Tony Curtis grew up idolizing the suave and funny Cary Grant, emulated his romantic moves as an actor and then performed a brilliant impersonation of Grant for Billy Wilder. The next step had to be co-starring with the great man himself. Blake Edwards’ amiable, relaxed submarine movie allows Grant to play with ladies’ under-things, while Curtis wrestles with a pig.
Operation Petticoat
Blu-ray
Olive Signature Edition
1959 / Color / 1:78 widescreen / 120 min. / Street Date July 1, 2014 / available through the Olive Films website / 39.95
Starring: Cary Grant, Tony Curtis, Joan O’Brien, Dina Merrill, Gene Evans, Dick Sargent, Virginia Gregg, Gavin MacLeod, Madlyn Rhue, Marion Ross, Arthur O’Connell.
Cinematography: Russell Harlan
Original Music: David Rose
Written by Paul King, Joseph Stone, Stanley Shapiro, Maurice Richlin
Produced by Robert Arthur
Directed by Blake Edwards
The latest in Olive Films’ Signature Selection special editions is Operation Petticoat, a light comedy war movie noted for teaming Cary Grant with Tony Curtis.
Operation Petticoat
Blu-ray
Olive Signature Edition
1959 / Color / 1:78 widescreen / 120 min. / Street Date July 1, 2014 / available through the Olive Films website / 39.95
Starring: Cary Grant, Tony Curtis, Joan O’Brien, Dina Merrill, Gene Evans, Dick Sargent, Virginia Gregg, Gavin MacLeod, Madlyn Rhue, Marion Ross, Arthur O’Connell.
Cinematography: Russell Harlan
Original Music: David Rose
Written by Paul King, Joseph Stone, Stanley Shapiro, Maurice Richlin
Produced by Robert Arthur
Directed by Blake Edwards
The latest in Olive Films’ Signature Selection special editions is Operation Petticoat, a light comedy war movie noted for teaming Cary Grant with Tony Curtis.
- 12/2/2017
- by Glenn Erickson
- Trailers from Hell
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended Viewinga stunning trailer for the 4k restoration and re-release of Legend of the Mountain (1979), an under-seen, contemplative action masterpiece by Come Drink with Me and A Touch of Zen director King Hu.Hong Sang-soo's On the Beach at Night Alone gets a wry and incisive new trailer for its imminent U.S. release. We wrote on the film in February, and later interviewed the director about it.For De Filmkrant, Notebook contributors Cristina Álvarez López and Adrian Martin investigate in a new video essay the virtuous modulation to be found in Howard Hawks' and Barbara Stanwyck's talents in Ball of Fire.Commissioned by Renzo, Le CiNéMa Club has premiered three inspired short films from Mati Diop, Eduardo Williams, and Baptist Penetticobra all loosely interpreting the theme "Inhabit the earth".Recommended READINGIn...
- 11/8/2017
- MUBI
The 26th entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi is showing Anthony Mann's Raw Deal (1948) October 26 - November 25, 2017 in the United States as part of the double feature Anthony Mann Noirs.Few film critics intend the same thing when they invoke abstraction in cinema. For some, the reference is to the purity of abstract painting, and its extension into experimental cinema; for others, it points to those moments in otherwise narrative films (such as Michelangelo Antonioni’s) when plot and characters momentarily fall away, and textures or settings surge into the foreground. For some, abstract cinema is Stan Brakhage; for others, it’s particularly kooky action movies where nothing makes much logical sense and so “pure film” takes over. Watching the remarkable series of works forged by the collaboration of director Anthony Mann and cinematographer John Alton—including T-Men (1947), Raw Deal...
- 10/25/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSNicolas Winding Refn, the provocateur known for sleekly mixing art-house and genre cinema in such films as Drive and The Neon Demon, has announced a new initiative: A new online cinema showcasing "restored films and other content with the aim of inspiring a new generation of cinephiles." Mubi is partnering with the Danish director to premiere these newly restored movies on our platform before they are available on byNWR.com, which officially launches in February, 2018.Recommended VIEWINGThe first trailer for a project we're very excited for, Spike Lee's expansive remake of his sophomore feature She's Gotta Have It (1986).Critics Cristina Álvarez López and Adrian Martin also have a new video essay on the nuances in gesture and expression in the cinema of Rainer Werner Fassbinder for Queensland Gallery of Modern Art. For Filmkrant,...
- 10/18/2017
- MUBI
By Jacob Oller
David Lynch taps into a weirdness flowing throughout cinema history. elancholy memories are no strange subject for David Lynch, even in the first iteration of Twin Peaks. But with Twin Peaks: The Return, expertly reviewed by my predecessor Perry, Lynch found more depth than was previously allowed these sad, hopeful, isolated characters. For Mubi, Adrian Martin […]
The article Kisses, Memory, and ‘Twin Peaks: The Return’ appeared first on Film School Rejects.
David Lynch taps into a weirdness flowing throughout cinema history. elancholy memories are no strange subject for David Lynch, even in the first iteration of Twin Peaks. But with Twin Peaks: The Return, expertly reviewed by my predecessor Perry, Lynch found more depth than was previously allowed these sad, hopeful, isolated characters. For Mubi, Adrian Martin […]
The article Kisses, Memory, and ‘Twin Peaks: The Return’ appeared first on Film School Rejects.
- 10/11/2017
- by Jacob Oller
- FilmSchoolRejects.com
The 25th entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. “What year is it?”—the final spoken line (before a whispered name and then an almighty scream) in Twin Peaks: The Return—could be asked of many works by David Lynch. Ambiguity of historical time certainly permeated the initial run of Twin Peaks (1990/1991) which, while nominally kicking off its plot in 1989, often seemed, iconographically and atmospherically, to be taking place in the 1950s or 1960s. The finale of Twin Peaks: The Return ensured that any stable notion of a timeline is scrambled between the rapidly oscillating poles of reality and dream, the world and its double, “future and past.”Lynch’s obsessive time-scrambling is also a matter of merrily mixing up diverse cultural associations in his head. Lines from pop songs, images from films, and then vaguer or more abstract textures...
- 10/3/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWe are devastated by the death of performer and director Jerry Lewis this week at the age of 91, one of the 20th century's greatest—and most inspiring—artists. Dave Kehr for The New York Times has penned an excellent obituary, and it's worth revisiting Christoph Huber's 2013 coverage of the Viennale's epic retrospective of Lewis's work as an actor and a filmmaker. Last year, Adrian Curry published a selection of the international poster designs for Lewis's films.The Locarno Festival wrapped last week, with the top prize going to Chinese documentarian Wang Bing's Mrs. Fang. We were at the festival covering it day by day, including its retrospective of Hollywood genre director Jacques Tourneur (Cat People, Out of the Past). See all the awards and read our coverage from the Swiss film festival.Recommended VIEWINGThe...
- 8/23/2017
- MUBI
The 24th entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Kiyoshi Kurosawa's Creepy (2016) from August 5 - September 4, 2017 in the United States.Note: No essential element of the plot of Creepy is divulged or spoilt in this video essay or the accompanying text below.Hubert Niogret, in his review of Kiyoshi Kurosawa’s Creepy in Positif (July/August 2017), suggests: “There is always, in this director’s work, a particular view of social behaviour in this country of Japan where rules are numerous – above all when it comes to politeness, and the civil exchanges between individuals.” Niogret also notes that, beyond the “V-cinema” period (1994-1998) of relatively cheap, quickly made films within the genres of horror, fantasy and ghost tales, Kurosawa’s more recent works tend to introduce their supernatural elements (when these exist) only gradually and indirectly. Indeed, both...
- 8/5/2017
- MUBI
The 23rd entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi is showing Jean Renoir's The Testament of Dr. Cordelier (1959) is August 3 - September 2, 2017 in the United States as part of the series Jean Renoir.Jean Renoir’s The Experiment of Dr. Cordelier (a.k.a. The Doctor’s Horrible Experiment, 1959), shot using the multi-camera set-up of a television production, is a free variation on Robert Louis Stevenson’s immortal tale, Strange Case of Dr. Jekyll and Mr. Hyde (1886). However, Renoir’s take on this material owes less to the horror genre than to a kind of speculative, philosophical fiction. Unlike in most screen versions of the Jekyll/Hyde duality, Renoir goes easy on the conventional distinction between the good and evil sides of a single personality. Yes, the figure of Opale, into whom Cordelier transforms himself, is destructive, bestial, cruel, and sadistic.
- 8/4/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSTwo legends lost this week: actress Jeanne Moreau at 89 and playwright, screenwriter and actor Sam Shepard at 73. That's Moreau, above, with director Michelangelo Antonioni on the set of the great La notte (1961).Recommended Viewing"What brings you to us?" Good question—we know next to nothing about Darren Aronofsky's new film mother! other than that it stars Jennifer Lawrence. The first teaser trailer doesn't help much, but we wish we were attending the Venice Film Festival to catch the premiere.We're intoxicated by the punk-noir trailer for F.J. Ossang's new film, 9 Doigts (9 Fingers), which is premiering later this week at the Locarno Film Festival.Fun of a different kind can be found in the trailer the Coen brothers-scripted, George Clooney-directed Suburbicon. It's headed to Venice as well.If you enjoyed Mubi's...
- 8/1/2017
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSOver the weekend we lost two greats: Filmmaker George A. Romero, best known for inventing the modern version of all things zombie, and actor Martin Landau. Patton Oswalt has pointed out that a 19-year-old Romero worked as a pageboy on North by Northwest, Landau's second movie.The Academy of Motion Pictures Arts and Sciences has again added more names to its membership, and this latest batch includes even more unexpected additions from the world of international art cinema, including directors Pedro Costa, Lav Diaz, Ann Hui, Alejandro Jodorowsky, Kira Muratova, Johnnie To and Athina Rachel Tsangari.Did you see that the lineup of the Locarno Film Festival has been announced? With a huge retrospective devoted to Cat People director Jacques Tourneur and a competition including new films by Wang Bing, F.J. Ossang, Ben Russell,...
- 7/19/2017
- MUBI
Welcome to the final film of the aesthetically precise, rigorously austere Robert Bresson, an adaptation of a fateful tale by Leo Tolstoy visualized in Bresson’s frequently maddening personal style. An extreme artist makes a fascinatingly unyielding show: as with the classic paintings that Bresson admires, appreciation requires special knowledge.
L’argent
Blu-ray
The Criterion Collection 886
1983 / Color / 1:85 anamorphic 16:9 / 85 min. / Money / Street Date July 11, 2017 / 39.95
Starring: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Báatrice Tabourin, Didier Baussy.
Cinematography: Pasqualino De Santis, Emmanuel Machuel
Production Designer: Pierre Guffroy
Film Editor: Jean-Francois Naudon
Written by Robert Bresson from a short story by Leo Tolstoy
Produced by Antoine Gannagé, Jean-Marc Henchoz, Daniel Toscan du Plantier
Written and Directed by Robert Bresson
Some movies need disclaimers, and many of the pictures of Robert Bresson could use a caption reading, ‘not for beginners.’ Bresson’s filmography includes the spiritually mysterious Diary of a Country Priest...
L’argent
Blu-ray
The Criterion Collection 886
1983 / Color / 1:85 anamorphic 16:9 / 85 min. / Money / Street Date July 11, 2017 / 39.95
Starring: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Báatrice Tabourin, Didier Baussy.
Cinematography: Pasqualino De Santis, Emmanuel Machuel
Production Designer: Pierre Guffroy
Film Editor: Jean-Francois Naudon
Written by Robert Bresson from a short story by Leo Tolstoy
Produced by Antoine Gannagé, Jean-Marc Henchoz, Daniel Toscan du Plantier
Written and Directed by Robert Bresson
Some movies need disclaimers, and many of the pictures of Robert Bresson could use a caption reading, ‘not for beginners.’ Bresson’s filmography includes the spiritually mysterious Diary of a Country Priest...
- 7/1/2017
- by Glenn Erickson
- Trailers from Hell
The twenty-second entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing the retrospective Philippe Garrel: Fight for Eternity from May 1 - July 5, 2017 in most countries around the world.Walking is an ubiquitous activity in art cinema of all stripes, from Mikio Naruse and Michelangelo Antonioni to Chantal Akerman and Béla Tarr. The “walk and talk” scene has long crossed over into the mainstream to become a convention. But Philippe Garrel has tenaciously kept walking as his own, special motif since his first short films of the mid-1960s, and he has guarded it from encroaching cliché. Walking never means just one thing in Garrel’s films; it touches every level, every character, almost every situation (even those cramped, indoor scenes where people nervously pace back and forth). It is as if this filmmaker decided to test, from his earliest efforts,...
- 5/15/2017
- MUBI
Get in touch to send in cinephile news and discoveriesRECOMMENDED VIEWINGThe first full trailer for Blade Runner 2049, Denis Villeneuve's sequel to Ridley Scott's original starring Ryan Gosling alongside Harrison Ford, looks like a storyboard come to (digital) life.An all-too-brief look at some kind of footage from the new Twin Peaks, with Everett McGill, Harry Dean Stanton, Grace Zabriskie, Harry Goaz, Michael Horse, and Kyle MacLachlan looking like figures in an eerie waxworks.Milestone will soon be theatrically releasing a new restoration of Billy Woodberry's debut film, Bless Their Little Hearts (1983), written and shot by Killer of Sheep's Charles Burnett.Philippe Garrel meets David Lynch? Indeed! In a new video essay, Cristina Álvarez López and Adrian Martin look at the "holy family" (mother, father, and child) in early experimental films by each director, Lynch's The Grandmother (1969) and Garrel's Le révélateur (1968), the latter of which is now playing on Mubi.
- 5/10/2017
- MUBI
About twenty minutes ago I stepped onto 32nd St. between Madison and 5th Ave. for all 15 seconds, in which time I caught sight of an Mta bus bearing something I once never thought I’d see: an advertisement for new episodes of Twin Peaks. (It was this poster in a scaled-down form.) Then I return indoors and, voila, the latest teaser. As if I weren’t already excited enough, the universe is now sending a signal of some kind.
You’re only getting exterior shots herein, though fans will no doubt dig through them for clues. Why is the Palmer home being photographed so ominously? (Answers other than “this is a David Lynch production” need only apply.) Why do we return to Fire Walk with Me‘s Fat Trout Trailer Park? Who might be playing inside the roadhouse? And that’s about it, save for some notice that the cars...
You’re only getting exterior shots herein, though fans will no doubt dig through them for clues. Why is the Palmer home being photographed so ominously? (Answers other than “this is a David Lynch production” need only apply.) Why do we return to Fire Walk with Me‘s Fat Trout Trailer Park? Who might be playing inside the roadhouse? And that’s about it, save for some notice that the cars...
- 4/28/2017
- by Nick Newman
- The Film Stage
The Criterion Collection will venture to the Zone this July, and much more, as they’ve announced their new titles for the month. Andrei Tarkovsky‘s long-rumored sci-fi masterpiece Stalker will arrive with a new 2K restoration. The release will also include a new interview with author Geoff Dyer and newly translated English subtitles. Also arriving in July is Albert Brooks‘ satirical comedy Lost in America, featuring a new conversation with the director and Robert Weide, as well as interviews with the cast and crew.
One of the most notable releases of the month is Robert Bresson‘s masterful final film L’argent, which tracks a counterfeit bill through Paris, and the people it touches. Lastly, Roberto Rossellini‘s powerful War Trilogy is getting a much-deserved Blu-ray upgrade with new versions of Rome Open City, Paisan, and Germany Year Zero. Check out the high-resolution cover art below and full release details.
One of the most notable releases of the month is Robert Bresson‘s masterful final film L’argent, which tracks a counterfeit bill through Paris, and the people it touches. Lastly, Roberto Rossellini‘s powerful War Trilogy is getting a much-deserved Blu-ray upgrade with new versions of Rome Open City, Paisan, and Germany Year Zero. Check out the high-resolution cover art below and full release details.
- 4/17/2017
- by Jordan Raup
- The Film Stage
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Elle (Paul Verhoeven)
Paul Verhoeven’s latest treatise on high / low art isn’t going to appeal to everyone, and, as this awards season has shown, it’s already deeply offended some. But its messiness and blurred moral provocations are key to its power as a piece of cinematic trickery. A masterful character study, Elle dresses up a pulpy morality play with an austere European arthouse sheen, then sends its powerfully passive lead through a minefield of ethical conundrums,...
Elle (Paul Verhoeven)
Paul Verhoeven’s latest treatise on high / low art isn’t going to appeal to everyone, and, as this awards season has shown, it’s already deeply offended some. But its messiness and blurred moral provocations are key to its power as a piece of cinematic trickery. A masterful character study, Elle dresses up a pulpy morality play with an austere European arthouse sheen, then sends its powerfully passive lead through a minefield of ethical conundrums,...
- 3/14/2017
- by The Film Stage
- The Film Stage
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
We Are The Flesh (Tenemos la carne)
Blu-ray
2017 / Color / 1:85 widescreen – though the aspect ratio changes at the director’s whim/110 min. / Street Date February 28, 2017
Starring: Noe Hernandez, María Evoli and Diego Gamaliel.
Cinematography: Yollótl Alvarado
Film Editor: Yibran Asuad and Emiliano Rocha Minter
Written by Emiliano Rocha Minter
Produced by Julio Chavezmontes and Moisés Cosío
Directed by Emiliano Rocha Minter
Teetering on that thin edge between the ludicrous and the even more ludicrous, Emiliano Rocha Minter’s We Are The Flesh is a spittle-flecked, willfully deranged vision of life in a post-apocalyptic Mexico. Since its release in 2016, Minter’s movie, adrift in bodily fluids and overwrought speechifying, has been turning both heads and stomachs at film festivals across Europe.
An unconvincing mix of Living Theatre provocations and Eraserhead-like tableaus of bursting placentas and the drip, drip, drip of menstrual blood, Minter’s movie announces itself with the...
Blu-ray
2017 / Color / 1:85 widescreen – though the aspect ratio changes at the director’s whim/110 min. / Street Date February 28, 2017
Starring: Noe Hernandez, María Evoli and Diego Gamaliel.
Cinematography: Yollótl Alvarado
Film Editor: Yibran Asuad and Emiliano Rocha Minter
Written by Emiliano Rocha Minter
Produced by Julio Chavezmontes and Moisés Cosío
Directed by Emiliano Rocha Minter
Teetering on that thin edge between the ludicrous and the even more ludicrous, Emiliano Rocha Minter’s We Are The Flesh is a spittle-flecked, willfully deranged vision of life in a post-apocalyptic Mexico. Since its release in 2016, Minter’s movie, adrift in bodily fluids and overwrought speechifying, has been turning both heads and stomachs at film festivals across Europe.
An unconvincing mix of Living Theatre provocations and Eraserhead-like tableaus of bursting placentas and the drip, drip, drip of menstrual blood, Minter’s movie announces itself with the...
- 3/7/2017
- by Charlie Largent
- Trailers from Hell
The twentieth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Josef von Sternberg's The Blue Angel (1930) from February 14 - March 16, 2017 in the United States.The Blue Angel (1930) is a film that stands at many, superimposed crossroads. It represents a transition between the expressive language of silent cinema and the new technology of sound cinema. Before the reign of dubbing took hold around the world, it was a heroic instance of a project shot in two different language versions (German and English) simultaneously. It juxtaposes two very different sorts of acting performance: the expressive histrionics of Emil Jannings, characteristic of the silent period, and the more understated naturalness of its rising star, Marlene Dietrich. In its drama, it plays out the clash, and the changeover, between an institutionalized form of high, literary culture (as transmitted in Professor Rath’s classroom), and the unruly,...
- 2/14/2017
- MUBI
The nineteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Miklós Jancsó's The Red and the White (1967) from January 21 - February 20, 2017 in the United States.The long take—long in duration, rather than in the distance between the camera and the action—is contemporary art cinema’s greatest fetish. We commonly associate it with a static camera and empty, dead time—each moment grinding away as life evaporates—or with the steady, deliberately un-aesthetic, often lateral movements of camera and figures. However, in an earlier era, the era of Miklós Jancsó in 1960s Hungary and Theo Angelopoulos in 1970s Greece, the long take was a more supple tool, exploited for many uses, moods and effects. There is a lot happening in any, typical long take of Jancsó’s historical, political drama of the 1919 struggle between Hungarian Communists and Russian Cossacks,...
- 1/21/2017
- MUBI
The eighteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Fritz Lang's Scarlet Street (1945) from December 30, 2016 - January 28, 2017 in the United States. In Fritz Lang’s masterpiece Scarlet Street (1945) it is never simply a matter of characters seeing or not seeing something important—although that can furnish the first, basic level of the intrigue. It is also a matter of what people really understand of what they see—which, in turn, has much to do with what they, consciously or unconsciously, project onto what is before their eyes. So, while the film is full of moments where its central figure, the ‘poor sap’ Chris Cross (Edward G. Robinson), has his eyes averted, or doesn’t hear someone creeping behind his back, it also explores his willful blindness: he looks at Kitty (Joan Bennett) and sees an innocent angel where,...
- 1/13/2017
- MUBI
NEWSRaoul Coutard shooting BreathlessThe great cinematographer Raoul Coutard, legendary for his work shooting Jean-Luc Godard's Breathless, and also a collaborator of Philippe Garrel, Nagisa Oshima, Costa-Gavras and François Truffaut, has died at the age of 92.Keep film alive! The New York non-profit film organization Mono No Aware has launched a Kickstarter to fund "the nation's first ever non-profit motion picture lab." An ambitious and worthy goal!Two film projects in the works we're very excited about: Claire Denis' High Life, starring Robert Pattinson and Patricia Arquette and co-written by Zadie Smith, and Leos Carax's Annette, a musical to star Adam Driver (everywhere these days!) and Rooney Mara.The Film Society of Lincoln Center has announced the first part of its retrospective devoted to exiled Chilean fabulist Raúl Ruiz, which will include new digital restorations of Bérénice (1983) and The Golden Boat (1990), as well as 35mm prints of such...
- 11/29/2016
- MUBI
The past couple of weeks have proved so frightening a turn of events that it can be easy to forget what would’ve otherwise been a momentous occasion: following a career in music, literature, and poetry that distinguished itself continually over half a century — up to the release of his final album, You Want it Darker, last month — Leonard Cohen died at 82. His is an oeuvre that will be considered and examined for decades to come, and one of the first post-death tributes has me optimistic that we’re in for many discoveries.
For their latest project, Cristina Álvarez López and Adrian Martin have paired Cohen’s 1979 song “The Guests” with Stanley Kubrick‘s Eyes Wide Shut, using juxtaposition to find those points between lyrics and images where there exists a “mythic, almost cosmic aura.” A tangible atmosphere thus arises; if nothing else, you can imagine the song appearing on...
For their latest project, Cristina Álvarez López and Adrian Martin have paired Cohen’s 1979 song “The Guests” with Stanley Kubrick‘s Eyes Wide Shut, using juxtaposition to find those points between lyrics and images where there exists a “mythic, almost cosmic aura.” A tangible atmosphere thus arises; if nothing else, you can imagine the song appearing on...
- 11/21/2016
- by Nick Newman
- The Film Stage
It’s unlikely that you want another person who’ll describe the virtues of Out of the Past, Double Indemnity, Touch of Evil, The Maltese Falcon, Laura, The Third Man, The Naked City — which, while great, are the film noir to which we’re most accustomed. And the most rudimentary French-language knowledge will key us in to the fact that those wholly American (or wholly America-seeming) pictures find root in a cinematic tradition we don’t often turn to for dark, twisty stories of intrigue and deceit.
Let’s expand our noir knowledge, then, with a new video essay by Cristina Álvarez López and Adrian Martin that, until the end, elides direct name-checking and instead favors palettes that don’t feel so foreign after all. In an article written for BFI, who are hosting a French noir festival this month, the team explain that these works nevertheless stand apart from...
Let’s expand our noir knowledge, then, with a new video essay by Cristina Álvarez López and Adrian Martin that, until the end, elides direct name-checking and instead favors palettes that don’t feel so foreign after all. In an article written for BFI, who are hosting a French noir festival this month, the team explain that these works nevertheless stand apart from...
- 11/7/2016
- by Nick Newman
- The Film Stage
The seventeenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing F.W. Murnau's Nosferatu (1922) from October 24 - November 22, 2016 in the United States.Friedrich Wilhelm Murnau (1888-1931) liked to compare film with architecture. And from his earliest works, we see a strong pictorial intelligence at work, carefully marrying the architectural characteristics of a location or set with the further geometry imposed upon these given elements by the choice of camera angle. This amounted to far more than a flashy, modish expressionism of stark, plunging lines of intersecting walls, or actors inching along the diagonals of a frame; it became the basis for an entire, integrated system of mise en scène. What Murnau aimed for, above all, was not static, painterly effects but what he called a dynamic ‘mobile architecture’ specific to cinema.This quality of mobile architecture is what Éric Rohmer...
- 11/7/2016
- MUBI
“No one does it to you like Roman Polanski” – a tagline that would take on some rather unfortunate new contexts only a few years after its unveiling, or the rare bit of marketing to properly sell an artist? Answer: both. But we’ll only focus on the second point, our impetus being a new, Cristina Álvarez López– and Adrian Martin-helmed video essay on some of the director’s close-quarter thrillers as a “cinema of invasion.”
Even this well-learned Polanski admirer, one who could fire off more than a few examples of how the assorted films — Knife in the Water, Repulsion, Cul-de-sac, Rosemary’s Baby, The Tenant, Frantic, Bitter Moon, and The Ghost Writer — overlap, was impressed and, more importantly, surprised by the connections drawn here. Taking full advantage of both the material at hand and ways of bringing them closer together (disassociated sound, split-screen), Álvarez López and Martin’s...
Even this well-learned Polanski admirer, one who could fire off more than a few examples of how the assorted films — Knife in the Water, Repulsion, Cul-de-sac, Rosemary’s Baby, The Tenant, Frantic, Bitter Moon, and The Ghost Writer — overlap, was impressed and, more importantly, surprised by the connections drawn here. Taking full advantage of both the material at hand and ways of bringing them closer together (disassociated sound, split-screen), Álvarez López and Martin’s...
- 10/25/2016
- by Nick Newman
- The Film Stage
NEWSLillian SchwartzMartin Scorsese's much-anticipated (and long-in-the-making) 16th-century drama set in Japan, Silence, finally has a release date this year.Director Herschell Gordon Lewis, the so-called "godfather of gore," has died at the age of 87.In New York, the Magenta Plains gallery has opened an exhibition dedicated to early computer art pioneer Lillian Schwartz, whose films are truly delightful.You are no doubt familiar with the video essays of Cristina Álvarez López and Adrian Martin, in no small part due to their work here on the Notebook. Next week can hear the two speak about their critical practice at London's Essay Film Festival.News, yes, but also recommended viewing: the third edition of the free, streaming avant-garde program Kinet is now available, including two wonderful short films by New York filmmaker Gina Telaroli.Recommended VIEWINGTruly the Golden Age of Hollywood: A 1925 tour of MGM studios at its height.One of cinema's...
- 9/28/2016
- MUBI
NEWSWe wish we were at the Telluride and Venice film festivals, but since we're not that lucky, we've been voraciously following the buzz. To see what the critics are saying from the Telluride, which was last weekend, and Venice (on-going) check out David Hudson's round-ups at Keyframe. From the former, we're particularly excited about Barry Jenkins' Moonlight and Clint Eastwood's Sully, and from the latter, can't wait to see Uhlrich Seidl's Safari.Recommended VIEWINGSince we just wrapped our Kelly Reichardt retrospective on Mubi, we're feeling much need for her new film, Certain Woman. Starring Michelle Williams, Laura Dern, and Kristen Stewart, its first trailer is only getting us even more excited.We love Spanish filmmaker Víctor Erice. And we also love the video essays by Cristina Álvarez López and Adrian Martin. Sight & Sound has made made the connection and presents Haunted Memories, exploring "the joy and regret...
- 9/7/2016
- MUBI
David’s Quick Take for the tl;dr Media Consumer:
This subdued hour long late-career enigma from Orson Welles initially feels a bit sad and anti-climactic when it’s presented as his “final completed fictional feature” (as stated on the back of the new Criterion Collection release.) A quiet, languidly paced adaptation of an Isak Dinesen short story, there’s very little action to stimulate the senses much of the time, with most lines delivered by actors sitting down, standing still and speaking rather quietly. When the tension ramps up a bit toward the end, the self-conscious art house touches run a great risk of falling flat and coming across as unintentionally comical. But the excellent 4K restoration, a well-curated selection of supplemental features, and above all else, the compelling presentation of a great man and cultural innovator entering his artistic decline makes the new Blu-ray package of The Immortal Story...
This subdued hour long late-career enigma from Orson Welles initially feels a bit sad and anti-climactic when it’s presented as his “final completed fictional feature” (as stated on the back of the new Criterion Collection release.) A quiet, languidly paced adaptation of an Isak Dinesen short story, there’s very little action to stimulate the senses much of the time, with most lines delivered by actors sitting down, standing still and speaking rather quietly. When the tension ramps up a bit toward the end, the self-conscious art house touches run a great risk of falling flat and coming across as unintentionally comical. But the excellent 4K restoration, a well-curated selection of supplemental features, and above all else, the compelling presentation of a great man and cultural innovator entering his artistic decline makes the new Blu-ray package of The Immortal Story...
- 9/3/2016
- by David Blakeslee
- CriterionCast
NEWSGene Wilder, we'll miss you. We have always had—and will always have—tremendous affection for the presence of this wonderfully funny, sweetly sorrowful actor.The San Francisco Cinematheque is holding a fundraising auction, "an annual convergence of visual and media arts to support their 56th year of exhibiting innovative experimental moving-image art." You can bid online.Recommended VIEWINGWhat is Japan 1984 – 7 Betacam Tapes? Celluloid Liberation Front writes at Sight & Sound about "never-before-seen video material shot by Michelangelo Antonioni in Japan." Watch it online at Belligerent Eyes through September 2.With Bertrand Bonello's highly anticipated Nocturama set to premiere at the Toronto International Film Festival, Le CiNéMa Club is now streaming Madeleine Among the Dead, a 2014 "sketch" from the director: "Bonello wanted to tell Hitchcock’s Vertigo from the perspective of Madeleine."The excellent documentary A Fuller Life, about legendary director Samuel Fuller, is purchasable through this website.Frankly not our...
- 8/31/2016
- MUBI
Orson Welles' French TV show with Jeanne Moreau is a near-masterpiece, directed with assurance and style. It's the filmmaker's first color feature, and his last completed fictional feature. The Immortal Story Blu-ray The Criterion Collection 831 1968 / Color / 1:66 widescreen / 58 min. / Histoire immortelle / available through The Criterion Collection / Street Date August 30, 2016 / 39.95 Starring Jeanne Moreau, Orson Welles, Roger Coggio, Norman Eshley, Fernando Rey. Cinematography Willy Kurant Film Editors Yolande Maurette, Marcelle Pluet, Françoise Garnault, Claude Farny Music selections Eric Satie Based on a novel by Isak Dinesen Produced by Micheline Rozan Written and Directed by Orson Welles
Reviewed by Glenn Erickson
The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
Reviewed by Glenn Erickson
The Criterion Collection's Blu-ray of The Immortal Story took me completely by surprise. I bailed out of a viewing long ago on Los Angeles' 'Z' Channel cable station, mainly because it looked terrible -- grainy and washed out. I thought I was watching a faded print that had been blown up from 16mm.
- 8/22/2016
- by Glenn Erickson
- Trailers from Hell
These were only meant to be seen once. These explosive, unwieldy, nearly unprecedented and almost peerless essay films, densely packed with images so resonant they have been studied for nearly one hundred years, were only meant to be seen once. This observation comes from Adrian Martin on the excellent commentary track accompanying Man with a Movie Camera (1929), easily Dziga Vertov’s most important film. The other four films on the set were produced contemporaneously – Kino-Eye in 1924, Kino-Pravda #21 in 1925, Enthusiasm: Symphony of the Donbass in 1931, and Three Songs About Lenin in 1934. The latter two are sound films. The silent films – Movie Camera, Kino-Eye, and Kino-Pravda #21 feature musical accompaniment, none more accomplished than Alloy Orchestra’s landmark work.
For viewers in my generation, and I would imagine for a great many older than I, Alloy Orchestra’s score for Man with a Movie Camera is as important a component to the film as anything else.
For viewers in my generation, and I would imagine for a great many older than I, Alloy Orchestra’s score for Man with a Movie Camera is as important a component to the film as anything else.
- 8/4/2016
- by Scott Nye
- CriterionCast
Eureka! Entertainment unveiled this gorgeous new trailer for Stanley Kubrick's Paths of Glory earlier this week, which will be joining the Masters of Cinema collection on 19 September in a new Blu-ray edition. Kubrick's early anti-war classic stars Kirk Douglas as a French Colonel facing a court martial for cowardice after disobeying his superiors. This new release also includes an audio commentary from film scholar Adrian Martin and video interviews with Kubrick scholar Peter Kramer and filmmaker Richard Ayoade (Submarine, The Double). In the French front lines of World War I, after giving the order for an impossible and disastrous mission to capture a nearby stronghold, the upper ranks move to save face by having three randomly selected soldiers held and tried for cowardice under pain...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/4/2016
- Screen Anarchy
The sixteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Bong Joon-ho's Memories of Murder (2003) from July 30 to August 28, 2016 in the United States.Imitation. Serial killer movies have always been obsessed with the patterns formed by the act of imitation. The mysterious killers imitate their own previous murders, and the way they stage the ‘scene of the crime,’ forming a ‘signature.’ Copycats eagerly join in the imitation game, making the case exponentially harder for investigators to sort out and solve. In Bong Joon-ho’s second feature, Memories of Murder, imitation, or mimicry, extends in every possible direction. A child imitates the words and gestures of a cop; a mentally disabled man mimics the gestures of the crime; a guy out for a vicarious sexual thrill wears the colored underwear found on the victims.Contamination. Early in Bong’s film,...
- 8/1/2016
- MUBI
Following years of unfilled curiosity, I had the fortune of finally seeing John Cassavetes‘ Gloria at Metrograph this past weekend. Many things that made the experience a surprise, and none were as strong as one-time child actor John Adames, whose central role was written as a rather precocious young child who almost exclusively speaks like an adult — a typically nauseating archetype that, when paired with a prime Gena Rowlands turn and placed under Cassavetes’ careful eye, works perfectly. Although I almost immediately knew something was different about this iteration of the type and could certainly sense something deeper at play, Gloria moves at so quick a clip that you might only be able to collect its pieces hours and days after.
Enter Adrian Martin and Cristina Álvarez López, who took to studying the film’s adult-child relationships, Cassavetes’ manipulation of perspective, and how “the mother-son figure is at once questioned,...
Enter Adrian Martin and Cristina Álvarez López, who took to studying the film’s adult-child relationships, Cassavetes’ manipulation of perspective, and how “the mother-son figure is at once questioned,...
- 7/20/2016
- by Nick Newman
- The Film Stage
The fifteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Nanni Moretti's The Son's Room (2001) May 21 - June 20 in the United States.A water polo celebrity who freezes inexplicably before firing between the goal posts (Palombella rossa, 1989). A newly elected Pope who finds himself unable to address the faithful masses from the Vatican balcony, and instead furtively flees into the streets (Habemus Papam, 2011). A film director who can no longer hold it together on set, as her mother lays dying in hospital (Mia madre, 2015). Nanni’s Moretti’s films often address urgent issues of personal blockage, panic, fear, grief, and especially life-sapping depression—always within the ever-widening, intersubjective circles of family, work, community, and society. His wisdom recalls that of the militant psychoanalyst Félix Guattari, who commented in the 1970s that genuine political change will only occur “from...
- 6/1/2016
- MUBI
I’m noticing more and more a theme in postwar (especially American) cinema concerning pacifists turning towards violence. A character will introduce him- or herself as someone unable and morally opposed to weapons in general or harming another human being specifically, only to be put in a situation in which violence is presented as the only way out. We’ve covered (at least) two such films on this very website – Shane and Violent Saturday – and, having just seen it, I can add the considerably odd Frank Sinatra vehicle Suddenly to this list.
It’s not hard to see why American filmmakers and moviegoers would be interested in this subject at this time. Many of them had recently returned from war, where they did awful things for a greater good; those who didn’t go to war themselves certainly knew somebody who had. On a much larger scale, the use of...
It’s not hard to see why American filmmakers and moviegoers would be interested in this subject at this time. Many of them had recently returned from war, where they did awful things for a greater good; those who didn’t go to war themselves certainly knew somebody who had. On a much larger scale, the use of...
- 5/12/2016
- by Scott Nye
- CriterionCast
Although the wait for Leos Carax‘s next feature tends to be a long, tough one — especially when the overall promise of director, stars, and concept meeting can be terribly strong — his existing filmography is so rich, in terms of both what’s evident and what’s suggested, that it could always do us some good to look back before thinking ahead. Take, for instance, his 1991 feature The Lovers on the Bridge: I’d argue it’s one of the greatest films of the ’90s, yet the lack of proper U.S. distribution ensures that many — even, say, among those who love Holy Motors — haven’t actually seen the thing.
I’m glad, then, that it gets some due praise in a new video essay by Adrian Martin and Cristina Álvarez López, who use numerous compositions and formal strategies to highlight Lovers‘ numerous elements (some harsh and some gentle...
I’m glad, then, that it gets some due praise in a new video essay by Adrian Martin and Cristina Álvarez López, who use numerous compositions and formal strategies to highlight Lovers‘ numerous elements (some harsh and some gentle...
- 5/10/2016
- by Nick Newman
- The Film Stage
The fourteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Leos Carax's The Lovers on the Bridge (1991) May 10 - June 9 in the United States.Leos Carax’s Les amants du Pont-Neuf (The Lovers on the Bridge) is a true monument of 1990s cinema. It covers a lot of ground, on every level: starting down in the gutter and looking a little like a documentary about Paris’s homeless, it soon reaches a point where an inner switch is flicked and surrealistic, romantic poetry literally lights up the screen. Alex (Denis Lavant)—an emblematic tramp in the tradition of silent cinema, only muckier—spies the equally lost soul, Michèle (Juliette Binoche, never better than here), an artist who, due to encroaching blindness, is on the run from her bourgeois background. Once the film explodes with the rapture of their...
- 5/10/2016
- MUBI
In today's roundup, we track the fates of the blogs leaving the Indiewire network. Plus: The late Jenny Diski on Frank Capra, Adrian Martin on Margot Nash, Olaf Möller on Lav Diaz's A Lullaby to the Sorrowful Mystery, Michael Koresky on Christian Petzold's Phoenix, Thom Powers on documentaries by Robert Drew, Richard Leacock, D.A. Pennebaker and Albert Maysles, Richard Brody on Christian Braad Thomsen's Fassbinder: To Love Without Demands and Ada Ushpiz's Vita Activa: The Spirit of Hannah Arendt, Jonathan Rosenbaum on Otto Preminger, plus news from Cannes and Venice—and more. » - David Hudson...
- 4/30/2016
- Keyframe
In today's roundup, we track the fates of the blogs leaving the Indiewire network. Plus: The late Jenny Diski on Frank Capra, Adrian Martin on Margot Nash, Olaf Möller on Lav Diaz's A Lullaby to the Sorrowful Mystery, Michael Koresky on Christian Petzold's Phoenix, Thom Powers on documentaries by Robert Drew, Richard Leacock, D.A. Pennebaker and Albert Maysles, Richard Brody on Christian Braad Thomsen's Fassbinder: To Love Without Demands and Ada Ushpiz's Vita Activa: The Spirit of Hannah Arendt, Jonathan Rosenbaum on Otto Preminger, plus news from Cannes and Venice—and more. » - David Hudson...
- 4/30/2016
- Fandor: Keyframe
This podcast focuses on Criterion’s Eclipse Series of DVDs. Hosts David Blakeslee and Trevor Berrett give an overview of each box and offer their perspectives on the unique treasures they find inside. In this episode, David and Trevor are joined by Lady P from the FlixWise podcast to discuss Eclipse Series 19: Chantal Akerman in the Seventies.
About the films:
Over the past four decades, Belgian director Chantal Akerman (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles) has created one of cinema’s most distinctive bodies of work—formally daring, often autobiographical films about people and places, time and space. In this collection, we present the early films that put her on the map: intensely personal, modernist investigations of cities, history, family, and sexuality, made in the 1970s in the United States and Europe and strongly influenced by the New York experimental film scene. Bold and iconoclastic, these five films pushed...
About the films:
Over the past four decades, Belgian director Chantal Akerman (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles) has created one of cinema’s most distinctive bodies of work—formally daring, often autobiographical films about people and places, time and space. In this collection, we present the early films that put her on the map: intensely personal, modernist investigations of cities, history, family, and sexuality, made in the 1970s in the United States and Europe and strongly influenced by the New York experimental film scene. Bold and iconoclastic, these five films pushed...
- 4/29/2016
- by David Blakeslee
- CriterionCast
The thirteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing John Cassavetes' Gloria (1980) March 23 - April 22 in the United Kingdom.You can tell a lot about filmmakers and their attitudes from the way they choose to frame a child—especially when there is also an adult in the same scene. To whom does the scene pay attention at any given moment? Whose viewpoint is covered? Who is privileged in the scene? Whose position is occupied by the camera? Shall we go the conventional shot/reverse shot route of looking down at the child from a high-angle (i.e., the senior Pov), and gazing up from a low-angle at the adult?John Cassavetes’s Gloria (1980) offers a veritable treatise on these questions—and its response is quite unlike any other film that centers on a roughly similar relationship, from...
- 4/29/2016
- by Cristina Álvarez López & Adrian Martin
- MUBI
I don’t agree with their claim that Barbara Loden‘s Wanda “incontestably ranks among the cinema’s greatest masterpieces” — for one thing: I don’t know if a work of art could truly, “incontestably” be anything, least of all in any qualitative sense — but Cristina Álvarez López and Adrian Martin‘s video essay on the matter is as illuminating as any I’ve seen of late. The actress’ only directorial effort has been “growing in stature” since premiering more than 45 years ago, and especially in recent years — a time when its bare-bones DVD and increasingly frequent rep showings prove capable of practically shocking viewers out of their seats, its spare crime narrative and introverted character study seemingly dropped from out of nowhere.
The duo now offer their informed and informative take on Loden’s “sullen, implosive energy,” explored in this assemblage of clips and context-heavy voiceover from Martin. My...
The duo now offer their informed and informative take on Loden’s “sullen, implosive energy,” explored in this assemblage of clips and context-heavy voiceover from Martin. My...
- 4/11/2016
- by Nick Newman
- The Film Stage
The following text is an excerpt from an essay commissioned by the specialist publishing house Hatori Press (Japan) for a tribute to the great critic, scholar and teacher Shigehiko Hasumi on the occasion of his 80th birthday (29 April 2016). Other contributors to this book (slated to appear in both Japanese and English editions) include Pedro Costa, Chris Fujiwara and Richard I. Suchenski. Beyond Prof. Hasumi’s many achievements in criticism and education (he was President of the University of Tokyo between 1997 and 2001), his ‘method,’ his unique way of seeing and speaking about films, has served as an immense inspiration for a generation of directors in Japan including Kiyoshi Kurosawa and Shinji Aoyama. The online magazines Rouge (www.rouge.com.au) and Lola (www.lolajournal.com), co-edited by Martin, provide the best access to Hasumi’s work in English (see references in the notes below).Leos Carax and Shigehiko Hasumi. Photo by Michiko Yoshitake.
- 3/30/2016
- by Adrian Martin
- MUBI
The twelfth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing João Pedro Rodrigues's To Die Like a Man (2009) March 4 - April 2 and Two Drifters (2005) March 5 - April 3, 2016 in the United States.The concept that unifies the work of Portuguese filmmaker João Pedro Rodrigues (signed alone or in collaboration with João Rui Guerra da Mata) is that of shifting: a shifting of gender (in any direction from male to female, via all hybrid possibilities in-between), and of genre (romantic melodrama crossed with the fantastique, or documentary sliding over into fiction as in The Last Time I Saw Macao, 2012), even of species (confusion of human and animal realms in O Fantasma, 2000). Most gripping and beguiling of all is the director’s fondness for unexpectedly supernatural themes—all the better to blur the distinction between mortality and immortality, a key theme...
- 3/4/2016
- by Cristina Álvarez López & Adrian Martin
- MUBI
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThai director Apichatpong Weerasethakul, whose brilliant Cemetery of Splendor will be released in the Us this spring, has revealed a new installation work, Home Movie, made for Sydney's 2016 Biennale. According to his website, "an exhibition space hosts a cave-like ritual where people gather to simply take in the light": "In this home-cave, the heat is both comfortable and threatening. A fireball is an organic-like machine with phantom fans to blow away the heat and, at the same time, rouse the fire, which is impossible to put out even in dreams."This season seems to be one of cinema masters passing. In addition to the directors who've died over the last month, we've lost two great cinematographers this week. First, Douglas Slocombe, who shot the first three Indian Jones films,...
- 2/27/2016
- by Notebook
- MUBI
The legendary filmmaker has passed away at the age of 87. Here is the Notebook's coverage of Jacques Rivette, over the years:David Phelps on Céline and Julie Go BoatingDaniel Kasman on Don't Touch the Axe, Around a Small Mountain, DuelleGlenn Kenny on Joan the Maid, La religieuseMiriam Bale on Le pont du NordIgnatiy Vishnevetsky on Paris Belongs to UsTed Fendt on Paris s'en vaCristina Álvarez López & Adrian Martin on Out 1 Jonathan Rosenbaum & Kevin B. Lee on Out 1Chris Luscri on Out 1Covadonga G. Lahera & Joel Bocko on Out 1Christopher Small on The Duchess of Langeais, Joan the Maid, Paris Belongs to Us, L'amour fou, Duelle, The Story of Mary and Julien, Céline and Julie Go BoatingAdrian Curry on the posters of Jacques RivetteCarlo Chatrian on (Three Reasons For) Remembering Jacques Rivette...
- 2/3/2016
- by Notebook
- MUBI
The eleventh entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Greg Mottola's Adventureland (2009) is now playing in the United States through February 29.Few subjects divide people more sharply and ferociously than respective tastes in music. We build our identities, our system of values, even our world-views, through the music we choose to love and cultivate, whether as players or listeners—and we project our musical distastes onto a screen (or a variety of screens) constituting those monstrous Others from which we differentiate and dissociate ourselves.Popular movies have a lot to do with propagating this fascinating but treacherous and unstable cultural process. Especially teen movies, which involve themselves with the vagaries of pop, rock, and other musical styles more extensively and intimately than most genres—particularly at the level of ‘sampling,’ of the selection of pre-existing tracks for the film soundtrack (and,...
- 1/30/2016
- by Cristina Álvarez López & Adrian Martin
- MUBI
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