Sometimes you’re your own enemy in love. On Friday, Loyal Lobos released her single “Autosabotear,” which hears the singer reflect on her own failings in a relationship. It’s stunning video premieres today with Rolling Stone.
“‘Autosabotear’ is about the self-destructive tendencies that one has about love. Being loved and loving back is terrifying and complicated for everyone,” the rising star tells Rolling Stone. “But it is the reason why we all exist. Our own love relationship with ourselves is a battle and I’ve always brought chaos into love.
“‘Autosabotear’ is about the self-destructive tendencies that one has about love. Being loved and loving back is terrifying and complicated for everyone,” the rising star tells Rolling Stone. “But it is the reason why we all exist. Our own love relationship with ourselves is a battle and I’ve always brought chaos into love.
- 10/13/2023
- by Tomás Mier
- Rollingstone.com
“The words to pop songs are about the only literature of advice we have on romantic matters,” said an uptight yuppie struggling with matters of the heart in Whit Stillman’s romantic comedy Barcelona. For those seeking the deeper meanings of the universe free from pretense there’s always been The Boss. The directorial debut of Bruce Springsteen, Western Stars is a lovely companion to Gurinder Chadha’s late summer crowd-pleaser Blinded By The Light, as the poet laureate of the Garden State generously shares the images and inspirations behind his latest album. Blinded By The Light beautifully brought to life the lyrics of his earlier career, while Western Stars is a stirring and often heartbreakingly beautiful emotional journey of an artist who can still deliver the goods.
Envisioned as a companion piece to Bruce Springsteen’s 2016 autobiography Born to Run and his 2017 show Springsteen on Broadway, Western Stars confronts aging,...
Envisioned as a companion piece to Bruce Springsteen’s 2016 autobiography Born to Run and his 2017 show Springsteen on Broadway, Western Stars confronts aging,...
- 10/28/2019
- by John Fink
- The Film Stage
Close-Up is a feature that spotlights films now playing on Mubi. Huang Weikai's Disorder (2009) is showing September 13 – October 13, 2018 in the United States as part of the series Chinese Independents.A fire hydrant rains down upon the nighttime bustle of a crowded street; a man lies sprawled on the pavement, either reeling from a car accident or just faking an injury; a chest freezer is opened to reveal a pile of (presumably) illegally peddled bear claws; a man fishes a cockroach out of a bowl of noodles. These are some of the first images of Disorder (2009), Huang Weikai’s absurdist, not-quite-found footage documentary about—as much as any single film could claim to be—the rapid urbanization of China as seen through the city of Guangzhou. The title is no coy attempt at misdirection: Disorder’s dominant progression is that of constant, chaotic bombardment, with scenes—abrasive, shocking and downright stomach-churning...
- 9/25/2018
- MUBI
Gyorgi Palfi’s “His Master’s Voice” will line up against Fruit Chan’s “Three Husbands” and Veit Helmer’s “The Bra” in the main competition section of the Tokyo International Film Festival. Ralph Fiennes’ “The White Crow” will also receive its Asian premiere in competition.
The festival announced its full line up Tuesday in Tokyo. The festival will run Oct 25. – Nov. 3, 2018 at venues around the Japanese capital. It previously announced Japanese films, “Another World” and “Just Only Love” in main competition.
Another earlier announcement revealed that the festival will open with Bradley Cooper’s Lady Gaga-starring “A Star is Born.” The festival will close with “Godzilla: The Planet Eater,” the third and final part in the animated “Godzilla” trilogy. Yukihiko Tsutsumi’s “The House Where the Mermaid Sleeps” was Tuesday confirmed as a second closing film.
The 16-film competition selection is balanced between Europe, the Middle East, Asia and the Americas,...
The festival announced its full line up Tuesday in Tokyo. The festival will run Oct 25. – Nov. 3, 2018 at venues around the Japanese capital. It previously announced Japanese films, “Another World” and “Just Only Love” in main competition.
Another earlier announcement revealed that the festival will open with Bradley Cooper’s Lady Gaga-starring “A Star is Born.” The festival will close with “Godzilla: The Planet Eater,” the third and final part in the animated “Godzilla” trilogy. Yukihiko Tsutsumi’s “The House Where the Mermaid Sleeps” was Tuesday confirmed as a second closing film.
The 16-film competition selection is balanced between Europe, the Middle East, Asia and the Americas,...
- 9/25/2018
- by Mark Schilling
- Variety Film + TV
Close-Up is a feature that spotlights films now playing on Mubi. Jean Renoir's The Testament of Dr. Cordelier (1959) is playing August 3 - September 2, 2017 in the United States as part of the series Jean Renoir.Jean Renoir frequently focused on complicated characters who toe the line between right and wrong. They are often trapped by social mores, for better or for worse. In works like The Crime of Monsieur Lange (1936) or The River (1951), characters are unfairly confined, while in films like La chienne (1931) or La bête humaine (1938), a breaking from custom is fatally dangerous. Even in more light-hearted fare, such as French Cancan (1954), a bold flaunting of convention is cause for conflict and scandal. It seems only logical, then, that Renoir in his interest in the imposed customs of community and the social construction of morals would be drawn to Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde...
- 8/10/2017
- MUBI
Editor’s Note: This article is presented in partnership with FilmStruck. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck features the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage. Learn more here.
Wes Anderson has one of the most original voices of any filmmaker working today, but his movies are full of clues as to which directors have influenced him the most. From Orson Welles to François Truffaut to Federico Fellini, some of the most iconic filmmakers in the history of cinema have had a hand in inspiring Anderson’s distinctive style. Here are 10 films that had a lasting impact on the indie auteur.
“The Magnificent Ambersons” (1942)
Orson Welles’ period drama about a wealthy family that loses its entire fortune at the turn of the 20th century...
Wes Anderson has one of the most original voices of any filmmaker working today, but his movies are full of clues as to which directors have influenced him the most. From Orson Welles to François Truffaut to Federico Fellini, some of the most iconic filmmakers in the history of cinema have had a hand in inspiring Anderson’s distinctive style. Here are 10 films that had a lasting impact on the indie auteur.
“The Magnificent Ambersons” (1942)
Orson Welles’ period drama about a wealthy family that loses its entire fortune at the turn of the 20th century...
- 4/26/2017
- by Graham Winfrey
- Indiewire
Challenging stereotypes of India and South Asia, and wrestling with some very hard issues the 7th Bagri Foundation London Indian Film Festival returns this Summer.
The Director of the Bagri Foundation London Indian Film Festival, Cary Rajinder Sawhney states,”We aim to showcase films that entertain but challenge and make one think about the many social issues happening in India today, and that includes many positive changes including the fact that so many emerging Indian women filmmakers who are producing world-class films that are giving their male counterparts a serious run for their money.”
The diverse programme of brand new features, documentaries and shorts includes seven films directed by power-packed women filmmakers that give the Bechdel Test a run for its money, including the Thelma and Louise-esque opening night buddy movie, Parched, set in the desert villages of India’s Gujarat (female director Leena Yadav and Producer and Bollywood star Ajay Devgn, is expected). Double Oscar® winner Sharmeen Obaid-Chinoy, introduces her punch in the guts, documentary, A Girl In The River – The Price of Forgiveness.
With a strong Lgbtq+ following, the festival proudly hosts its first Transgender movie based on an empowering true story – I am Not He…She, at BFI Southbank, supported by Mac Cosmetics and Sun Mark Ltd, amongst others. Bangalore Director Bs Lingadevaru, is expected.
Reflecting the linguistic diversity of UK’s South Asian communities, the carefully curated programme will include 15 major languages, including films from Bangladesh, Pakistan, Nepal and Sri Lanka. All films are English subtitled.
This celebration of Indian regional diversity includes a very rare on-stage Q&A at BFI Southbank with one of South India’s greatest ever superstars – Kamal Haasan, who moved from child actor to Tamil cinema star, to produce, write and direct some of India’s most acclaimed features, including many Bollywood hits. He is adored by millions of fans, worldwide.
The closing night gala, is the world premiere of the incredibly moving and intense Toba Tek Singh, which focuses on patients locked in a Punjabi mental health hospital during the Partition (legendary director Ketan Mehta, is expected).
Sri Lankan breakout filmmakers Kalpana & Vindana Ariyawansa explore the taboo subject of obsessive compulsive disorder (Ocd) in a very personal family drama Dirty, Yellow, Darkness, while at the Ica, Director Jayaraj from Kerala, presents the Berlinale Crystal-Bear winner, Ottaal (The Trap), a heart-wrenching drama, based on the roots of child slave labour.
On a lighter note the festival also celebrates two icons of cinema with on-stage interviews with Satyajit Ray’s favourite actress Sharmila Tagore from Kolkata and the only Indian filmmaker to truly cross from Bollywood to Hollywood – Shekhar Kapur, who will discuss his plans for Elizabeth 3. Let’s hope that Cate Blanchett continues her reign in this expected sequel.
Also in the line-up is a special screening of the risque film Brahman Naman, directed by India’s leading indie director Q, the hilarious coming-of-age comedy is exclusive to Netflix. The Mumbai music industry focused Jugni, shows that love and a damn-good Punjabi song, can conquer even the toughest hearts (female director, Shefali Bhushan, is expected).
As well as synchronous screenings in London and Birmingham from 14-24 July, the Bagri Foundation London Indian Film Festival goes live on digital, with the festival showing a selection of films on BFI Player into the Autumn.
Festival Patron Tony Matharu, who is also our founding sponsor, from Grange Hotels, continues to support with full fervour, and the festival welcomes back supporters including title sponsor, the Bagri Foundation, who share our passion for South Asian arts and culture. The British Film Institute and Cineworld Cinemas have supported Liff since year one. The festival enjoys on-going essential support from major sponsor, Sun Mark Ltd.
Title Sponsor Alka Bagri of the Bagri Foundation says, “We are delighted to support such an incredible festival which reveals the richness of South Asian culture and offers a wonderful platform for emerging talent. This year’s programme epitomises the diversity and dynamism of South Asian cinema, and through films, debates and panel discussions, we will explore topical issues such as gender, identity, mental health and equality. We look forward to being joined by two acclaimed figures of Indian cinema: Kamal Haasan and Shekhar Kapur who will take us on their cinematic journey”.
Liff presents the prestigious annual Satyajit Ray Short Film Competition, in association with the Bagri Foundation, with a prize of £1,000 to the winning film. The short film programme screens at the Ica on Wednesday 20th July and the winning short will be announced at the closing night gala, on 21st July, at BFI Southbank. The festival continues in Birmingham, until 24th July.
Participating cinemas’ in London are: Cineworld (Haymarket, O2, Wandsworth, Wembley), BFI Southbank, Ica, Picture House Central, Crouch End Picturehouse, East London’s rustic Boleyn Cinema, with Cineworld Broad Street and Midland Arts Centre (Mac), in Birmingham.
Opening Night | Dual English Premiere: Parched
– Hindi with English subtitles | 117 min | India 2015 | Dir: Leena Yadav | with: Radhika Apte, Tannishtha Chatterjee, Surveen Chawla, Lehar Khan.
Director Leena Yadav tells a wonderfully joyous and inspiring tale of female comradery.
– Q&A with Director Leena Yadav and other special guests.
14 July | 18:00 | Cineworld Haymarket, London
15 July | 19:00 | Cineworld Broad Street, Birmingham
16 July | 17.30 | Cineworld Wembley, London
20 July | 20.40 | BFI Southbank, London
Closing Night | World Premiere: Toba Tek Singh
– Hindi / Punjabi with English subtitles | 75 min | India 2016 | Dir: Ketan Mehta | with: Pankaj Kapur, Vinay Pathak.
Acclaimed director Ketan Mehta delivers this unforgettably moving and at times joyous version of Manto’s legendary story, produced by the Zeal for Unity project.
– Q&A with Director Ketan Mehta and other special guests.
21 July | 18:00 | BFI Southbank, London
24 July | 18:00 | Cineworld Broad Street, Birmingham
– Icons from India, polymath Kamal Haasan (whose films have the highest number of Academy Award submissions from India), and director of the exquisite BAFTA & Oscar® winning Elizabeth & The Golden Age films, Shekhar Kapur, will give masterclasses at BFI Southbank, with the famous female scion of the Tagore family, who married into Indian royalty, Sharmila Tagore, speaking at the historic art deco cinema, Cineworld Haymarket.
– A 2016 highlight, is a rare opportunity to hear female filmmakers like Pakistan’s double Oscar®-winning Sharmeen Obaid-Chinoy, Mumbai’s multi-award winning Leena Yadav, documentary filmmaker Rinku Kalsy and other special guests, talking about their unique careers and exploring commonalities of experience, with women filmmakers around the world.
– The UK premiere of the restored verison of the 1948 film Kalpana (Imagination), by the legandary dancer, Padma Vibhushan Uday Shankar (brother of the late Sitar stalwart Ravi Shankar), starring the legendary dancer and actress Padmini (Mera Naam Joker/Thillana Mohanambal), in her cinematic debut, gets a one off special screening in Birmingham.
– Winner of the best directing debut at the Venice Film Festival, the Hindi language film directed by Ruchika Oberoi, Island City, tells three stories, of a drone employee at a soulless corporation wins an office competition entitling him to a whole day of fun at the mall; a domineering head of a family who suffers a stroke and is on life support, and a woman who is leading a mechanical existence blossoms, when she gets a series of anonymous love letters.
– Actor, Leader, Hero, God. For his fans, the superstar Rajinikanth is all of these. Men from various generations alter their lives, sell their belongings, and place fandom above their families in devotion to the iconic actor, a man who has inspired a fanatic cult following across the world ranging from India to Japan. This is explored in the riveting documentary, For The Love Of A Man.
– Made under the Zeal for Unity India-Pakistan filmmaking initiative, Khaema mein matt jhankain (Don’t Peek Into The Tent) and Jeewan Hathi (Elephant In The Room) explore different facets of life in Pakistan. Tamil Naidu’s hottest young filmmaker M Manikandan returns to the festival, after last year’s hit Kaaka Muttai (Crow’s Egg), with the stylish, twisted plot thriller, with Kutrame Thandanai.
– The new tale by Kaushik Ganguly, one of West Bengal’s most accomplished directors, depicts a love-torn nostalgia for the passing age of film called Cinemawala, while Liff’s first Nepali screening is directed by new hot-property director Min Bahadur Bham, who has been delighting audiences around Europe with his film Kalo Pothi (The Black Hen).
– For more information on the festival please visit:
http://www.londonindianfilmfestival.co.uk
– The full festival programme for London and Birmingham:
http://londonindianfilmfestival.co.uk/programme.htm
The post The London Indian Film Festival brings cinematic diversity to London and Birmingham: 14-24 July appeared first on BollySpice.com.
The Director of the Bagri Foundation London Indian Film Festival, Cary Rajinder Sawhney states,”We aim to showcase films that entertain but challenge and make one think about the many social issues happening in India today, and that includes many positive changes including the fact that so many emerging Indian women filmmakers who are producing world-class films that are giving their male counterparts a serious run for their money.”
The diverse programme of brand new features, documentaries and shorts includes seven films directed by power-packed women filmmakers that give the Bechdel Test a run for its money, including the Thelma and Louise-esque opening night buddy movie, Parched, set in the desert villages of India’s Gujarat (female director Leena Yadav and Producer and Bollywood star Ajay Devgn, is expected). Double Oscar® winner Sharmeen Obaid-Chinoy, introduces her punch in the guts, documentary, A Girl In The River – The Price of Forgiveness.
With a strong Lgbtq+ following, the festival proudly hosts its first Transgender movie based on an empowering true story – I am Not He…She, at BFI Southbank, supported by Mac Cosmetics and Sun Mark Ltd, amongst others. Bangalore Director Bs Lingadevaru, is expected.
Reflecting the linguistic diversity of UK’s South Asian communities, the carefully curated programme will include 15 major languages, including films from Bangladesh, Pakistan, Nepal and Sri Lanka. All films are English subtitled.
This celebration of Indian regional diversity includes a very rare on-stage Q&A at BFI Southbank with one of South India’s greatest ever superstars – Kamal Haasan, who moved from child actor to Tamil cinema star, to produce, write and direct some of India’s most acclaimed features, including many Bollywood hits. He is adored by millions of fans, worldwide.
The closing night gala, is the world premiere of the incredibly moving and intense Toba Tek Singh, which focuses on patients locked in a Punjabi mental health hospital during the Partition (legendary director Ketan Mehta, is expected).
Sri Lankan breakout filmmakers Kalpana & Vindana Ariyawansa explore the taboo subject of obsessive compulsive disorder (Ocd) in a very personal family drama Dirty, Yellow, Darkness, while at the Ica, Director Jayaraj from Kerala, presents the Berlinale Crystal-Bear winner, Ottaal (The Trap), a heart-wrenching drama, based on the roots of child slave labour.
On a lighter note the festival also celebrates two icons of cinema with on-stage interviews with Satyajit Ray’s favourite actress Sharmila Tagore from Kolkata and the only Indian filmmaker to truly cross from Bollywood to Hollywood – Shekhar Kapur, who will discuss his plans for Elizabeth 3. Let’s hope that Cate Blanchett continues her reign in this expected sequel.
Also in the line-up is a special screening of the risque film Brahman Naman, directed by India’s leading indie director Q, the hilarious coming-of-age comedy is exclusive to Netflix. The Mumbai music industry focused Jugni, shows that love and a damn-good Punjabi song, can conquer even the toughest hearts (female director, Shefali Bhushan, is expected).
As well as synchronous screenings in London and Birmingham from 14-24 July, the Bagri Foundation London Indian Film Festival goes live on digital, with the festival showing a selection of films on BFI Player into the Autumn.
Festival Patron Tony Matharu, who is also our founding sponsor, from Grange Hotels, continues to support with full fervour, and the festival welcomes back supporters including title sponsor, the Bagri Foundation, who share our passion for South Asian arts and culture. The British Film Institute and Cineworld Cinemas have supported Liff since year one. The festival enjoys on-going essential support from major sponsor, Sun Mark Ltd.
Title Sponsor Alka Bagri of the Bagri Foundation says, “We are delighted to support such an incredible festival which reveals the richness of South Asian culture and offers a wonderful platform for emerging talent. This year’s programme epitomises the diversity and dynamism of South Asian cinema, and through films, debates and panel discussions, we will explore topical issues such as gender, identity, mental health and equality. We look forward to being joined by two acclaimed figures of Indian cinema: Kamal Haasan and Shekhar Kapur who will take us on their cinematic journey”.
Liff presents the prestigious annual Satyajit Ray Short Film Competition, in association with the Bagri Foundation, with a prize of £1,000 to the winning film. The short film programme screens at the Ica on Wednesday 20th July and the winning short will be announced at the closing night gala, on 21st July, at BFI Southbank. The festival continues in Birmingham, until 24th July.
Participating cinemas’ in London are: Cineworld (Haymarket, O2, Wandsworth, Wembley), BFI Southbank, Ica, Picture House Central, Crouch End Picturehouse, East London’s rustic Boleyn Cinema, with Cineworld Broad Street and Midland Arts Centre (Mac), in Birmingham.
Opening Night | Dual English Premiere: Parched
– Hindi with English subtitles | 117 min | India 2015 | Dir: Leena Yadav | with: Radhika Apte, Tannishtha Chatterjee, Surveen Chawla, Lehar Khan.
Director Leena Yadav tells a wonderfully joyous and inspiring tale of female comradery.
– Q&A with Director Leena Yadav and other special guests.
14 July | 18:00 | Cineworld Haymarket, London
15 July | 19:00 | Cineworld Broad Street, Birmingham
16 July | 17.30 | Cineworld Wembley, London
20 July | 20.40 | BFI Southbank, London
Closing Night | World Premiere: Toba Tek Singh
– Hindi / Punjabi with English subtitles | 75 min | India 2016 | Dir: Ketan Mehta | with: Pankaj Kapur, Vinay Pathak.
Acclaimed director Ketan Mehta delivers this unforgettably moving and at times joyous version of Manto’s legendary story, produced by the Zeal for Unity project.
– Q&A with Director Ketan Mehta and other special guests.
21 July | 18:00 | BFI Southbank, London
24 July | 18:00 | Cineworld Broad Street, Birmingham
– Icons from India, polymath Kamal Haasan (whose films have the highest number of Academy Award submissions from India), and director of the exquisite BAFTA & Oscar® winning Elizabeth & The Golden Age films, Shekhar Kapur, will give masterclasses at BFI Southbank, with the famous female scion of the Tagore family, who married into Indian royalty, Sharmila Tagore, speaking at the historic art deco cinema, Cineworld Haymarket.
– A 2016 highlight, is a rare opportunity to hear female filmmakers like Pakistan’s double Oscar®-winning Sharmeen Obaid-Chinoy, Mumbai’s multi-award winning Leena Yadav, documentary filmmaker Rinku Kalsy and other special guests, talking about their unique careers and exploring commonalities of experience, with women filmmakers around the world.
– The UK premiere of the restored verison of the 1948 film Kalpana (Imagination), by the legandary dancer, Padma Vibhushan Uday Shankar (brother of the late Sitar stalwart Ravi Shankar), starring the legendary dancer and actress Padmini (Mera Naam Joker/Thillana Mohanambal), in her cinematic debut, gets a one off special screening in Birmingham.
– Winner of the best directing debut at the Venice Film Festival, the Hindi language film directed by Ruchika Oberoi, Island City, tells three stories, of a drone employee at a soulless corporation wins an office competition entitling him to a whole day of fun at the mall; a domineering head of a family who suffers a stroke and is on life support, and a woman who is leading a mechanical existence blossoms, when she gets a series of anonymous love letters.
– Actor, Leader, Hero, God. For his fans, the superstar Rajinikanth is all of these. Men from various generations alter their lives, sell their belongings, and place fandom above their families in devotion to the iconic actor, a man who has inspired a fanatic cult following across the world ranging from India to Japan. This is explored in the riveting documentary, For The Love Of A Man.
– Made under the Zeal for Unity India-Pakistan filmmaking initiative, Khaema mein matt jhankain (Don’t Peek Into The Tent) and Jeewan Hathi (Elephant In The Room) explore different facets of life in Pakistan. Tamil Naidu’s hottest young filmmaker M Manikandan returns to the festival, after last year’s hit Kaaka Muttai (Crow’s Egg), with the stylish, twisted plot thriller, with Kutrame Thandanai.
– The new tale by Kaushik Ganguly, one of West Bengal’s most accomplished directors, depicts a love-torn nostalgia for the passing age of film called Cinemawala, while Liff’s first Nepali screening is directed by new hot-property director Min Bahadur Bham, who has been delighting audiences around Europe with his film Kalo Pothi (The Black Hen).
– For more information on the festival please visit:
http://www.londonindianfilmfestival.co.uk
– The full festival programme for London and Birmingham:
http://londonindianfilmfestival.co.uk/programme.htm
The post The London Indian Film Festival brings cinematic diversity to London and Birmingham: 14-24 July appeared first on BollySpice.com.
- 6/14/2016
- by Stacey Yount
- Bollyspice
In the early 1970s, while in the midst of making his Trilogy of Life, Pier Paolo Pasolini publicly remarked that a kind of “cultural genocide” had overtaken his home country of Italy. Essentially, he pointed his finger at the overwhelming dominance of consumerism that he believed had begun to erase the positive values instilled by the nation’s history of peasantry.
Even decades removed, many will still find this statement heavily contentious, as it seems representational of a debate that’s raged in film culture — that, of course, over “aestheticizing poverty,” or, in some cases, romanticizing it. Among the many figures in contemporary world cinema who can be branded with this label, Pasolini’s countryman of a different generation, Roberto Minervini, certainly embraces the act while still complicating it.
His first three films forming a “Texas trilogy” showcase a deeply religious and increasingly abandoned milieu far from, say, the conservative...
Even decades removed, many will still find this statement heavily contentious, as it seems representational of a debate that’s raged in film culture — that, of course, over “aestheticizing poverty,” or, in some cases, romanticizing it. Among the many figures in contemporary world cinema who can be branded with this label, Pasolini’s countryman of a different generation, Roberto Minervini, certainly embraces the act while still complicating it.
His first three films forming a “Texas trilogy” showcase a deeply religious and increasingly abandoned milieu far from, say, the conservative...
- 6/10/2016
- by Ethan Vestby
- The Film Stage
Actor who played Shakespearean roles and in Hammer horror movies, as well as such well-known films as Dr Zhivago
Adrienne Corri, who has died aged 85, was an actor of considerable range and versatility whose career ranged from the high – with Shakespearean roles alongside Ralph Richardson and Alec Guinness – to the decidedly low, including appearances in many quota quickies and low-budget horror movies that showcased her striking red-haired beauty. Although seen regularly on big and small screens in the 1950s and 60s, Corri is mainly remembered for her participation in the short but notorious gang rape scene from Stanley Kubrick’s A Clockwork Orange (1971). Despite complaining to Kubrick about the multitude of takes, Corri retained a friendship with the director for a short while afterwards. One Christmas she gave him a pair of bright red socks, a reference to the scene, in which she is left naked but for such garments.
Adrienne Corri, who has died aged 85, was an actor of considerable range and versatility whose career ranged from the high – with Shakespearean roles alongside Ralph Richardson and Alec Guinness – to the decidedly low, including appearances in many quota quickies and low-budget horror movies that showcased her striking red-haired beauty. Although seen regularly on big and small screens in the 1950s and 60s, Corri is mainly remembered for her participation in the short but notorious gang rape scene from Stanley Kubrick’s A Clockwork Orange (1971). Despite complaining to Kubrick about the multitude of takes, Corri retained a friendship with the director for a short while afterwards. One Christmas she gave him a pair of bright red socks, a reference to the scene, in which she is left naked but for such garments.
- 3/28/2016
- by Ronald Bergan
- The Guardian - Film News
If one wishes to highlight what made Jacques Rivette a significant figure in the cinematic landscape, it’s key that they cite his cinephilia — the rabid sort that is uncommon in even our smartest voices, filmmaking or otherwise. More than one who saw a bunch of movies, though, the late, great director maintained a critical fashioned at Cahiers into our contemporary day, sharing a wide, sometimes unexpected range of thoughts on what made works of all kinds stand tall or fall apart.
All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset.
All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset.
- 2/2/2016
- by Nick Newman
- The Film Stage
Each week, the fine folks at Fandor add a number of films to their Criterion Picks area, which will then be available to subscribers for the following twelve days. This week, the Criterion Picks focus on nine films where some of the most famous directors in the Criterion Collection first directed a feature in color.
Saturate yourself in the vivid stylings of some of our favorite directors, wielding a whole new spectrum of expression for the very first time.
Don’t have a Fandor subscription? They offer a free trial membership.
Dodes’ka-den, the Japanese Drama by Akira Kurosawa
The unforgettable Dodes’Ka-den was made at a tumultuous moment in Kurosawa’s life. And all of his hopes, fears and artistic passion are on fervent display in this, his gloriously shot first color film.
Equinox Flower, the Japanese Drama by Yasujirô Ozu
Later in his career, Yasujiro Ozu started becoming...
Saturate yourself in the vivid stylings of some of our favorite directors, wielding a whole new spectrum of expression for the very first time.
Don’t have a Fandor subscription? They offer a free trial membership.
Dodes’ka-den, the Japanese Drama by Akira Kurosawa
The unforgettable Dodes’Ka-den was made at a tumultuous moment in Kurosawa’s life. And all of his hopes, fears and artistic passion are on fervent display in this, his gloriously shot first color film.
Equinox Flower, the Japanese Drama by Yasujirô Ozu
Later in his career, Yasujiro Ozu started becoming...
- 1/26/2016
- by Ryan Gallagher
- CriterionCast
“Songs Of Humanity”
By Raymond Benson
I’ll bet many of you cinephiles out there have heard of Indian filmmaker Satyajit Ray’s acclaimed trilogy of films from the 1950s (Pather Panchali, aka Song of the Little Road, 1955; Aparajito, aka The Unvanquished, 1956; and Apur Sansar, aka The World of Apu, 1959), but have never actually seen them. Here is your chance to rectify that egregious error. Quite simply put, anyone interested in film history needs to have this trio of motion pictures under the belt.
Satyajit Ray, who received an Honorary Oscar for Lifetime Achievement in 1992, began his career as an illustrator of books. One of these was Pather Panchali, a classic of Bengali literature (1928) written by Bibhutibushan Bandyopadhyay, and its sequel, Aparajito (1932). They comprise the story of the growth of a boy from infancy to adulthood over the course of twenty-five years or so (from the 1910s to the 1930s...
By Raymond Benson
I’ll bet many of you cinephiles out there have heard of Indian filmmaker Satyajit Ray’s acclaimed trilogy of films from the 1950s (Pather Panchali, aka Song of the Little Road, 1955; Aparajito, aka The Unvanquished, 1956; and Apur Sansar, aka The World of Apu, 1959), but have never actually seen them. Here is your chance to rectify that egregious error. Quite simply put, anyone interested in film history needs to have this trio of motion pictures under the belt.
Satyajit Ray, who received an Honorary Oscar for Lifetime Achievement in 1992, began his career as an illustrator of books. One of these was Pather Panchali, a classic of Bengali literature (1928) written by Bibhutibushan Bandyopadhyay, and its sequel, Aparajito (1932). They comprise the story of the growth of a boy from infancy to adulthood over the course of twenty-five years or so (from the 1910s to the 1930s...
- 11/28/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Adela Quested (Judy Davis) finishes A Passage to India in the same manner she started the movie: her face is deformed by a window full of drops of rain. In both cases, she is looking at something more or less out of frame, blurred or uncertain, imaginary or physical. The placement of the camera, in the beginning and in the end, is at a different location. When the film starts, we are inside of a traveling agency and Adela is walking past the panoramic window. She stops for a second and stares at a large-sized model of a ship. We can’t see the ship entirely: just some chimneys, masts and ropes. We only know this is a ship because the previous shot—the first shot of the picture, actually—showed us this model.In the end of the movie, Adela is reading a letter concerning events that we have seen.
- 11/20/2015
- by Victor Bruno
- MUBI
Olivier Assayas has managed to squeeze 22 films onto his list of top ten Criterion releases. His #1: Luchino Visconti's The Leopard. And we've rounded up reviews of three crime dramas by Yasujiro Ozu, Jean-Pierre Melville's Le silence de la mer, Jean Renoir's The River, Rainer Werner Fassbinder's The Merchant of Four Seasons, Helma Sanders-Brahms’s Germany Pale Mother, Charlie Chaplin's Limelight, Mario Bava's Blood and Black Lace, Walerian Borowczyk's The Strange Case of Dr. Jekyll and Miss Osbourne and twelve films by Koji Wakamatzu. Plus two video interviews with Costa-Gavras and reviews of his Z, The Confession and State of Siege. » - David Hudson...
- 6/3/2015
- Fandor: Keyframe
Olivier Assayas has managed to squeeze 22 films onto his list of top ten Criterion releases. His #1: Luchino Visconti's The Leopard. And we've rounded up reviews of three crime dramas by Yasujiro Ozu, Jean-Pierre Melville's Le silence de la mer, Jean Renoir's The River, Rainer Werner Fassbinder's The Merchant of Four Seasons, Helma Sanders-Brahms’s Germany Pale Mother, Charlie Chaplin's Limelight, Mario Bava's Blood and Black Lace, Walerian Borowczyk's The Strange Case of Dr. Jekyll and Miss Osbourne and twelve films by Koji Wakamatzu. Plus two video interviews with Costa-Gavras and reviews of his Z, The Confession and State of Siege. » - David Hudson...
- 6/3/2015
- Keyframe
The River
Written by Rumer Godden and Jean Renoir
Directed by Jean Renoir
France/India/USA, 1951
As the camera looks down upon an ornamental design created from rice powder and water, the narrator (voiced by June Hillman), who speaks throughout the film, welcomes us to the world of The River. This is Bengal, “where the story really happened,” and this is Harriet speaking, reflecting back on her life at a very confusing and significant time. For all intents and purposes, The River is primarily her story. And in this, the film is an intimately personal cinematic memoir. But The River is also something else. In its depiction of the “river people” who inhabit this region of India, the film also takes on an ethnographic appeal, capturing the “flavor” of the setting and its inhabitants.
Guiding this journey is the great French director Jean Renoir, fresh off a tumultuous sojourn in Hollywood,...
Written by Rumer Godden and Jean Renoir
Directed by Jean Renoir
France/India/USA, 1951
As the camera looks down upon an ornamental design created from rice powder and water, the narrator (voiced by June Hillman), who speaks throughout the film, welcomes us to the world of The River. This is Bengal, “where the story really happened,” and this is Harriet speaking, reflecting back on her life at a very confusing and significant time. For all intents and purposes, The River is primarily her story. And in this, the film is an intimately personal cinematic memoir. But The River is also something else. In its depiction of the “river people” who inhabit this region of India, the film also takes on an ethnographic appeal, capturing the “flavor” of the setting and its inhabitants.
Guiding this journey is the great French director Jean Renoir, fresh off a tumultuous sojourn in Hollywood,...
- 5/6/2015
- by Jeremy Carr
- SoundOnSight
We are saddened to hear of the passing of Time's inimitable critic, Richard Corliss (1944 - 2015), pictured above. Visit David Hudson's roundup at Keyframe Daily for coverage. In the past week there's been more additions to the Cannes Film Festival lineup, including new movies by Apichatpong Weerasethakul, Naomi Kawase and Gaspar Noé.When Manoel de Oliveira died earlier this month, word spread that he had made a film that would be released only upon his death, Memories and Confessions. Now word has come that its premiere screening will be on the 4th of May in Porto.Above: We're on the fence whether we should be excited for this, but the trailer for M. Night Shyamalan's The Visit certainly has us intrigued.New York's essential film listing site Screen Slate has turned to Kickstarter to help fund its project. Speaking of New York, this May the Museum of the Moving...
- 4/29/2015
- by Notebook
- MUBI
Big news via Blu-ray.com. Carlotta Films and Carlotta Films Us will send a new 2K restoration of Jacques Rivette's Out 1 (1971), with Juliet Berto, Bernadette Lafont, Jean-Pierre Léaud, Michael Lonsdale and Bulle Ogier, out to theaters before releasing a Blu-ray edition in France and the Us later this year. More silver discs under review: Ignatiy Vishnevetsky on Jean Renoir's The River, J. Hoberman on Orson Welles's The Lady of Shanghai and Robert Montgomery's Ride the Pink Horse, Carson Lund and Jeremy Carr on a total of four films by Yasujiro Ozu, Imogen Sara Smith on Carol Reed's Odd Man Out and Howard Hampton on Vincente Minnelli’s The Band Wagon. » - David Hudson...
- 4/22/2015
- Fandor: Keyframe
Big news via Blu-ray.com. Carlotta Films and Carlotta Films Us will send a new 2K restoration of Jacques Rivette's Out 1 (1971), with Juliet Berto, Bernadette Lafont, Jean-Pierre Léaud, Michael Lonsdale and Bulle Ogier, out to theaters before releasing a Blu-ray edition in France and the Us later this year. More silver discs under review: Ignatiy Vishnevetsky on Jean Renoir's The River, J. Hoberman on Orson Welles's The Lady of Shanghai and Robert Montgomery's Ride the Pink Horse, Carson Lund and Jeremy Carr on a total of four films by Yasujiro Ozu, Imogen Sara Smith on Carol Reed's Odd Man Out and Howard Hampton on Vincente Minnelli’s The Band Wagon. » - David Hudson...
- 4/22/2015
- Keyframe
Criterion repackages Jean Renoir’s 1951 classic The River for Blu-ray, one of the master filmmaker’s several titles in the collection (fans may recall that Renoir’s Grand Illusion was the very first Criterion title). A title significant in many respects, being the first Technicolor film in India and Renoir’s first color feature, it’s simplistic beauty has gone on to influence future generations of filmmakers, including its prominently vocal champion Martin Scorsese. It also served as a launching pad for Satyajit Ray, who worked as an assistant on the film, and who would go on to create his own stunning debut four years later with the first chapter of his Apu trilogy, Pather Panchali (1955).
We experience the childhood of Harriet (Patricia Walters) in retrospect, her off-screen adult voice recounting one particular stretch of time while growing up in India with her mother (Nora Swinburne) and father (Esmond Knight...
We experience the childhood of Harriet (Patricia Walters) in retrospect, her off-screen adult voice recounting one particular stretch of time while growing up in India with her mother (Nora Swinburne) and father (Esmond Knight...
- 4/21/2015
- by Nicholas Bell
- IONCINEMA.com
Dear Danny,
The pleasure is all mine. To count myself as your partner in this correspondence is an honour, albeit an intimidating one. You accurately describe our friend Fernando as inimitable, and indeed I find myself in a position with big shoes to fill. Rather than to naively hope to imitate the insightful and often inspiring exchanges you’ve had with Fern these past few years in Toronto, I’ve made a point of not looking back at those pieces and instead intend to rely on whatever differences I bring to distinguish our written conversations from those. I'll be writing eagerly in pursuit of my discoveries. Do you find, like myself, that your ideas develop as you write, that you don’t begin to truly understand what you're writing on until your fingers are typing away, seemingly ahead of your thinking? I'm equally excited for your discoveries, which have intrigued...
The pleasure is all mine. To count myself as your partner in this correspondence is an honour, albeit an intimidating one. You accurately describe our friend Fernando as inimitable, and indeed I find myself in a position with big shoes to fill. Rather than to naively hope to imitate the insightful and often inspiring exchanges you’ve had with Fern these past few years in Toronto, I’ve made a point of not looking back at those pieces and instead intend to rely on whatever differences I bring to distinguish our written conversations from those. I'll be writing eagerly in pursuit of my discoveries. Do you find, like myself, that your ideas develop as you write, that you don’t begin to truly understand what you're writing on until your fingers are typing away, seemingly ahead of your thinking? I'm equally excited for your discoveries, which have intrigued...
- 2/5/2015
- by Adam Cook
- MUBI
The Criterion Collection has just released a new filmmaker top ten and this time it's Martin Scorsese getting the honors and he has quite a lot to say about each. The list includes obvious titles such as The Red Shoes, 8 1/2, The Leopard, Ashes and Diamonds and others as they were all on his list of Top 12 Films of All-Time from back in 2012. Nevertheless, it remains fascinating to read his words and reasoning. For example, I find it interesting to see him placing Roberto Rossellini's Paisan at #1. So often Rome Open City is the most talked about of Rossellini's fabulous War Trilogy (read my review) and so infrequently you hear about Paisan or Germany Year Zero, the latter of which is an absolute stunner. I've never sen Jean Renoir's The River or Francesco Rosi's Salvatore Giuliano, but the rest I've viewed. I'm not a huge fan of The Leopard,...
- 2/28/2014
- by Brad Brevet
- Rope of Silicon
From December 4 to January 8, the Austrian Filmmuseum presented a retrospective of the early works by famous Indian director Satyajit Ray. Not only did it show a complete overview of Ray's work from 1955 to 1965, but also some of the most spectacular works in the history of world cinema that were shot in India. I got completely lost inside the cinema and once again the strange force of the screen has taken me on a trip to different places, different feelings and different times. One of the most famous films shown was Jean Renoir's The River, a film that many filmmakers such as Martin Scorsese cite as one of their favorite films ever. Seeing this colorful cinematic innocence projected on film was not...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 1/10/2014
- Screen Anarchy
Satyajit Ray's enduring 1963 masterpiece about one woman's struggle for independence is back on the big screen
Satyajit Ray, who died in 1992 at the age of 70, is one of the giants of world cinema. The son of a prominent Bengali literary figure, he was an accomplished writer, composer, editor and artist as well as a great movie director. His passionate interest in the cinema developed early on, and shortly after the second world war he accompanied Jean Renoir when he travelled to India to scout locations for The River. Subsequently he wrote a wonderfully perceptive article about this experience for Sequence, the film magazine edited by Lindsay Anderson, Gavin Lambert and Karel Reisz.
During a visit to Europe to work in the London headquarters of his Calcutta advertising agency, he saw Vittorio De Sica's Bicycle Thieves and decided that on his return he wanted to make a movie in...
Satyajit Ray, who died in 1992 at the age of 70, is one of the giants of world cinema. The son of a prominent Bengali literary figure, he was an accomplished writer, composer, editor and artist as well as a great movie director. His passionate interest in the cinema developed early on, and shortly after the second world war he accompanied Jean Renoir when he travelled to India to scout locations for The River. Subsequently he wrote a wonderfully perceptive article about this experience for Sequence, the film magazine edited by Lindsay Anderson, Gavin Lambert and Karel Reisz.
During a visit to Europe to work in the London headquarters of his Calcutta advertising agency, he saw Vittorio De Sica's Bicycle Thieves and decided that on his return he wanted to make a movie in...
- 8/17/2013
- by Philip French
- The Guardian - Film News
The 18th edition of Rendez-Vous with French Cinema, the Film Society of Lincoln Center's annual showcase of contemporary French film, hits New York screens February 28 - March 10. The fest's opening night sees the U.S. premiere of "Populaire," starring Romain Duris. Full lineup below. Other highlights from the program include Alice Winocour's Cesar nominee "Augustine," Francois Ozon's "In the House" and the late Claude Miller's "Therese Desqueyroux," starring Audrey Tautou. The Georges Franju 1962 original of "Therese Desqueyroux," which stars Oscar nominee Emmanuelle Riva, is also screening, as well as a mini-retrospective of Jean Renoir, boasting "Boudu Saved From Drowning," "The River" and "Rules of the Game." The series spans three theaters -- the Film Society's Lincoln Center location, IFC Center and BAMcinematek. Newly appointed Film Society director of programming...
- 2/5/2013
- by Beth Hanna
- Thompson on Hollywood
“I don’t understand why India looks up to the Oscars… Audience is my Oscar.” – Mira Nair, quoted in The Telegraph, Kolkata, December 1, 2012
Satyajit Ray
On April 23, 1992, a man died. A tall man once blessed with broad shoulders, a headful of dark, well-set hair, and sharply chiseled features; a man who touched several art forms, enriching whatever he touched. Satyajit Ray had served the cause of art and aesthetics as few modern Indians had before him, and none after. When he died, India mourned and the Bengali people immediately realized that they had lost their last Renaissance man.
Recalling that fateful day, novelist Amitav Ghosh has written: “The day of Satyajit Ray’s death was like none that Kolkata had ever seen before. When the news began to spread, a pall of silence descended on the city. Next morning hundreds of thousands of people filed past his body, braving the intense heat.
Satyajit Ray
On April 23, 1992, a man died. A tall man once blessed with broad shoulders, a headful of dark, well-set hair, and sharply chiseled features; a man who touched several art forms, enriching whatever he touched. Satyajit Ray had served the cause of art and aesthetics as few modern Indians had before him, and none after. When he died, India mourned and the Bengali people immediately realized that they had lost their last Renaissance man.
Recalling that fateful day, novelist Amitav Ghosh has written: “The day of Satyajit Ray’s death was like none that Kolkata had ever seen before. When the news began to spread, a pall of silence descended on the city. Next morning hundreds of thousands of people filed past his body, braving the intense heat.
- 1/8/2013
- by Vidyarthy Chatterjee
- DearCinema.com
A new generation of western directors are bringing their outsider perspective to India. But can films such as The Best Exotic Marigold Hotel avoid the cliches of poverty and spiritualism, chaos and capitalism?
Making films in India is hard not because of the heat, or the bureaucracy, or the traffic. Not even, says Liz Mermin, the director of Bollywood underworld exposé Shot in Bombay, because its superstar subject Sanjay Dutt grew nervous about the project. "The hardest thing for a film-maker is that you fly there, look around, take out your camera – and everything is a cliche. Poverty, chaos, cows, flowers: I was going around desperately looking for a shot I hadn't seen before."
That difficulty – to say nothing of the challenge of depicting India in more than just western terms – led Louis Malle to name the first section of his six-hour Phantom India (1969) "The Impossible Camera". Yet, even though...
Making films in India is hard not because of the heat, or the bureaucracy, or the traffic. Not even, says Liz Mermin, the director of Bollywood underworld exposé Shot in Bombay, because its superstar subject Sanjay Dutt grew nervous about the project. "The hardest thing for a film-maker is that you fly there, look around, take out your camera – and everything is a cliche. Poverty, chaos, cows, flowers: I was going around desperately looking for a shot I hadn't seen before."
That difficulty – to say nothing of the challenge of depicting India in more than just western terms – led Louis Malle to name the first section of his six-hour Phantom India (1969) "The Impossible Camera". Yet, even though...
- 2/17/2012
- by Sukhdev Sandhu
- The Guardian - Film News
The Indian film industry is probably the most prolific in the entire world. According to the latest count in 2010, India ranks the first in production of movies followed by Hollywood and China. But of the huge pantheon of regional and national Indian stars present in Indian cinema, Satyajit Ray is an icon who cannot be forgotten. His unique perspective on Indian life and his impact on Bengali, as well as, Indian cinema cannot be forgotten.
Satyajit Ray was born 2 May 1921 to Sukumar Ray and Suprabhar Roy. His entire family was steeped in literature, socialism and music. This love for journalism, art and cinema was transferred quickly to the young mind of the growing boy. His father passed away when he was three but his mother always insisted on a world-class education for the boy and he was quickly enrolled in the Visva-Bharati University at Santiniketan, that was set up...
Satyajit Ray was born 2 May 1921 to Sukumar Ray and Suprabhar Roy. His entire family was steeped in literature, socialism and music. This love for journalism, art and cinema was transferred quickly to the young mind of the growing boy. His father passed away when he was three but his mother always insisted on a world-class education for the boy and he was quickly enrolled in the Visva-Bharati University at Santiniketan, that was set up...
- 2/6/2012
- by BollySpice Editors
- Bollyspice
Jean Gabin was France's answer to Humphrey Bogart, many (English-language) historians have claimed. Either that, or Gabin was France's answer to Spencer Tracy. Never mind the fact that Gabin was a major international star before either Bogart or Tracy achieved Hollywood stardom. In other words, if there was someone emulating someone else, it was Bogart and Tracy who followed the Frenchman's lead so as to become the American Jean Gabins. Turner Classic Movies is devoting a whole day to Jean Gabin's movies today, August 18, as part of its "Summer Under the Stars" series. [Jean Gabin Movie Schedule.] Right now, TCM is showing Julien Duvivier's Pépé le Moko (1937), the tale of a Parisian gangster (Gabin) hiding in Algiers' Casbah neighborhood, but who becomes careless after he falls for a beautiful woman (Mireille Balin, Gabin's co-star that same year in Jean Grémillon's Gueule d'amour / Lady Killer). Those whose idea of cinema begins...
- 8/19/2011
- by Andre Soares
- Alt Film Guide
Jamie Thraves and Aidan Gillen return to the big screen, while the Life of Brian controversy is explored by BBC4 and Martin Scorsese shows his favourites movies at Port Eliot
Thraves thrives
After a decade out of British cinemas, director Jamie Thraves's Treacle Jr (see Philip French's review this week) sees the return of a film-maker much admired for his debut, The Low Down, in 2000. I'm pleased to see that the Irish actor Aidan Gillen has stuck by Thraves, even now that his star has risen after roles in The Wire and Game of Thrones. The pair are now working on another collaboration, a music film, which will combine Gillen's rock-star fantasies with Thraves's skills honed making videos for Radiohead, Coldplay and Dizzee Rascal. Thraves remortgaged his house to make Treacle Jr and shot it for £30,000, composing and playing much of the soundtrack himself. The film is part of...
Thraves thrives
After a decade out of British cinemas, director Jamie Thraves's Treacle Jr (see Philip French's review this week) sees the return of a film-maker much admired for his debut, The Low Down, in 2000. I'm pleased to see that the Irish actor Aidan Gillen has stuck by Thraves, even now that his star has risen after roles in The Wire and Game of Thrones. The pair are now working on another collaboration, a music film, which will combine Gillen's rock-star fantasies with Thraves's skills honed making videos for Radiohead, Coldplay and Dizzee Rascal. Thraves remortgaged his house to make Treacle Jr and shot it for £30,000, composing and playing much of the soundtrack himself. The film is part of...
- 7/18/2011
- by Jason Solomons
- The Guardian - Film News
Long Shadows: The Late Work of Satyajit Ray opens this evening and runs through April 26 at the Film Society of Lincoln Center: "Of special interest is Home and the World [1984; image above], his final, wonderful adaptation of a work by his mentor, Rabindranath Tagore (whose 150th anniversary we celebrate this year), as well as his final, luminous work, The Stranger, an extraordinary summing up of so much of Ray's worldview graced with a sensational lead performance by Utpal Dutt." Plus, "we asked some friends of the Film Society: what film would you recommend seeing, and why?" Meantime, Paul Brunick posts a roundup on Distant Thunder (1973) at Alt Screen. Update, 4/20: Salman Rushdie for the Fslc on The Golden Fortress (1974): "The film is a true delight and the moment when the Golden Fortress is discovered — when it is revealed not to be a child's fantasy but a real place, shimmering on...
- 4/20/2011
- MUBI
Festival-goers will be able to enjoy director's 'own subtle, spectral presence' through his playful choice of films
Martin Scorsese's four specially chosen double bills at the Port Eliot Festival is another reminder of his reputation as someone committed to preserving movie history. It's also part of the new curatorial fashion in film festivals: a big name will be asked to curate (sometimes at long-distance) a strand by personally selecting a number of films with a unifying idea or theme and then putting their name to the resulting event, perhaps with some well-chosen words for the programme. The local organisers do the legwork, locating the actual cans of film, or DVDs, and scheduling the projections.
Scorsese's choices here are droll, and the presence of a railway viaduct at Port Eliot is significant. Murder On The Orient Express is about a murder on a train. Hitchcock's North By Northwest has legendary train scenes.
Martin Scorsese's four specially chosen double bills at the Port Eliot Festival is another reminder of his reputation as someone committed to preserving movie history. It's also part of the new curatorial fashion in film festivals: a big name will be asked to curate (sometimes at long-distance) a strand by personally selecting a number of films with a unifying idea or theme and then putting their name to the resulting event, perhaps with some well-chosen words for the programme. The local organisers do the legwork, locating the actual cans of film, or DVDs, and scheduling the projections.
Scorsese's choices here are droll, and the presence of a railway viaduct at Port Eliot is significant. Murder On The Orient Express is about a murder on a train. Hitchcock's North By Northwest has legendary train scenes.
- 3/26/2011
- by Peter Bradshaw
- The Guardian - Film News
Director to curate four night season at Cornish festival with Brunel viaduct providing backdrop to outdoor screenings
Even legendary Hollywood director Martin Scorsese has never had a set like this to play with – a giant screen by a river under the stars, with a backdrop of trains rumbling across a towering viaduct designed by Isambard Kingdom Brunel.
Scorsese, who is curating The Director's Cut, a unique four-night film season at the Port Eliot Festival in Cornwall this June, clearly agonised over an opening film that would live up to the grandeur of the setting in 4,000 acres of Humphry Repton-designed parkland.
Trains and clouds of steam were obviously essential ingredients, and he considered both Shanghai Express (1932), with the luminous Marlene Dietrich and Anna May Wong, or Hitchcock's thriller The Lady Vanishes (1938).
His final choice may surprise devotees of Raging Bull or Gangs of New York: his opener is Murder on the Orient Express...
Even legendary Hollywood director Martin Scorsese has never had a set like this to play with – a giant screen by a river under the stars, with a backdrop of trains rumbling across a towering viaduct designed by Isambard Kingdom Brunel.
Scorsese, who is curating The Director's Cut, a unique four-night film season at the Port Eliot Festival in Cornwall this June, clearly agonised over an opening film that would live up to the grandeur of the setting in 4,000 acres of Humphry Repton-designed parkland.
Trains and clouds of steam were obviously essential ingredients, and he considered both Shanghai Express (1932), with the luminous Marlene Dietrich and Anna May Wong, or Hitchcock's thriller The Lady Vanishes (1938).
His final choice may surprise devotees of Raging Bull or Gangs of New York: his opener is Murder on the Orient Express...
- 3/26/2011
- by Maev Kennedy
- The Guardian - Film News
Film-maker James Ivory explains his lifelong obsession with Indian miniature painting – and how it helped unlock the country's secrets
It was the 18th-century Venetian painter Canaletto who provided the fateful introduction between myself and the art of Indian miniature painting, and thus to India and even my entire life to come. The first film I ever made, in 1956, was a documentary about Venice and the many artists who had painted her. In the course of making this film, I came to admire Canaletto's etchings of the city. Hoping to find one, I went to see a print dealer in San Francisco named Raymond Lewis. I had not been told that he also dealt in Indian miniature paintings.
On the day we met, Lewis had been showing his stock of Indian pictures to a buyer; they were still spread around his gallery when I came in. Years later, when I thought back on that afternoon,...
It was the 18th-century Venetian painter Canaletto who provided the fateful introduction between myself and the art of Indian miniature painting, and thus to India and even my entire life to come. The first film I ever made, in 1956, was a documentary about Venice and the many artists who had painted her. In the course of making this film, I came to admire Canaletto's etchings of the city. Hoping to find one, I went to see a print dealer in San Francisco named Raymond Lewis. I had not been told that he also dealt in Indian miniature paintings.
On the day we met, Lewis had been showing his stock of Indian pictures to a buyer; they were still spread around his gallery when I came in. Years later, when I thought back on that afternoon,...
- 11/2/2010
- The Guardian - Film News
Adrienne Corri (Mrs. Alexander in A Clockwork Orange) in Jean Renoir’s The River The Art Directors Guild (Adg) Film Society and the American Cinematheque (AC) will honor Production Designer Eugène Lourié with a double feature: Andrew Marton’s Crack in the World (1965), starring Dana Andrews and Janette Scott, and Jean Renoir’s classic The River (1951), with Nora Swinburne and Esmond Knight. The screenings will be held on Sunday, June 27, at 5:30 pm. at the Egyptian Theatre. A panel discussion will be held between screenings with panelists Bernard Glasser, producer of Crack in the World as well as Terrence Malick’s The Thin Red [...]...
- 6/11/2010
- by Andre Soares
- Alt Film Guide
From Rajahs and Yogis to Gandhi and Beyond
Images of India in International Films of the Twentieth Century
By Vijaya Mulay, Seagull Books, 554 pages, Paperback Rs. 695/-
The film society movement in India must get a huge proportion of the credit not only for having created the best filmmakers outside the mainstream – those like Satyajit Ray and Shyam Benegal but also for inspiring film critics, academics and film scholars, as it continues to do today. Vijaya Mulay, the author of the book under review is one of the pioneers of the movement, having been associated with ‘Indian film culture’ in its infancy and its formative years. Beginning her engagement with cinema more than 60 years ago, Vijaya Mulay (or ‘Akka’ to her friends) has seen Satyajit Ray at work and also come into close contact with international filmmakers like Louis Malle – when he was in India in the 1960s. Malle went...
Images of India in International Films of the Twentieth Century
By Vijaya Mulay, Seagull Books, 554 pages, Paperback Rs. 695/-
The film society movement in India must get a huge proportion of the credit not only for having created the best filmmakers outside the mainstream – those like Satyajit Ray and Shyam Benegal but also for inspiring film critics, academics and film scholars, as it continues to do today. Vijaya Mulay, the author of the book under review is one of the pioneers of the movement, having been associated with ‘Indian film culture’ in its infancy and its formative years. Beginning her engagement with cinema more than 60 years ago, Vijaya Mulay (or ‘Akka’ to her friends) has seen Satyajit Ray at work and also come into close contact with international filmmakers like Louis Malle – when he was in India in the 1960s. Malle went...
- 5/1/2010
- by MK Raghavendra
- DearCinema.com
Twiggy in Ken Russell’s The Boy Friend (top); Joaquin Phoenix in Ridley Scott’s Gladiator (middle); Andrew Marton’s Crack in the World, starring Dana Andrews, Janette Scott, Kieron Moore, and Alexander Knox (bottom) Ridley Scott’s Oscar-winning Gladiator, Jean Renoir’s The River, Ken Russell’s The Boy Friend, and Andrew Marton’s little-seen Crack in the World are some of the movies to be screened at the fourth Art Directors Guild (Adg) Film Society and the American Cinematheque series highlighting the works of renowned production designers. Those are Arthur Max (Gladiator), Eugène Lourié (Crack in the World, The River), Rudolph Sternad (The 5,000 Fingers of Dr. T), Nitin Chandrakant Desai (Devdas), Eiko Ishioka (Mishima: A Life in Four Chapters), and Tony Walton (The [...]...
- 4/26/2010
- by Andre Soares
- Alt Film Guide
"As soon as you make a theory, facts destroy it."”
– Jean Renoir
Jean Renoir is not "elegant." Jean Renoir was never a "master." Though he could be gentle when he needed to, he was never genteel. Jean Renoir directed some of the nastiest, roughest, most brutal films ever made. I still feel humilated watching La chienne and The River, as I should. I can't think of any moments in cinema that make me more uncomfortable than when when Michel Simon sobs while being questioned in the former or Thomas Breen falls down in the latter. I am embarassed, as you should be embarrassed, when watching The Crime of Monsieur Lange, Boudu Saved from Drowning, The Little Theater of Jean Renoir and The Rules of the Game, because I recognize my own shortcomings in the shortcomings of the characters. Their foolishness isn't just something to laugh at; it points to the...
– Jean Renoir
Jean Renoir is not "elegant." Jean Renoir was never a "master." Though he could be gentle when he needed to, he was never genteel. Jean Renoir directed some of the nastiest, roughest, most brutal films ever made. I still feel humilated watching La chienne and The River, as I should. I can't think of any moments in cinema that make me more uncomfortable than when when Michel Simon sobs while being questioned in the former or Thomas Breen falls down in the latter. I am embarassed, as you should be embarrassed, when watching The Crime of Monsieur Lange, Boudu Saved from Drowning, The Little Theater of Jean Renoir and The Rules of the Game, because I recognize my own shortcomings in the shortcomings of the characters. Their foolishness isn't just something to laugh at; it points to the...
- 4/19/2010
- MUBI
Darjeeling Limited was inspired by the films of Satyajit Ray, as well as Jean Renoir’s The River, explains Wes Anderson. Wes was at the London Film Festival with his new film Darjeeling Limited, starring Adrien Brody, Jason Schwartzman and Owen Wilson as the Whitman brothers. ‘I had been very interested in India for several years, I was interested in India because of movies, the Satyajit Ray films and a movie called The River that I had seen, that really turned me on to India. Then when I went there, I fell in love with it’. Satyajit Ray’s films are ‘almost always’ about people going through fundamental changes and personal transitions, which is a theme in Witman’s own films. Darjeeling Limited is very closely informed by the style of Ray’s beautiful films Charulata and Teen Kanya. Wes wrote the film with Roman Coppola and Jason Schwartzman, who plays Jack Whitman.
- 8/15/2008
- by t5m
- t5m.com
PARIS -- Organizers of the Festival de Cannes on Thursday unveiled the complete lineup of the Cannes Classics section dedicated to historic films from around the world. Now in its second year, the selection pays tribute to Mexican cinema with screenings of a restored copy of the 1950 picture Los Olvidados and a mini-retrospective of the work of Emilio Fernandez, three of whose movies will unspool. The British Film Institute has put together a program of restored films by U.K. director Michael Powell to mark the centenary of his birth. Also on the menu are two films restored by the Academy Film Archive under the aegis of the Film Foundation, the movie preservation organization founded in 1990 by Martin Scorsese and seven other leading American directors. Unspooling at Cannes will be Jean Renoir's 1951 The River and Satyajit Ray's 1955 work Pather Panchali.
- 4/28/2005
- The Hollywood Reporter - Movie News
PARIS -- Organizers of the Festival de Cannes on Thursday unveiled the complete lineup of the Cannes Classics section dedicated to historic films from around the world. Now in its second year, the selection pays tribute to Mexican cinema with screenings of a restored copy of the 1950 picture Los Olvidados and a mini-retrospective of the work of Emilio Fernandez, three of whose movies will unspool. The British Film Institute has put together a program of restored films by U.K. director Michael Powell to mark the centenary of his birth. Also on the menu are two films restored by the Academy Film Archive under the aegis of the Film Foundation, the movie preservation organization founded in 1990 by Martin Scorsese and seven other leading American directors. Unspooling at Cannes will be Jean Renoir's 1951 The River and Satyajit Ray's 1955 work Pather Panchali.
- 4/28/2005
- The Hollywood Reporter - Movie News
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