of the loveliest freeform ideas to find patronage and popularity in the New Wavey 1960s was the omnibus film, a rarely cohesive but always tempting quasi-genre defined as a collection of exclusively commissioned short films. These projects usually began with a general theme but were always most interested in gathering the generation's coolest hotshot filmmakers and encouraging them to whack off and make their special kind of havoc, but in compressed form. The aesthetics of the genre are questionable -- never is the entirety of an omnibus very satisfying -- but its smash-up ranginess of conflicting styles and potpourri perspectives make the movies irresistible. (Favorites of any connoisseur would include 1962's "The Seven Deadly Sins," 1963's "RoGoPaG," and 1969's "Love and Anger," all of which feature the era's most promiscuous omnibus-er, Jean-Luc Godard.) They're still being made: the Korean New Wave collection "If You Were Me" (2003) is a knockout,...
One of the loveliest freeform ideas to find patronage and popularity in the New Wavey 1960s was the omnibus film, a rarely cohesive but always tempting quasi-genre defined as a collection of exclusively commissioned short films. These projects usually began with a general theme but were always most interested in gathering the generation's coolest hotshot filmmakers and encouraging them to whack off and make their special kind of havoc, but in compressed form. The aesthetics of the genre are questionable -- never is the entirety of an omnibus very satisfying -- but its smash-up ranginess of conflicting styles and potpourri perspectives make the movies irresistible. (Favorites of any connoisseur would include 1962's "The Seven Deadly Sins," 1963's "RoGoPaG," and 1969's "Love and Anger," all of which feature the era's most promiscuous omnibus-er, Jean-Luc Godard.) They're still being made: the Korean New Wave collection "If You Were Me" (2003) is a knockout,...
- 10/21/2008
- by Michael Atkinson
- ifc.com
The Eiffel serves as a wry eyeful in the Parisian cat peering from the poster for the portmanteau film Six in Paris (Paris Vu Par), offered in a revival screening by the San Francisco Film Society as part of their inaugural French Cinema Now series and soon to be available on DVD through New Yorker Films.
The omnibus film is—at this juncture—a familiar landmark on the cinematic landscape; but, charm is leant to this particular sextet by its alignment with the auteurist movement of the mid-’60s. As the program notes for Fcn attest, ”Six in Paris represents the crème de la crème of the French New Wave: Jean-Luc Godard, Jean Rouch, Claude Chabrol and Eric Rohmer, along with the lesser known Jean Douchet (better known as a writer at Cahiers du Cinema) and Jean-Daniel Pollet.” Produced by Barbet Schroeder (who likewise stars in the Rouch entry), Paris...
The omnibus film is—at this juncture—a familiar landmark on the cinematic landscape; but, charm is leant to this particular sextet by its alignment with the auteurist movement of the mid-’60s. As the program notes for Fcn attest, ”Six in Paris represents the crème de la crème of the French New Wave: Jean-Luc Godard, Jean Rouch, Claude Chabrol and Eric Rohmer, along with the lesser known Jean Douchet (better known as a writer at Cahiers du Cinema) and Jean-Daniel Pollet.” Produced by Barbet Schroeder (who likewise stars in the Rouch entry), Paris...
- 10/15/2008
- by Michael Guillen
- Screen Anarchy
The Next Wave Spotlight!
Amd has a long history of working with young creative filmmakers such as Robert Rodriguez to provide tools and equipment that make the creative process easier. With the Amd "Next Wave" spotlight, we have chosen 8 films by young, up-and-coming filmmakers. These are filmmakers who are beginning their careers and may well become the next wave of talent shaping the industry in the decades to come. These eight films will be judged by the Next Wave jury, the winning film will be awarded a $1000 cash prize as well as Dell/Amd editing hardware. All eight of the "Next Wave" films will be have filmmakers and/or performers in attendance at Fantastic Fest.
Next Wave films/filmmakers:
Gadi Harel & Marcel Sarmiento (Directors), USA, Deadgirl
Javier Albarran (Actor/ Miscellaneous Crew), Spain, Doctor Infierno
Norihiro Koizumi (Director), Japan, Gachi Boy: Wrestling with a Memory
Reynald Bertrand (Director), France, La Crème (Creme)
Eric Shapiro (Director), USA,...
Amd has a long history of working with young creative filmmakers such as Robert Rodriguez to provide tools and equipment that make the creative process easier. With the Amd "Next Wave" spotlight, we have chosen 8 films by young, up-and-coming filmmakers. These are filmmakers who are beginning their careers and may well become the next wave of talent shaping the industry in the decades to come. These eight films will be judged by the Next Wave jury, the winning film will be awarded a $1000 cash prize as well as Dell/Amd editing hardware. All eight of the "Next Wave" films will be have filmmakers and/or performers in attendance at Fantastic Fest.
Next Wave films/filmmakers:
Gadi Harel & Marcel Sarmiento (Directors), USA, Deadgirl
Javier Albarran (Actor/ Miscellaneous Crew), Spain, Doctor Infierno
Norihiro Koizumi (Director), Japan, Gachi Boy: Wrestling with a Memory
Reynald Bertrand (Director), France, La Crème (Creme)
Eric Shapiro (Director), USA,...
- 9/8/2008
- by noreply@blogger.com (Lars Nilsen)
- FantasticFest.com
We'll have lots of guests at Fantastic Fest this year, more than ever before. Here are just a few of the many interesting people who'll be joining us this year, in no particular order. We'll continually update our roster so keep an eye on this page.
Filmmakers and Actors
Norihiro Koizumi (Gachi Boy: Wrestling With A Memory)
A young, talented director who is quickly making his mark in the Japanese filmmaking scene. At the tender age of 25, he directed his first major feature-length film, “Midnight Sun.” “Midnight Sun” was not only critically-acclaimed, but became a commercial hit, grossing over 1 billion yen at the Japanese boxoffice. His latest film, “Gachi Boy Wrestling with a Memory,” won the grand prix at the Udine Far East Film Festival.
Nacho Vigalondo (Shorts Program)
Last year at Fantastic Fest noted Spanish director Nacho Vigalondo won the Next Wave competition, later securing domestic distribution for Timecrimes...
Filmmakers and Actors
Norihiro Koizumi (Gachi Boy: Wrestling With A Memory)
A young, talented director who is quickly making his mark in the Japanese filmmaking scene. At the tender age of 25, he directed his first major feature-length film, “Midnight Sun.” “Midnight Sun” was not only critically-acclaimed, but became a commercial hit, grossing over 1 billion yen at the Japanese boxoffice. His latest film, “Gachi Boy Wrestling with a Memory,” won the grand prix at the Udine Far East Film Festival.
Nacho Vigalondo (Shorts Program)
Last year at Fantastic Fest noted Spanish director Nacho Vigalondo won the Next Wave competition, later securing domestic distribution for Timecrimes...
- 9/8/2008
- by noreply@blogger.com (Lars Nilsen)
- FantasticFest.com
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