Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
Alice, Darling (Mary Nighy)
Everything you need to know about Alice’s (Anna Kendrick) state of mind concerning the abuse inflicted by her boyfriend Simon (Charlie Carrick) are the words “it’s not like he hurts me.” We feel Sophie’s (Wunmi Mosaku) wince in our bones—”hurt” doesn’t only become noteworthy when wrought by a physical altercation. Alice is glued to her phone to ensure she doesn’t miss a call or text. She wakes up super early to apply make-up and style her hair to Simon’s preference. Parrots all the soundbites he uses to police her eating habits about the toxicity of sugar. And literally pulls her hair out of her head whenever she has a spare second...
Alice, Darling (Mary Nighy)
Everything you need to know about Alice’s (Anna Kendrick) state of mind concerning the abuse inflicted by her boyfriend Simon (Charlie Carrick) are the words “it’s not like he hurts me.” We feel Sophie’s (Wunmi Mosaku) wince in our bones—”hurt” doesn’t only become noteworthy when wrought by a physical altercation. Alice is glued to her phone to ensure she doesn’t miss a call or text. She wakes up super early to apply make-up and style her hair to Simon’s preference. Parrots all the soundbites he uses to police her eating habits about the toxicity of sugar. And literally pulls her hair out of her head whenever she has a spare second...
- 2/3/2023
- by Jordan Raup
- The Film Stage
February, marking both Black History Month and Valentine’s Day, is the kind of stretch from which a programmer can mine plenty. Accordingly the Criterion Channel have oriented their next slate around both. The former is mostly noted in a series comprising numerous features and shorts: Shirley Clarke and William Greaves up to Ephraim Asili and Garrett Bradley, among them gems such as Varda’s Black Panthers and Kathleen Collins’ Losing Ground; a six-film series on James Baldwin; and 10 works by Oscar Micheaux.
Meanwhile, the 23-film “All You Need Is Love” will cover the blinding romance of L’Atalante, the heartbreak of Happy Together, and youthful whimsy of Stolen Kisses; four Douglas Sirk rarities should leave their mark, but I’m perhaps most excited about three starring Rock Hudson and Doris Day. Perhaps more bracing are 12 movies by Derek Jarman and four by noir maestro Robert Siodmak. Also a major...
Meanwhile, the 23-film “All You Need Is Love” will cover the blinding romance of L’Atalante, the heartbreak of Happy Together, and youthful whimsy of Stolen Kisses; four Douglas Sirk rarities should leave their mark, but I’m perhaps most excited about three starring Rock Hudson and Doris Day. Perhaps more bracing are 12 movies by Derek Jarman and four by noir maestro Robert Siodmak. Also a major...
- 1/26/2023
- by Nick Newman
- The Film Stage
What will be your first movie of 2023? If you’re reading this it’s likely you put some (let’s be honest: too much) thought into what commences the cinematic year. The Criterion Channel’s January lineup will put some good things front and center: they’re launching a 20-film cinema verité series that highlights all major figures of the form; an eight-film Mike Leigh retrospective that focuses on his little-seen, lesser-discussed BBC features produced between 1973 and 1984; a series on Abbas Kiarostami’s studies of childhood; and because you’ve either seen Eo or have it marked to watch, Jerzy Skolimowski’s three most-acclaimed films should be of equal note.
Another 2022 favorite, Il Buco, will have its streaming premiere alongside Kamikaze Hearts, the Depardieu-led Cyrano de Bergerac, and the recent restoration of Lodge Kerrigan’s Keane. The sole Criterion Edition for this month is 3 Women, while some notable recent documentaries—The American Sector,...
Another 2022 favorite, Il Buco, will have its streaming premiere alongside Kamikaze Hearts, the Depardieu-led Cyrano de Bergerac, and the recent restoration of Lodge Kerrigan’s Keane. The sole Criterion Edition for this month is 3 Women, while some notable recent documentaries—The American Sector,...
- 12/20/2022
- by Nick Newman
- The Film Stage
The Academy Museum of Motion Pictures debuts Regeneration: Black Cinema, 1898–1971 on August 21, 2022. The ambitious exhibition, on view through April 9, 2023, explores the achievements and challenges of Black filmmakers in the US in both independent production and the studio system—in front of the camera and behind it—from cinema’s infancy in the 1890s to the early 1970s.
The Academy Museum’s second exhibition in the 11,000-square-foot Marilyn and Jeffrey Katzenberg Gallery, Regeneration includes rarely seen excerpts of films, documentaries, newsreels, and home movies, as well as historical photographs, costumes, props, and posters. Regeneration will also feature contemporary artworks referencing the impact of the legacy of Black filmmaking and Ar elements designed for the exhibition. The exhibition will be accompanied by a range of film screenings, including world premieres of films newly restored by the Academy Film Archive, an interactive microsite with supplemental content, a robust curriculum to engage high school students and teachers,...
The Academy Museum’s second exhibition in the 11,000-square-foot Marilyn and Jeffrey Katzenberg Gallery, Regeneration includes rarely seen excerpts of films, documentaries, newsreels, and home movies, as well as historical photographs, costumes, props, and posters. Regeneration will also feature contemporary artworks referencing the impact of the legacy of Black filmmaking and Ar elements designed for the exhibition. The exhibition will be accompanied by a range of film screenings, including world premieres of films newly restored by the Academy Film Archive, an interactive microsite with supplemental content, a robust curriculum to engage high school students and teachers,...
- 8/18/2022
- by Michelle Hannett
- WeAreMovieGeeks.com
It’s been five years since Nathan Fielder brought his comic stylings to television with the irreverent “Nathan for You.” But audiences won’t have to wait too much longer for writer, director, and actor’s television return. Last Wednesday, Fielder dropped a brief teaser of his new show, “The Rehearsal,” on Twitter. At only 29 seconds it showed audiences a control room where people are watching a woman and a baby from a remote location.
“The Rehearsal” stars Fielder as a man who questions how much of his life is written for himself. He’ll utilize a group of artists and other professionals to help him manufacture a life so he can “rehearse” key moments. An equally unsettling poster for the show was released soon after the teaser, showing Fielder at a dinner table surrounded by bizarre dolls acting as his family.
This isn’t Fielder’s only project in the works.
“The Rehearsal” stars Fielder as a man who questions how much of his life is written for himself. He’ll utilize a group of artists and other professionals to help him manufacture a life so he can “rehearse” key moments. An equally unsettling poster for the show was released soon after the teaser, showing Fielder at a dinner table surrounded by bizarre dolls acting as his family.
This isn’t Fielder’s only project in the works.
- 6/18/2022
- by Kristen Lopez
- Indiewire
The Academy Museum of Motion Pictures on Wednesday detailed how its upcoming exhibit “Regeneration: Black Cinema 1898-1971” will explore Black filmmakers from Oscar Micheaux to Melvin Van Peebles.
The Museum shared details of the exhibit, which will open on Aug. 21 and run through April 9, 2023 in the Marilyn and Jeffrey Katzenberg Gallery. It is the second major temporary exhibit at the Academy Museum, after the current installation devoted to the work of Japanese animator Hayao Miyazaki.
In a press release, the Academy Museum described the exhibition this way:
“The exhibition explores the achievements and challenges of both independent production and the studio system, from cinema’s infancy in the 1890s through the height of the civil rights movement. ‘Regeneration’ features rarely seen excerpts of films restored by the Academy Film Archive, as well as other narrative films and documentaries; newsreels and home movies; photographs; scripts; drawings; costumes; equipment; posters; and historical materials,...
The Museum shared details of the exhibit, which will open on Aug. 21 and run through April 9, 2023 in the Marilyn and Jeffrey Katzenberg Gallery. It is the second major temporary exhibit at the Academy Museum, after the current installation devoted to the work of Japanese animator Hayao Miyazaki.
In a press release, the Academy Museum described the exhibition this way:
“The exhibition explores the achievements and challenges of both independent production and the studio system, from cinema’s infancy in the 1890s through the height of the civil rights movement. ‘Regeneration’ features rarely seen excerpts of films restored by the Academy Film Archive, as well as other narrative films and documentaries; newsreels and home movies; photographs; scripts; drawings; costumes; equipment; posters; and historical materials,...
- 5/4/2022
- by Steve Pond
- The Wrap
The Academy Museum of Motion Pictures today announced the first round of exhibition rotations scheduled for the 2022–2023 season, which further its mission to advance the understanding, celebration, and preservation of cinema.
This summer, the Museum will open the exhibition Regeneration: Black Cinema 1898–1971, which will explore the history of Black cinema from its earliest days to just after the civil rights movement. In the fall, the museum will open galleries devoted to Francis Ford Coppola’s The Godfather and the influences of French filmmaker Agnès Varda.
In early 2023, new exhibitions will open, with spaces spotlighting Boyz n the Hood, Casablanca, documentarian Lourdes Portillo, and the collaboration between production designer Sarah Greenwood and set decorator Katie Spencer. Then, in late spring, the Museum will open its first permanent exhibition, Hollywoodland, chronicling the founding and the founders of the Hollywood studio system in Los Angeles.
Over time, new objects, images, and interviews will be added to various galleries,...
This summer, the Museum will open the exhibition Regeneration: Black Cinema 1898–1971, which will explore the history of Black cinema from its earliest days to just after the civil rights movement. In the fall, the museum will open galleries devoted to Francis Ford Coppola’s The Godfather and the influences of French filmmaker Agnès Varda.
In early 2023, new exhibitions will open, with spaces spotlighting Boyz n the Hood, Casablanca, documentarian Lourdes Portillo, and the collaboration between production designer Sarah Greenwood and set decorator Katie Spencer. Then, in late spring, the Museum will open its first permanent exhibition, Hollywoodland, chronicling the founding and the founders of the Hollywood studio system in Los Angeles.
Over time, new objects, images, and interviews will be added to various galleries,...
- 3/21/2022
- by Matt Grobar
- Deadline Film + TV
Filmmaker Dee Rees made history on June 29 when her debut feature “Pariah” joined the Criterion Collection, making the Oscar and Emmy nominee the first Black American woman to have her work included. Before Rees, Euzhan Palcy, who is from Martinique, was the lone Black woman to have a film (1989’s “A Dry White Season”) selected.
“It feels like a formal acknowledgment of the film’s impact to the canon and being a part of the culture,” Rees tells Variety of having her movie chosen. “Even though artists have to try to find your validation from inside, it’s nice to be seen.”
And as a Black filmmaker in particular, Rees adds, “it’s important to be included for future generations of filmmakers, if [Criterion] is the thing that’s being taught in schools.”
“When they’re absent, then the assumption is there’s none in existence,” she explains. “There’s no Black filmmakers here,...
“It feels like a formal acknowledgment of the film’s impact to the canon and being a part of the culture,” Rees tells Variety of having her movie chosen. “Even though artists have to try to find your validation from inside, it’s nice to be seen.”
And as a Black filmmaker in particular, Rees adds, “it’s important to be included for future generations of filmmakers, if [Criterion] is the thing that’s being taught in schools.”
“When they’re absent, then the assumption is there’s none in existence,” she explains. “There’s no Black filmmakers here,...
- 7/2/2021
- by Angelique Jackson
- Variety Film + TV
Having chronicled countless landmark moments in African-American history, acclaimed documentary filmmaker Stanley Nelson understands the stakes at a time when both the culture at large, as well as the documentary industry, are in the midst of a wholesale reckoning. “It’s clear that the voices of [Bipoc filmmakers] are what’s needed—like a shot in the arm to the industry,” he said.
Nelson appeared at Hot Docs on Tuesday in conversation with director Jacqueline Olive (“Always in Season”), who was named as one of Variety’s 10 Documentary Filmmakers to Watch in 2019. Nelson’s documentary on the ‘80s crack epidemic, “Crack: Cocaine, Corruption & Conspiracy” (pictured), screens this week in Special Presentations at the festival, where he’s receiving an Outstanding Achievement Award.
During the wide-ranging conversation, which is available on-demand to Hot Docs attendees, the Emmy and Peabody Award winner reflected on the arc of his career, beginning with his first...
Nelson appeared at Hot Docs on Tuesday in conversation with director Jacqueline Olive (“Always in Season”), who was named as one of Variety’s 10 Documentary Filmmakers to Watch in 2019. Nelson’s documentary on the ‘80s crack epidemic, “Crack: Cocaine, Corruption & Conspiracy” (pictured), screens this week in Special Presentations at the festival, where he’s receiving an Outstanding Achievement Award.
During the wide-ranging conversation, which is available on-demand to Hot Docs attendees, the Emmy and Peabody Award winner reflected on the arc of his career, beginning with his first...
- 5/6/2021
- by Christopher Vourlias
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Martha Stewart in In A Lonely Place. Actress Martha Stewart, best known for playing Mildred Atkinson in Nicholas Ray's In A Lonely Place (1950), has died. Check out the new website for listings resource Screen Slate! The website now has sections for specially curated listings and articles, as well as a store featuring surveys and readers. Joaquin Phoenix is officially joining the cast of Ari Aster's next film, Disappointment Blvd. Produced by A24, the film reportedly is “an intimate, decades-spanning portrait of one of the most successful entrepreneurs of all time.” Recommended VIEWINGLingua Franca director Isabel Sandoval's short film Shang-ri Lais the latest of Miu Miu's Women's Tales, now playing on Mubi. The sensual story takes place in California during the Great Depression, and depicts a Filipino farmhand whose strong feelings...
- 2/24/2021
- MUBI
After unveiling the discs that will be arriving in April, including Bong Joon Ho’s Memories of Murder, Olivier Assayas’ Irma Vep, and more, Criterion has now announced what will be coming to their streaming channel next month.
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
- 1/26/2021
- by Leonard Pearce
- The Film Stage
Hell hath no fury like a film crew ganked around. This was true in 1968, it was true in 2005, and it remains true today. In this context, the two named years are significant for being when the late noted documentary filmmaker William Greaves lensed his two Symbiopsychotaxiplasm avant-garde wave-makers, the watershed Take One and its eventual continuation, Take 2 1/2. Though separated by thirty-seven years, the films generally synch up in experimental intent. Though this unusual work by Greaves is now firmly canonized, it can be argued that he very much has the vocal unrest of his bewildered production crew to thank for such a status. Their collective objection is the unlikely symbiosis that gives credence to the whole thing. Yes, there is a story to be told...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 1/5/2021
- Screen Anarchy
From its first edition 24 years ago, the Jihlava Intl. Documentary Film Festival, running Oct. 27-Nov. 8, has always gone its own way — largely thanks to director Marek Hovorka and his team, who never wanted to run just another venue for screening docs.
These days, the Czech Republic’s prime doc event continues that mission even as it’s been forced by government Covid-19 safety restrictions to go fully online. A digital version will in fact be a permanent Jihlava feature going forward, Hovorka says, but after this year it will be balanced with live events to create a hybrid fest format.
For 2020, rather than simply streaming films, he says, Jihlava will create a rich experience online and on the ground with top doc makers and leading thinkers visiting the central Bohemian town for talks to be aired live from the Lighthouse. This glassed-in shipping container converted into a studio is installed on Masarykovo namesti,...
These days, the Czech Republic’s prime doc event continues that mission even as it’s been forced by government Covid-19 safety restrictions to go fully online. A digital version will in fact be a permanent Jihlava feature going forward, Hovorka says, but after this year it will be balanced with live events to create a hybrid fest format.
For 2020, rather than simply streaming films, he says, Jihlava will create a rich experience online and on the ground with top doc makers and leading thinkers visiting the central Bohemian town for talks to be aired live from the Lighthouse. This glassed-in shipping container converted into a studio is installed on Masarykovo namesti,...
- 10/27/2020
- by Will Tizard
- Variety Film + TV
The Academy Museum of Motion Pictures scored a win with Chicago film scholar and TCM “Silent Sunday Nights” host Jacqueline Stewart, who has been hired as its chief artistic and programming officer. Many top film programmers and executives sought this plum curatorial job, which will see Stewart lead strategy, planning, and programming for all Academy Museum exhibitions, screenings, symposia, publications, workshops, and K-12 programs.
She reports to Academy Museum director and president Bill Kramer. “We are bringing together the already fantastic work of our curatorial, programming, education, and publications teams that are creating powerful and diverse content and initiatives for the Academy Museum,” Kramer wrote in an email. “Jacqueline’s background as an educator, programmer, archivist, author, and scholar, along with her deep commitment to building strong community relations and showcasing diverse, inclusive, and accessible stories made her a perfect candidate for the position.”
Stewart already serves on the curatorial...
She reports to Academy Museum director and president Bill Kramer. “We are bringing together the already fantastic work of our curatorial, programming, education, and publications teams that are creating powerful and diverse content and initiatives for the Academy Museum,” Kramer wrote in an email. “Jacqueline’s background as an educator, programmer, archivist, author, and scholar, along with her deep commitment to building strong community relations and showcasing diverse, inclusive, and accessible stories made her a perfect candidate for the position.”
Stewart already serves on the curatorial...
- 10/20/2020
- by Anne Thompson
- Thompson on Hollywood
The Academy Museum of Motion Pictures scored a win with Chicago film scholar and TCM “Silent Sunday Nights” host Jacqueline Stewart, who has been hired as its chief artistic and programming officer. Many top film programmers and executives sought this plum curatorial job, which will see Stewart lead strategy, planning, and programming for all Academy Museum exhibitions, screenings, symposia, publications, workshops, and K-12 programs.
She reports to Academy Museum director and president Bill Kramer. “We are bringing together the already fantastic work of our curatorial, programming, education, and publications teams that are creating powerful and diverse content and initiatives for the Academy Museum,” Kramer wrote in an email. “Jacqueline’s background as an educator, programmer, archivist, author, and scholar, along with her deep commitment to building strong community relations and showcasing diverse, inclusive, and accessible stories made her a perfect candidate for the position.”
Stewart already serves on the curatorial...
She reports to Academy Museum director and president Bill Kramer. “We are bringing together the already fantastic work of our curatorial, programming, education, and publications teams that are creating powerful and diverse content and initiatives for the Academy Museum,” Kramer wrote in an email. “Jacqueline’s background as an educator, programmer, archivist, author, and scholar, along with her deep commitment to building strong community relations and showcasing diverse, inclusive, and accessible stories made her a perfect candidate for the position.”
Stewart already serves on the curatorial...
- 10/20/2020
- by Anne Thompson
- Indiewire
Turner Classic Movies host Jacqueline Stewart is joining the Academy Museum in an executive role as its Chief Artistic and Programming Officer, the Academy Museum of Motion Pictures announced Monday.
Stewart is a scholar, programmer and educator who is joining the Academy Museum from the University of Chicago Department of Cinema and Media Studies, where she teaches American film history and specializes in African American cinema. She has already been working with the Academy Museum in an advisory position for its upcoming exhibition Regeneration: Black Cinema 1898-1971, which explores the visual culture of Black cinema from its early days to just after the civil rights movement.
She will lead strategy and planning for the Academy Museum’s curatorial, educational and public programming initiatives, including exhibitions, screenings, symposia, publications, workshops, and K-12 programs. Stewart will join the museum in January 2021 and will report to Bill Kramer, the director and president of the Academy Museum.
Stewart is a scholar, programmer and educator who is joining the Academy Museum from the University of Chicago Department of Cinema and Media Studies, where she teaches American film history and specializes in African American cinema. She has already been working with the Academy Museum in an advisory position for its upcoming exhibition Regeneration: Black Cinema 1898-1971, which explores the visual culture of Black cinema from its early days to just after the civil rights movement.
She will lead strategy and planning for the Academy Museum’s curatorial, educational and public programming initiatives, including exhibitions, screenings, symposia, publications, workshops, and K-12 programs. Stewart will join the museum in January 2021 and will report to Bill Kramer, the director and president of the Academy Museum.
- 10/19/2020
- by Brian Welk
- The Wrap
"We are a mighty nation!!" Kino Lorber has revealed a trailer for a long lost, finally-found-and-restored documentary film from 1972 titled Nationtime. The film, made by acclaimed Black filmmaker William Greaves, is a report on the National Black Political Convention held in Gary, In in 1972, a historic event that gathered a powerful selection of Black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Richard Hatcher, Amiri Baraka, Charles Diggs, and H. Carl McCall. A cut down 60-minute version aired on TV years ago. The original version was found in a Pittsburgh warehouse in 2018, restoring the film to its original 80-minute length and colorful visual quality 48 years after the convention took place. It's narrated by Sidney Poitier, combined with poems recited by Harry Belafonte. Bobby Seale said at the Convention, "Revolution is about the right for the humanity of Black people in this country here...
- 10/9/2020
- by Alex Billington
- firstshowing.net
Best known for his avant-garde meta-documentary “Symbiopsychotaxiplasm,” pioneering award-winning documentarian of Black history, culture, and politics, the late William Greaves directed over 100 films. However, his library of work still remains largely undiscovered in the mainstream, partly due to availability and access.
One such film is “Nationtime,” a documentary on the 1972 National Black Political Convention. The film was considered too radical for television broadcast at the time and has since only existed in an edited 60-minute version. But thanks to a new 4K restoration from IndieCollect, the film has been returned to its original 80-minute length, which Kino Lorber will release later this month. The film’s resurgence couldn’t be more timely, as the U.S. heads into a rather significant election against the backdrop of racial justice protests.
Unearthed in a Pittsburgh warehouse in 2018, and narrated by Sidney Poitier and Harry Belafonte, “Nationtime” presents a dynamic and powerful look at the three-day Gary,...
One such film is “Nationtime,” a documentary on the 1972 National Black Political Convention. The film was considered too radical for television broadcast at the time and has since only existed in an edited 60-minute version. But thanks to a new 4K restoration from IndieCollect, the film has been returned to its original 80-minute length, which Kino Lorber will release later this month. The film’s resurgence couldn’t be more timely, as the U.S. heads into a rather significant election against the backdrop of racial justice protests.
Unearthed in a Pittsburgh warehouse in 2018, and narrated by Sidney Poitier and Harry Belafonte, “Nationtime” presents a dynamic and powerful look at the three-day Gary,...
- 10/8/2020
- by Tambay Obenson
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSDisney has announced that Barry Jenkins will helm the live-action The Lion King sequel, which reportedly includes "Mufasa's origin story."Speaking of sequels, Chinese authorities have approved the production of a project written by Wong Kar-wai, curiously titled Chungking Express 2020. The synopsis states that at least a portion of the film will take place in 2036, where "young Xiao Qian and May are unwilling to be held back by genetic partnerings, and insist on finding their own ‘destiny’.”Festival season persists: The Cannes Film Festival will be hosting a three-day "Special Cannes" event in October that will feature the screening of four Official Selections, in-competition short films, and the Cinéfondation’s school films. This year's San Sebastian Film Festival concluded with the sweep of Georgian filmmaker Dea Kulumbegashvili’s debut feature Beginning, which received four of seven jury prizes.
- 9/30/2020
- MUBI
Exclusive: Kino Lorber has acquired U.S. and Canadian distribution rights to documentary Nationtime by William Greaves, about the historic National Black Political Convention of 1972 which brought together major Black leaders and activists of the time.
The distributor is planning an October 23 release in virtual cinemas through its Kino Marquee label.
Narrated by Sidney Poitier, the film was originally considered too radical for TV broadcast, and has only circulated in a heavily edited 60-minute version. But the original full-length version was found in a Pittsburgh warehouse in 2018 and restored in 4K by IndieCollect, supervised by Louise Greaves and funded by Jane Fonda and the Hollywood Foreign Press Association Trust.
The documentary, which also includes poems recited by Harry Belafonte, focuses on the Gary Convention in Indiana, which gathered 10,000 Black politicians, activists, and artists from across the political spectrum, including more than 500 media representatives.
Delegates included Black Panther co-founder Bobby Seale,...
The distributor is planning an October 23 release in virtual cinemas through its Kino Marquee label.
Narrated by Sidney Poitier, the film was originally considered too radical for TV broadcast, and has only circulated in a heavily edited 60-minute version. But the original full-length version was found in a Pittsburgh warehouse in 2018 and restored in 4K by IndieCollect, supervised by Louise Greaves and funded by Jane Fonda and the Hollywood Foreign Press Association Trust.
The documentary, which also includes poems recited by Harry Belafonte, focuses on the Gary Convention in Indiana, which gathered 10,000 Black politicians, activists, and artists from across the political spectrum, including more than 500 media representatives.
Delegates included Black Panther co-founder Bobby Seale,...
- 9/28/2020
- by Andreas Wiseman
- Deadline Film + TV
The New York Times put prestigious specialty home-video distributor The Criterion Collection under a microscope late last week, and the headline said it all: “How the Criterion Collection Crops Out African-American Directors.” The report looked at all 22 years and more than 1,000 titles in the Criterion’s revered selection of Blu-rays and DVDs of films, finding that only four African Americans are represented: Oscar Micheaux (“Body and Soul”); William Greaves; Charles Burnett (“To Sleep With Anger”); and Spike Lee (“Do the Right Thing” and “Bamboozled”).
It’s a glaring omission for a company that prides itself on licensing and releasing what it describes as “important classic and contemporary films,” but also reflective of an industry-wide practice of shutting out Black filmmakers.
Despite America’s changing demographics, the industry’s most powerful leaders have been slow to respond to a demand for films that reflect cultural and racial shifts that have long been underway.
It’s a glaring omission for a company that prides itself on licensing and releasing what it describes as “important classic and contemporary films,” but also reflective of an industry-wide practice of shutting out Black filmmakers.
Despite America’s changing demographics, the industry’s most powerful leaders have been slow to respond to a demand for films that reflect cultural and racial shifts that have long been underway.
- 8/25/2020
- by Tambay Obenson
- Indiewire
“I think canons end up being defined as much by what they leave out as by what they let in,” Criterion president Peter Becker tells The New York Times in an interview in which he admits the film collection has not done right by Black filmmakers. The Times reports that of the 1,034 films currently in the Criterion Collection, there are only 9 titles directed by Black filmmakers. Of the Black directors that have made the Criterion cut, four are from America and four are from outside the U.S..
“There’s nothing I can say about it that will make it Ok,” Becker said about the lack of Black directors in the Criterion Collection. “The fact that things are missing, and specifically that Black voices are missing, is harmful, and that’s clear. We have to fix that.”
“You always wanted as a filmmaker to be part of the Criterion Collection,...
“There’s nothing I can say about it that will make it Ok,” Becker said about the lack of Black directors in the Criterion Collection. “The fact that things are missing, and specifically that Black voices are missing, is harmful, and that’s clear. We have to fix that.”
“You always wanted as a filmmaker to be part of the Criterion Collection,...
- 8/20/2020
- by Zack Sharf
- Indiewire
What have film critics ever done to Charlie Kaufman? It’s much easier to appreciate what film critics have done for Charlie Kaufman. Why would someone drawn to meaningless but desperately narcissistic characters who strive in vain to find order in a chaotic world — self-loathing clowns who resent the success of others, reject people without risking judgment themselves, and consistently retreat to the safety of a reality-bending dream world that allows them to be audience and protagonist all at once — want to write a book about a film critic? Answering that seemingly impossible question might be the only honest way to get to the murmuring heart of Kaufman’s blisteringly satirical novel “Antkind.”
“Antkind” protagonist B. Rosenberger Rosenberg isn’t your stereotypical film critic. An outlier in his occupation (clearly!), he’s pretentious and insufferable and lacks his colleagues’ self-awareness. B. enters “Antkind” the same way he does everything else in his life: Beard first.
“Antkind” protagonist B. Rosenberger Rosenberg isn’t your stereotypical film critic. An outlier in his occupation (clearly!), he’s pretentious and insufferable and lacks his colleagues’ self-awareness. B. enters “Antkind” the same way he does everything else in his life: Beard first.
- 7/28/2020
- by David Ehrlich
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: The poster for Venice Critics' Week, illustrated by Fabiana Mascolo.The latest festival update comes from Venice Critics' Week, which has announced a lineup of seven debut features, including The Rossellinis by Alessandro Rossellini, the grandson of Roberto Rossellini. Until August 3, you have the opportunity to donate to the Online African Film Festival's crowdfunding campaign, which will help improve the festival's streaming platform and host new films of the African diaspora all year long. Recommended Viewing For those in the UK, Jonathan Glazer's short Strasbourg 1518 (about the hysteria-induced "dancing plague" that gripped the city) is now available on the BBC iPlayer.Between July 21 to August 18, Kino Klassika Foundation and the Centre of Contemporary Arts Tashkent are co-presenting Tashkent Film Encounters, an online program of classic films from Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan.
- 7/22/2020
- MUBI
More than 50 years since black protestors first attempted to walk with protestors across a bridge in Selma—a bridge where they were met with violence and bloodshed at the hands of local authorities—it appears much and little has changed in American life. Millions make that connection each day as we head into the second weekend of protests against police brutality following the death of George Floyd in Minneapolis. Maybe that’s why some are eager to revisit the history of this American experience.
Hence Paramount Pictures announced Friday it is making Ava DuVernay’s Selma available for free across all major content platforms. This means you can watch the movie on Amazon, Apple, YouTube, or streamer of your choice.
“We hope this small gesture will encourage people throughout the country to examine our nation’s history and reflect on the ways that racial injustice has infected our society,” Paramount said in a statement.
Hence Paramount Pictures announced Friday it is making Ava DuVernay’s Selma available for free across all major content platforms. This means you can watch the movie on Amazon, Apple, YouTube, or streamer of your choice.
“We hope this small gesture will encourage people throughout the country to examine our nation’s history and reflect on the ways that racial injustice has infected our society,” Paramount said in a statement.
- 6/5/2020
- by David Crow
- Den of Geek
In the wake of nationwide protests against police violence against Black lives, The Criterion Channel is making a series of films about and by Black voices available for free. Films from Maya Angelou, Julie Dash, William Greaves, Kathleen Collins, Cheryl Dunye, Charles Burnett, and more, are available in front of the paywall for the streaming service. […]
The post Films About and By Black Voices Streaming for Free on The Criterion Channel appeared first on /Film.
The post Films About and By Black Voices Streaming for Free on The Criterion Channel appeared first on /Film.
- 6/4/2020
- by Chris Evangelista
- Slash Film
The Criterion Collection on Thursday joined the wave of industry supporters who’ve come out in the past week to help fight systemic racism, and help advocate for police reform and support protesters across America. From A24 to Bad Robot, film’s leading voices are stepping up in response to current events. In an email from Criterion president Peter Becker and CEO Jonathan Turell, the company announced a $25,000 initial contribution, followed by an ongoing $5,000 monthly commitment for organizations supporting Black Lives Matter.
But Criterion also announced that it’s lifting the paywall on select titles from Black filmmakers, and white filmmakers who’ve captured the Black experience through documentary, so that audiences at home can stream them for free, with no need for a subscription.
Titles streaming for free on Criterion Channel include Julie Dash’s “Daughters of the Dust,” Maya Angelou’s “Down in the Delta,” Shirley Clarke’s “Portrait of Jason,...
But Criterion also announced that it’s lifting the paywall on select titles from Black filmmakers, and white filmmakers who’ve captured the Black experience through documentary, so that audiences at home can stream them for free, with no need for a subscription.
Titles streaming for free on Criterion Channel include Julie Dash’s “Daughters of the Dust,” Maya Angelou’s “Down in the Delta,” Shirley Clarke’s “Portrait of Jason,...
- 6/4/2020
- by Ryan Lattanzio
- Indiewire
Ask Stanley Nelson about the key to his longevity as a documentary filmmaker and he doesn’t hesitate with his response: “Luck.”
Nelson is the director-producer behind such recent films as “Miles Davis: Birth of the Cool,” which premiered at Sundance last year and is now part of PBS’ “American Masters” series, 2015’s “The Black Panthers: Vanguard of the Revolution” and 2017’s “Tell Them We Are Rising: The Story of Black Colleges and Universities.”
On the latest episode of the Variety podcast “Strictly Business,” Nelson discusses the luck factor in his long career, and the many paths that documentarians pursue to fund projects that are almost always purely driven by passion rather than dreams of hitting it big at the box office. The environment for independent filmmakers has definitely improved, thanks to the explosion of content and platforms.
“There are so many different funders and so many different outlets for documentary film.
Nelson is the director-producer behind such recent films as “Miles Davis: Birth of the Cool,” which premiered at Sundance last year and is now part of PBS’ “American Masters” series, 2015’s “The Black Panthers: Vanguard of the Revolution” and 2017’s “Tell Them We Are Rising: The Story of Black Colleges and Universities.”
On the latest episode of the Variety podcast “Strictly Business,” Nelson discusses the luck factor in his long career, and the many paths that documentarians pursue to fund projects that are almost always purely driven by passion rather than dreams of hitting it big at the box office. The environment for independent filmmakers has definitely improved, thanks to the explosion of content and platforms.
“There are so many different funders and so many different outlets for documentary film.
- 3/11/2020
- by Cynthia Littleton
- Variety Film + TV
The Notebook is covering Tiff with an on-going correspondence between critics Fernando F. Croce Kelley Dong, and editor Daniel Kasman.Saint MaudDear Danny and Fern, The festival has come to an end and exhaustion has caught up to me. The end of press screenings and industry gatherings signals the start of sleep and, whenever awake, reading Jack London’s Martin Eden. Having seen so many films in a short timespan means that while I can enjoy a much-needed physical break, my mind is still racing with ideas on the verge of being unearthed. I benefit much from sorting through these and thinking with you, and as always, consider myself very lucky. You each mention being jolted and throttled, good news amid an assortment of lulls. I'd been searching for such ferocity all throughout the festival until finally I encountered Rose Glass’s Saint Maud, which left me so petrified and...
- 9/16/2019
- MUBI
As the Festival World Evolves, Locarno Finds Itself Through Marriage of the Mainstream and the Risky
The following essay was produced as part of the 2019 Locarno Critics Academy, a workshop for aspiring film critics that took place during the 72nd edition of the Locarno Film Festival.
“Locarno … has become respectable, too,” Locarno’s incoming Artistic Director Lili Hinstin wrote in the press release that accompanied the festival’s program announcement last July. She borrowed the quotation from the People’s Pervert John Waters, who has long shared the very sentiment with regards to his own work.
As Hinstin explained, the decades-old festival is not just respectable now, it’s also respected and “that respect was gained by being one of the major world festival that takes the bigger risks. The one that shakes things up, brings surprises, ruffles feathers, asks questions.” The 72nd edition of the festival presented many challenges for Hinstin and her mission to keep such an ethos going, from how to fill the...
“Locarno … has become respectable, too,” Locarno’s incoming Artistic Director Lili Hinstin wrote in the press release that accompanied the festival’s program announcement last July. She borrowed the quotation from the People’s Pervert John Waters, who has long shared the very sentiment with regards to his own work.
As Hinstin explained, the decades-old festival is not just respectable now, it’s also respected and “that respect was gained by being one of the major world festival that takes the bigger risks. The one that shakes things up, brings surprises, ruffles feathers, asks questions.” The 72nd edition of the festival presented many challenges for Hinstin and her mission to keep such an ethos going, from how to fill the...
- 9/14/2019
- by Laura Davis
- Indiewire
Stanley Nelson’s documentary “Miles Davis: Birth of the Cool” is playing in U.S. theaters after screening at Sundance. But for the past 30 years Nelson’s films, such as the features “The Black Panthers: Vanguard of the Revolution” and “Tell Them We Are Rising: The Story of Black Colleges and Universities,” have detailed lesser-known stories of the African American experience. He produced the 2017 short “Gavin Grimm vs.,” directed by Nadia Hallgren, about a trans boy who challenged his school board’s bathroom policy by filing a case that made it to the Supreme Court. Nelson’s films expose injustices and pivotal moments in American history, and have received multiple awards.
Nelson first appeared in Variety on Dec. 2, 1987, with a rave review of “Two Dollars and a Dream,” his documentary about Madame C.J. Walker, whose parents were former slaves and who’s credited as the first black female self-made millionaire.
Nelson first appeared in Variety on Dec. 2, 1987, with a rave review of “Two Dollars and a Dream,” his documentary about Madame C.J. Walker, whose parents were former slaves and who’s credited as the first black female self-made millionaire.
- 8/30/2019
- by BreAnna Bell
- Variety Film + TV
As black filmmakers gain more traction within the Hollywood studio system, the Locarno Film Festival is putting the spotlight on black cinema around the world with a major retrospective titled Black Light set to kick off with Spike Lee’s “Do The Right Thing” freshly restored by Universal in 4K for the landmark race drama’s 30th anniversary.
The more than 40-title Black Light retro spans from Oscar Micheaux’s 1920 silent drama “Within Our Gates,” which is the oldest known surviving film by an African-American director and portrays the struggle of a mixed-race school teacher in the Deep South, to Christopher Harris’s 2000 doc “Still Here” depicting the more recent blight of U.S. neighborhoods inhabited almost exclusively by African Americans.
Titles screening from outside the U.S. comprise Senegalese auteur Osmane Sembene’s 1966 “The black girl from …” based on a Sembene short and considered sub-Saharan Africa’s first feature...
The more than 40-title Black Light retro spans from Oscar Micheaux’s 1920 silent drama “Within Our Gates,” which is the oldest known surviving film by an African-American director and portrays the struggle of a mixed-race school teacher in the Deep South, to Christopher Harris’s 2000 doc “Still Here” depicting the more recent blight of U.S. neighborhoods inhabited almost exclusively by African Americans.
Titles screening from outside the U.S. comprise Senegalese auteur Osmane Sembene’s 1966 “The black girl from …” based on a Sembene short and considered sub-Saharan Africa’s first feature...
- 7/1/2019
- by Nick Vivarelli
- Variety Film + TV
Festival releases titles due to be showcased in retrospective exploring Black film.
A restored copy of Spike Lee’s 1989 classic Do The Right Thing (1989) will be given a 30th anniversary Piazza Grande screening at the Locarno Film Festival as part its Black Light retrospective exploring Black cinema.
It is among some 20 titles included in the ambitious overview encompassing race films of the 1920s and 30s, 1970s Blaxploitation classics and works by cult directors including Lee and the late John Singleton, whose 1991 breakthrough debut Boyz N The Hood is in the selection.
Lee’s explosive comedy-drama Do The Right Thing, exploring...
A restored copy of Spike Lee’s 1989 classic Do The Right Thing (1989) will be given a 30th anniversary Piazza Grande screening at the Locarno Film Festival as part its Black Light retrospective exploring Black cinema.
It is among some 20 titles included in the ambitious overview encompassing race films of the 1920s and 30s, 1970s Blaxploitation classics and works by cult directors including Lee and the late John Singleton, whose 1991 breakthrough debut Boyz N The Hood is in the selection.
Lee’s explosive comedy-drama Do The Right Thing, exploring...
- 6/25/2019
- by Melanie Goodfellow
- ScreenDaily
Festival releases titles due to be showcased in retrospective exploring Black film.
A restored copy of Spike Lee’s 1989 classic Do The Right Thing (1989) will be given a 30th anniversary Piazza Grande screening at the Locarno Film Festival as part its Black Light retrospective exploring Black cinema.
It is among some 20 titles included in the ambitious overview encompassing race films of the 1920s and 30s, 1970s Blaxploitation classics and works by cult directors including Lee and the late John Singleton, whose 1991 breakthrough debut Boyz N The Hood is in the selection.
Lee’s explosive comedy-drama Do The Right Thing, exploring...
A restored copy of Spike Lee’s 1989 classic Do The Right Thing (1989) will be given a 30th anniversary Piazza Grande screening at the Locarno Film Festival as part its Black Light retrospective exploring Black cinema.
It is among some 20 titles included in the ambitious overview encompassing race films of the 1920s and 30s, 1970s Blaxploitation classics and works by cult directors including Lee and the late John Singleton, whose 1991 breakthrough debut Boyz N The Hood is in the selection.
Lee’s explosive comedy-drama Do The Right Thing, exploring...
- 6/25/2019
- by Melanie Goodfellow
- ScreenDaily
Above: French poster for Chronicle of a Summer (Jean Rouch & Edgar Morin, France, 1961). Design by Raymond Gid.There is an essential and vital film series opening today at Film Forum in New York: a survey of 1960s Cinema Verité productions which brings vividly to life a decade of instability and protest as well as a new era of introspection. While this survey of posters doesn’t give a complete look at the series—“more than 50 modern classics which not only changed the recording of social history, but revolutionized filmmaking itself”—since many of the films are not feature-length (some of the shows pair an hour long film with a 30 minute short) and thus were not theatrically released. But those that I’ve gathered do convey the urgency of the movement as well as its seat-of-the-pants guerrilla style of film marketing as much as film making.I’ve not included the...
- 1/19/2018
- MUBI
It is 1968; late director William Greaves (1926-2014) and his student crew are in New York’s Central Park filming a screen test. The drama involves a bitter break-up between a married couple. But this is just the “cover story.” The real… Continue Reading →...
- 3/11/2017
- by shadowandact
- ShadowAndAct
Last night, at the end of a busy week at work when I was just in the mood to hang out at home and unwind a little, I decided that it was a good time for me to wrap up my viewing of Criterion ’68 by ingesting an assortment of short films that had accumulated, like the last crumbs of cereal at the bottom of the bag, in my chronological checklist of films that I’ve been blogging about over the years. It was a suitable occasion for me to fully immerse myself into what turned out to be a festival of random weirdness. My wife, recovering from a bout with illness, was feeling a bit better but wanted to find a productive use of her time with the resurgence of energy, so she kept herself busy by working on a new quilting project. That left me free to indulge without...
- 2/25/2017
- by David Blakeslee
- CriterionCast
David’s Quick Take for the tl;dr Media Consumer:
As William Greaves declared, “it’s important that as a result of the totality of all these efforts, we arrive at a creative piece of cinematic experience.”
The same could be said of any movie, I suppose. But the sentiment expressed above is especially applicable and indicative of the net cumulative impact that resonates in the sensory receptor system of individual viewers of that hilariously salacious film known as Symbiopsychotaxiplasm Take One, filmed in the summer of 1968 on a lawn in Central Park, New York City, and also in a few relatively nearby locations including a room situated in an undisclosed location (presumably somewhere in Central Manhattan) where members of the crew gathered to provide an additional layer of insider commentary filmed in real time to shed light on the genesis, exodus and revelation of what Director Greaves may or...
As William Greaves declared, “it’s important that as a result of the totality of all these efforts, we arrive at a creative piece of cinematic experience.”
The same could be said of any movie, I suppose. But the sentiment expressed above is especially applicable and indicative of the net cumulative impact that resonates in the sensory receptor system of individual viewers of that hilariously salacious film known as Symbiopsychotaxiplasm Take One, filmed in the summer of 1968 on a lawn in Central Park, New York City, and also in a few relatively nearby locations including a room situated in an undisclosed location (presumably somewhere in Central Manhattan) where members of the crew gathered to provide an additional layer of insider commentary filmed in real time to shed light on the genesis, exodus and revelation of what Director Greaves may or...
- 2/17/2017
- by David Blakeslee
- CriterionCast
It's arrived -- thanks in part to a successful Kickstarter campaign, this nearly comprehensive compendium of American 'Race Films' is here in a deluxe Blu-ray presentation. Pioneers of African-American Cinema Blu-ray Kino Classics 1915-1946 / B&W / 1:37 flat Academy / 952 min. / Street Date July 26, 2016 / available through Kino Lorber / 99.95 Directed by Richard Norman, Richard Maurice, Spencer Williams and Oscar Micheaux
Reviewed by Glenn Erickson
Black Cinema History? We didn't hear a peep about any such thing back in film school. Sometime in the 1980s PBS would broadcast a barely watchable (see sample just below) copy of a creaky silent 'race movie' about a 'backsliding' black man in trouble with the law, the Lord and his wife in that order. The cultural segregation has been almost complete. It wasn't until even later that I read articles about a long-extinct nationwide circuit of movie theaters catering to black audiences, wherever the populations were big enough to support the trade.
Reviewed by Glenn Erickson
Black Cinema History? We didn't hear a peep about any such thing back in film school. Sometime in the 1980s PBS would broadcast a barely watchable (see sample just below) copy of a creaky silent 'race movie' about a 'backsliding' black man in trouble with the law, the Lord and his wife in that order. The cultural segregation has been almost complete. It wasn't until even later that I read articles about a long-extinct nationwide circuit of movie theaters catering to black audiences, wherever the populations were big enough to support the trade.
- 8/6/2016
- by Glenn Erickson
- Trailers from Hell
The Metrograph is screening all ten of Rainer Werner Fassbinder's favorite films: Nicholas Ray's Johnny Guitar, Howard Hawks's Gentlemen Prefer Blondes, Charles Laughton's The Night of the Hunter, Vasily Shukshin's The Red Snowball Tree, Josef von Sternberg's Dishonored, Max Ophuls's Lola Montes, Michael Curtiz's Flamingo Road, Pier Paolo Pasolini's Salò, or The 120 Days of Sodom, Raoul Walsh's The Naked and the Dead and Luchino Visconti's The Damned. Also in New York: King Hu’s A Touch of Zen and work by Luis Ospina. Screening tonight in Chicago: Nathan Silver's Riot, Mike Ott's Lancaster, CA and William Greaves's In the Company of Men. And we have a few more goings on. » - David Hudson...
- 4/22/2016
- Keyframe
The Metrograph is screening all ten of Rainer Werner Fassbinder's favorite films: Nicholas Ray's Johnny Guitar, Howard Hawks's Gentlemen Prefer Blondes, Charles Laughton's The Night of the Hunter, Vasily Shukshin's The Red Snowball Tree, Josef von Sternberg's Dishonored, Max Ophuls's Lola Montes, Michael Curtiz's Flamingo Road, Pier Paolo Pasolini's Salò, or The 120 Days of Sodom, Raoul Walsh's The Naked and the Dead and Luchino Visconti's The Damned. Also in New York: King Hu’s A Touch of Zen and work by Luis Ospina. Screening tonight in Chicago: Nathan Silver's Riot, Mike Ott's Lancaster, CA and William Greaves's In the Company of Men. And we have a few more goings on. » - David Hudson...
- 4/22/2016
- Fandor: Keyframe
Kathleen Collins' name made a big cultural rebound with a single review in The New Yorker -- of an independent movie she wrote and directed in 1982. It's a confluence of important black theater and filmmaking talent -- Collins, Bill Gunn, Duane Jones, Billie Allen and, in the background, William Greaves and the history of film generated by African-Americans. Losing Ground Blu-ray The Milestone Cinematheque 1982 / Color / 1:37 Academy / 86 min. / Available at Milestone Films / Street Date April 5, 2016 / 39.99 Starring Seret Scott, Bill Gunn, Duane Jones, Billie Allen, Maritza Rivera, Noberto Kerner, Gary Bolling, Michelle Mais. Cinematography Ronald K. Gray Film Editor Ronald K. Gray, Kathleen Collins Original Music Michael Minard Produced by Kathleen Collins, Ronald K. Gray Written and Directed by Kathleen Collins
Reviewed by Glenn Erickson
Quick, name five film directors that are black women. Well, after seeing the glowing review for Losing Ground late last year in The New Yorker,...
Reviewed by Glenn Erickson
Quick, name five film directors that are black women. Well, after seeing the glowing review for Losing Ground late last year in The New Yorker,...
- 3/19/2016
- by Glenn Erickson
- Trailers from Hell
Since 1989, the National Film Registry of the Library of Congress has been accomplishing the important task of preserving films that “represent important cultural, artistic and historic achievements in filmmaking.” From films way back in 1897 all the way up to 2004, they’ve now reached 675 films that celebrate our heritage and encapsulate our film history.
Today they’ve unveiled their 2015 list, which includes classics such as Douglas Sirk‘s melodrama Imitation of Life, Hal Ashby‘s Being There, and John Frankenheimer‘s Seconds. Perhaps the most popular picks, The Shawshank Redemption, Ghostbusters, Top Gun, and L.A. Confidential were also added. Check out the full list below.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona,...
Today they’ve unveiled their 2015 list, which includes classics such as Douglas Sirk‘s melodrama Imitation of Life, Hal Ashby‘s Being There, and John Frankenheimer‘s Seconds. Perhaps the most popular picks, The Shawshank Redemption, Ghostbusters, Top Gun, and L.A. Confidential were also added. Check out the full list below.
Being There (1979)
Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer’s persona,...
- 12/16/2015
- by Jordan Raup
- The Film Stage
Revolutionaries. Visionaries. Militants. Terrorists.
All of these words, and so very many more, can be and have been used to describe the group known as The Black Panthers. Born out of a point in American history where a never ending war was being broadcast on our TV sets and racism flooding our streets, The Black Panther Part for Self-Defense became at first a group seeking equality only to become a groundbreaking collection of African American men and women that would forever change the landscape of this very nation. And thanks to legendary documentarian Stanley Nelson Jr., the party (for the first time) now has a feature length documentary taking a clear-eyed look at the history of this monumentally influential collection of revolutionaries.
The Black Panthers: Vanguard of The Revolution tells the rise and fall of this group, with Nelson going directly to some of the top players in the infrastructure of the party.
All of these words, and so very many more, can be and have been used to describe the group known as The Black Panthers. Born out of a point in American history where a never ending war was being broadcast on our TV sets and racism flooding our streets, The Black Panther Part for Self-Defense became at first a group seeking equality only to become a groundbreaking collection of African American men and women that would forever change the landscape of this very nation. And thanks to legendary documentarian Stanley Nelson Jr., the party (for the first time) now has a feature length documentary taking a clear-eyed look at the history of this monumentally influential collection of revolutionaries.
The Black Panthers: Vanguard of The Revolution tells the rise and fall of this group, with Nelson going directly to some of the top players in the infrastructure of the party.
- 9/11/2015
- by Joshua Brunsting
- CriterionCast
All the winners from Sunday’s 87th Academy Awards.
Show host Harris signs off with a chirpy, “Buenos noches!”
Sean Penn walks on. It’s time for the big one. Best film. Will it be Birdman or Boyhood? It’s Birdman! The movie ends the night tied with The Grand Budapest Hotel on four Oscars. Inarritu, referring to his pal Alfonso Cuaron who enjoyed success with Gravity at last year’s show, says, “Two Mexicans in a row. That’s suspicious, I guess.” Slightly more seriously, Agi also calls on his fellow Mexicans to help build a strong future for his beloved country. Wow, a good night for Birdman and a surprisingly barren one for Boyhood. Pirates indeed, Ethan Hawke, but glorious pirates.
And now Matthew McConaughey saunters on stage to announce best actress. Julianne Moore, five times a nominee at the Oscars is the favourite. Will she get it this time for Still Alice? Yes she’s got...
Show host Harris signs off with a chirpy, “Buenos noches!”
Sean Penn walks on. It’s time for the big one. Best film. Will it be Birdman or Boyhood? It’s Birdman! The movie ends the night tied with The Grand Budapest Hotel on four Oscars. Inarritu, referring to his pal Alfonso Cuaron who enjoyed success with Gravity at last year’s show, says, “Two Mexicans in a row. That’s suspicious, I guess.” Slightly more seriously, Agi also calls on his fellow Mexicans to help build a strong future for his beloved country. Wow, a good night for Birdman and a surprisingly barren one for Boyhood. Pirates indeed, Ethan Hawke, but glorious pirates.
And now Matthew McConaughey saunters on stage to announce best actress. Julianne Moore, five times a nominee at the Oscars is the favourite. Will she get it this time for Still Alice? Yes she’s got...
- 2/22/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
The sixth edition of Brooklyn Academy of Music's Migrating Forms festival opens tonight, runs for nine days and, in his extensive overview at the House Next Door, Steve Macfarlane argues that it "remains The art-house event of the New York moviegoing calendar." Among the works he previews is Gina Telaroli's Here's to the Future!, which chronicles "a single day in the fall of 2011 wherein the filmmaker rounded up friends and collaborators to light, stage, and shoot a scene from Michael Curtiz's 1932 The Cabin in the Cotton." Caroline Golum's overview for the L Magazine begins with the retrospective of work by the late William Greaves. We've got two trailers and more notes. » - David Hudson...
- 12/10/2014
- Fandor: Keyframe
The sixth edition of Brooklyn Academy of Music's Migrating Forms festival opens tonight, runs for nine days and, in his extensive overview at the House Next Door, Steve Macfarlane argues that it "remains The art-house event of the New York moviegoing calendar." Among the works he previews is Gina Telaroli's Here's to the Future!, which chronicles "a single day in the fall of 2011 wherein the filmmaker rounded up friends and collaborators to light, stage, and shoot a scene from Michael Curtiz's 1932 The Cabin in the Cotton." Caroline Golum's overview for the L Magazine begins with the retrospective of work by the late William Greaves. We've got two trailers and more notes. » - David Hudson...
- 12/10/2014
- Keyframe
The 6th annual Migrating Forms will be returning to the BAMcinématek in Brooklyn, New York on December 10-18 for a full week of new and classic experimental media.
The fun kicks off with the lyrical portrait of North Korea, Songs From the North, for which filmmaker Soon-Mi Yoo compiled footage from popular films, state-organized demonstrations and home video from her own visits to the country.
Highlights of the fest include a three-film retrospective of documentarian William Greaves, Still a Brother, The Fight and Symbiopsychotaxiplasm: Take One; a new consumerist exploration by Cory Arcangel, Freshbuzz (www.subway.com); the oblique narrative Don’t Go Back to Sleep by Stanya Kahn; and the Hong Kong experimental post-apocalyptic The Midnight After by Fruit Chan.
The full lineup for the 2014 Migrating Forms is below:
December 10
8:00 p.m.: Songs From the North, dir. Soon-Mi Yoo. This portrait of North Korea has been crafted...
The fun kicks off with the lyrical portrait of North Korea, Songs From the North, for which filmmaker Soon-Mi Yoo compiled footage from popular films, state-organized demonstrations and home video from her own visits to the country.
Highlights of the fest include a three-film retrospective of documentarian William Greaves, Still a Brother, The Fight and Symbiopsychotaxiplasm: Take One; a new consumerist exploration by Cory Arcangel, Freshbuzz (www.subway.com); the oblique narrative Don’t Go Back to Sleep by Stanya Kahn; and the Hong Kong experimental post-apocalyptic The Midnight After by Fruit Chan.
The full lineup for the 2014 Migrating Forms is below:
December 10
8:00 p.m.: Songs From the North, dir. Soon-Mi Yoo. This portrait of North Korea has been crafted...
- 12/10/2014
- by Mike Everleth
- Underground Film Journal
If there are two words that describe public appreciation of William Greaves, they would be “belated” and “lacking.” The film Greaves is best known for, 1971’s Symbiopsychotaxiplasm, didn’t see an official theatrical release until thirty years after its completion (thanks in part to the support of Steve Buscemi and Steven Soderbergh). When Greaves passed away last month at the age of 87, he left behind an amazing body of work, having produced and directed dozens of documentaries. Yet even amongst this country’s underrepresented class of African American filmmakers, Greaves’ contributions remain overlooked. It is no exaggeration to say that media gatekeepers have been wary of Greaves’ work. Greaves decided at an early age not to be relegated by Hollywood’s single-minded understanding of blackness and the lack of creative opportunities it permits for persons of color. Greaves used these limitations as the lifeblood of his work, challenging political, institutional, and...
- 9/24/2014
- by Landon Palmer
- FilmSchoolRejects.com
It is 1968; director William Greaves and his student crew are in New York's Central Park filming a screen test. The drama involves a bitter break-up between a married couple. But this is just the "cover story." The real story is happening "off-camera" as the enigmatic director pursues some hidden agenda, leading to growing conflict and chaos amongst the students, which explodes on screen, producing a brilliant kind of raw energy and insight. "Symbiopsychotaxiplasm," the cinema verite film-within-a-film can't be easily defined. But it's one of the most innovative movies about making movies. It generated 1 sequel titled...
- 8/27/2014
- by Tambay A. Obenson
- ShadowAndAct
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