Spain’s Basque Country, an ever-evolving film hub, continues to see a consolidation of talent driven by an animation boom alongside an increase in the production of ambitious genre cinema, marked by the colossal success of recent projects on streaming platforms and pick-ups by labs and festivals.
As San Sebastian unspools, the sequel to “The Platform,” the second most watched non-English Netflix movie in the streamer’s history, is in production in the Basque Country, produced by Carlos Juárez at Basque Films. Director Paul Urkijo, who opened the Fantastic Pavilion, heads to the fest to screen“Irati,” which has broken box office records for a Basque film and continues its prize trawl at festivals.
Spanish helmer Carlota Pereda’s follow-up to “Piggy,” “The Chapel” was produced in the region by Filmax and the Basque Country’s Bixagu, co-founded by producer Iñaki Gómez and amusing and intimate short effort “Priorities,” (“Prioridades”) from writer-director Tamara Lucarini Cortés,...
As San Sebastian unspools, the sequel to “The Platform,” the second most watched non-English Netflix movie in the streamer’s history, is in production in the Basque Country, produced by Carlos Juárez at Basque Films. Director Paul Urkijo, who opened the Fantastic Pavilion, heads to the fest to screen“Irati,” which has broken box office records for a Basque film and continues its prize trawl at festivals.
Spanish helmer Carlota Pereda’s follow-up to “Piggy,” “The Chapel” was produced in the region by Filmax and the Basque Country’s Bixagu, co-founded by producer Iñaki Gómez and amusing and intimate short effort “Priorities,” (“Prioridades”) from writer-director Tamara Lucarini Cortés,...
- 9/26/2023
- by Holly Jones
- Variety Film + TV
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of the Moving Image
An Asteroid City-themed series programmed by Wes Anderson and Jake Perlin includes 35mm prints of Some Came Running and Alice Doesn’t Live Here Anymore; Blow Out shows on 35mm this Sunday, while Rope plays in a queer cinema series.
Bam
A retrospective of the great Juliet Berto brings Celine and Julie, Godard’s Weekend, and more.
Museum of Modern Art
A tribute to casting directors Ellen Lewis and Laura Rosenthal brings prints of Goodfellas and I’m Not There, as well as Dead Man.
Roxy Cinema
35mm prints of The Fifth Element and Eastwood’s The Gauntlet screen this weekend, while J. Hoberman and Ken Jacobs present a tribute to Jack Smith; 4K restorations of The Trial, The Doom Generation, and Dogville play.
Film at Lincoln Center
Béla Tarr’s Werckmeister Harmonies continues showing in a long-overdue restoration.
Museum of the Moving Image
An Asteroid City-themed series programmed by Wes Anderson and Jake Perlin includes 35mm prints of Some Came Running and Alice Doesn’t Live Here Anymore; Blow Out shows on 35mm this Sunday, while Rope plays in a queer cinema series.
Bam
A retrospective of the great Juliet Berto brings Celine and Julie, Godard’s Weekend, and more.
Museum of Modern Art
A tribute to casting directors Ellen Lewis and Laura Rosenthal brings prints of Goodfellas and I’m Not There, as well as Dead Man.
Roxy Cinema
35mm prints of The Fifth Element and Eastwood’s The Gauntlet screen this weekend, while J. Hoberman and Ken Jacobs present a tribute to Jack Smith; 4K restorations of The Trial, The Doom Generation, and Dogville play.
Film at Lincoln Center
Béla Tarr’s Werckmeister Harmonies continues showing in a long-overdue restoration.
- 6/2/2023
- by Nick Newman
- The Film Stage
The Film
At its most granular level, cinema is a delusion. By running still pictures in front of a projector at 24 frames per second, our brain is tricked into believing that they are moving. Further, each time we sit down in front of a film, we are asking to be transported away from our own world into one whose boundaries and conditions are set for us by the filmmakers, and to believe, for two hours or so, that this is a different reality that we are being allowed to experience.
At its broadest level, Arrebato is about two filmmakers. José (Eusebio Poncela) makes low budget horror. He doesn’t seem to like his films very much, but he’s clearly at least somewhat successful. On a location scout, he meets the other filmmaker, Pedro (Will More), who is in his late teens or early twenties, and makes experimental films playing around with frame rates.
At its most granular level, cinema is a delusion. By running still pictures in front of a projector at 24 frames per second, our brain is tricked into believing that they are moving. Further, each time we sit down in front of a film, we are asking to be transported away from our own world into one whose boundaries and conditions are set for us by the filmmakers, and to believe, for two hours or so, that this is a different reality that we are being allowed to experience.
At its broadest level, Arrebato is about two filmmakers. José (Eusebio Poncela) makes low budget horror. He doesn’t seem to like his films very much, but he’s clearly at least somewhat successful. On a location scout, he meets the other filmmaker, Pedro (Will More), who is in his late teens or early twenties, and makes experimental films playing around with frame rates.
- 5/4/2023
- by Sam Inglis
- HeyUGuys.co.uk
France’s Tamasa Distribution has acquired a number of new films and classic titles, including works by Volker Schlondörff, Signe Baumane, Alain Cavalier and Jean-Louis Bertucelli.
The Paris-based distributor secured Schlondörff’s new documentary “The Forest Maker,” a portrait of Australian agronomist Tony Rinaudo, who has found a way to grow trees in the most barren areas by activating the tree stumps and roots that have continued to live for decades. Known as Farmer Managed Natural Regeneration, the method has secured the livelihood of thousands of farmers in Africa’s Sahel region, restoring not only soil but dignity and hope.
“My Love Affair With Marriage”
Tamasa also picked up Baumane’s award-wining animated film “My Love Affair With Marriage,” which premiered this year at the Tribeca Festival and won the jury prize at the Annecy Animation Festival. It follows Zelma, who is convinced from an early age that love would...
The Paris-based distributor secured Schlondörff’s new documentary “The Forest Maker,” a portrait of Australian agronomist Tony Rinaudo, who has found a way to grow trees in the most barren areas by activating the tree stumps and roots that have continued to live for decades. Known as Farmer Managed Natural Regeneration, the method has secured the livelihood of thousands of farmers in Africa’s Sahel region, restoring not only soil but dignity and hope.
“My Love Affair With Marriage”
Tamasa also picked up Baumane’s award-wining animated film “My Love Affair With Marriage,” which premiered this year at the Tribeca Festival and won the jury prize at the Annecy Animation Festival. It follows Zelma, who is convinced from an early age that love would...
- 10/17/2022
- by Ed Meza
- Variety Film + TV
A restored version of Iván Zulueta’s ground-breaking 1979 film “Arrebato” (“Rapture”) is screening at the Lumière Festival’s International Classic Film Market (Mifc) in Lyon, France, thanks to Los Angeles distributor Altered Innocence and Madrid’s Mercury Films.
The cult film, considered a milestone in Spanish cinema from the post-Franco years, is seen as metaphor for how directors can be consumed by filmmaking. It centers on José, a frustrated low-budget horror movie director trying to complete a film while struggling with drug addiction. When he receives a package from past acquaintance Pedro — a Super-8 film reel and audiotape – José soon finds himself sucked back into the eccentric young man’s vampiric orbit.
“‘Arrebato’ has such a rich mix of horror influences, punk aesthetics, arthouse vibes, and queer cinema history that audiences can’t help being enraptured by this total gem of a film,” says Frank Jaffe, founder and head of Altered Innocence.
The cult film, considered a milestone in Spanish cinema from the post-Franco years, is seen as metaphor for how directors can be consumed by filmmaking. It centers on José, a frustrated low-budget horror movie director trying to complete a film while struggling with drug addiction. When he receives a package from past acquaintance Pedro — a Super-8 film reel and audiotape – José soon finds himself sucked back into the eccentric young man’s vampiric orbit.
“‘Arrebato’ has such a rich mix of horror influences, punk aesthetics, arthouse vibes, and queer cinema history that audiences can’t help being enraptured by this total gem of a film,” says Frank Jaffe, founder and head of Altered Innocence.
- 10/16/2022
- by Ed Meza
- Variety Film + TV
The Lumière Festival’s International Classic Film Market (Mifc) in Lyon, France, is celebrating its 10th edition this year with a wide-ranging program focusing on bolstering classic film distribution, the prospects of new commercial territories, film education and a focus on Spain’s heritage film sector.
The Mifc, which runs Oct. 18-21, kicks off with a keynote by Gian Luca Farinelli, director of Italy’s Cineteca di Bologna film archive. Market organizers praise Farinelli for “allowing classic films to be found, restored, reviewed and, most often, put back on the market firstly through the Il Cinema Ritrovato Festival, exhibition and distribution activities within the foundation, while maintaining strong links with cinemathques from around the world.”
Farinelli’s work, the Mifc notes, “contributes to ensuring that the history of cinema is always active, alive and accessible.” Many who work in the classic film sector would second that opinion.
The Classic Film Market,...
The Mifc, which runs Oct. 18-21, kicks off with a keynote by Gian Luca Farinelli, director of Italy’s Cineteca di Bologna film archive. Market organizers praise Farinelli for “allowing classic films to be found, restored, reviewed and, most often, put back on the market firstly through the Il Cinema Ritrovato Festival, exhibition and distribution activities within the foundation, while maintaining strong links with cinemathques from around the world.”
Farinelli’s work, the Mifc notes, “contributes to ensuring that the history of cinema is always active, alive and accessible.” Many who work in the classic film sector would second that opinion.
The Classic Film Market,...
- 10/16/2022
- by Ed Meza
- Variety 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.
Arrebato (Iván Zulueta)
That Arrebato has waited more than 40 years to receive a bona fide U.S. theatrical run is wild; it lives up to the cult-classic status it’s held since 1979. (The marketing push highlights it being Pedro Almodóvar’s favorite horror film.) Its parts recall many later works as diverse as Trainspotting and The Ring, its depiction of addiction and stasis leading us towards a legitimately brilliant ending that brings the whole thing into meta territory with its film-within-a-film coaxing us to enter the fray ourselves. Our need for answers ratchets up to a potent boiling point, as is surely Zulueta’s intent. He’s not interested in the release, just the rapture. He wants us to chase the high...
Arrebato (Iván Zulueta)
That Arrebato has waited more than 40 years to receive a bona fide U.S. theatrical run is wild; it lives up to the cult-classic status it’s held since 1979. (The marketing push highlights it being Pedro Almodóvar’s favorite horror film.) Its parts recall many later works as diverse as Trainspotting and The Ring, its depiction of addiction and stasis leading us towards a legitimately brilliant ending that brings the whole thing into meta territory with its film-within-a-film coaxing us to enter the fray ourselves. Our need for answers ratchets up to a potent boiling point, as is surely Zulueta’s intent. He’s not interested in the release, just the rapture. He wants us to chase the high...
- 3/18/2022
- by Jordan Raup
- The Film Stage
Rarely one finds a friend on the Criterion Channel—discounting the parasitic relationship we form with filmmakers, I mean—but it’s great seeing their March lineup give light to Sophy Romvari, the <bias>exceptionally talented</bias> filmmaker and curator whose work has perhaps earned comparisons to Agnès Varda and Chantal Akerman but charts its own path of history and reflection. It’s a good way to lead into an exceptionally strong month, featuring as it does numerous films by Pier Paolo Pasolini, the great Japanese documentarian Kazuo Hara, newfound cult classic Arrebato, and a number of Criterion editions.
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
On the last front we have The Age of Innocence, Bull Durham, A Raisin in the Sun, The Celebration, Merrily We Go to Hell, and Design for Living. There’s always something lingering on the watchlist, but it might have to wait a second longer—March is an opened floodgate.
See the full...
- 2/21/2022
- by Nick Newman
- The Film Stage
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.
Antlers (Scott Cooper)
Scott Cooper is comfortable in the mud. The American director routinely finds himself in the confines of the lowdown and dirty, in gritty landscapes with working-class characters overcoming their shortcomings and often turning to violence to solve their problems. While his previous two features Black Mass and Hostiles failed to find tension in their deliberately tedious pacing, Antlers strikes the balance between methodology, terror, and blue-collar dynamics. – Erik N. (full review)
Where to Stream: VOD
Arrebato (Iván Zulueta)
That Arrebato has waited more than 40 years to receive a bona fide U.S. theatrical run is wild; it lives up to the cult-classic status it’s held since 1979. (The marketing push highlights it being Pedro Almodóvar’s favorite horror film.
Antlers (Scott Cooper)
Scott Cooper is comfortable in the mud. The American director routinely finds himself in the confines of the lowdown and dirty, in gritty landscapes with working-class characters overcoming their shortcomings and often turning to violence to solve their problems. While his previous two features Black Mass and Hostiles failed to find tension in their deliberately tedious pacing, Antlers strikes the balance between methodology, terror, and blue-collar dynamics. – Erik N. (full review)
Where to Stream: VOD
Arrebato (Iván Zulueta)
That Arrebato has waited more than 40 years to receive a bona fide U.S. theatrical run is wild; it lives up to the cult-classic status it’s held since 1979. (The marketing push highlights it being Pedro Almodóvar’s favorite horror film.
- 12/24/2021
- by Jordan Raup
- The Film Stage
Known as Pedro Almodóvar’s favorite horror film, 1979’s arthouse movie Arrebato (Rapture), is coming off its first U.S. theatrical run and going to video on demand and then DVD/Blu-ray. Altered Innocence has put together a stunning new 4K restoration of the mind-bending film about drug addiction, sex, and altered consciousness, written and directed by Spanish filmmaker and artist Iván Zulueta.
Playing like an extended drug trip, Arrebato opens with low budget filmmaker José Sirgado, played by Eusebio Poncela, editing a black and white vampire sequence from his latest horror movie. José is frustrated with the way the movie is coming along and leaves and goes home, where he finds his ex-girlfriend, Ana (Cecilia Roth), passed out. José receives an odd package in the mail which contains a cassette tape, a Super 8 film, and a key. The package is from an aspiring filmmaker named Pedro, played enthusiastically by Will More,...
Playing like an extended drug trip, Arrebato opens with low budget filmmaker José Sirgado, played by Eusebio Poncela, editing a black and white vampire sequence from his latest horror movie. José is frustrated with the way the movie is coming along and leaves and goes home, where he finds his ex-girlfriend, Ana (Cecilia Roth), passed out. José receives an odd package in the mail which contains a cassette tape, a Super 8 film, and a key. The package is from an aspiring filmmaker named Pedro, played enthusiastically by Will More,...
- 12/21/2021
- by Michelle Swope
- DailyDead
Late Spanish director Iván Zulueta’s lost cult horror film Arrebato, or Rapture, is currently in its first theatrical run stateside after opening abroad in 1980. Cited a favorite by filmmaker Pedro Almodóvar (The Skin I Live In), the new 4K restoration of Arrebato delivers arthouse psychological horror to the masses; only the horror here is more on the phantasmagorical, meditative […]...
- 10/15/2021
- by Meagan Navarro
- bloody-disgusting.com
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Memoria (2021)Distributor Neon has announced its release plans for Apichatpong Weerasethakul's Memoria: Playing only in theaters, Memoria will be “moving from city to city, theater to theater, week by week, playing in front of only one solitary audience at any given time.”Tilda Swinton and George Mackay will be starring in the next film by Joshua Oppenheimer (The Act of Killing and The Look of Silence). Titled The End, the film has been described as a "a Golden Age musical about the last human family." Co-programmed by James Hansen & Eric Souther, Light Matter Festival is a new "moving-image art festival dedicated to experimental film and media arts." Taking place in Alfred, New York, the festival will be screening films by Simon Liu, Mary Helena Clark, Lynne Sachs, and more. Sylvester Stallone's...
- 10/6/2021
- MUBI
In one of the first scenes of Arrebato (1979), José (Eusebio Poncela), a B-movie director, argues with an editor over the final scene of what’s unmistakably a low-budget vampire flick—specifically, whether or not to include a shot of an actress making eye contact with the camera. “It’s the only interesting thing in the whole picture,” he says, yawning. “She stares at the audience, and they’ll get it that she’s delighted to be a vampire.” What seems so obvious that it’s boring to José is likely an homage to Bill Gunn’s ignored–in–America but adored–in–Europe Ganja & Hess (1973), which ends exactly as he describes: with a freshly–christened Ganja, dreamily locking eyes with viewers. Ganja and Hess / ArrebatoDespite his pretensions, José refuses to continue working—“Fuck the movies,” he says not a minute later. On his way out, he smears a few...
- 10/1/2021
- MUBI
It’s not until heroin is mentioned that Ana Turner (Cecilia Roth) stops and reconsiders the offer to partake by boyfriend José Sirgado (Eusebio Poncela). She’s game for acid and coke, but that stuff causes addiction. It ruins lives. “Not if you don’t take too much,” he says—a line he recently heard from an acquaintance named Pedro (Will More). This guy is a basket-case recluse who can barely muster two words while looking creepy in the corner of the room, staring daggers through the back of José’s skull. After snorting some heroin, though? He’s a Rhodes scholar ready to take on the world with slicked-back hair and confidence to spare. That’s when Pedro can explain his art and prove it’s more than what you can see.
This is a necessity, considering José is a “real” filmmaker scouting locations for his first movie starring Ana.
This is a necessity, considering José is a “real” filmmaker scouting locations for his first movie starring Ana.
- 9/28/2021
- by Jared Mobarak
- The Film Stage
Arrebato: "Horror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film, an audiotape, and a door key. From there, the boundaries of time, space, and sexuality are erased as José is once more sucked into Pedro’s vampiric orbit. Together, they attempt the ultimate hallucinogenic catharsis through a moebius strip of filming and being filmed."
"Brand-new 4K restoration of Iván Zulueta's 1979 feature Arrebato, a dimension-shattering blend of heroin, sex, and Super-8 is the final word on cinemania. This towering feat of counterculture was the final film from Zulueta, Spanish cult filmmaker and movie poster designer.
Never before released theatrically in the U.S.A, Altered Innocence is thrilled to bring Zulueta’s vision,...
"Brand-new 4K restoration of Iván Zulueta's 1979 feature Arrebato, a dimension-shattering blend of heroin, sex, and Super-8 is the final word on cinemania. This towering feat of counterculture was the final film from Zulueta, Spanish cult filmmaker and movie poster designer.
Never before released theatrically in the U.S.A, Altered Innocence is thrilled to bring Zulueta’s vision,...
- 9/20/2021
- by Jonathan James
- DailyDead
"Hallucinema!" Time to drop some acid and dive in. Altered Innocence has released a brand new trailer for the 4K restoration and re-release of the 1979 of Iván Zulueta's "cult masterpiece" 1979 feature Arrebato, which translates to Rapture. Described as "a dimension-shattering blend of heroin, sex, and Super-8 is the final word on cinemania. This towering feat of counterculture was the final film from Zulueta, Spanish cult filmmaker and movie poster designer." It's apparently Pedro Almodóvar's favorite horror film (he calls it "an absolute modern classic") and is also said to capture "an addiction/obsession to cinema better than any other film that I can think of..." The very meta Spanish film is about a filmmaking trying to make his second film, much like Zulueta. A low budget horror filmmaker gets in touch with an eccentric who is trying to film his consciousness during intense drug abuse. Starring Eusebio Poncela,...
- 9/17/2021
- by Alex Billington
- firstshowing.net
For years I’ve been haunted by Arrebato, though my memory of it is hardly concrete. I saw Iván Zulueta’s cult masterpiece on a battered print at Anthology Film Archives—the kind of print that at any moment could burn up à la Two-Lane Blacktop or spin out of the projector. Which, of course, would’ve befit its hugely evil vibes.
Less a film experience than shocked memory, Arrebato is not the film I’d expect to see upgraded—let alone a 4K restoration that looks absolutely fantastic. But Altered Innocence will release a new 35mm print, at Anthology, on October 1 and at LA’s Nuart on October 8, a Pedro Almodóvar approval in tow.
Find the preview and poster below:
The post Trailer for Spanish Horror Classic Arrebato Shows Almodóvar-Approved 4K Restoration first appeared on The Film Stage.
Less a film experience than shocked memory, Arrebato is not the film I’d expect to see upgraded—let alone a 4K restoration that looks absolutely fantastic. But Altered Innocence will release a new 35mm print, at Anthology, on October 1 and at LA’s Nuart on October 8, a Pedro Almodóvar approval in tow.
Find the preview and poster below:
The post Trailer for Spanish Horror Classic Arrebato Shows Almodóvar-Approved 4K Restoration first appeared on The Film Stage.
- 9/17/2021
- by Leonard Pearce
- The Film Stage
Late Spanish director Iván Zulueta’s lost cult horror masterpiece “Arrebato” — also known in English as “Rapture” — is finally getting its first United States theatrical run four decades after opening abroad in 1980. It also happens to be among the favorite horror movies of fellow Spanish director Pedro Almodóvar. Altered Innocence will release this brain-bending, phantasmagoric blend of heroin, sex, and Super-8 beginning at the Anthology Film Archive in New York on October 1, followed by a Los Angeles release in the Nuart on October 8. Exclusive to IndieWire, watch the trailer for the new restoration below.
Here’s the synopsis courtesy of Altered Innocence: “Horror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film, an audiotape,...
Here’s the synopsis courtesy of Altered Innocence: “Horror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film, an audiotape,...
- 9/14/2021
- by Ryan Lattanzio
- Indiewire
Altered Innocence Presents A New 4K Restoration Of Arrebato (Rapture) Released For The First Time In The U.S! First look at new restoration of Iván Zulueta’s cult masterpiece unveiled ahead of limited theatrical run this October and home video release 10/1 In NYC At Anthology Film Archive 10/8 In LA At Landmark’S Nuart Theatre Don’t …
The post Altered Innocence Announces 4K Restoration of Arrebato (Rapture) – First US Theatrical Run of the Cult Masterpiece appeared first on Horror News | Hnn.
The post Altered Innocence Announces 4K Restoration of Arrebato (Rapture) – First US Theatrical Run of the Cult Masterpiece appeared first on Horror News | Hnn.
- 8/19/2021
- by Adrian Halen
- Horror News
Altered Innocence announces a 4K Restoration of Arrebato (Rapture).
Never before released theatrically in the U.S.A, Altered Innocence is thrilled to bring Zulueta’s vision, and Pedro Almodóvar’s favorite horror film, to a wider audience for the first time this fall.
Horror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film, an audiotape, and a door key. From there, the boundaries of time, space, and sexuality are erased as José is once more sucked into Pedro’s vampiric orbit. Together, they attempt the ultimate hallucinogenic catharsis through a moebius strip of filming and being filmed.
The post Pedro Almodóvar’s Favorite Horror Film Arrebato (Rapture) Gets a 4k Restoration – Here’s...
Never before released theatrically in the U.S.A, Altered Innocence is thrilled to bring Zulueta’s vision, and Pedro Almodóvar’s favorite horror film, to a wider audience for the first time this fall.
Horror movie director José is adrift in a sea of doubt and drugs. As his belated second feature nears completion, his reclusive bubble is popped by two events: a sudden reappearance from an ex-girlfriend and a package from past acquaintance Pedro: a reel of Super-8 film, an audiotape, and a door key. From there, the boundaries of time, space, and sexuality are erased as José is once more sucked into Pedro’s vampiric orbit. Together, they attempt the ultimate hallucinogenic catharsis through a moebius strip of filming and being filmed.
The post Pedro Almodóvar’s Favorite Horror Film Arrebato (Rapture) Gets a 4k Restoration – Here’s...
- 8/16/2021
- by Tom Stockman
- WeAreMovieGeeks.com
Every few years a friend either asks me about, or I introduce a friend to, the strangeness and quiet insanity that is Arrebato [Rapture]. A masterpiece by poster designer Iván Zulueta, a cult film that is a mind-altering combination of horror, social realism, surrealism, thriller, erotica, and all-around weirdness, it remains both an underground oddity.. I've watched it enough times now with subtitles to finally know and yet have no idea what's happening; and yet everytime it draws me into its understated nightmare. And now, we can all give thanks to Altered Innocence, who will present...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 8/14/2021
- Screen Anarchy
Mubi will be showing the retrospective Philippe Garrel: Fight for Eternity from May 1 - July 5, 2017 in most countries around the world.Les enfants désaccordésQuestion: I must ask you here about one concept you discuss in your book, one that also might be thought of, next to the structural work, as another way to break from the story in the film. The concept is muzan, and I find it quite difficult to think of a proper translation of it into English. How do you employ this concept into your films, and does it, in fact, have anything to do with the way you wish to break away from the story?
Yoshishige Yoshida: I understand the word in itself, as you would understand the literal meaning of the kanji: something which expresses the impossibility of attaining stability or change for the better. Yes, I believe this is the meaning of the concept that I use.
Yoshishige Yoshida: I understand the word in itself, as you would understand the literal meaning of the kanji: something which expresses the impossibility of attaining stability or change for the better. Yes, I believe this is the meaning of the concept that I use.
- 5/30/2017
- MUBI
Above: Spanish poster for Pepi, Luci, Bom (Pedro Almodóvar, Spain, 1980). Artist: Ceesepe.Is there a contemporary filmmaker with a more vivid graphic sensibility than Pedro Almodóvar? His always distinctive films, with their bold colors, deliberate blocking and impeccable set design, often look like cartoons or magazine spreads come to life. Following suit, the posters for his films have always been a testament to his aesthetic, whether in his scrappy underground days or his far more polished later years. With his 20th feature film, Julieta, opening December 21, and a Museum of Modern Art retrospective beginning in New York next Tuesday, I thought it was high time I featured the best artwork of Almodóvar’s 40 year career.Any cinephile in their twenties might be forgiven for thinking that Almodóvar is the most establishment of arthouse directors: perennially fêted by Cannes and the New York Film Festival, winner of two Oscars, and, since the late 1990s,...
- 11/29/2016
- MUBI
This spring, David Domingo, one of Spain’s most important underground filmmakers, embarks on his first U.S. tour, organized by Los Angeles Filmforum. He is presenting his unique super-8 films in super-8mm. Domingo, aka Stanley Sunday lets his imagination run wild and exposes his own fantastic universe through a highly iconoclast and hilarious associative cascade. His personal imagery includes a series of popular artifacts and icons such as Disney films, Michael Jackson, picture-card albums, comic-book superheroes, and cassette.
There is also a homoerotic imagery and a series of recurring motifs with an explicit sexual symbology, such as the phallic Frankfurt Weiner, which has become his trademark. By combining footage taken from classic films or B-movies with his own shootings, and abstract moments with life-action scenes played by his own “star-system”, David Domingo deconstructs normal hierarchies and cause-effect approaches in order to generate a continuous flow of images which create surprising and enigmatic associations.
Here are the details:
What: David Domingo: A Super 8 Odyssey. David Domingo in person from Spain!
When: Sunday April 24, 2016, 7:30 pm.
Where: At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028
Tickets: $10 general; $6 students/seniors; free for Filmforum members.
Available in advance from Brown Paper Tickets at http://daviddomingo.bpt.me or at the door.
Screening:
A Super 8 Odyssey: A program of David Domingo’s splendorous Super 8 films
- "Súper 8" (Super 8) (1996, color, sound, 7:44)
-"La mansión acelerada" (The Speedy Mansion) (1997, b&w, sound, 10 min.)
-"Desayunos y meriendas" (Breakfast and Snacks) (2002, color, sound, 7 min.)
-"Rayos y centellas" (What the…!) (2004, color, sound, 3:52)
-"Película sudorosa" (Sweaty Movie) (2009, color/b&w, sound, 18 min.)
-"A Movie that Portrays the Wonders of the World as Seen Through the Eyes of a Cat" (Disney Attraction Highlights Nº 1) (2009, color/b&w, sound, 5 min.)
David Domingo (aka Stanley Sunday, aka Davidson) was born in Valencia in 1973. He is currently based in Barcelona. Through 18 short films, 3 feature-length videos (including his personal vision of Disney´s "Bambi and The Exorcist. The Musical"), plenty of music videos for independent bands, crazy live performances of Super 8 and 16 mm screenings, and his quinquennial fanzine “One day in the life of Jonas Mekas”, he has become one of the main underground film makers in Spain. In his early days he just used a VHS camera and player to make remakes, found footage films and homemade short films starred by his sister and grandmother. However, he soon turned to Super8, the format most of his work is filmed on. He shows a deep knowledge of avant-garde and experimental film tradition, paying homage to the films by Bruce Conner, Andy Warhol, Iván Zulueta, Kenneth Anger or the Kuchar Brothers through quotations and references.
After broadening his horizons through the incursion in 16 mm filmmaking, more recently he has started to use digital technology, which has enabled him to go beyond by finding new textures and possibilities.
David Domingo’s films have been screened and exhibited in some of the main museums, art centers and film festivals in Spain, such as Xcèntric (the cinema of the Center for Contemporary Culture in Barcelona), Museo Nacional Centro de Arte Reina Sofía, Centro de Arte Dos de Mayo and La Casa Encendida in Madrid, Centro Galego de Artes da Imaxe and S(8) Mostra de cine periférico in Coruña, Sitges International Fantastic Film Festival of Catalonia or Valencia´s Festival Cinema Jove.
The program “A Super 8 Odyssey” shows his most emblematic Super 8 films, starting with his acclaimed first short film, Super 8 (1996), which was chosen as part of the traveling film program “From ecstasy to rapture. 50 years of the other Spanish cinema”, curated by the Contemporary Culture Center from Barcelona (Cccb), and screened at the Acmi (Australian Centre for the Moving Image, Melbourne, Australia), Anthology Film Archives (NYC, USA), National Gallery of Art (Washington DC, USA), Tiff Cinematheque (Toronto, Canada), Pacific Cinematheque (Vancouver, Canada), Národní filmový archiv in Prague (Czech Republic), Jeu de Paume (Paris, France), Tate Modern (London, UK), Wro Art Center (Wroclaw, Poland), or National Gallery of Art (Vilnius, Lituania), amongst many other venues.
There is also a homoerotic imagery and a series of recurring motifs with an explicit sexual symbology, such as the phallic Frankfurt Weiner, which has become his trademark. By combining footage taken from classic films or B-movies with his own shootings, and abstract moments with life-action scenes played by his own “star-system”, David Domingo deconstructs normal hierarchies and cause-effect approaches in order to generate a continuous flow of images which create surprising and enigmatic associations.
Here are the details:
What: David Domingo: A Super 8 Odyssey. David Domingo in person from Spain!
When: Sunday April 24, 2016, 7:30 pm.
Where: At the Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd., Los Angeles CA 90028
Tickets: $10 general; $6 students/seniors; free for Filmforum members.
Available in advance from Brown Paper Tickets at http://daviddomingo.bpt.me or at the door.
Screening:
A Super 8 Odyssey: A program of David Domingo’s splendorous Super 8 films
- "Súper 8" (Super 8) (1996, color, sound, 7:44)
-"La mansión acelerada" (The Speedy Mansion) (1997, b&w, sound, 10 min.)
-"Desayunos y meriendas" (Breakfast and Snacks) (2002, color, sound, 7 min.)
-"Rayos y centellas" (What the…!) (2004, color, sound, 3:52)
-"Película sudorosa" (Sweaty Movie) (2009, color/b&w, sound, 18 min.)
-"A Movie that Portrays the Wonders of the World as Seen Through the Eyes of a Cat" (Disney Attraction Highlights Nº 1) (2009, color/b&w, sound, 5 min.)
David Domingo (aka Stanley Sunday, aka Davidson) was born in Valencia in 1973. He is currently based in Barcelona. Through 18 short films, 3 feature-length videos (including his personal vision of Disney´s "Bambi and The Exorcist. The Musical"), plenty of music videos for independent bands, crazy live performances of Super 8 and 16 mm screenings, and his quinquennial fanzine “One day in the life of Jonas Mekas”, he has become one of the main underground film makers in Spain. In his early days he just used a VHS camera and player to make remakes, found footage films and homemade short films starred by his sister and grandmother. However, he soon turned to Super8, the format most of his work is filmed on. He shows a deep knowledge of avant-garde and experimental film tradition, paying homage to the films by Bruce Conner, Andy Warhol, Iván Zulueta, Kenneth Anger or the Kuchar Brothers through quotations and references.
After broadening his horizons through the incursion in 16 mm filmmaking, more recently he has started to use digital technology, which has enabled him to go beyond by finding new textures and possibilities.
David Domingo’s films have been screened and exhibited in some of the main museums, art centers and film festivals in Spain, such as Xcèntric (the cinema of the Center for Contemporary Culture in Barcelona), Museo Nacional Centro de Arte Reina Sofía, Centro de Arte Dos de Mayo and La Casa Encendida in Madrid, Centro Galego de Artes da Imaxe and S(8) Mostra de cine periférico in Coruña, Sitges International Fantastic Film Festival of Catalonia or Valencia´s Festival Cinema Jove.
The program “A Super 8 Odyssey” shows his most emblematic Super 8 films, starting with his acclaimed first short film, Super 8 (1996), which was chosen as part of the traveling film program “From ecstasy to rapture. 50 years of the other Spanish cinema”, curated by the Contemporary Culture Center from Barcelona (Cccb), and screened at the Acmi (Australian Centre for the Moving Image, Melbourne, Australia), Anthology Film Archives (NYC, USA), National Gallery of Art (Washington DC, USA), Tiff Cinematheque (Toronto, Canada), Pacific Cinematheque (Vancouver, Canada), Národní filmový archiv in Prague (Czech Republic), Jeu de Paume (Paris, France), Tate Modern (London, UK), Wro Art Center (Wroclaw, Poland), or National Gallery of Art (Vilnius, Lituania), amongst many other venues.
- 4/14/2016
- by Sydney Levine
- Sydney's Buzz
Experiments In Cinema v9.72 is running April 14-21 at several venues across Albuquerque, New Mexico, primarily the Guild Cinema, but with satellite screenings at the National Hispanic Cultural Center and the Southwest Film Center.
Special Programs: On April 16, there will be a selection of short films written, produced and directed by local students through Basement Films’ youth outreach endeavor. On April 17, there will be a program, curated by Antoni Pinent, of cameraless films from Spain. On April 18, first Stephen Kent Jusick will present short films from the Mix NYC queer film festival; then Greg DeCuir, Jr. will present films from Belgrade’s Ciné-club produced between 1960 and 1980. April 19 will host another night of films from Belgrade, this time curated by Miodrag Milošević.
After Festival Night: While film screenings end on the 20th, on April 21 Gerry Fialka will lead two discussions and screening/event programs, first on contemporary documentary films and then...
Special Programs: On April 16, there will be a selection of short films written, produced and directed by local students through Basement Films’ youth outreach endeavor. On April 17, there will be a program, curated by Antoni Pinent, of cameraless films from Spain. On April 18, first Stephen Kent Jusick will present short films from the Mix NYC queer film festival; then Greg DeCuir, Jr. will present films from Belgrade’s Ciné-club produced between 1960 and 1980. April 19 will host another night of films from Belgrade, this time curated by Miodrag Milošević.
After Festival Night: While film screenings end on the 20th, on April 21 Gerry Fialka will lead two discussions and screening/event programs, first on contemporary documentary films and then...
- 4/15/2014
- by Mike Everleth
- Underground Film Journal
Sidney Lumet's 12 Angry Men (1957) "has become a cultural touchstone, a time capsule of American justice before the civil rights era and the expansion of civil liberties in the 1960s," writes Thane Rosenbaum for Criterion, which releases a new DVD and Blu-ray this week. "Its influence has been vast, and it established Lumet's reputation as an artist at the forefront of social change."
"The crown jewel of the Criterion disc's extras has to be the original television broadcast of 12 Angry Men, written by [Reginald] Rose and directed by Franklin J Schaffner for Studio One in 1954," notes Bill Ryan, and he compares and contrasts the two productions at considerable length. With its "sterling image and extensive extras," this package scores DVD Beaver's "highest recommendation and will be noted in our Year End Poll."
Today and Friday, MoMA is featuring three programs of work by Jack Smith (Flaming Creatures, 1963). Bradford Nordeen for the...
"The crown jewel of the Criterion disc's extras has to be the original television broadcast of 12 Angry Men, written by [Reginald] Rose and directed by Franklin J Schaffner for Studio One in 1954," notes Bill Ryan, and he compares and contrasts the two productions at considerable length. With its "sterling image and extensive extras," this package scores DVD Beaver's "highest recommendation and will be noted in our Year End Poll."
Today and Friday, MoMA is featuring three programs of work by Jack Smith (Flaming Creatures, 1963). Bradford Nordeen for the...
- 11/23/2011
- MUBI
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