NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
The Bridges of Madison County, Bette Gordon’s Variety, and Secretary play on 35mm this weekend.
Anthology Film Archives
Works about the Palestinian film archive screen this weekend while films by Raul Ruiz, Yvonne Rainer, Michael Snow, and more play in Afterimage.
Museum of Modern Art
Max Fleischer’s cartoons play in a new retrospective.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Elaine May, Jonathan Demme, and Mike Leigh.
Film Forum
As the Japanese horror series continues, the American horror film Freaky Friday plays on Sunday.
Bam
Raoul Peck’s Lumumba: Death of a Prophet continues.
IFC Center
A Brian Yuzna retrospective is underway; Starship Troopers, Fight Club, Mondo New York, and The Shining play late.
The post NYC Weekend Watch: The Bridges of Madison County, Palestinian Film Archive, Max Fleischer & More...
Roxy Cinema
The Bridges of Madison County, Bette Gordon’s Variety, and Secretary play on 35mm this weekend.
Anthology Film Archives
Works about the Palestinian film archive screen this weekend while films by Raul Ruiz, Yvonne Rainer, Michael Snow, and more play in Afterimage.
Museum of Modern Art
Max Fleischer’s cartoons play in a new retrospective.
Museum of the Moving Image
A retrospective of snubbed performances brings films by Elaine May, Jonathan Demme, and Mike Leigh.
Film Forum
As the Japanese horror series continues, the American horror film Freaky Friday plays on Sunday.
Bam
Raoul Peck’s Lumumba: Death of a Prophet continues.
IFC Center
A Brian Yuzna retrospective is underway; Starship Troopers, Fight Club, Mondo New York, and The Shining play late.
The post NYC Weekend Watch: The Bridges of Madison County, Palestinian Film Archive, Max Fleischer & More...
- 3/8/2024
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of Modern Art
A massive run of Luis Buñuel’s Mexican films begins; “To Save and Project,” continues.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Tati, Samuel Fuller, Nicholas Ray (x2), Godard, Straub-Huillet, Pasolini, and more.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Lizzie Borden, Ulrike Ottinger, Yvonne Rainer, Celine Sciamma, and more; a 4K restoration of The Pianist, I Heard It Through the Grapevine, and The Third Man continue; a print of Calamity Jane plays on Sunday.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere and a Dario Argento series begins; Barb and Star Go to Vista Del Mar plays late.
Roxy Cinema
Cronenberg’s Crash and Keith McNally...
Museum of Modern Art
A massive run of Luis Buñuel’s Mexican films begins; “To Save and Project,” continues.
Film at Lincoln Center
“Never Look Away: Serge Daney’s Radical 1970s” brings films by Tati, Samuel Fuller, Nicholas Ray (x2), Godard, Straub-Huillet, Pasolini, and more.
Film Forum
“Sapph-o-rama” highlights lesbian cinema with films by Chantal Akerman, Lizzie Borden, Ulrike Ottinger, Yvonne Rainer, Celine Sciamma, and more; a 4K restoration of The Pianist, I Heard It Through the Grapevine, and The Third Man continue; a print of Calamity Jane plays on Sunday.
IFC Center
As Francis Ford Coppola’s latest recut, One from the Heart: Reprise, continues, Bertrand Bonello’s masterpiece Coma gets a New York premiere and a Dario Argento series begins; Barb and Star Go to Vista Del Mar plays late.
Roxy Cinema
Cronenberg’s Crash and Keith McNally...
- 2/2/2024
- by Nick Newman
- The Film Stage
There's a wonderful little indie distributor based in NYC called Zeitgeist Films, founded in 1988. If you're a die-hard cinephile, you probably already recognize the name. They've supported amazing filmmakers and little films that deserve to be seen in US art house cinemas. From their website, they explain Zeitgeist as: "Distributed over 200 of the finest independent films from the U.S. and around the world including the early works of Todd Haynes, Christopher Nolan, François Ozon, Laura Poitras, Atom Egoyan and the Quay Brothers. Their catalog has also included films from the world's most outstanding filmmakers: Agnes Varda, Guy Maddin, Olivier Assayas, Jia Zhang-ke, Abbas Kiarostami, Derek Jarman, Nuri Bilge Ceylan, Peter Greenaway, Philippe Garrel, Yvonne Rainer, Jan Svankmajer, Margarethe Von Trotta, Andrei Zyvagintsev and Raoul Peck." To celebrate their 35th anniversary, Metrograph is hosting screenings of some of their finest gems. "We're particularly looking forward to reuniting with some of...
- 11/6/2023
- by Alex Billington
- firstshowing.net
Kino Lorber, at the Lumiére Festival and International Classic Film Market (Mifc) in Lyon with a number of new restorations, including Stanley Kubrick’s “Fear and Desire,” will next release Bridgett M. Davis’ 1996 drama “Naked Acts” and a complete retrospective of Oscar Micheaux, the first black filmmaker.
Also headed for release is “The Dragon Painter,” a rare, 1919 silent film with an all Asian cast, with the feel of an old Japanese film but entirely shot in the San Francisco area. It stars Sessue Hayakawa, who produced it himself, as well as his real-life wife Tsuru Aoki.
Kino Lorber is partnering with Milestone Films to release “The Dragon Painter” in 4K in 2024 with a new score.
Likewise set for a 4K release next year in partnership with Milestone is “Naked Acts,” which follows young Black actress Cicely, who is about to make her acting debut in a low budget film. As...
Also headed for release is “The Dragon Painter,” a rare, 1919 silent film with an all Asian cast, with the feel of an old Japanese film but entirely shot in the San Francisco area. It stars Sessue Hayakawa, who produced it himself, as well as his real-life wife Tsuru Aoki.
Kino Lorber is partnering with Milestone Films to release “The Dragon Painter” in 4K in 2024 with a new score.
Likewise set for a 4K release next year in partnership with Milestone is “Naked Acts,” which follows young Black actress Cicely, who is about to make her acting debut in a low budget film. As...
- 10/18/2023
- by Ed Meza
- Variety Film + TV
Ten years ago, responding to rumors he’d sought to retire, Martin Scorsese succinctly replied, “You’ll have to tackle me to stop me.” Like a lunar cycle following the director on the occasion of three-hour-plus epics starring Leonardo DiCaprio, received wisdom again has it the man’s looking to settle down–then again, a rather elegiac interview on the eve of Killers of the Flower Moon‘s debut would only generate attention of the sort.
Between that film’s Cannes premiere (we have reliably heard it’s very good) and October 20 release, a fantastic profile from Stephanie Zacharek mentions a couple of irons in Scorsese’s fire. Among “lots of movie projects” are an adaptation of Marilynne Robinson’s Home, companion novel to her Pulitzer-winner Gilead, and the synopsis of which is simply steeped in Late Style:
The Reverend Boughton’s hell-raising son, Jack, has come home after twenty years away.
Between that film’s Cannes premiere (we have reliably heard it’s very good) and October 20 release, a fantastic profile from Stephanie Zacharek mentions a couple of irons in Scorsese’s fire. Among “lots of movie projects” are an adaptation of Marilynne Robinson’s Home, companion novel to her Pulitzer-winner Gilead, and the synopsis of which is simply steeped in Late Style:
The Reverend Boughton’s hell-raising son, Jack, has come home after twenty years away.
- 9/12/2023
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAggro Dr1ft.NYFF have announced a few new lineups, including their adventurous-looking Spotlight section, with new work by Harmony Korine, Hayao Miyazaki, Nathan Fielder & Benny Safdie, and more. They've also shared the experimental program for Currents, which opens with Eduardo Williams’s The Human Surge 3 and features James Benning, Deborah Stratman, and Pham Thien An. And finally, their Revivals section includes restorations of Jean Renoir’s “almost ghostly last film in Hollywood,” The Woman on the Beach (1947); Niki de Saint Phalle's first solo feature Un rêve plus long que la nuit (1976); and a 4K restoration of Horace Ové’s Pressure (1976), world-premiering in conjunction with the London Film Festival. Following news last week that Leila’s Brothers (2022) filmmakers Saeed Roustayi and Javad Noruzbegi have been sentenced to six months in prison, suspended over five years,...
- 8/23/2023
- MUBI
As a retrospective of her work opens in London, Rainer looks back at her journey from experimental choreographer to anarchic film-maker and back again
Yvonne Rainer is the iconoclastic choreographer who, beginning in the 60s, pioneered the deconstruction of modern dance in a manner closely associated with minimalist art. No Manifesto, published in 1965 (“No to spectacle. No to virtuosity. No to transformations and magic and make-believe … no to moving or being moved”) announced a rejection of modern dance’s conventions and cliches, in favour of a vocabulary of movement that prioritised the ordinary, alienating or plain over narrative structure and emotional projection. She turned to film-making when she felt that dance alone couldn’t express what she wanted to say, and produced more than a dozen uncompromising film works over three decades.
“Oh no,” says Rainer, 88, when I bring up No Manifesto, which she later disavowed, during our conversation at her Manhattan apartment.
Yvonne Rainer is the iconoclastic choreographer who, beginning in the 60s, pioneered the deconstruction of modern dance in a manner closely associated with minimalist art. No Manifesto, published in 1965 (“No to spectacle. No to virtuosity. No to transformations and magic and make-believe … no to moving or being moved”) announced a rejection of modern dance’s conventions and cliches, in favour of a vocabulary of movement that prioritised the ordinary, alienating or plain over narrative structure and emotional projection. She turned to film-making when she felt that dance alone couldn’t express what she wanted to say, and produced more than a dozen uncompromising film works over three decades.
“Oh no,” says Rainer, 88, when I bring up No Manifesto, which she later disavowed, during our conversation at her Manhattan apartment.
- 8/17/2023
- by Adrian Horton
- The Guardian - Film News
Yvonne Rainer’s first film is a fascinating immersion in radical art practice in all its meta-narrative incoherence and mess
Here is the first film from avant garde film-maker Yvonne Rainer, showing as part of a retrospective of her work at the Ica in London, affording viewers a chance to appreciate the wonky, wonderful weirdness that was integral to the New York experimental art scene in the early 1970s. Aptly enough for an artist who started her career in the dance world (having studied with such luminaries as Martha Graham and Merce Cunningham), Rainer grounds this in the world of dance, opening with a rehearsal of a company running through different moves. Don’t be alarmed if no sound is coming through – it’s meant to be that way. Rainer plays throughout with audience expectations and need for narrative closure, offering little titbits of story and then whipping them away...
Here is the first film from avant garde film-maker Yvonne Rainer, showing as part of a retrospective of her work at the Ica in London, affording viewers a chance to appreciate the wonky, wonderful weirdness that was integral to the New York experimental art scene in the early 1970s. Aptly enough for an artist who started her career in the dance world (having studied with such luminaries as Martha Graham and Merce Cunningham), Rainer grounds this in the world of dance, opening with a rehearsal of a company running through different moves. Don’t be alarmed if no sound is coming through – it’s meant to be that way. Rainer plays throughout with audience expectations and need for narrative closure, offering little titbits of story and then whipping them away...
- 8/14/2023
- by Leslie Felperin
- The Guardian - Film News
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSOn July 13, SAG-AFTRA issued a strike order, joining the WGA, who have been striking since May. In an incendiary speech, the guild’s president, Fran Drescher, said: “SAG-AFTRA negotiated in good faith and was eager to reach a deal that sufficiently addressed performer needs, but the AMPTP’s responses to the union’s most important proposals have been insulting and disrespectful of our massive contributions to this industry…Until they do negotiate in good faith, we cannot begin to reach a deal.” This Vulture Q&a with Jonathan Handel, author of Hollywood on Strike!: An Industry at War in the Internet Age, delves into the details of the work stoppage.Applications are open for Open City Documentary Festival & Another Gaze’s third annual critics’ workshop, which will take place in early September during the festival.
- 7/19/2023
- MUBI
Among the major cinematic events of 2023 are new restorations of the pioneering work by legendary New York dancer, choreographer, and filmmaker Yvonne Rainer. Restored in 4K by the Museum of Modern Art and the Celeste Bartos Fund for Film Preservation, courtesy of Zeitgeist Films and in association with Kino Lorber they’ll be presented in North American premieres starting one week from today at Metrograph. Featuring Rainer in person, the series includes Film About a Woman Who…, Journeys From Berlin/1971, Kristina Talking Pictures, Lives Of Performers, The Man Who Envied Women, Murder and murder, and Privilege. Ahead of next week’s opening, we’re pleased to exclusively debut the trailer for this retrospective.
“With her boundary-pushing, de-glamorized, stripped-down approach to modern dance, Rainer was already established as one of the most innovative forces in choreography before she’d started to make her first standalone films in 1972, bringing the same spirit...
“With her boundary-pushing, de-glamorized, stripped-down approach to modern dance, Rainer was already established as one of the most innovative forces in choreography before she’d started to make her first standalone films in 1972, bringing the same spirit...
- 2/10/2023
- by Jordan Raup
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI, and sign up for our weekly email newsletter by clicking here.NEWSNo Bears.Jafar Panahi was released on bail last Friday, two days after starting a hunger strike to protest his seven-month imprisonment. “His next fight is to have the cancellation of his sentence officially recognized,” said Michèle Halberstadt, his French distributor. “He’s outside, he’s free, and this is already great.”Recommended VIEWINGPersonal Problems.Maya Cade of the Black Film Archive has chosen 28 films for the 28 days of Black History Month in the US and compiled online streaming links for each. The lineup includes films by Saundra Sharp, Bill Gunn, and many others.Filmmaker Jane Schoenbrun (We're All Going to the World's Fair)'s A Self-Induced Hallucination, their archival documentary about the Slenderman, is available for free on Vimeo. For more on the project,...
- 2/7/2023
- MUBI
The Berlin Film Festival has revealed the 28 titles selected for its Forum strand and the 26 projects at the Forum Expanded platform.
In the Forum strand, documentaries stand alongside personal essay films, while the films and installations that make up the Forum Expanded program revolve around political and personal legacies.
The festival takes place Feb. 16-26.
Forum Titles
“Allensworth”
by James Benning
U.S.
“Anqa”
by Helin Çelik
Austria/Spain
“About Thirty”
by Martin Shanly | with Martin Shanly, Camila Dougall, Paul Dougall, Esmeralds Escalante, Maria Soldi
Argentina
“Being in a Place – A Portrait of Margaret Tait”
by Luke Fowler | with Margaret Tait
U.K.
“The Bride”
by Myriam U. Birara | with Sandra Umulisa, Aline Amike, Daniel Gaga, Fabiola Mukasekuru, Beatrice Mukandayishimiye
Rwanda
“Cidade Rabat”
by Susana Nobre | with Raquel Castro, Paula Bárcia, Paula Só, Sara de Castro, Laura Afonso
Portugal/France
“De Facto”
by Selma Doborac | with Christoph Bach, Cornelius Obonya...
In the Forum strand, documentaries stand alongside personal essay films, while the films and installations that make up the Forum Expanded program revolve around political and personal legacies.
The festival takes place Feb. 16-26.
Forum Titles
“Allensworth”
by James Benning
U.S.
“Anqa”
by Helin Çelik
Austria/Spain
“About Thirty”
by Martin Shanly | with Martin Shanly, Camila Dougall, Paul Dougall, Esmeralds Escalante, Maria Soldi
Argentina
“Being in a Place – A Portrait of Margaret Tait”
by Luke Fowler | with Margaret Tait
U.K.
“The Bride”
by Myriam U. Birara | with Sandra Umulisa, Aline Amike, Daniel Gaga, Fabiola Mukasekuru, Beatrice Mukandayishimiye
Rwanda
“Cidade Rabat”
by Susana Nobre | with Raquel Castro, Paula Bárcia, Paula Só, Sara de Castro, Laura Afonso
Portugal/France
“De Facto”
by Selma Doborac | with Christoph Bach, Cornelius Obonya...
- 1/16/2023
- by Naman Ramachandran
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWomen Talking.The 49th edition of the Telluride Film Festival, which doesn't reveal its lineup until the four-day festival starts, took place last weekend. Its program included world premieres of Sarah Polley’s Women Talking and Sam Mendes’s Empire of Light, as well as Adam Curtis’s new 420-minute-long Russia [1985-1999] Traumazone, plus a tribute to Cate Blanchett. A.O. Scott, reporting from the festival for the New York Times, remarks that "Every so often, Telluride’s best is as good as movies can be," and singles out Women Talking specifically: "...what Women Talking shares with Moonlight is an absolute concentration on the specifics of story and setting that nonetheless illuminate a vast, underexplored region of contemporary life. A reality that has always been there is seen as if for the first time."Charlbi Dean Kriek—South African model,...
- 9/7/2022
- MUBI
Trixi (1971).“When I first saw Steve’s films, I actually very often had to leave the cinema,” Laura Mulvey once recalled. Dwoskin’s shorts and early features, shown in alternative venues around London in the late 1960s and early ’70s, tended to show a woman alone in a room, often naked, responding to the camera, sometimes seducing it: Alone (1964), Soliloquy (1964/7), Take Me (1969), Moment (1969), and Girl (1971)... At the time she saw them, Mulvey was working on what became her famous essay “Visual Pleasure and Narrative Cinema,” published in 1975. Having been repelled at first, she began to find that Dwoskin’s films “opened a completely new perspective for me on cinematic voyeurism.” The first draft included a section discussing them, particularly the half-hour Trixi (1971), an “overtly ‘voyeuristic’ film” in which the seduction is consummated. In Mulvey’s words, Dwoskin’s handheld camera facilitated his “intimate involvement as an equal participant in the erotic drama,...
- 6/16/2022
- MUBI
Exclusive: Zeitgeist Films and Kino Lorber have acquired North American rights to Eva Vitija’s documentary Loving Highsmith, which takes as its focus Carol and The Talented Mr. Ripley author Patricia Highsmith. Zeitgeist will release the film theatrically this September.
Loving Highsmith is a unique look at the life of the celebrated American author, focusing on Highsmith’s quest for love and her troubled identity through her personal diaries and the intimate reflections of her lovers, friends and family. The film sheds new light on her life and writings, the best known of which were adapted for the big screen: Strangers on a Train, The Talented Mr. Ripley and Carol, a partially autobiographical novel and the first lesbian story with a happy ending in 1950s America. Highsmith herself was forced to lead a double life and had to hide her vibrant love affairs from her family and the public, reflecting...
Loving Highsmith is a unique look at the life of the celebrated American author, focusing on Highsmith’s quest for love and her troubled identity through her personal diaries and the intimate reflections of her lovers, friends and family. The film sheds new light on her life and writings, the best known of which were adapted for the big screen: Strangers on a Train, The Talented Mr. Ripley and Carol, a partially autobiographical novel and the first lesbian story with a happy ending in 1950s America. Highsmith herself was forced to lead a double life and had to hide her vibrant love affairs from her family and the public, reflecting...
- 6/16/2022
- by Matt Grobar
- Deadline Film + TV
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.
See our comprehensive guide to where to stream the best films of 2021.
Adrienne (Andy Ostroy)
I hadn’t seen any of Adrienne Shelly’s work at the time of her death, but you couldn’t follow the film world in 2006 without hearing about what happened. News sites first latched onto the assumption of suicide only to discover what happened was murder—the culprit found, arrested, and confessed shortly afterwards. And amidst that tragic whirlwind during the final two months of that year, Shelly’s latest film as writer-director-star, Waitress, was in submission at Sundance. It would eventually bow at the festival, find distribution, become an overnight indie darling, and spawn a Broadway musical adaptation with songs by Sara Bareilles. She unfortunately never...
See our comprehensive guide to where to stream the best films of 2021.
Adrienne (Andy Ostroy)
I hadn’t seen any of Adrienne Shelly’s work at the time of her death, but you couldn’t follow the film world in 2006 without hearing about what happened. News sites first latched onto the assumption of suicide only to discover what happened was murder—the culprit found, arrested, and confessed shortly afterwards. And amidst that tragic whirlwind during the final two months of that year, Shelly’s latest film as writer-director-star, Waitress, was in submission at Sundance. It would eventually bow at the festival, find distribution, become an overnight indie darling, and spawn a Broadway musical adaptation with songs by Sara Bareilles. She unfortunately never...
- 12/3/2021
- by Jordan Raup
- The Film Stage
If 2021 has been a calvacade of bad decisions, dashed hopes, and warning signs for cinema’s strength, the Criterion Channel’s monthly programming has at least buttressed our hopes for something like a better tomorrow. Anyway. The Channel will let us ride out distended (holi)days in the family home with an extensive Alfred Hitchcock series to bring the family together—from the established Rear Window and Vertigo to the (let’s just guess) lesser-seen Downhill and Young and Innocent—Johnnie To’s Throw Down and Orson Welles’ The Magnificent Ambersons in their Criterion editions, and some streaming premieres: Ste. Anne, Lydia Lunch: The War is Never Over, and The Incredibly True Adventure of Two Girls in Love.
Special notice to Yvonne Rainer’s brain-expanding Film About a Woman Who . . .—debuting in “Female Gaze: Women Directors + Women Cinematographers,” a series that does as it says on the tin—and a Joseph Cotten retro boasting Ambersons,...
Special notice to Yvonne Rainer’s brain-expanding Film About a Woman Who . . .—debuting in “Female Gaze: Women Directors + Women Cinematographers,” a series that does as it says on the tin—and a Joseph Cotten retro boasting Ambersons,...
- 11/21/2021
- by Nick Newman
- The Film Stage
As 2021 mercifully winds down, the Criterion Channel have a (November) lineup that marks one of their most diverse selections in some time—films by the new masters Ryusuke Hamaguchi and Garrett Bradley, Dan Sallitt’s Fourteen (one of 2020’s best films) couched in a fantastic retrospective, and Criterion editions of old favorites.
Fourteen is featured in “Between Us Girls: Bonds Between Women,” which also includes Céline and Julie, The Virgin Suicides, and Yvonne Rainer’s Privilege. Of equal note are Criterion editions for Ghost World, Night of the Hunter, and (just in time for del Toro’s spin) Nightmare Alley—all stacked releases in their own right.
See the full list of October titles below and more on the Criterion Channel.
300 Nassau, Marina Lameiro, 2015
5 Card Stud, Henry Hathaway, 1968
Alone, Garrett Bradley, 2017
Álvaro, Daniel Wilson, Elizabeth Warren, Alexandra Lazarowich, and Chloe Zimmerman, 2015
America, Garrett Bradley, 2019
Angel Face, Otto Preminger, 1953
Angels Wear White,...
Fourteen is featured in “Between Us Girls: Bonds Between Women,” which also includes Céline and Julie, The Virgin Suicides, and Yvonne Rainer’s Privilege. Of equal note are Criterion editions for Ghost World, Night of the Hunter, and (just in time for del Toro’s spin) Nightmare Alley—all stacked releases in their own right.
See the full list of October titles below and more on the Criterion Channel.
300 Nassau, Marina Lameiro, 2015
5 Card Stud, Henry Hathaway, 1968
Alone, Garrett Bradley, 2017
Álvaro, Daniel Wilson, Elizabeth Warren, Alexandra Lazarowich, and Chloe Zimmerman, 2015
America, Garrett Bradley, 2019
Angel Face, Otto Preminger, 1953
Angels Wear White,...
- 10/25/2021
- by Leonard Pearce
- The Film Stage
Next month’s Mubi lineup has been unveiled and if you can’t make it to Cannes Film Festival, they are spotlighting recent favorites from the event. As part of a Cannes Takeover series, they will show Lisandro Alonso’s Viggo Mortensen-led Jauja, the Zambian drama I Am Not a Witch, Nuri Bilge Ceylan’s The Wild Pear Tree, and Hirokazu Kore-eda’s After the Storm, plus two films from directors who have new films in this year’s lineup, Ryusuke Hamaguchi’s Asako I & II and Nanni Moretti’s Mia Madre, plus more.
Also in the lineup will be the Mubi debut of Magnus van Horn’s Sweat, which opens in theaters today, plus series on Jean-Claude Carriére and Luis Buñuel’s collaboration and a trio of films by the prolific Chilean master Raúl Ruiz. There will also be some recent festival favorites, including Arab Blues starring Golshifteh Farahani...
Also in the lineup will be the Mubi debut of Magnus van Horn’s Sweat, which opens in theaters today, plus series on Jean-Claude Carriére and Luis Buñuel’s collaboration and a trio of films by the prolific Chilean master Raúl Ruiz. There will also be some recent festival favorites, including Arab Blues starring Golshifteh Farahani...
- 6/18/2021
- by Jordan Raup
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Newsa number of this year's fall blockbusters have been delayed and rescheduled for 2021 releases, including Warner Bros.' The Batman, the latest James Bond picture No Time to Die, and Denis Villeneuve's Dune.Recommended VIEWINGSan Francisco Cinematheque has made the program Memories of Earth: (A)wake in a House of Worlds available for free online. The program, which includes artists from Yoko Ono and Yvonne Rainer to Sky Hopinka and Kevin Jerome Everson, features films that "recast notions of what constitutes the cinematic, the political and the poetic." From Ken Jacobs' Vimeo channel, his 2004 experimental feature Star Spangled to Death—a six-hour commentary and critique of the United States—in its entirety.An official trailer for Robert Zemeckis' adaptation of Roald Dahl's The Witches (produced by Guillermo Del Toro), set to premiere on HBO Max.
- 10/7/2020
- MUBI
Above: Ticket of No Return. Courtesy of Arsenal.Ulrike Ottinger’s Ticket of No Return (1979) opens on one of the last locations I laid eyes on before the sudden, pandemic-fueled termination of transatlantic travel: Berlin’s Tegel airport, its brutalist baggage claim mostly unchanged between the era of the film’s production and this February’s Berlinale. There, Ottinger was awarded the prestigious Berlinale Camera, recognizing her formative position in New German Cinema, a celebration overdue after years of her work being overlooked while more attention was lavished on her male counterparts. Ticket of No Return follows a sloppy socialite who lands in the city to imbibe till the point of demise, a desire that felt unfortunately familiar through the darkest months of the spring’s lockdown. Now, even as we tentatively re-emerge into an opening world, Ottinger’s filmography—the subject of a retrospective via Metrograph’s online platform...
- 9/24/2020
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSRenowned composer Krzysztof Penderecki, best known to moviegoers for his work in The Shining, Wild at Heart, and The Exorcist, has died. In the Guardian's guide to Penderecki's inspirational catalog, Philip Clark writesPartnering with Art House Convergence and Janus Films, the Criterion Collection has announced an online fundraiser for art house cinemas impacted by the Covid-19 pandemic. Funds will be distributed among theatres according to needs, and will go towards helping theatres survive temporary closures. Recommended VIEWINGThis week, the late Albert Maysle's final film In Transit is available to stream for free. The film follows passengers travelling across America aboard Amtrak's Empire Builder. In his review of the film at the 2015 Sundance Film Festival, Tanner Tafelski writes that the film has a "go-west-young-man romanticism, and plenty of humanism." Isiah Medina—whose films Semi-Auto Colours,...
- 4/1/2020
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
The films of Alfonso Cuarón are playing through Tuesday, including Children of Men, Sólo con tu pareja, and more in 35mm, Y tu mamá también, and Roma in 70mm.
MoMA
The 16th annual edition of To Save and Project is now underway, featuring newly restored films from Barbet Schroeder, Yvonne Rainer,...
Film Society of Lincoln Center
The films of Alfonso Cuarón are playing through Tuesday, including Children of Men, Sólo con tu pareja, and more in 35mm, Y tu mamá también, and Roma in 70mm.
MoMA
The 16th annual edition of To Save and Project is now underway, featuring newly restored films from Barbet Schroeder, Yvonne Rainer,...
- 1/4/2019
- by Nick Newman
- The Film Stage
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSApichatpong Weerasethakul's Blue.The Toronto International Film Festival is continuing to roll out an impressive (and massive) lineup of films, this time for its Masters and Wavelengths sections, including a mysterious 12-minute "portrait of feverish slumber" by Apichatpong Weerasethakul, entitled Blue, the international premiere of Naomi Kawase's Vision, about a woman's search for a Japanese medicinal plant in a strange forest, and the North American premiere of Jia Zhangke's gangster film Ash is Purest White.Recommended VIEWINGWith fall festival season upon us, a slew of new trailers has arrived: Firstly, Gaspar Noé is back with what is destined, based on reviews from Cannes, to be yet another contentious film. Lawrence Garcia wrote about the "virtuosic, infernal" film for Notebook. Here's the U.S. trailer. A sublime, oneiric first trailer for Naomi Kawase's aforementioned Tiff-bound Vision,...
- 8/15/2018
- MUBI
Illustration by Sergio MembrillasLegendary film critic Molly Haskell once wrote after seeing Francis Ford Coppola’s The Godfather that the final image of the film where Michael Corleone (Al Pacino) has the door closed on his wife, Kay (Diane Keaton), to conduct a business meeting has “reverberated through our culture” ever since. In terms of movies Haskell is specifically referring to the image’s metaphorical power of representing the course Hollywood would take in ignoring women for what is now, nearly fifty years. The image of Michael shutting the door essentially forces Kay into the fringes of his life and therefore the narrative of the movie, and I agree with Haskell that it has proven to be one of the more useful images in all of Hollywood, and filmmaking in general, ever since. What is ironic about the appearance of this culturally significant image in the early 70s is that...
- 7/17/2018
- MUBI
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Bam
Films by Elaine May, Yvonne Rainer, and Shirley Clarke play under “A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980.”
Metrograph
As an Emile de Antonio retro ends, four of Paul Schrader’s best films screen.
Quad Cinema
The long-longed-for Alan Rudolph retrospective continues and mustn’t be missed.
Museum of Modern Art...
Bam
Films by Elaine May, Yvonne Rainer, and Shirley Clarke play under “A Different Picture: Women Filmmakers in the New Hollywood Era, 1967—1980.”
Metrograph
As an Emile de Antonio retro ends, four of Paul Schrader’s best films screen.
Quad Cinema
The long-longed-for Alan Rudolph retrospective continues and mustn’t be missed.
Museum of Modern Art...
- 5/4/2018
- by Nick Newman
- The Film Stage
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
The great, perpetually underseen Raúl Ruiz is given the second part of his career-spanning series.
Film Forum
The immense Ingmar Bergman retrospective is now underway. You know what to do.
Metrograph
Films by Yvonne Rainer, Chantal Akerman, Agnès Varda, and more are playing as part of “Tell Me.”
Two King Hu films,...
Film Society of Lincoln Center
The great, perpetually underseen Raúl Ruiz is given the second part of his career-spanning series.
Film Forum
The immense Ingmar Bergman retrospective is now underway. You know what to do.
Metrograph
Films by Yvonne Rainer, Chantal Akerman, Agnès Varda, and more are playing as part of “Tell Me.”
Two King Hu films,...
- 2/8/2018
- by Nick Newman
- The Film Stage
“Titanic,” “Superman” and “The Goonies” are among 25 titles selected into the National Film Registry of the Library of Congress, it was announced Wednesday. These films were selected for their cultural, historic and/or aesthetic importance and range from “La Bamba” to “Die Hard,” spanning the period 1905 to 2000. The 2017 selections bring the number of films in the registry to 725. Other selections this year include Stanley Kramer’s 1967 “Guess Who’s Coming to Dinner,” Yvonne Rainer’s 1972 film “Lives of Performers,” Christopher Nolan’s “Memento,” “Spartacus” and “Ace in the Hole.”...
- 12/13/2017
- by Beatrice Verhoeven
- The Wrap
As is annual tradition, Librarian of Congress Carla Hayden has announced this year’s 25 film set to join the National Film Registry of the Library of Congress. Selected for their “cultural, historic and/or aesthetic importance,” the films picked range from such beloved actioners as “Die Hard,” childhood classic “The Goonies,” the seminal “Guess Who’s Coming to Dinner,” and the mind-bending “Memento,” with plenty of other genres and styles represented among the list.
The additions span 1905 to 2000, and includes Hollywood blockbusters, documentaries, silent movies, animation, shorts, independent, and even home movies. The 2017 selections bring the number of films in the registry to 725.
“The selection of a film to the National Film Registry recognizes its importance to American cinema and the nation’s cultural and historical heritage,” Hayden said in an official statement. “Our love affair with motion pictures is a testament to their enduring power to enlighten, inspire and...
The additions span 1905 to 2000, and includes Hollywood blockbusters, documentaries, silent movies, animation, shorts, independent, and even home movies. The 2017 selections bring the number of films in the registry to 725.
“The selection of a film to the National Film Registry recognizes its importance to American cinema and the nation’s cultural and historical heritage,” Hayden said in an official statement. “Our love affair with motion pictures is a testament to their enduring power to enlighten, inspire and...
- 12/13/2017
- by Kate Erbland
- Indiewire
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 725 films that celebrate our heritage and encapsulate our film history.
Today they’ve unveiled their 2017 list, which includes such Hollywood classics as Die Hard, Titanic, and Superman along with groundbreaking independent features like Yvonne Rainer’s Lives of Performers, Charles Burnett’s To Sleep with Anger, and Barbara Loden’s Wanda. Also making this list are a pair of Kirk Douglas-led features, Ace in the Hole and Spartacus, as well as Christopher Nolan’s Memento and more. Check out the full list below and you can watch some films on the registry for free here.
Ace in the Hole (aka Big Carnival) (1951)
Based on the infamous...
Today they’ve unveiled their 2017 list, which includes such Hollywood classics as Die Hard, Titanic, and Superman along with groundbreaking independent features like Yvonne Rainer’s Lives of Performers, Charles Burnett’s To Sleep with Anger, and Barbara Loden’s Wanda. Also making this list are a pair of Kirk Douglas-led features, Ace in the Hole and Spartacus, as well as Christopher Nolan’s Memento and more. Check out the full list below and you can watch some films on the registry for free here.
Ace in the Hole (aka Big Carnival) (1951)
Based on the infamous...
- 12/13/2017
- by Jordan Raup
- The Film Stage
Dani Leventhal's PlatonicThis review, I think, might best be understood as an example of “slow criticism.” This is a term coined by Filmkrant editor Dana Linssen to describe “wayward articles,” ones that have a personal or political element that is somehow not timely. We can imagine that the reverse of this is “fast criticism,” the up-to-the-minute report from a film festival, the 140-character response tweeted out the minute the first press screening is over. These thoughts are not timely. The Whitney Biennial closed on June 11th, and the film program screened its final program on May 21st. So although I expect many of these films to have a life long after their appearance at the Whitney, I am not providing any kind of late-breaking news flash from the film or art world by writing about these works in this forum.But in a way, that is the point. Even...
- 8/1/2017
- MUBI
Yvonne Rainer’s artistic output is a wellspring of innovation and singularity. In 1962, she co-founded the Judson Dance Theater and created new worlds with experimental, expressive movement that stripped dance of its spectacular nature in favor of creating a new language through the human body. But as daring as her choreography happened to be, she found the end result limiting at the time and looked for other outlets of expression. This is how Rainer came to filmmaking, and she took what she learned from dance to once again trail-blaze a path for her voice — this time in the landscape of art films in New York from the ’70s onward. To celebrate her work, the Film Society of Lincoln Center is offering a rare glimpse into the filmography of Rainer with a retrospective spanning her entire career, as well as influences, from July 21-27.
In the late ’60s, Rainer began infusing...
In the late ’60s, Rainer began infusing...
- 7/21/2017
- by The Film Stage
- The Film Stage
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Quad Cinema
Godard’s La Chinoise has been restored.
The Bava series continues, as do No Maps on My Taps and Zulawski’s That Most Important Thing: Love.
Metrograph
“A to Z” continues with Altman and Suzuki, while the Alain Tanner retro winds down, “‘Scope in the ’60s” plays, and Mary Poppins screens.
Film Society...
Quad Cinema
Godard’s La Chinoise has been restored.
The Bava series continues, as do No Maps on My Taps and Zulawski’s That Most Important Thing: Love.
Metrograph
“A to Z” continues with Altman and Suzuki, while the Alain Tanner retro winds down, “‘Scope in the ’60s” plays, and Mary Poppins screens.
Film Society...
- 7/21/2017
- by Nick Newman
- The Film Stage
Cate Blanchett and Julian Rosefeldt talk Manifesto animals and more inside the Crosby Street Hotel Photo: Anne-Katrin Titze
Through the words of Yvonne Rainer, Louis Aragon, Olga Rozanova, Guy Debord, Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia, Lebbeus Woods and others in Julian Rosefeldt's film Manifesto, a chameleonic Cate Blanchett in 14 roles, speaks lines of truth and dare to us giving them all new context in contemporary situations.
Cate Blanchett: "Julian and I were both in New York and we sat down and he had come up with sort of about fifty characters, about fifty, sixty different scenarios." Photo: Anne-Katrin Titze
The role of the Manifesto animals as being "another way of portraying humanity", how the changing of the settings each day "was a...
Through the words of Yvonne Rainer, Louis Aragon, Olga Rozanova, Guy Debord, Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia, Lebbeus Woods and others in Julian Rosefeldt's film Manifesto, a chameleonic Cate Blanchett in 14 roles, speaks lines of truth and dare to us giving them all new context in contemporary situations.
Cate Blanchett: "Julian and I were both in New York and we sat down and he had come up with sort of about fifty characters, about fifty, sixty different scenarios." Photo: Anne-Katrin Titze
The role of the Manifesto animals as being "another way of portraying humanity", how the changing of the settings each day "was a...
- 4/28/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Attempting to codify director Julian Rosefeldt’s Manifesto is like attempting to unify a mass of artistic movements into a clearly defined and coherent whole without contradiction. Which makes sense, as the apparent theme behind Rosefeldt’s film is that the nebulous nature of art defies definition or unification. In Manifesto, artistic movements interact with, react to, and undermine one another through the person of Cate Blanchett, who represents them on screen, and through the mis-en-scene that mirrors the essence of the words, just as the words mirror the essence of the art they describe.
Manifesto creates a loosely defined argument comprised of thirteen vignettes, all of them featuring Blanchett as the central character in a variety of roles from different social classes, ages, and professions (among them a school teacher, a punk, a grieving widow, an industrial worker, a socialite, and a homeless man). The monologues she speaks draw...
Manifesto creates a loosely defined argument comprised of thirteen vignettes, all of them featuring Blanchett as the central character in a variety of roles from different social classes, ages, and professions (among them a school teacher, a punk, a grieving widow, an industrial worker, a socialite, and a homeless man). The monologues she speaks draw...
- 4/27/2017
- by Lauren Humphries-Brooks
- We Got This Covered
Babette Mangolte. © Fleur van Muiswinkel If the name Babette Mangolte doesn’t ring with the same familiarity as such storied French cinematographers as Raoul Coutard and William Lubtchansky, it’s not for lack of innovation or accomplishment. Born in Montmorot in 1941, Mangolte moved to New York in 1970 following a number of years as an assistant cinematographer and apprentice to director Marcel Hanoun. There she quickly integrated herself into the city’s burgeoning experimental cinema scene, befriending luminaries such as Jonas Mekas and Stan Brakhage, and soon after met a 20-year-old Chantal Akerman whom she proceeded to collaborate with on a series of groundbreaking works throughout the mid-70s. Influenced as much by structuralism as the films of the French New Wave, Mangolte and Akerman deftly utilized time and space as cinematic conduits to visually articulate themes of dislocation, alienation, and female autonomy. Their most celebrated work, the landmark feminist dispositif Jeanne Dielman,...
- 3/30/2017
- MUBI
Exclusive: Deals have gone to multiple territories including Italy and Australia.
Following on from the North American deal announced with FilmRise yesterday, The Match Factory’s Cate Blanchett film Manifesto has racked up multiple other sales.
The film, directed by Julian Rosefeldt and feted in Sundance last month, has now sold to fifteen territories.
Manifesto premiered in Sundance last month. I Wonder Pictures has come on board for Italy and Madman for Australia and New Zealand, Cis and Baltics is with A-One and Front Row has the Middle East. The Match Factory expects to finalise deals with further territories, including UK, South Korea, Brazil and Scandinavia, in the next couple of days.
The film questions the role of the artist in society today. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogma 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers.
Manifesto also draws...
Following on from the North American deal announced with FilmRise yesterday, The Match Factory’s Cate Blanchett film Manifesto has racked up multiple other sales.
The film, directed by Julian Rosefeldt and feted in Sundance last month, has now sold to fifteen territories.
Manifesto premiered in Sundance last month. I Wonder Pictures has come on board for Italy and Madman for Australia and New Zealand, Cis and Baltics is with A-One and Front Row has the Middle East. The Match Factory expects to finalise deals with further territories, including UK, South Korea, Brazil and Scandinavia, in the next couple of days.
The film questions the role of the artist in society today. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogma 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers.
Manifesto also draws...
- 2/11/2017
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Pregnancy and childbirth are intensely physical events. Despite their bodily primacy, these experiences are freighted with various significations, running the gamut from the woman-centered skill sets of midwifery to the all-too-frequent scaremongering and misinformation of anti-choice politics. This is not surprising since bodies have their semiotic dimension. Everything has meaning. However, the fact that these human events are unavoidably located on and in the female body—a body whose very generative capacity has historically made it an object of fear—seems to produce an excess of verbiage, a lot of it denigrating or punitive. And often this discussion leaves little room for other knowledges—the haptic, the gestural, the somatic.So what if, for a brief moment, we observed silence? To be clear, silence is no solution to political aggression against women. The more persistent the braying of misogynist forces who claim to know best, the louder the protests must be,...
- 1/18/2017
- MUBI
Julian Rosefeldt’s Manifesto star Cate Blanchett is on Broadway in The Present, directed by John Crowley Photo: Anne-Katrin Titze
In 2014, Cate Blanchett starred with Isabelle Huppert in Andrew Upton's adaptation of Jean Genet's The Maids (Les Bonnes) at Lincoln Center. Now in New York, Blanchett appears live on stage at the Barrymore Theatre, opposite Richard Roxburgh in The Present, Upton's adaptation of Anton Chekhov's Platonov, and on screens in Julian Rosefeldt’s enthralling Manifesto at the Park Avenue Armory.
Cate Blanchett as CEO in Manifesto combines the ideas of Wassily Kandinsky, Franz Marc, Wyndham Lewis and Barnett Newman
The words of Yvonne Rainer, Mierle Laderman Ukeles, Olga Rozanova, Adrian Piper and Elaine Sturtevant flow alongside those of Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia,...
In 2014, Cate Blanchett starred with Isabelle Huppert in Andrew Upton's adaptation of Jean Genet's The Maids (Les Bonnes) at Lincoln Center. Now in New York, Blanchett appears live on stage at the Barrymore Theatre, opposite Richard Roxburgh in The Present, Upton's adaptation of Anton Chekhov's Platonov, and on screens in Julian Rosefeldt’s enthralling Manifesto at the Park Avenue Armory.
Cate Blanchett as CEO in Manifesto combines the ideas of Wassily Kandinsky, Franz Marc, Wyndham Lewis and Barnett Newman
The words of Yvonne Rainer, Mierle Laderman Ukeles, Olga Rozanova, Adrian Piper and Elaine Sturtevant flow alongside those of Lars von Trier, Stan Brakhage, Werner Herzog, Jim Jarmusch, Thomas Vinterberg, Tristan Tzara, Paul Éluard, Claes Oldenburg, Sol LeWitt, Barnett Newman, Kurt Schwitters, Francis Picabia, André Breton, Antonio Sant'Elia,...
- 12/28/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
I’ve been making 16mm durational urban landscape voiceover films, slowly but surely, since the late ‘90s. My short film Blue Diary premiered at the Berlinale in 1998. My two features, The Joy of Life (2005) and The Royal Road (2015) both premiered in the prestigious New Frontiers section at the Sundance Film Festival and have been as wildly successful as experimental films can be. Which is to say, they remain fairly obscure. My small but enthusiastic fan-base frequently asks me for recommendations of films that are similar to my own in terms of incorporating durational landscapes and voiceover and a meditative pace. While it is certainly one of the smallest subgenres in the realm of filmmaking, here are a handful of excellent landscape cinema examples by the practitioners I know best. I confess that my expertise here is limited and hope that the learned Mubi community will chime in with additions in the comments field below.
- 10/11/2016
- MUBI
Her Silent SeamingPerhaps more than most other forms of cinema, experimental film and video is an auteur’s medium through and through. Since the production model for avant-garde work is almost exclusively artisanal, with a single individual (or possibly a duo or an artists’ collective) making the work from a studio context similar to that or a sculptor or photographer, it only makes sense to consider these works are expressions of an artist’s point of view. As such, those of us who regularly engage with experimental work will inevitably use the artist as the primary mode of categorization—who to keep track of, who seems promising, etc.But there’s a bit more to it. One of the greatest joys of avant-garde filmgoing, as any fan will tell you, is seeing an expertly curated program of films, be they new short works, recontextualized classics, or some combination thereof. A...
- 1/22/2016
- by Michael Sicinski
- MUBI
The Berlinale presents the complete lineup of this year's Forum Expanded program: "The reference points here include genres such as science fiction (Larissa Sansour, Søren Lind, Clemens von Wedemeyer), war (Guy Maddin, Evan Johnson, Galen Johnson) or horror films (Anja Kirschner), Egyptian film and media history (Heba Amin, Islam Kamal, Mayye Zayed) as well as the work of directors such as Yvonne Rainer (Kerstin Schroedinger), Pier Paolo Pasolini (Anja Kirschner), Michelangelo Antonioni (Volker Sattel), Alain Resnais, Chris Marker (Joe Namy, Clemens von Wedemeyer), Ingmar Bergman (Maged Nader) or Jack Smith (Marie Losier). Museum and exhibition culture (Assad Gruber, Hila Peleg), the history of sculptures and monuments (Heinz Emigholz, Ahmad Ghossein, Joe Namy) or art concepts such as Lettrism (Mika Taanila) equally flow into new forms of expression within which the artists then position themselves." » - David Hudson...
- 1/21/2016
- Keyframe
The Berlinale presents the complete lineup of this year's Forum Expanded program: "The reference points here include genres such as science fiction (Larissa Sansour, Søren Lind, Clemens von Wedemeyer), war (Guy Maddin, Evan Johnson, Galen Johnson) or horror films (Anja Kirschner), Egyptian film and media history (Heba Amin, Islam Kamal, Mayye Zayed) as well as the work of directors such as Yvonne Rainer (Kerstin Schroedinger), Pier Paolo Pasolini (Anja Kirschner), Michelangelo Antonioni (Volker Sattel), Alain Resnais, Chris Marker (Joe Namy, Clemens von Wedemeyer), Ingmar Bergman (Maged Nader) or Jack Smith (Marie Losier). Museum and exhibition culture (Assad Gruber, Hila Peleg), the history of sculptures and monuments (Heinz Emigholz, Ahmad Ghossein, Joe Namy) or art concepts such as Lettrism (Mika Taanila) equally flow into new forms of expression within which the artists then position themselves." » - David Hudson...
- 1/21/2016
- Fandor: Keyframe
The alarm clock cries in my bedside table. 8am. Right, here we go. Grab clothes for yet another day, don’t forget the body soap, the moisturizer and the black mascara and off I go to start my daily ritual lively practiced inside my tiny toilet. Repetitive motions are evoked…teeth are washed, hair is brushed, boot laces are entwined around my unreliable feet, eggs are scrambled in the tormented pan, coffee is brewed, lights are shut, doors are locked, and a cigarette is delightedly lit—all as if I was skimming through the prologue of a novel I have lazily read too many times before. My feet move to the rhythm of the rain incessantly falling on the grey pavement and my bones fear the unpredictability of what may come in the following hours, but I never stop. I never do. (…) The ritual has somehow turned into tradition and...
- 12/31/2015
- by Susana Bessa
- MUBI
Film-maker pushed boundaries with her experimental, female-focused films.
Belgian-born experimental film-maker and artist Chantal Akerman has died at the age of 65.
Her long-time producer Patrick Quinet of Brussels-based Artemis Film confirmed Akerman’s death.
“She was a hugely important cineaste who by her singularity revolutionised parts of international cinema,” he told Afp.
Quinet did not give the cause of Akerman’s death but French newspaper Le Monde reported that the Paris-based film-maker committed suicide on Monday evening (Oct 5).
Career
Akerman was born in Brussels in 1950 to Jewish-Polish Holocaust survivors.
Her mother’s experiences in Auschwitz during World War Two, where she lost both her parents, would haunt Akerman all her life and permeate many of her works including the recent No Home Movie, which premiered at the Locarno Film Festival over the summer.
Akerman made her first film, Saute Ma Ville, in 1968 at age 17, having dropped out of film school in Belgium after just one term.
The...
Belgian-born experimental film-maker and artist Chantal Akerman has died at the age of 65.
Her long-time producer Patrick Quinet of Brussels-based Artemis Film confirmed Akerman’s death.
“She was a hugely important cineaste who by her singularity revolutionised parts of international cinema,” he told Afp.
Quinet did not give the cause of Akerman’s death but French newspaper Le Monde reported that the Paris-based film-maker committed suicide on Monday evening (Oct 5).
Career
Akerman was born in Brussels in 1950 to Jewish-Polish Holocaust survivors.
Her mother’s experiences in Auschwitz during World War Two, where she lost both her parents, would haunt Akerman all her life and permeate many of her works including the recent No Home Movie, which premiered at the Locarno Film Festival over the summer.
Akerman made her first film, Saute Ma Ville, in 1968 at age 17, having dropped out of film school in Belgium after just one term.
The...
- 10/6/2015
- ScreenDaily
Film-maker pushed boundaries with her experimental, female-focused films.
Belgian-born experimental film-maker and artist Chantal Akerman has died at the age of 65.
Her long-time producer Patrick Quinet of Brussels-based Artemis Film confirmed Akerman’s death.
“She was a hugely important cineaste who by her singularity revolutionised parts of international cinema,” he told Afp.
Quinet did not give the cause of Akerman’s death but French newspaper Le Monde reported that the Paris-based film-maker committed suicide on Monday evening (Oct 5).
Career
Akerman was born in Brussels in 1950 to Jewish-Polish Holocaust survivors.
Her mother’s experiences in Auschwitz during World War Two, where she lost both her parents, would haunt Akerman all her life and permeate many of her works including the recent No Home Movie, which premiered at the Locarno Film Festival over the summer.
Akerman made her first film, Saute Ma Ville, in 1968 at age 17, having dropped out of film school in Belgium after just one term.
The...
Belgian-born experimental film-maker and artist Chantal Akerman has died at the age of 65.
Her long-time producer Patrick Quinet of Brussels-based Artemis Film confirmed Akerman’s death.
“She was a hugely important cineaste who by her singularity revolutionised parts of international cinema,” he told Afp.
Quinet did not give the cause of Akerman’s death but French newspaper Le Monde reported that the Paris-based film-maker committed suicide on Monday evening (Oct 5).
Career
Akerman was born in Brussels in 1950 to Jewish-Polish Holocaust survivors.
Her mother’s experiences in Auschwitz during World War Two, where she lost both her parents, would haunt Akerman all her life and permeate many of her works including the recent No Home Movie, which premiered at the Locarno Film Festival over the summer.
Akerman made her first film, Saute Ma Ville, in 1968 at age 17, having dropped out of film school in Belgium after just one term.
The...
- 10/6/2015
- ScreenDaily
Film-maker pushed boundaries with her experimental, female-focused films.
Belgian-born experimental film-maker and artist Chantal Akerman has died at the age of 65.
Her long-time producer Patrick Quinet of Brussels-based Artemis Film confirmed Akerman’s death.
“She was a hugely important cineaste who by her singularity revolutionised parts of international cinema,” he told Afp.
Quinet did not give the cause of Akerman’s death but French newspaper Le Monde reported that the Paris-based film-maker committed suicide on Monday evening (Oct 5).
Career
Akerman was born in Brussels in 1950 to Jewish-Polish Holocaust survivors.
Her mother’s experiences in Auschwitz during World War Two, where she lost both her parents, would haunt Akerman all her life and permeate many of her works including the recent No Home Movie, which premiered at the Locarno Film Festival over the summer.
Akerman made her first film, Saute Ma Ville, in 1968 at age 17, having dropped out of film school in Belgium after just one term.
The...
Belgian-born experimental film-maker and artist Chantal Akerman has died at the age of 65.
Her long-time producer Patrick Quinet of Brussels-based Artemis Film confirmed Akerman’s death.
“She was a hugely important cineaste who by her singularity revolutionised parts of international cinema,” he told Afp.
Quinet did not give the cause of Akerman’s death but French newspaper Le Monde reported that the Paris-based film-maker committed suicide on Monday evening (Oct 5).
Career
Akerman was born in Brussels in 1950 to Jewish-Polish Holocaust survivors.
Her mother’s experiences in Auschwitz during World War Two, where she lost both her parents, would haunt Akerman all her life and permeate many of her works including the recent No Home Movie, which premiered at the Locarno Film Festival over the summer.
Akerman made her first film, Saute Ma Ville, in 1968 at age 17, having dropped out of film school in Belgium after just one term.
The...
- 10/6/2015
- ScreenDaily
Youth On The MARCHThere are 48 individual films screening in the Wavelengths section of this year’s Toronto International Film Festival. The relative importance of this section, amidst the vast array of offerings in this relatively huge festival, depends on your taste in movies, of course, to say nothing of your specific objectives. If you’re coming to Toronto to try to score a hot tip in this year’s Oscar race, well . . . I feel sorry for you on a number of levels. But Wavelengths is unlikely to be your jam. Originally conceived exclusively as a showcase for experimental and non-narrative films (hence the section’s title, a direct tribute to avant-garde master and Toronto native son Michael Snow), Wavelengths now encompasses the edgier, less commercial side of art cinema. This is the first of two preview essays, and my aim is to cover everything in the section. These are the...
- 9/12/2015
- by Michael Sicinski
- MUBI
Talk about a calm before the storm. This is one of those rare weekends where there are no new wide releases hitting multiplexes, but that means there are a lot of specialty films taking advantage of that fact and sneaking into area theaters. You can see all of this week's new releases below, but first we'll take a look at some of the unique repertory screenings booked around town over the next week.
The Austin Film Society is starting a three-week series turning the spotlight on comedian Jerry Lewis. It begins tonight at the Marchesa with one of his biggest hits, 1963's The Nutty Professor. Screening from a Dcp (digital print), it also plays again on Sunday evening. On Wednesday, they'll feature Rodrigo Reyes' Purgatorio for Doc Nights. The Afs website describes it as a "lyrical meditation on the border between the Us and Mexico." Thursday night brings another...
The Austin Film Society is starting a three-week series turning the spotlight on comedian Jerry Lewis. It begins tonight at the Marchesa with one of his biggest hits, 1963's The Nutty Professor. Screening from a Dcp (digital print), it also plays again on Sunday evening. On Wednesday, they'll feature Rodrigo Reyes' Purgatorio for Doc Nights. The Afs website describes it as a "lyrical meditation on the border between the Us and Mexico." Thursday night brings another...
- 12/5/2014
- by Matt Shiverdecker
- Slackerwood
The following article accompanies the audiovisual essay Paratheatre - Plays Without Stages (From I to IV) by Adrian Martin and Cristina Álvarez López and commissioned by Chris Luscri for the 2014 Melbourne International Film Festival premiere of Jacques Rivette's 1971 magnum opus Out 1 - Noli me tangere.
In Jacques Rivette’s monumental Out 1 (1971), we see two theatrical works perpetually in progress — until, due to the force of many factors both internal and external, both projects collapse. Yet what we witness are not, in any conventional or normative sense, rehearsals. They are more like what Jerzy Grotwoski called paratheatre: playing without a stage, without an audience ever in mind or in attendance, playing for the sake of playing itself, for the process of working it out and working it through.
Every critical commentary on Out 1 (and its double, Out 1: Spectre from 1974) refers to the prominent place in it of theatre — a prominent place it enjoys,...
In Jacques Rivette’s monumental Out 1 (1971), we see two theatrical works perpetually in progress — until, due to the force of many factors both internal and external, both projects collapse. Yet what we witness are not, in any conventional or normative sense, rehearsals. They are more like what Jerzy Grotwoski called paratheatre: playing without a stage, without an audience ever in mind or in attendance, playing for the sake of playing itself, for the process of working it out and working it through.
Every critical commentary on Out 1 (and its double, Out 1: Spectre from 1974) refers to the prominent place in it of theatre — a prominent place it enjoys,...
- 8/7/2014
- by Cristina Álvarez López & Adrian Martin
- MUBI
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