NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
The Bridges of Madison County, Bette Gordon’s Variety, and Secretary play on 35mm this weekend.
Anthology Film Archives
Works about the Palestinian film archive screen this weekend while films by Raul Ruiz, Yvonne Rainer, Michael Snow, and more play in Afterimage.
Museum of Modern Art
Max Fleischer’s cartoons play in a new retrospective.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Elaine May, Jonathan Demme, and Mike Leigh.
Film Forum
As the Japanese horror series continues, the American horror film Freaky Friday plays on Sunday.
Bam
Raoul Peck’s Lumumba: Death of a Prophet continues.
IFC Center
A Brian Yuzna retrospective is underway; Starship Troopers, Fight Club, Mondo New York, and The Shining play late.
The post NYC Weekend Watch: The Bridges of Madison County, Palestinian Film Archive, Max Fleischer & More...
Roxy Cinema
The Bridges of Madison County, Bette Gordon’s Variety, and Secretary play on 35mm this weekend.
Anthology Film Archives
Works about the Palestinian film archive screen this weekend while films by Raul Ruiz, Yvonne Rainer, Michael Snow, and more play in Afterimage.
Museum of Modern Art
Max Fleischer’s cartoons play in a new retrospective.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Elaine May, Jonathan Demme, and Mike Leigh.
Film Forum
As the Japanese horror series continues, the American horror film Freaky Friday plays on Sunday.
Bam
Raoul Peck’s Lumumba: Death of a Prophet continues.
IFC Center
A Brian Yuzna retrospective is underway; Starship Troopers, Fight Club, Mondo New York, and The Shining play late.
The post NYC Weekend Watch: The Bridges of Madison County, Palestinian Film Archive, Max Fleischer & More...
- 3/8/2024
- by Nick Newman
- The Film Stage
Beware, spoilers! You may witness the most astonishingly beautiful allegory of death in a movie. The kind of long takes that flashed your mind and remains diffused long after the details of the plot are forgotten. But Shh… these few words should be enough to convince you to watch “Tomorrow is a long time”, the first feature-length film of Singapore's brilliant new formalist, Jow Zhi Wei.
Tomorrow is a Long Time is screening at Black Movie
In a fantasized Singapore, as an archetype of any tropical Asian modern city, the 17 years old Meng is raised alone by an austere hard-working father after his mother has left home, seemingly without an address. Meng's narrative has been clearly devised upon two distinct movements. The first part immerses us in the day-to-day life of this dysfunctional family surviving in a cold and harsh society. While the silent Meng is struggling to exist among...
Tomorrow is a Long Time is screening at Black Movie
In a fantasized Singapore, as an archetype of any tropical Asian modern city, the 17 years old Meng is raised alone by an austere hard-working father after his mother has left home, seemingly without an address. Meng's narrative has been clearly devised upon two distinct movements. The first part immerses us in the day-to-day life of this dysfunctional family surviving in a cold and harsh society. While the silent Meng is struggling to exist among...
- 2/6/2024
- by Jean Claude
- AsianMoviePulse
Update: While discussing Presence with Filmmaker Magazine, Soderbergh already implies Black Bag will mark a break from his just-debuted feature:
“[The] solution now is to split in the opposite direction and make something that is equally well-served by forgetting this idea and shooting in a way that would hopefully appear seamless for the audience. It’s a pure pleasure space. Something entertaining like Howard Hawks is the best way to go. […] I would get to annihilate what I just did.”
Read the original story below.
The same day their latest collaboration debuts at Sundance, Steven Soderbergh and David Koepp are moving onto the next. Per THR, shooting’s soon to begin on Black Bag, a spy thriller that’s attached Michael Fassbender (previously of Haywire) and Cate Blanchett, is written by Koepp, and… that’s about it. Other than a May start date and notice it’s set in the U.
“[The] solution now is to split in the opposite direction and make something that is equally well-served by forgetting this idea and shooting in a way that would hopefully appear seamless for the audience. It’s a pure pleasure space. Something entertaining like Howard Hawks is the best way to go. […] I would get to annihilate what I just did.”
Read the original story below.
The same day their latest collaboration debuts at Sundance, Steven Soderbergh and David Koepp are moving onto the next. Per THR, shooting’s soon to begin on Black Bag, a spy thriller that’s attached Michael Fassbender (previously of Haywire) and Cate Blanchett, is written by Koepp, and… that’s about it. Other than a May start date and notice it’s set in the U.
- 1/20/2024
- by Leonard Pearce
- The Film Stage
Shrooms.This year’s edition of TIFF Wavelengths opened with an unannounced extra. It was a 1967 film called Standard Time, an eight-minute series of circular pans around an apartment. The camera speeds up and slows down; it pans right, then left, then right again. Later, the film describes a truncated arc, showing one small section of the flat. Then, the camera pans up and down. Living beings can be glimpsed along the way, most notably a cat perched in a window, artist Joyce Wieland, and a surprise visitor at the end. But they are given the same relative attention as the objects in the space: a TV, a stereo, a cooktop, a blender, and a hutch full of china. Which is to say that all things in the field of the camera’s vision are abstracted, turned into pure painterly velocity.Of course, Standard Time is by Michael Snow, a...
- 9/12/2023
- MUBI
TIFF 2023 Adds Films by Jean-Luc Godard, Radu Jude, Pedro Costa, Eduardo Williams, Phạm Thiên & More
In one of their festival announcements, Toronto International Film Festival have unveiled some of the most exciting international offerings of the year with Wavelenghts. Featuring Jean-Luc Godard’s posthumous short Trailer of the Film That Will Never Exist: Phony Wars, Pedro Costa’s Daughters of Fire, Radu Jude’s Do Not Expect Too Much from the End of the World, Bas Devos’ Here, Eduardo Williams’ The Human Surge 3, Phạm Thiên’s Inside the Yellow Cocoon Shell, Angela Schanelec’s Music, and much more, it’s quite an eclectic lineup.
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” stated Anita Lee, Chief Programming Officer, TIFF. “It is also evidence that artist-driven experimental films are thriving and growing a new generation of cinephiles.”
“The increasing necessity to support artists willing to take risks, break rules, and challenge the status quo — especially in our over-saturated media landscape — bears repeating,...
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” stated Anita Lee, Chief Programming Officer, TIFF. “It is also evidence that artist-driven experimental films are thriving and growing a new generation of cinephiles.”
“The increasing necessity to support artists willing to take risks, break rules, and challenge the status quo — especially in our over-saturated media landscape — bears repeating,...
- 8/11/2023
- by Leonard Pearce
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
The Headless Woman and Sun Ra: A Joyful Noise screen on Friday; prints of Pee-Wee’s Big Adventure, I’m Still Here, Cool Runnings: The Reggae Movie, Girl 6, and Dick Tracy play.
Anthology Film Archives
“Shopping Worlds” is a cinematic exploration of malls, offering the likes of Jackie Brown, Nocturama, and Akerman’s Golden Eighties; works by Michael Snow and von Stroheim play in Essential Cinema.
Museum of Modern Art
“Views from the Vault” closes with films by Sofia Coppola, Jia Zhangke, and more.
Museum of the Moving Image
Malcolm X, Nope, Inception, and 2001 play on 70mm in a new series; Barbershop screens on Saturday.
Film Forum
Contempt and Thelma & Louise continue screening, while the Tarantino-presented Winter Kills play on 35mm.
Bam
A restoration of the recently rediscovered Tokyo Pop continues.
IFC Center
Sucker Punch, Brüno,...
Roxy Cinema
The Headless Woman and Sun Ra: A Joyful Noise screen on Friday; prints of Pee-Wee’s Big Adventure, I’m Still Here, Cool Runnings: The Reggae Movie, Girl 6, and Dick Tracy play.
Anthology Film Archives
“Shopping Worlds” is a cinematic exploration of malls, offering the likes of Jackie Brown, Nocturama, and Akerman’s Golden Eighties; works by Michael Snow and von Stroheim play in Essential Cinema.
Museum of Modern Art
“Views from the Vault” closes with films by Sofia Coppola, Jia Zhangke, and more.
Museum of the Moving Image
Malcolm X, Nope, Inception, and 2001 play on 70mm in a new series; Barbershop screens on Saturday.
Film Forum
Contempt and Thelma & Louise continue screening, while the Tarantino-presented Winter Kills play on 35mm.
Bam
A restoration of the recently rediscovered Tokyo Pop continues.
IFC Center
Sucker Punch, Brüno,...
- 8/11/2023
- by Nick Newman
- The Film Stage
The Toronto International Film Festival has announced this year’s Wavelengths and Classics sidebars, the former section known for its politically charged, geographically diverse fare with a wide range of work drawn from the worlds of documentary, contemporary art, and international art-house cinema.
Wavelengths this year counts 12 feature films and 19 shorts, as well as a suite of four restored early films by the singular Chantal Akerman.
Of note in the Wavelengths short section, North American audiences will finally get to see Jean-Luc Godard’s swan song short, Trailer of the Film That Will Never Exist: Phony Wars, which played Cannes this past spring.
Another highlight in the Classics sidebar is the 4K uncut restoration of Chen Kaige’s Farewell My Concubine, the only movie from China to win the Palme d’Or. The original film had 20 minutes cut by then Miramax Boss Harvey Weinstein much to the chagrin of jury...
Wavelengths this year counts 12 feature films and 19 shorts, as well as a suite of four restored early films by the singular Chantal Akerman.
Of note in the Wavelengths short section, North American audiences will finally get to see Jean-Luc Godard’s swan song short, Trailer of the Film That Will Never Exist: Phony Wars, which played Cannes this past spring.
Another highlight in the Classics sidebar is the 4K uncut restoration of Chen Kaige’s Farewell My Concubine, the only movie from China to win the Palme d’Or. The original film had 20 minutes cut by then Miramax Boss Harvey Weinstein much to the chagrin of jury...
- 8/11/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Classics includes restored version of Jacques Rivette’s New Wave film L’amour Fou.
Toronto International Film Festival (TIFF) has announced selections in the Wavelengths and Classics programmes ahead of the festival (September 7-17).
The expanded Wavelengths section offers 11 features and 19 shorts including the world premiere of Canadian artist and filmmaker Isiah Medina’s deconstructed heist tale He Thought He Died (pictured), Denis Côté’s Mademoiselle Kenopsia, and Angela Schanelec’s retelling of the Oedipus myth, Music.
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” said Anita Lee, TIFF’s chief programming officer. “It is also evidence...
Toronto International Film Festival (TIFF) has announced selections in the Wavelengths and Classics programmes ahead of the festival (September 7-17).
The expanded Wavelengths section offers 11 features and 19 shorts including the world premiere of Canadian artist and filmmaker Isiah Medina’s deconstructed heist tale He Thought He Died (pictured), Denis Côté’s Mademoiselle Kenopsia, and Angela Schanelec’s retelling of the Oedipus myth, Music.
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” said Anita Lee, TIFF’s chief programming officer. “It is also evidence...
- 8/11/2023
- by Jeremy Kay
- ScreenDaily
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.REMEMBRANCEIsland in the Sun.The singer, actor, and civil rights activist Harry Belafonte has died, aged 96. Christina Newland wrote a piece on Belafonte for Notebook in 2020, praising his politics, his style, his music, and his work ss stage and screen. "His impact on American mid-century life has been so significant that it’s difficult to define him as any single thing, or to see him occupying only one role."NEWSNo Bears.Jafar Panahi has left Iran for the first time in fourteen years, it is being reported. Posting from an airport, his wife Tahereh Saeedi tweeted that, “after 14 years, Jafar’s ban was cancelled" and, that finally, the pair are "going to travel together for a few days…”The Cannes Film Festival have...
- 5/2/2023
- MUBI
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
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.Newsa new short from Pedro Almodóvar, Strange Way of Life, will make its world premiere at the Cannes Film Festival. The film—coming soon to Mubi in Italy and Latin America—is a “western shot in the south of Spain” and stars Ethan Hawke and Pedro Pascal. Keep an eye on Notebook tomorrow for more Cannes updates as the festival unveils its official selection.In production news, Paul Schrader has finished writing an adaptation of a novel by Russell Banks; he plans to shoot it this summer with Richard Gere. (The full profile in Curbed is worth a read.)According to Ioncinema, Kiyoshi Kurosawa begins shooting a French-language remake of his 1998 film Serpent’s Path in May.Recommended VIEWINGSink into this two-hour interview with Béla Tarr,...
- 4/12/2023
- MUBI
Dreams.Some of my favorite work at this year’s Berlinale engaged in some way with death or the afterlife. Lighten up, you say? Impossible. The most literal and beguiling of these was Lois Patiño’s Samsara, which ingeniously conjured the transitional passage between life and death, Buddhism’s intermediate state of bardo. There were the cinematic afterlives of lost films, excavated collections, and reimagined family albums; the archive’s perpetual reincarnation as a generative source for experimental and artists’ film. There were homages to artists from the past, whose legacies continue to inspire the present, including work by the recently deceased Michael Snow and Takahiko Iimura, and film tributes to avant-garde legends like Margaret Tait in Luke Fowler’s Being in a Place, and John Cage in Kevin Jerome Everson’s If You Don’t Watch the Way You Move. Then there was the teeming, unseen world of spirits...
- 3/20/2023
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.NEWSLandscape Suicide, included on Benning's Sight & Sound ballot.Sight & Sound has made individual ballots available for their Greatest Films of All Time poll. You can browse the full, alphabetical list of critics and filmmakers here, along with voters’ comments and accompanying essays. Some favorites of ours so far: James Benning on self-referentiality, Genevieve Yue on the wind.Eight years after The Intern, Nancy Meyers has a new romantic comedy in the works at Netflix, reportedly budgeted at $130 million. Scarlett Johansson, Penélope Cruz, Owen Wilson, and Michael Fassbender are all in early talks, according to The Hollywood Reporter.Author and curator Barbara Wurm has been appointed the new head of the Berlinale Forum program, succeeding Cristina Nord.Recommended VIEWINGIf it's too bad to be true,...
- 3/8/2023
- MUBI
We’re less than a quarter into 2023 and independent horror appears to be having a moment. Technically it started several months ago when Kyle Edward Ball’s “liminal horror” Skinamarink gained word-of-mouth buzz after leaking online, but its official release in January spawned an inexplicable indie hit. A slow, dread-inducing experimental work made on a micro-budget, Skinamarink received comparisons to avant-garde filmmakers like the late Michael Snow and somehow earned millions in a semi-wide release. One month later we have Robbie Banfitch’s The Outwaters, a found-footage horror movie with an experimental edge. Given both films’ willingness to buck convention, earn raves from terrified viewers, and receive theatrical runs so close together, lumping both Skinamarink and The Outwaters together feels inevitable (even the New York Times had the directors interview each other when reporting on them).
So with that context established, let’s compare. Both are slow burns taking their...
So with that context established, let’s compare. Both are slow burns taking their...
- 2/9/2023
- by C.J. Prince
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.News*Corpus Callosum (Michael Snow, 2002).Michael Snow, Canadian artist and avant-garde filmmaker best known for Wavelength and La Région Centrale, has died at the age of 94. Via Sabzian, Snow’s 2020 email exchange with Brandon Kaufman is a worthy read; the artist reflects on a life of filmmaking, painting, and playing jazz piano. “Though I’ve had an interesting life, I don’t think I’m particularly nostalgic,” he types. According to The Hollywood Reporter, Francis Ford Coppola's long-gestating, self-funded passion project Megalopolis is in mid-production peril, with a number of key collaborators departing as the budget expands.Recommended Viewinga new restoration for Hou Hsiao-hsien’s turn-of-the-century classic Millennium Mambo (2001) is in US cinemas now. Metrograph have shared a trailer for the 4K...
- 1/10/2023
- MUBI
News arrived this morning of Michael Snow’s passing at age 94. With it came deserved, customary notices of Snow’s genius: his capacity to rework film form with what seemed little more than a careful turn of the camera and distortion of the sound mix, a transmission between artist and audience that I wouldn’t even say few equaled because, in truth, few even thought to try.
It is, of course, often the case that an avant-garde artist’s work rests in harder-to-reach places—archives, museums, 16mm prints only screened in major cities—rendering their passing a more complicated affair. But Snow is a marvelous exception for the wealth of material readily available on YouTube, and in commemoration of his death it seemed right to point any curious parties towards personal favorites.
A key thing about Michael Snow is that he was very funny. Wavelength, on paper, suggests experimental cinema...
It is, of course, often the case that an avant-garde artist’s work rests in harder-to-reach places—archives, museums, 16mm prints only screened in major cities—rendering their passing a more complicated affair. But Snow is a marvelous exception for the wealth of material readily available on YouTube, and in commemoration of his death it seemed right to point any curious parties towards personal favorites.
A key thing about Michael Snow is that he was very funny. Wavelength, on paper, suggests experimental cinema...
- 1/6/2023
- by Nick Newman
- The Film Stage
Syeyoung Park (born 1996) is a filmmaker based in South Korea. His films have a heavy leaning towards personal, independent filmmaking. His short film “Cashbag” won the best editing award at the 2020 Mise En Scene film festival and his next films including “Godspeed” and “Between the Hotel and City Hall” have competed and been invited to several film festivals. “The Fifth Thoracic Vertebra” which premiered at the Bucheon International Film Festival and won three awards and Fantasia Film Festival (Special Jury Mention Award for new flesh feature) in 2022 is his first feature film. (Source Park Syeyoung’s Official Website)
On the occasion of “The Fifth Thoracic Vertebra” screening at Across Asia Film Festival, we sat with him and chatted about the story of the movie, his experience as an independent, non-funded experimental filmmaker, the concept of time in “The Fifth Thoracic Vertebra”, the lonely life of an accidental editor, and other topics.
On the occasion of “The Fifth Thoracic Vertebra” screening at Across Asia Film Festival, we sat with him and chatted about the story of the movie, his experience as an independent, non-funded experimental filmmaker, the concept of time in “The Fifth Thoracic Vertebra”, the lonely life of an accidental editor, and other topics.
- 12/15/2022
- by Adriana Rosati
- AsianMoviePulse
Filmmaker Sally Potter discusses a few of her favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
- 11/8/2022
- by Kris Millsap
- Trailers from Hell
Playing with Cinema, a retrospective of John Smith’s work, is currently screening on Mubi. On October 1, 2022, a ten-week survey of Smith’s films, “John Smith: Introspective (1972-2022),” launched at London’s Ica, with further events at Close-Up Cinema. Screening 50 films to celebrate his 50 years of filmmaking, it is the most extensive look at his work to date.Hotel Diaries (2001-2007).In the films of John Smith, nothing is quite as it seems. Even if you already come to them with preconceived notions about the destabilizing powers of the avant-garde, Smith’s work still defies expectations. Its distinct marriage of formal dexterity and a clever, questioning, wily wit has been integral to the British filmmaker’s art world–transcending appeal and ongoing success in the field of moving images over the last 50 years.There are plenty of ways into Smith’s expansive body of work, from prescient debates on...
- 10/7/2022
- MUBI
Prototype (Blake Williams)The 36th Vancouver Film Festival recently wrapped, and with it, the second year of the Future//Present program, a selection of eight features (and a number of shorts) dedicated to emerging Canadian filmmakers. If the inaugural edition had the task of distinguishing itself from the rest of the festival's True North “stream,” this year's offered the opportunity to cement its relevancy and expand its vision. That's something for which the admirably varied program proved more or less able, albeit with higher highs and lower lows than in 2016, which speaks, at least, to chances being taken (something that can't necessarily be said of the festival's programming in general). Taken on the whole, there are—beyond the uniting sensibility of critic and programmer Adam Cook—filmmaking trends that one could identify, and patterns that one could connect, for better and for worse, to the larger contemporary arthouse scene. But the most successful selections,...
- 10/20/2017
- MUBI
It’s been an interesting run-up to the Toronto International Film Festival, and in terms of the survival of the species, the good ol’ U.S.A. has been something of a race to the bottom. What would do us in first: violent neo-Nazis whose activities are almost explicitly condoned by the Klansman In Chief? Or a 1,000-year weather event on the Gulf Coast whose magnitude surely owes something to global climate change, and whose aftermath of collapsing dams and exploding chemical factories has everything to do with systematic neglect?Given the state of things down here, who wouldn’t want to repair to Canada for some challenging cinema? As always, the Toronto International Film Festival (Tiff) is the place to be in September, and Wavelengths once again features the best of the fest. This is because the films selected for Wavelengths are the opposite of escapism. Whether they tackle...
- 9/7/2017
- MUBI
Get in touch to send in cinephile news and discoveriesNEWSRadley Metzger's The Lickerish QuartetRadley Metzger, whose groundbreaking erotic films helped set standards of style for both mainstream and arthouse cinema, has died at 88. His classics Camille 2000 (1969) and The Lickerish Quartet (1970) were featured on Mubi last year. Critic and programmer Steve Macfarlane interviewed the director at Slant Magazine for the Film Society of Lincoln Center's 2014 retrospective devoted to Metzger.Recommended VIEWINGThe Cinémathèque française has been on a roll uploading video discussions that have taken place at their Paris cinema. This 34 minute talk is between Wes Anderson and director/producer Barbet Schroeder.The Criterion Collection has recently released a new edition of Michelangelo Antonioni's masterpiece Blow-Up, and has uploaded this stellar clip of actor David Hemmings speaking on a talk show about making the film.Recommended READINGHoward Hawks' ScarfaceHow does Chicago intertwine itself with crime and the culture created in the mix of the two?...
- 4/5/2017
- MUBI
Babette Mangolte. © Fleur van Muiswinkel If the name Babette Mangolte doesn’t ring with the same familiarity as such storied French cinematographers as Raoul Coutard and William Lubtchansky, it’s not for lack of innovation or accomplishment. Born in Montmorot in 1941, Mangolte moved to New York in 1970 following a number of years as an assistant cinematographer and apprentice to director Marcel Hanoun. There she quickly integrated herself into the city’s burgeoning experimental cinema scene, befriending luminaries such as Jonas Mekas and Stan Brakhage, and soon after met a 20-year-old Chantal Akerman whom she proceeded to collaborate with on a series of groundbreaking works throughout the mid-70s. Influenced as much by structuralism as the films of the French New Wave, Mangolte and Akerman deftly utilized time and space as cinematic conduits to visually articulate themes of dislocation, alienation, and female autonomy. Their most celebrated work, the landmark feminist dispositif Jeanne Dielman,...
- 3/30/2017
- MUBI
The twenty first entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Chantal Akerman's Tomorrow We Move (2004) from March 8 - April 7, 2017 in most countries around the world. Tomorrow We Move (2004) is Chantal Akerman’s most underrated film. A recent, ambiguous “tribute” to the director in Cineaste magazine dismissed most of her work in fiction filmmaking beyond the 1970s, and was especially down on those fictions involving music, comedy, love, passion, and obsession. So, into the bin go Night and Day (unmentioned in the article), Golden Eighties (“dated and silly”), La Captive (“elephantine, imitative, and strangely fake”), and Almayer’s Folly (sunk by that “terrible French actor Stanislas Merhar”). And Tomorrow we Move? It and A Couch in New York (1996) are merely “exercises that Akerman had to get out of her system.”There is frequently an element of self-portraiture in Akerman’s work,...
- 3/8/2017
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Metrograph
The restoration of Josef von Sternberg’s Anatahan, about which more here, is now playing. Fellini’s Roma also shows on Friday.
Hitchcock, Lucas, and more are highlighted in a ’70s Universal series.
The Land Before Time plays on Saturday.
Museum of the Moving Image
The Martin Scorsese retro continues with The King of Comedy and Taxi Driver.
Metrograph
The restoration of Josef von Sternberg’s Anatahan, about which more here, is now playing. Fellini’s Roma also shows on Friday.
Hitchcock, Lucas, and more are highlighted in a ’70s Universal series.
The Land Before Time plays on Saturday.
Museum of the Moving Image
The Martin Scorsese retro continues with The King of Comedy and Taxi Driver.
- 2/3/2017
- by Nick Newman
- The Film Stage
Spring EquinoxOn November 10, James Benning premiered five of his latest works (thinking of red, wavelength, measuring change, Spring Equinox and Fall Equinox) at the Austrian Film Museum in Vienna, accompanied by a short response film by Michael Snow. Benning was also present for a Q&A before and between the screenings. Prompted by the pleasure as well as the discontent of the encounter with these films, we decided to engage in a dialogue that would offer us the time to interweave thoughts with as little space in between as possible.Dear Ivana,Writing to you about the new films of James Benning we have seen together at the Austrian Film Museum, I have the urge to begin with the end. It seems fitting, bearing in mind how Benning proceeds in his Spring Equinox, which I found to be the most vibrating film of the evening. Shot on a road passing...
- 1/2/2017
- MUBI
Ext. New York – evening. A static shot of the Downtown Manhattan skyline, filmed from a Brooklyn rooftop. The Woolworth Building is silhouetted clearly among other less discernible structures, offices and apartment blocks. Thick plumes of smoke and dust shade much of the image on the left. To the right, bands of yellow light blend into the blue of the upper sky. As evening descends, the cityscape below is bathed in shadow first, giving a Magritte-like surrealness to this most surreal of American days: September 11, 2001. The title of the painter’s ‘Empire of Light’ might be applied here, with an additional descriptive: fading. Not only will the natural light ebb from the picture, shifting first through red hues and darker blues; the musical motif on the soundtrack, too, will slowly wear away to little more than a resonant drone. To describe this as the establishing shot of the twenty-first century might seem trite or insensitive.
- 9/6/2016
- MUBI
Every week, the CriticWire Survey asks a select handful of film and TV critics two questions and publishes the results on Monday morning. (The answer to the second, “What is the best film in theaters right now?” can be found at the end of this post.)
This week’s question: This past weekend saw the release of “Lights Out,” which is based on a horrifying short film. Shorts can have tremendous value, though even the best of them tend to fly under the radar. What is your favorite short film, and why?
Miriam Bale (@mimbale), freelance
I count this Resnais film about plastics, “La chant de la styrene,” and an industrial film by Les Blank about factory farm chickens, “Chicken Real,” among the best films, and certainly best docs, I’ve seen. And the Safdies’ short “John’s Gone” is probably my favorite of their movies, if not their best.
This week’s question: This past weekend saw the release of “Lights Out,” which is based on a horrifying short film. Shorts can have tremendous value, though even the best of them tend to fly under the radar. What is your favorite short film, and why?
Miriam Bale (@mimbale), freelance
I count this Resnais film about plastics, “La chant de la styrene,” and an industrial film by Les Blank about factory farm chickens, “Chicken Real,” among the best films, and certainly best docs, I’ve seen. And the Safdies’ short “John’s Gone” is probably my favorite of their movies, if not their best.
- 7/25/2016
- by David Ehrlich
- Indiewire
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
“Lynch/Rivette” enters its final weekend, and some terrific things are in store. On Friday, Rivette‘s Paris Belongs to Us and Duelle will play at 3:30 and 9:15, respectively, while Lynch‘s Lost Highway screens at 6:30. The great, inevitable double feature is this Saturday, when Celine and Julie Go Boating...
Film Society of Lincoln Center
“Lynch/Rivette” enters its final weekend, and some terrific things are in store. On Friday, Rivette‘s Paris Belongs to Us and Duelle will play at 3:30 and 9:15, respectively, while Lynch‘s Lost Highway screens at 6:30. The great, inevitable double feature is this Saturday, when Celine and Julie Go Boating...
- 12/18/2015
- by Nick Newman
- The Film Stage
Youth On The MARCHThere are 48 individual films screening in the Wavelengths section of this year’s Toronto International Film Festival. The relative importance of this section, amidst the vast array of offerings in this relatively huge festival, depends on your taste in movies, of course, to say nothing of your specific objectives. If you’re coming to Toronto to try to score a hot tip in this year’s Oscar race, well . . . I feel sorry for you on a number of levels. But Wavelengths is unlikely to be your jam. Originally conceived exclusively as a showcase for experimental and non-narrative films (hence the section’s title, a direct tribute to avant-garde master and Toronto native son Michael Snow), Wavelengths now encompasses the edgier, less commercial side of art cinema. This is the first of two preview essays, and my aim is to cover everything in the section. These are the...
- 9/12/2015
- by Michael Sicinski
- MUBI
Adieu au langageWhen I stumbled out of the theatre after my first viewing of Jean-Luc Godard’s newest film, Adieu au langage—which will be released on home video by Kino Lorber on April 14—I felt that nagging feeling that only a few films can give. That feeling isn’t necessarily limited to great or even good films, but belongs instead to a certain special, disparate troupe. I left feeling that Godard had made a film that wanted to think about film in some way, aligning itself with the films that made their ways into books of philosophy by film theorists Noël Carroll and Stanley Cavell.Admittedly, there’s a danger in these feelings. Adieu au langage, as well as the whole lot of these “thinking” films, could simply be playfully “meta,” purposefully toying with the conversations that critics and academics love. Maybe I’ve just taken the filmmaker’s bait here,...
- 4/14/2015
- by Zach Lewis
- MUBI
In the new La Furia Umana: a symposium on the future of cinema plus articles on Harun Farocki, Jerry Lewis and Paul Thomas Anderson's Inherent Vice. The new Brooklyn Rail features pieces on Tsai Ming-liang's Rebels of the Neon God and J.P. Sniadecki's The Iron Ministry, exhibitions of work by Michael Snow and cinematographer Gabriel Figueroa and an interview with John Giorno. Also today: With Mad Max: Fury Road opening next month, a Ballardian primer to the Mad Max Universe; Jonathan Rosenbaum on Mohsen Makhmalbaf, Aleksandr Dovzhenko and Leni Riefenstahl; Robert Greene on Steve James's Hoop Dreams and Michael Powell's Peeping Tom; and lots more. » - David Hudson...
- 4/6/2015
- Fandor: Keyframe
In the new La Furia Umana: a symposium on the future of cinema plus articles on Harun Farocki, Jerry Lewis and Paul Thomas Anderson's Inherent Vice. The new Brooklyn Rail features pieces on Tsai Ming-liang's Rebels of the Neon God and J.P. Sniadecki's The Iron Ministry, exhibitions of work by Michael Snow and cinematographer Gabriel Figueroa and an interview with John Giorno. Also today: With Mad Max: Fury Road opening next month, a Ballardian primer to the Mad Max Universe; Jonathan Rosenbaum on Mohsen Makhmalbaf, Aleksandr Dovzhenko and Leni Riefenstahl; Robert Greene on Steve James's Hoop Dreams and Michael Powell's Peeping Tom; and lots more. » - David Hudson...
- 4/6/2015
- Keyframe
In today's roundup of news and views: Jean-Marie Straub's Kommunisten, a translation of the latest short film by Jean-Luc Godard, a reassessment of Michael Snow's Wavelength, interviews with Lisandro Alonso, David Zellner and Nathan Zellner, Nick Broomfield and Eugène Green, plans to restore Buster Keaton's silent films, a Goodfellas reunion with Martin Scorsese and his cast and crew, an award for Richard Gere, a new adaptation of Louisa May Alcott's Little Women, Albert Maysles's documentaries on the making of two Wes Anderson films—and more. » - David Hudson...
- 3/19/2015
- Keyframe
In today's roundup of news and views: Jean-Marie Straub's Kommunisten, a translation of the latest short film by Jean-Luc Godard, a reassessment of Michael Snow's Wavelength, interviews with Lisandro Alonso, David Zellner and Nathan Zellner, Nick Broomfield and Eugène Green, plans to restore Buster Keaton's silent films, a Goodfellas reunion with Martin Scorsese and his cast and crew, an award for Richard Gere, a new adaptation of Louisa May Alcott's Little Women, Albert Maysles's documentaries on the making of two Wes Anderson films—and more. » - David Hudson...
- 3/19/2015
- Fandor: Keyframe
In today's roundup of news and views: Jean-Marie Straub's Kommunisten, a translation of the latest short film by Jean-Luc Godard, a reassessment of Michael Snow's Wavelength, interviews with Lisandro Alonso, David Zellner and Nathan Zellner, Nick Broomfield and Eugène Green, plans to restore Buster Keaton's silent films, a Goodfellas reunion with Martin Scorsese and his cast and crew, an award for Richard Gere, a new adaptation of Louisa May Alcott's Little Women, Albert Maysles's documentaries on the making of two Wes Anderson films—and more. » - David Hudson...
- 3/19/2015
- Keyframe
In today's roundup of news and views: Jean-Marie Straub's Kommunisten, a translation of the latest short film by Jean-Luc Godard, a reassessment of Michael Snow's Wavelength, interviews with Lisandro Alonso, David Zellner and Nathan Zellner, Nick Broomfield and Eugène Green, plans to restore Buster Keaton's silent films, a Goodfellas reunion with Martin Scorsese and his cast and crew, an award for Richard Gere, a new adaptation of Louisa May Alcott's Little Women, Albert Maysles's documentaries on the making of two Wes Anderson films—and more. » - David Hudson...
- 3/19/2015
- Fandor: Keyframe
Below you will find our total coverage of the 2015 Berlin International Film Festival. New interviews will be added to the index as they are published.
Correspondences
Between Adam Cook and Daniel Kasman
#1
Introduction by Daniel Kasman
#2
Adam Cook continues the festival introduction
#3
Daniel Kasman on Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi
#4
Adam Cook on Jem Cohen's Counting, Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi
#5
Daniel Kasman on Berlin Critics' Week, Nathalie Nambot and Maki Berchache's Brûle la mer, Kevin B. Lee's Transformers: The Premake, Alex Ross Perry's Queen of Earth
#6
Adam Cook on Pablo Larraín's The Club, Kidlat Tahimik's Balikbayan #1 Memories of Overdevelopment Redux III, Andrew Haigh's 45 Years, Wim Wenders' Everything Will Be Fine
#7
Daniel Kasman on Werner Herzog's Queen of the Desert, Patricio Guzmán's The Pearl...
Correspondences
Between Adam Cook and Daniel Kasman
#1
Introduction by Daniel Kasman
#2
Adam Cook continues the festival introduction
#3
Daniel Kasman on Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi
#4
Adam Cook on Jem Cohen's Counting, Guy Maddin and Evan Johnson's The Forbidden Room, Jafar Panahi's Taxi
#5
Daniel Kasman on Berlin Critics' Week, Nathalie Nambot and Maki Berchache's Brûle la mer, Kevin B. Lee's Transformers: The Premake, Alex Ross Perry's Queen of Earth
#6
Adam Cook on Pablo Larraín's The Club, Kidlat Tahimik's Balikbayan #1 Memories of Overdevelopment Redux III, Andrew Haigh's 45 Years, Wim Wenders' Everything Will Be Fine
#7
Daniel Kasman on Werner Herzog's Queen of the Desert, Patricio Guzmán's The Pearl...
- 2/24/2015
- by Notebook
- MUBI
Dear Danny,
I'm glad you speak of the small things that stand out, separate from the overall quality of a film. In a festival drowning with content, sometimes it's hard to remember the particular details that struck us, especially in the late-going where we find ourselves now. In Werner Herzog's Queen of the Desert, a film otherwise lacking the filmmaker's eccentric touches, a short sequence involving a vulture is the best in the entire picture. Known for his penchant for filming animals, and moreover, filming them with a strange, alien gaze, Herzog brilliantly stages a romantic scene between Nicole Kidman and James Franco. The couple are climbing a winding stairway to the top of a tower (which Franco's character describes as being a place where the dead are brought), and waiting for these whimsical lovers is an intimidating vulture chewing on hot, rotting flesh. The abrupt cut from their...
I'm glad you speak of the small things that stand out, separate from the overall quality of a film. In a festival drowning with content, sometimes it's hard to remember the particular details that struck us, especially in the late-going where we find ourselves now. In Werner Herzog's Queen of the Desert, a film otherwise lacking the filmmaker's eccentric touches, a short sequence involving a vulture is the best in the entire picture. Known for his penchant for filming animals, and moreover, filming them with a strange, alien gaze, Herzog brilliantly stages a romantic scene between Nicole Kidman and James Franco. The couple are climbing a winding stairway to the top of a tower (which Franco's character describes as being a place where the dead are brought), and waiting for these whimsical lovers is an intimidating vulture chewing on hot, rotting flesh. The abrupt cut from their...
- 2/14/2015
- by Adam Cook
- MUBI
Last week we saw the lineup for the main program of the Berlinale Forum; today, the festival's announced the works to be presented in the tenth edition of Forum Expanded. Je proclame la destruction by Arthur Tuoto consists of two shots from Robert Bresson’s film Le diable probablement (1977) repeated in an endless loop. Martin Ebner’s installation Ein helles Kino challenges the cinematographic setting, while Leila Albayaty steals her very own film images in her film Face B. The program also features new work by Michael Snow, Ken Jacobs, João Pedro Rodrigues and João Rui Guerra da Mata and more. » - David Hudson...
- 1/20/2015
- Fandor: Keyframe
Last week we saw the lineup for the main program of the Berlinale Forum; today, the festival's announced the works to be presented in the tenth edition of Forum Expanded. Je proclame la destruction by Arthur Tuoto consists of two shots from Robert Bresson’s film Le diable probablement (1977) repeated in an endless loop. Martin Ebner’s installation Ein helles Kino challenges the cinematographic setting, while Leila Albayaty steals her very own film images in her film Face B. The program also features new work by Michael Snow, Ken Jacobs, João Pedro Rodrigues and João Rui Guerra da Mata and more. » - David Hudson...
- 1/20/2015
- Keyframe
Edited by Adam Cook
Senses of Cinema's last issue of 2014 is now online—though we can still anticipate their epic annual Best of the Year poll (our personal favorite among the great many out there). Among the impressive wealth of content is a piece on the late, great Harun Farocki, and an amazing assortment of festival reports. Another major new issue is #61 of Cinema Scope, and you can read several of the articles online (including our own Daniel Kasman on Episode of the Sea)—but you're best off to pick up the print copy if you want to enjoy everything the magazine has to offer (such as my piece on Dumb and Dumber To)! The A.V. Club and The Dissolve are among the latest to contribute Best of 2014 lists, which you can find here and here. Scott Foundas is one of several writers for Variety to provide an end of year list,...
Senses of Cinema's last issue of 2014 is now online—though we can still anticipate their epic annual Best of the Year poll (our personal favorite among the great many out there). Among the impressive wealth of content is a piece on the late, great Harun Farocki, and an amazing assortment of festival reports. Another major new issue is #61 of Cinema Scope, and you can read several of the articles online (including our own Daniel Kasman on Episode of the Sea)—but you're best off to pick up the print copy if you want to enjoy everything the magazine has to offer (such as my piece on Dumb and Dumber To)! The A.V. Club and The Dissolve are among the latest to contribute Best of 2014 lists, which you can find here and here. Scott Foundas is one of several writers for Variety to provide an end of year list,...
- 12/30/2014
- by Notebook
- MUBI
The Berlinale's tenth Forum Expanded program will feature new work by Kevin Jerome Everson, Pierre Huyghe, Ken Jacobs, Michael Snow and others. The International Film Festival Rotterdam’s co-production market, CineMart, has completed its line-up: Sergio Caballero, Nanouk Leopold, Benjamin Naishtat, Myroslav Slaboshpytskiy and more. Slated to attend Sundance's Screenwriters Lab are Eliza Hittman, Yung Chang, Brent Green and more. Selma director Ava DuVernay and RZA join Mark Duplass on SXSW's roster of keynote speakers. And the Edinburgh International Film Festival has got a new artistic director. » - David Hudson...
- 12/18/2014
- Fandor: Keyframe
The Berlinale's tenth Forum Expanded program will feature new work by Kevin Jerome Everson, Pierre Huyghe, Ken Jacobs, Michael Snow and others. The International Film Festival Rotterdam’s co-production market, CineMart, has completed its line-up: Sergio Caballero, Nanouk Leopold, Benjamin Naishtat, Myroslav Slaboshpytskiy and more. Slated to attend Sundance's Screenwriters Lab are Eliza Hittman, Yung Chang, Brent Green and more. Selma director Ava DuVernay and RZA join Mark Duplass on SXSW's roster of keynote speakers. And the Edinburgh International Film Festival has got a new artistic director. » - David Hudson...
- 12/18/2014
- Keyframe
The new issue of Cinema Scope features articles on Harun Farocki, Xavier Dolan, David Lynch, Eugène Green and Michael Snow and interviews with Pedro Costa, Simone Rapisarda Casanova and Peter von Bagh and more. Also in today's roundup of news and views: Ignatiy Vishnevetsky on Dan Sallitt's The Unspeakable Act, Jordan Cronk on Martin Scorsese's Mean Streets, Howard Hampton on Eraserhead, David Cairns on Segundo de Chomón, Sierra Pettengill on Roberto Rossellini's Roma città aperta—and more. » - David Hudson...
- 9/21/2014
- Fandor: Keyframe
The new issue of Cinema Scope features articles on Harun Farocki, Xavier Dolan, David Lynch, Eugène Green and Michael Snow and interviews with Pedro Costa, Simone Rapisarda Casanova and Peter von Bagh and more. Also in today's roundup of news and views: Ignatiy Vishnevetsky on Dan Sallitt's The Unspeakable Act, Jordan Cronk on Martin Scorsese's Mean Streets, Howard Hampton on Eraserhead, David Cairns on Segundo de Chomón, Sierra Pettengill on Roberto Rossellini's Roma città aperta—and more. » - David Hudson...
- 9/21/2014
- Keyframe
Jauja
Written by Lisandro Alonso and Fabian Casas
Directed by Lisandro Alonso
Argentina, 2014
Leaving his long studies of structure and work behind, Lisandro Alonso’s newest feature Jauja instead behaves like a dark fairy tale in a minimalistic universe of Gabriel Garcia Marquez. It’s hauntingly slow, but only to the point that we can experience everything that needs to be said and done. In this respect, Alonso uses his small conversations and economic direction of space to solidify his particular brand of art-house contemplation without sacrificing a good-natured inquiry into the sort of visceral reaction his style can commandeer. However, Jauja seems to be straddling the limits of what Alonso can possibly offer, always taking a step back whenever he tempts to be too interesting.
Jauja opens in a round-bordered 4:3 frame, as a military-dress-clad father (Viggo Mortensen) discusses getting a dog with his daughter. It’s an uneventful...
Written by Lisandro Alonso and Fabian Casas
Directed by Lisandro Alonso
Argentina, 2014
Leaving his long studies of structure and work behind, Lisandro Alonso’s newest feature Jauja instead behaves like a dark fairy tale in a minimalistic universe of Gabriel Garcia Marquez. It’s hauntingly slow, but only to the point that we can experience everything that needs to be said and done. In this respect, Alonso uses his small conversations and economic direction of space to solidify his particular brand of art-house contemplation without sacrificing a good-natured inquiry into the sort of visceral reaction his style can commandeer. However, Jauja seems to be straddling the limits of what Alonso can possibly offer, always taking a step back whenever he tempts to be too interesting.
Jauja opens in a round-bordered 4:3 frame, as a military-dress-clad father (Viggo Mortensen) discusses getting a dog with his daughter. It’s an uneventful...
- 5/19/2014
- by Zach Lewis
- SoundOnSight
‘Walking Dead’: Revisiting the Final Scene: - “As someone who hasn’t read the Walking Dead comic books — just as I haven’t read George R.R. Martin’s books that form the basis for Game of Thrones — I take in all the information simply as it’s doled out, without being privy to older nonshow references or working with the knowledge of what’s ahead.” - International TV Roundup: A Quality Quartet From The BBC In 2014: - While the bulk of our coverage here at Twitch is dominantly film related we do love a good bit of TV, particularly when the TV in question is … well … good. And though the year is early it is already shaping up to be very strong, indeed, over at the BBC where they are following up 2013 hits such as Peaky Blinders, Top Of The Lake and The Fall with a continued run of high quality work.
- 4/2/2014
- by Ricky
- SoundOnSight
For Bomb Magazine, Alan Licht talks to Michael Snow about his photography (thanks to Dave McDougall for the link!):
"Al: The films Side Seat Paintings Slides Sound Film (1970) and One Second in Montreal (1969) both feature still images. Were those in any way an outgrowth of the things you were doing in photography at the time?
Ms: I filmed Wavelength in ’66, finished it in ’67, and in the show is a piece called Atlantic which has photographs of waves. I took those photographs the same day I took the photograph that I used in Wavelength, so there’s a stretch in there. But One Second in Montreal is about controlling the durations that a still image is on the screen, which is a very obvious thing you can do with film. One Second in Montreal relates to Recombinant (1992), eighty 35 mm slides projected against a surface made for the images to be projected on,...
"Al: The films Side Seat Paintings Slides Sound Film (1970) and One Second in Montreal (1969) both feature still images. Were those in any way an outgrowth of the things you were doing in photography at the time?
Ms: I filmed Wavelength in ’66, finished it in ’67, and in the show is a piece called Atlantic which has photographs of waves. I took those photographs the same day I took the photograph that I used in Wavelength, so there’s a stretch in there. But One Second in Montreal is about controlling the durations that a still image is on the screen, which is a very obvious thing you can do with film. One Second in Montreal relates to Recombinant (1992), eighty 35 mm slides projected against a surface made for the images to be projected on,...
- 3/19/2014
- by Adam Cook
- MUBI
Steven Soderbergh followed The Underneath, a superb neo-noir that expertly uses widescreen framing and color photography to its full potential, with Schizopolis, a film motivated by his feelings of artistic impotence. This concept is somewhat surprising, as The Underneath is one of his best films, one of the best neo-noirs from the nineties, and one of Soderbergh’s more underrated works. Schizopolis is more well-known and seen (thanks to Criterion) but unfortunately, it is a stale work that only exists for the director’s edification. After Schizopolis, Soderbergh reportedly felt rejuvenated and made Out of Sight, which ended his commercial slump so we can all thank this experimental film for Soderbergh’s commercial and artistic turning point. However, this exercise is far more interesting to think and write than it is to watch. Schizopolis is ultimately more interesting in the abstract than it is in reality
The main problems with...
The main problems with...
- 12/6/2013
- by Cody Lang
- SoundOnSight
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