Icon Film has released a brand new trailer for the 4K restoration of Bernardo Bertolucci’s modern classic ‘The Dreamers’.
When Isabelle and Theo invite Matthew, an American student, to stay with them in their Parisian apartment, what begins as a casual friendship transforms into a sensual voyage of discovery and desire in which nothing is off-limits, and anything is possible…
From Academy Award-winning director Bernardo Bertolucci, the original cut of modern classic The Dreamers has been remastered for its 20th anniversary in stunning 4K. The restoration was completed by Fondazione Cineteca di Bologna under the supervision of director of photography, Fabio Cianchetti.
Set against the tumultuous background of the ’68 Paris student riots, experience this unforgettable love letter to cinema and the French New Wave like never before. Starring Michael Pitt, Louis Garrel (Little Women), and BAFTA winner Eva Green in her daring cinematic debut.
Also in trailers – Teaser trailer...
When Isabelle and Theo invite Matthew, an American student, to stay with them in their Parisian apartment, what begins as a casual friendship transforms into a sensual voyage of discovery and desire in which nothing is off-limits, and anything is possible…
From Academy Award-winning director Bernardo Bertolucci, the original cut of modern classic The Dreamers has been remastered for its 20th anniversary in stunning 4K. The restoration was completed by Fondazione Cineteca di Bologna under the supervision of director of photography, Fabio Cianchetti.
Set against the tumultuous background of the ’68 Paris student riots, experience this unforgettable love letter to cinema and the French New Wave like never before. Starring Michael Pitt, Louis Garrel (Little Women), and BAFTA winner Eva Green in her daring cinematic debut.
Also in trailers – Teaser trailer...
- 3/29/2024
- by Zehra Phelan
- HeyUGuys.co.uk
With no new bust-out limited releases, repertory continues to do its part for the specialty box office, the latest a 4k restoration of Nostalghia. Kino Lorber said the Andrei Tarkovsky’s 1983 film, which opened Wednesday, will gross an estimated $22.87k at Film Forum in NYC for the five days.
It’s currently the top performer at the theater and will take in more than all other films screening there combined over that period. Two additional shows at the Roxie in San Francisco and the Austin Film Society bring combined grosses to about $29.4k. Expands next week to Philadelphia and Montreal with additional markets coming later. The film about a Russian poet and his interpreter, who travel to Italy researching the life of an 18th-century composer, stars Oleg Yankovskiy, Andrei Gorchakov, Erland Josephson, Domiziana Giordano and Patrizia Terreno.
Kino Lorber had success with the restored 4k re-release of Bernardo Bertolucci’s...
It’s currently the top performer at the theater and will take in more than all other films screening there combined over that period. Two additional shows at the Roxie in San Francisco and the Austin Film Society bring combined grosses to about $29.4k. Expands next week to Philadelphia and Montreal with additional markets coming later. The film about a Russian poet and his interpreter, who travel to Italy researching the life of an 18th-century composer, stars Oleg Yankovskiy, Andrei Gorchakov, Erland Josephson, Domiziana Giordano and Patrizia Terreno.
Kino Lorber had success with the restored 4k re-release of Bernardo Bertolucci’s...
- 2/25/2024
- by Jill Goldsmith
- Deadline Film + TV
Absorbing the breakthroughs of the French New Wave and the burgeoning New Hollywood era and applying them to the artier ends of Bernardo Bertolucci’s native Italian cinema, The Conformist presents a façade of overwhelming cinematic beauty only to reveal the rotten soul beneath its surface. Vittorio Storaro’s cinematography captures Rome and Paris with an Antonioniesque eye for architectural detail, swooning camera movements, and even instances of color timing so extreme that certain shots recall the hand-tinted process of early silent film.
The precision of The Conformist’s images, though, only exacerbates the detached, inhuman alienation of the film’s protagonist, Marcello (Jean-Louis Trintignant). He’s the last scion of a diminished aristocratic line whose exhausted wealth and status are symbolized by an expansive but dilapidated and mildewing family villa occupied by a mother (Milly) who copes with a loss of status with copious amounts of opiates (his father...
The precision of The Conformist’s images, though, only exacerbates the detached, inhuman alienation of the film’s protagonist, Marcello (Jean-Louis Trintignant). He’s the last scion of a diminished aristocratic line whose exhausted wealth and status are symbolized by an expansive but dilapidated and mildewing family villa occupied by a mother (Milly) who copes with a loss of status with copious amounts of opiates (his father...
- 12/11/2023
- by Jake Cole
- Slant Magazine
Ninety-seven times out of 100, a movie makes its moral judgments for us. Yes, there’s a haunting ambiguity to films like “The Conformist” or “Taxi Driver” or “Tár.” But when was the last time you saw moral ambiguity in a genre movie? Even the “Mad Max” films, in their visionary savagery, draw a clean line between nobility and treachery, speed-demon heroism and outlaw selfishness. But “Concrete Utopia” is a dystopian disaster movie with a difference. This year’s South Korean entry in the Oscar competition for best international feature, it places its characters in a desperate, scary, do-or-die situation and then refuses to tell the audience what to think about them. It’s a fractious, blood-soaked drama about the will to survive that feels like “Earthquake” crossed with “Lord of the Flies.” What’s gripping is that you watch it and think, “If I were in this movie, what would I do?...
- 11/12/2023
- by Owen Gleiberman
- Variety Film + TV
John Bailey, the cinematographer on Ordinary People, Groundhog Day, As Good as It Gets and dozens of other notable films who endured two “stressful” terms as president of the Academy of Motion Picture Arts and Sciences, died Friday. He was 81.
Bailey died in Los Angeles, his wife, Oscar-nominated film editor Carol Littleton (E.T. the Extra-Terrestrial), announced.
”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” she said in a statement. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.”
They worked on more than a dozen features together.
The Southern California-raised Bailey served as the director of photography for...
Bailey died in Los Angeles, his wife, Oscar-nominated film editor Carol Littleton (E.T. the Extra-Terrestrial), announced.
”It is with deep sadness I share with you that my best friend and husband, John Bailey, passed away peacefully in his sleep early this morning,” she said in a statement. “During John’s illness, we reminisced how we met 60 years ago and were married for 51 of those years. We shared a wonderful life of adventure in film and made many long-lasting friendships along the way. John will forever live in my heart.”
They worked on more than a dozen features together.
The Southern California-raised Bailey served as the director of photography for...
- 11/11/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Explore where to stream the best films of 2023.
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.
Drylongso (Cauleen Smith)
Writer-director Cauleen Smith made Drylongso when she was in college, 25 years ago, premiering at Sundance in 1998. She has gone on to create dozens of short films, art installations, and more experimental work, focused on similar themes of feminism, racial violence, and Black communities. The low-key hangout movie should have been a stepping stone for Smith, but, as with many other works by Black female filmmaking of the last half-century, it fell out of circulation. – Michael F. (full interview)
Where to Stream: The Criterion Channel
Fingernails (Christos Nikou)
Is love quantifiable? No, but that doesn’t stop Greek filmmaker Christos Nikou from exploring that question over two dull, excruciating hours in Fingernails,...
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.
Drylongso (Cauleen Smith)
Writer-director Cauleen Smith made Drylongso when she was in college, 25 years ago, premiering at Sundance in 1998. She has gone on to create dozens of short films, art installations, and more experimental work, focused on similar themes of feminism, racial violence, and Black communities. The low-key hangout movie should have been a stepping stone for Smith, but, as with many other works by Black female filmmaking of the last half-century, it fell out of circulation. – Michael F. (full interview)
Where to Stream: The Criterion Channel
Fingernails (Christos Nikou)
Is love quantifiable? No, but that doesn’t stop Greek filmmaker Christos Nikou from exploring that question over two dull, excruciating hours in Fingernails,...
- 11/3/2023
- by Jordan Raup
- The Film Stage
Film geeks, rejoice. Leading indie label Kino Lorber is entering the world of streaming. The company has launched Kino Film Collection, a new subscription video service available in the U.S. via’s Amazon’s Prime Video Channels. The Collection will feature new Kino releases fresh from theaters, along with hundreds of films from its expansive library of more than 4,000 titles, many now streaming for the first time. It will cost users $5.99 per month.
Films available at launch include award-winning theatrical releases and critically acclaimed festival favorites and classics from around the globe, such as The Conformist (Bernardo Bertolucci), Dogtooth (Yorgos Lanthimos), Taxi (Jafar Panahi), Poison (Todd Haynes), Ganja & Hess (Bill Gunn), The Scent of Green Papaya (Tran Anh Hung), A Girl Walks Home Alone at Night (Ana Lily Amirpour), Computer Chess (Andrew Bujalski), Portrait of Jason (Shirley Clarke), and A Touch of Sin (Jia Zhangke).
Joining them are entries...
Films available at launch include award-winning theatrical releases and critically acclaimed festival favorites and classics from around the globe, such as The Conformist (Bernardo Bertolucci), Dogtooth (Yorgos Lanthimos), Taxi (Jafar Panahi), Poison (Todd Haynes), Ganja & Hess (Bill Gunn), The Scent of Green Papaya (Tran Anh Hung), A Girl Walks Home Alone at Night (Ana Lily Amirpour), Computer Chess (Andrew Bujalski), Portrait of Jason (Shirley Clarke), and A Touch of Sin (Jia Zhangke).
Joining them are entries...
- 11/2/2023
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
Kino Lorber, a leading name in the indie film scene for over 45 years, just launched the Kino Film Collection. This new streaming service is available in the U.S. on Amazon via Prime Video Channels for $5.99 per month. The platform will feature new Kino films fresh from their theatrical release along with hundreds of catalog titles. Many of these films will be available to stream for the first time.
Among the films available will be a new 4K restoration of Bernardo Bertolucci’s “The Conformist” and key titles like Yorgos Lanthimos’ “Dogtooth,” Jafar Panahi’s “Taxi,” Todd Haynes’ “Poison,” and Ana Lily Amirpour’s “A Girl Walks Home Alone at Night.”
Among the older titles available to stream will be classics like Fritz Lang’s “Metropolis,” F.W. Murnau’s “Nosferatu,” Robert Wiene’s “The Cabinet of Dr. Caligari,” and Sergei Eisenstein’s “Battleship Potemkin.” The Kino Film Collection will be...
Among the films available will be a new 4K restoration of Bernardo Bertolucci’s “The Conformist” and key titles like Yorgos Lanthimos’ “Dogtooth,” Jafar Panahi’s “Taxi,” Todd Haynes’ “Poison,” and Ana Lily Amirpour’s “A Girl Walks Home Alone at Night.”
Among the older titles available to stream will be classics like Fritz Lang’s “Metropolis,” F.W. Murnau’s “Nosferatu,” Robert Wiene’s “The Cabinet of Dr. Caligari,” and Sergei Eisenstein’s “Battleship Potemkin.” The Kino Film Collection will be...
- 11/1/2023
- by Scott Mendelson
- The Wrap
Kino Lorber has launched a new subscription streaming outlet, Kino Film Collection.
The $6-a-month destination for recent theatrical releases and hundreds of other films drawn from the company’s vast library will be available in the U.S. on Prime Video Channels.
Kino Lorber also operates Kino Now, a platform for rentals and purchases of arthouse and specialty films. The company has made several streaming moves of late. In 2022, it acquired MHz Choice and installed AMC Networks veteran Ed Carroll and former IFC Films head Lisa Schwartz in key management roles. Schwartz, Kino Lorber’s Chief Revenue Officer, will oversee Kino Film Collection. Last spring, Kino Lorber also formed a joint venture with First Look Media to operate both MHz Choice and First Look’s streaming service Topic.
Films available on Kino Film Collection at launch include new 4K restorations of The Conformist as well as key works by contemporary...
The $6-a-month destination for recent theatrical releases and hundreds of other films drawn from the company’s vast library will be available in the U.S. on Prime Video Channels.
Kino Lorber also operates Kino Now, a platform for rentals and purchases of arthouse and specialty films. The company has made several streaming moves of late. In 2022, it acquired MHz Choice and installed AMC Networks veteran Ed Carroll and former IFC Films head Lisa Schwartz in key management roles. Schwartz, Kino Lorber’s Chief Revenue Officer, will oversee Kino Film Collection. Last spring, Kino Lorber also formed a joint venture with First Look Media to operate both MHz Choice and First Look’s streaming service Topic.
Films available on Kino Film Collection at launch include new 4K restorations of The Conformist as well as key works by contemporary...
- 11/1/2023
- by Dade Hayes
- Deadline Film + TV
Kino Film Collection will offer recent theatrical releases and library titles.
Independent distributor Kino Lorber has launched Kino Film Collection, a US streaming service offering new Kino releases fresh from theatrical runs as well as films from the company’s 4,000-title library of classic, international and cult features.
The service, which will be available through Amazon’s Prime Video Channels for $5.99 a month, extends Kino Lorber’s growing digital operation. The distributor has recently acquired North American streaming services MHz Choice and Topic and launched TVoD service Kino Now.
Films from the company’s 4,000-title library already on the service...
Independent distributor Kino Lorber has launched Kino Film Collection, a US streaming service offering new Kino releases fresh from theatrical runs as well as films from the company’s 4,000-title library of classic, international and cult features.
The service, which will be available through Amazon’s Prime Video Channels for $5.99 a month, extends Kino Lorber’s growing digital operation. The distributor has recently acquired North American streaming services MHz Choice and Topic and launched TVoD service Kino Now.
Films from the company’s 4,000-title library already on the service...
- 11/1/2023
- by John Hazelton
- ScreenDaily
Independent film distributor Kino Lorber has officially unveiled streaming service Kino Film Collection, available via Prime Video here.
The Kino Film Collection will be launched in the U.S. on the Amazon Service via Prime Video Channels for $5.99 per month. The Collection will feature new Kino releases fresh from theaters, along with hundreds of films from its expansive library of more than 4,000 titles, with many now streaming for the first time.
New 4K restorations of films like Bernardo Bertolucci’s “The Conformist,” Yorgos Lanthimos’ “Dogtooth,” Jafar Panahi’s “Taxi,” Todd Haynes’ “Poison,” Tran Anh Hung’s “The Scent of Green Papaya,” Ana Lily Amirpour’s “A Girl Walks Home Alone At Night,” and Jia Zhangke’s “A Touch of Sin” are among highlights of the first offerings from Kino Film Collection.
Kino canon films like Fritz Lang’s historic “Metropolis,” F.W. Murnau’s “Nosferatu,” Robert Wiene’s “The Cabinet of Dr. Caligari,...
The Kino Film Collection will be launched in the U.S. on the Amazon Service via Prime Video Channels for $5.99 per month. The Collection will feature new Kino releases fresh from theaters, along with hundreds of films from its expansive library of more than 4,000 titles, with many now streaming for the first time.
New 4K restorations of films like Bernardo Bertolucci’s “The Conformist,” Yorgos Lanthimos’ “Dogtooth,” Jafar Panahi’s “Taxi,” Todd Haynes’ “Poison,” Tran Anh Hung’s “The Scent of Green Papaya,” Ana Lily Amirpour’s “A Girl Walks Home Alone At Night,” and Jia Zhangke’s “A Touch of Sin” are among highlights of the first offerings from Kino Film Collection.
Kino canon films like Fritz Lang’s historic “Metropolis,” F.W. Murnau’s “Nosferatu,” Robert Wiene’s “The Cabinet of Dr. Caligari,...
- 11/1/2023
- by Samantha Bergeson
- Indiewire
We are told to judge the art rather than the artist, but sometimes the artist makes this difficult. Woody Allen still carries loud freight – the freight of someone who was accused by his daughter, Dylan Farrow, of child sexual abuse. People will argue that none of the above matters, that he has been convicted of no crime, that only what is onscreen counts. And so we try to watch Coup de Chance, an adequate seriocomic immorality tale that had its world premiere Monday at the Venice Film Festival, with eyes and minds wide open.
- 9/4/2023
- by Chris Vognar
- Rollingstone.com
You can approach old classics just like new films, argued participants during Locarno’s Heritage Monday panel.
“I talked to an exhibitor in Paris and they don’t consider repertory cinema to be different from contemporary cinema. They are collapsing both models into one and it’s very interesting,” said K.J. Relth-Miller of the Academy Museum.
Swiss Film Archive director Frédéric Maire noted that they also mix “fresh” films with older titles. “This idea of separating them can be useful for communication, but we try to avoid it. Yesterday, I was watching [Daniel Schmid’s 1974 film] ‘La Paloma’ [at the festival] and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.
Such an approach can be beneficial also when it comes to raising audience’s awareness, argued Film Movement’s Erin Farrell.
“When we talk about ‘heritage films’ in the same breath as our new releases,...
“I talked to an exhibitor in Paris and they don’t consider repertory cinema to be different from contemporary cinema. They are collapsing both models into one and it’s very interesting,” said K.J. Relth-Miller of the Academy Museum.
Swiss Film Archive director Frédéric Maire noted that they also mix “fresh” films with older titles. “This idea of separating them can be useful for communication, but we try to avoid it. Yesterday, I was watching [Daniel Schmid’s 1974 film] ‘La Paloma’ [at the festival] and it felt modern and new. I don’t want to make these distinctions in terms of cultural perspective,” he said.
Such an approach can be beneficial also when it comes to raising audience’s awareness, argued Film Movement’s Erin Farrell.
“When we talk about ‘heritage films’ in the same breath as our new releases,...
- 8/8/2023
- by Marta Balaga
- Variety Film + TV
Adriana Chiesa, the pioneering Italian sales agent who has been a fixture at Cannes for 40 years, has sold her film library to Italy’s Minerva Pictures.
The 85-title Acek library comprises a broad mix of prominent works by revered directors such as Lina Wertmuller’s “Swept Away” (pictured) and “Summer Night With Greek Profile, Almond Eyes and a Scent of Basil” and cult movies including Lamberto Bava’s gonzo horror “Macabro,” revenge Western “Garringo” by Rafael Romero Merchant, and Asia Argento’s directorial debut, “Scarlet Diva,” on which Chiesa and Minerva chief Gianluca Curti jointly served as executive producers.
“I am particularly happy because I know that Gianluca appreciates the value of my library and will carry on its legacy with all the love and respect that it deserves,” Chiesa told Variety. She added that she will now continue her production activity, making documentaries such as “Water and Sugar: Carlo...
The 85-title Acek library comprises a broad mix of prominent works by revered directors such as Lina Wertmuller’s “Swept Away” (pictured) and “Summer Night With Greek Profile, Almond Eyes and a Scent of Basil” and cult movies including Lamberto Bava’s gonzo horror “Macabro,” revenge Western “Garringo” by Rafael Romero Merchant, and Asia Argento’s directorial debut, “Scarlet Diva,” on which Chiesa and Minerva chief Gianluca Curti jointly served as executive producers.
“I am particularly happy because I know that Gianluca appreciates the value of my library and will carry on its legacy with all the love and respect that it deserves,” Chiesa told Variety. She added that she will now continue her production activity, making documentaries such as “Water and Sugar: Carlo...
- 5/16/2023
- by Nick Vivarelli
- Variety Film + TV
Belgian directors Felix Van Groeningen and Charlotte Vandermeersch’s Italian-language drama The Eight Mountains and veteran Marco Bellocchio’s Exterior Night topped the 68th edition of Italy’s David di Donatello Awards on Wednesday evening.
The Eight Mountains won best film as well as best non-original screenplay, photography and sound.
Based on the novel of the same name by Paolo Cognetti, it stars Luca Marinelli and Alessandro Borghi as two men from different backgrounds who form a life-long bond during summers spent together as children in a remote mountain village.
The film world premiered in Competition at Cannes last year where it co-won the Jury Prize. Read the Deadline review here.
It is the second time in the history of the awards that a film by non-Italian directors has clinched the best film prize.
The last time was in 1971 when the Dino de Laurentiis-produced epic Waterloo by Russian director Sergei Bonderchuk,...
The Eight Mountains won best film as well as best non-original screenplay, photography and sound.
Based on the novel of the same name by Paolo Cognetti, it stars Luca Marinelli and Alessandro Borghi as two men from different backgrounds who form a life-long bond during summers spent together as children in a remote mountain village.
The film world premiered in Competition at Cannes last year where it co-won the Jury Prize. Read the Deadline review here.
It is the second time in the history of the awards that a film by non-Italian directors has clinched the best film prize.
The last time was in 1971 when the Dino de Laurentiis-produced epic Waterloo by Russian director Sergei Bonderchuk,...
- 5/11/2023
- by Melanie Goodfellow
- Deadline Film + TV
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
György Fehér’s remarkable, Béla Tarr-produced Twilight opens in a new restoration (read Z.W. Lewis on the film and its history here) while Ryûsuke Hamaguchi’s early feature Passion continues screening (read Daniel Eagen’s interview with him here).
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself, further work by Akerman and Michael Snow; a program of Maya Deren movies plays on 16mm this Sunday; Sunrise plays on 35mm this Sunday, while Coraline shows in 3D.
Roxy Cinema
Resident Evil, Spring Breakers, and The Terminator have 35mm showings while Dennis Hopper’s Out of the Blue and The Trial screen in 4K restorations.
Light Industry
The Hong Kong Category III (read: very dirty) films of Fan Ho play this weekend, including a special 16mm presentation on Sunday.
Film at Lincoln Center
György Fehér’s remarkable, Béla Tarr-produced Twilight opens in a new restoration (read Z.W. Lewis on the film and its history here) while Ryûsuke Hamaguchi’s early feature Passion continues screening (read Daniel Eagen’s interview with him here).
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself, further work by Akerman and Michael Snow; a program of Maya Deren movies plays on 16mm this Sunday; Sunrise plays on 35mm this Sunday, while Coraline shows in 3D.
Roxy Cinema
Resident Evil, Spring Breakers, and The Terminator have 35mm showings while Dennis Hopper’s Out of the Blue and The Trial screen in 4K restorations.
Light Industry
The Hong Kong Category III (read: very dirty) films of Fan Ho play this weekend, including a special 16mm presentation on Sunday.
- 4/21/2023
- by Nick Newman
- The Film Stage
Life World
Film Stage contributor Matthew Danger Lippman hosts a screening of Tom Green’s masterpiece Freddy Got Fingered this Friday, with tickets for $5 at the door, on the occasion of its 22nd anniversary. (Read Matthew’s interview with Green for the 20th.)
Film at Lincoln Center
Ryûsuke Hamaguchi’s early feature Passion has begun screening (read our interview with him here) while a series of films selected by Ari Aster begins, featuring films by Hitchcock, Nicholas Ray, Tai, and more.
Roxy Cinema
The Bedroom Window, featuring the Huppert-Guttenberg romance you never knew you wanted has 35mm showings Friday and Saturday, while Barbarella plays on the latter; on Sunday, new cult sensation For the Plasma screens, while Meg “U.S. Girls” Remy hosts a (currently sold-out) screening of Dennis Hopper’s Out of the Blue that includes music videos.
IFC Center
Gregg Araki’s The Doom Generation shows in a...
Film Stage contributor Matthew Danger Lippman hosts a screening of Tom Green’s masterpiece Freddy Got Fingered this Friday, with tickets for $5 at the door, on the occasion of its 22nd anniversary. (Read Matthew’s interview with Green for the 20th.)
Film at Lincoln Center
Ryûsuke Hamaguchi’s early feature Passion has begun screening (read our interview with him here) while a series of films selected by Ari Aster begins, featuring films by Hitchcock, Nicholas Ray, Tai, and more.
Roxy Cinema
The Bedroom Window, featuring the Huppert-Guttenberg romance you never knew you wanted has 35mm showings Friday and Saturday, while Barbarella plays on the latter; on Sunday, new cult sensation For the Plasma screens, while Meg “U.S. Girls” Remy hosts a (currently sold-out) screening of Dennis Hopper’s Out of the Blue that includes music videos.
IFC Center
Gregg Araki’s The Doom Generation shows in a...
- 4/14/2023
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Roxy Cinema
The Last Temptation of Christ and The Flowers of St. Francis have 35mm showings for Easter Weekend, while Barbarella and The Terminator also screen on film; Ken Jacobs’ Two Wrenching Departures plays on Sunday with Jacobs present.
IFC Center
Gregg Araki presents Something Wild on 35mm this Friday, while his film The Doom Generation opens in a director’s cut; Beau Travail offers a Claire Denis fix; Before Sunrise, Before Sunset, and Before Midnight screen, while Akira and Barb Wire have late showings, with Wild Things showing on 35mm.
Bam
One of Shôhei Imamura’s last films, Warm Water Under a Red Bridge, is screening, while “Queering the Canon” offers films by Lizzie Borden, Funeral Parade of Roses, and more.
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Varda,...
Roxy Cinema
The Last Temptation of Christ and The Flowers of St. Francis have 35mm showings for Easter Weekend, while Barbarella and The Terminator also screen on film; Ken Jacobs’ Two Wrenching Departures plays on Sunday with Jacobs present.
IFC Center
Gregg Araki presents Something Wild on 35mm this Friday, while his film The Doom Generation opens in a director’s cut; Beau Travail offers a Claire Denis fix; Before Sunrise, Before Sunset, and Before Midnight screen, while Akira and Barb Wire have late showings, with Wild Things showing on 35mm.
Bam
One of Shôhei Imamura’s last films, Warm Water Under a Red Bridge, is screening, while “Queering the Canon” offers films by Lizzie Borden, Funeral Parade of Roses, and more.
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Varda,...
- 4/7/2023
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Snow, Bresson, and Pasolini; somewhat different from Jeanne Dielman, Godzilla vs. Megalon plays Friday and Sunday.
Anthology Film Archives
A Joe Dante retrospective begins; films by Luis Buñuel and Chaplin screen through the weekend in Essential Cinema.
Film Forum
The recently restored Finnish classic Eight Deadly Shots begins its two-part run; Bob Fosse’s Sweet Charity and The Conformist continue; two Harold Lloyd movies screen; The Jackie Robinson Story plays on 35mm this Sunday.
Film at Lincoln Center
The newly restored Drylongso continues screening. (Read our interview with director Cauleen Smith here.)
IFC Center
White Material, Chocolat, and Beau Travail offer a Claire Denis fix; Before Sunrise and Before Sunset screen, while Fight Club, Akira, Jaws, Barb Wire, and Poison Ivy have late showings,...
Museum of the Moving Image
A series on Jeanne Dielman‘s influences brings the film itself and work by Snow, Bresson, and Pasolini; somewhat different from Jeanne Dielman, Godzilla vs. Megalon plays Friday and Sunday.
Anthology Film Archives
A Joe Dante retrospective begins; films by Luis Buñuel and Chaplin screen through the weekend in Essential Cinema.
Film Forum
The recently restored Finnish classic Eight Deadly Shots begins its two-part run; Bob Fosse’s Sweet Charity and The Conformist continue; two Harold Lloyd movies screen; The Jackie Robinson Story plays on 35mm this Sunday.
Film at Lincoln Center
The newly restored Drylongso continues screening. (Read our interview with director Cauleen Smith here.)
IFC Center
White Material, Chocolat, and Beau Travail offer a Claire Denis fix; Before Sunrise and Before Sunset screen, while Fight Club, Akira, Jaws, Barb Wire, and Poison Ivy have late showings,...
- 3/31/2023
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Museum of the Moving Image
Tokyo Story plays on 35mm this Friday and Sunday.
Film Forum
Bob Fosse’s Sweet Charity plays in a 4K restoration; Ken Loach’s The Spirit of ’45 and The Conformist continue their runs; a Jeanne Moreau retrospective highlights her three, rarely screened directing efforts as well as her onscreen work; Panahi’s The White Balloon plays on 35mm this Sunday.
Anthology Film Archives
Films by Luis Buñuel screen through the weekend in Essential Cinema.
Film at Lincoln Center
A retrospective of Tod Browning’s dark world brings the likes of Freaks and Dracula, while the newly restored Drylongso continues screening. (Read our interview with director Cauleen Smith here.)
IFC Center
Before Sunrise screens, while Fight Club, Akira, Jaws, Barb Wire, and Poison Ivy have late showings.
Roxy Cinema
Synecdoche, New York and Paul Williams...
Museum of the Moving Image
Tokyo Story plays on 35mm this Friday and Sunday.
Film Forum
Bob Fosse’s Sweet Charity plays in a 4K restoration; Ken Loach’s The Spirit of ’45 and The Conformist continue their runs; a Jeanne Moreau retrospective highlights her three, rarely screened directing efforts as well as her onscreen work; Panahi’s The White Balloon plays on 35mm this Sunday.
Anthology Film Archives
Films by Luis Buñuel screen through the weekend in Essential Cinema.
Film at Lincoln Center
A retrospective of Tod Browning’s dark world brings the likes of Freaks and Dracula, while the newly restored Drylongso continues screening. (Read our interview with director Cauleen Smith here.)
IFC Center
Before Sunrise screens, while Fight Club, Akira, Jaws, Barb Wire, and Poison Ivy have late showings.
Roxy Cinema
Synecdoche, New York and Paul Williams...
- 3/24/2023
- by Nick Newman
- The Film Stage
NYC Weekend Watch is our weekly round-up of repertory offerings.
Film at Lincoln Center
A retrospective of Tod Browning’s dark world brings the likes of Freaks and Dracula, while the newly restored Drylongso starts screening. (Read our interview with director Cauleen Smith here.)
IFC Center
The Dardenne brothers are subject of a career-spanning retrospective, with L’Enfant, The Kid with a Bike, and Lorna’s Silence showing on 35mm; Fight Club, Akira, Jaws, Times Square, and Poison Ivy have late screenings.
Film Forum
Ken Loach’s The Spirit of ’45 begins a run; a Jeanne Moreau retrospective highlights her three, rarely screened directing efforts; Lou Ye’s Suzhou River continues showing in a 4K restoration, while The Conformist returns; Selena plays this Sunday.
Roxy Cinema
Dressed to Kill, Chabrol’s The Champagne Murders, Minnie and Moskowitz, Belly, and Synecdoche, New York have 35mm showings.
Museum of the Moving Image
With First Look underway,...
Film at Lincoln Center
A retrospective of Tod Browning’s dark world brings the likes of Freaks and Dracula, while the newly restored Drylongso starts screening. (Read our interview with director Cauleen Smith here.)
IFC Center
The Dardenne brothers are subject of a career-spanning retrospective, with L’Enfant, The Kid with a Bike, and Lorna’s Silence showing on 35mm; Fight Club, Akira, Jaws, Times Square, and Poison Ivy have late screenings.
Film Forum
Ken Loach’s The Spirit of ’45 begins a run; a Jeanne Moreau retrospective highlights her three, rarely screened directing efforts; Lou Ye’s Suzhou River continues showing in a 4K restoration, while The Conformist returns; Selena plays this Sunday.
Roxy Cinema
Dressed to Kill, Chabrol’s The Champagne Murders, Minnie and Moskowitz, Belly, and Synecdoche, New York have 35mm showings.
Museum of the Moving Image
With First Look underway,...
- 3/17/2023
- by Nick Newman
- The Film Stage
While we’ve known the results of Jeanne Dielman Tops Sight and Sound‘s 2022 Greatest Films of All-Time List”>Sight & Sound’s once-in-a-decade greatest films of all-time poll for a few months now, the recent release of the individual ballots has given data-crunching cinephiles a new opportunity to dive deeper. We have Letterboxd lists detailing all 4,400+ films that received at least one vote and another expanding the directors poll, spreadsheets calculating every entry, and now a list ranking how many votes individual directors received for their films.
Tabulated by Genjuro, the list of 35 directors, with two pairs, puts Alfred Hitchcock back on top, while Chantal Akerman is at number two. Elsewhere in the top ten are David Lynch, Francis Ford Coppola, Jean-Luc Godard, Agnès Varda, Orson Welles, Yasujirō Ozu, and Stanley Kubrick, and tied for the tenth spot is Wong Kar Wai and Ingmar Bergman.
Check out the list below,...
Tabulated by Genjuro, the list of 35 directors, with two pairs, puts Alfred Hitchcock back on top, while Chantal Akerman is at number two. Elsewhere in the top ten are David Lynch, Francis Ford Coppola, Jean-Luc Godard, Agnès Varda, Orson Welles, Yasujirō Ozu, and Stanley Kubrick, and tied for the tenth spot is Wong Kar Wai and Ingmar Bergman.
Check out the list below,...
- 3/5/2023
- by Jordan Raup
- The Film Stage
The Great Italian Films of the 1970sThere was a certain type of great art film which was being made from 1968 through the 1970s which can never be approximated. Active and engaged filmmakers were consciously wakening out of the post-war amnesia and taking a perversely erotically charged political stand against the hypocrisy of the previous generation.
Italy was the hotbed of this examination of fascism coming out of World War II. Luchino Visconti’s The Damned (1969), Bertolucci’s The Conformist (1970), Pier Paolo Pasolini’s infamous Salò, or the 120 Days of Sodom (1975). Even the American musical, via Bob Fosse’s adaptation of Christopher Isherwood’s Berlin Stories, Cabaret (1972) hinted at what the Italians went after with their full force of creative muscle.
Take Liliana Cavani’s The Night Porter (1974), set in Vienna in 1957, the film centers on the sadomasochistic relationship between a former Nazi concentration camp officer (Dirk Bogarde) and one of his inmates (Charlotte Rampling). Their sadomasochistic love is their only happiness and it paralyzes the former Nazis who have been reintegrated into polite society.
Universally reviled by U.S.’s top critics, Roger Ebert of The Chicago Sun-Times called it “as nasty as it is lubricious, a despicable attempt to titillate us by exploiting memories of persecution and suffering”. Vincent Canby, prominent critic for The New York Times, called it “romantic pornography” and “a piece of junk”. Pauline Kael wrote in The New Yorker, “Many of us can’t take more than a few hard-core porno movies, because the absence of any human esteem makes them depressing rather than sexy; The Night Porteroffers the same dehumanized view and is brazen enough to use the Second World War as an excuse.”
Susan Sontag’s essay Fascinating Facism for New York Review of Books (February 6, 1975) stated, “If the message of fascism has been neutralized by an aesthetic view of life, its trappings have been sexualized. This eroticization of fascism can be remarked in such enthralling and devout manifestations as Mishima’s Confessions of a Mask and Sun and Steel, and in films like Kenneth Anger’s Scorpio Rising and, more recently and far less interestingly, in Visconti’s The Damned and Cavani’s The Night Porter.”
However, its value was recognized by the executive producer Joseph E. Levine who quoted them on the posters of the U.S. theatrical release through his company Avco Embassy.
In a brilliant essay of the film by Kat Ellinger I quote:
Filmmakers were suddenly touching the untouchable, and it made certain people incredibly uncomfortable.”
Unlike Naziploitation, The Night Porter does nothing to cartoonise the Nazi officers that dominate the narrative. It isn’t a case of good versus evil, or that sadism is presented as a form of lasivious softcore pornography. Neither is the film a deliberate political treatise like the art films of Bertolucci, Visconti, or Pasolini. Its biggest transgression is that it humanises one of its main characters, Max (Dirk Bogarde), a former Nazi officer with a penchant for sadism, when he finds his ‘little girl’ again in the postwar period; a former concentration camp inmate Lucia (Charlotte Rampling) with whom he undertook a sadistic affair while she was incarcerated. On reuniting it is clear that their loved never died, so they continue, even though they know it will eventually contribute to their downfall and consequent death. Love in this realm is desperately profane, disgusting, something that should never be. And because of this it remains infinitely fascinating and uniquely humanistic.
Related in spirit was Bernardo Bertolucci’s Last Tango in Paris (1972), using sex to express the death of love and male causality, its own furor when it hit American cinemas still continues to court controversy; and Luchino Visconti’s The Innocent (1976), based upon the novel by the decadent writer Gabriele D’Annunzio, expressing the same but in a totally antithetical environment of the aristocracy. Bertolluci’s The Conformist(1970) twisted the repressed homosexual of its title into a sadomasochistic fascist.
One could say, as did Gabriel Jenkinson, “the dynamics of conformity present in the modern consumerist capitalist system result in repression, which in turn manifests as violent sadomasochism — and …if one does not actively rebel against this system, one is complicit in its proliferation.”
Parenthetically on the other side of the earth, in Japan, In the Realm of the Senses (1976) by Nagisa Ôshima about a woman whose affair with her master leads to an obsessive and ultimately destructive sexual relationship also came out of Oshima’s early involvement with the student protest movement in Kyoto in ‘68 and out of his concern with the contradictions and tensions of postwar Japanese society in which he exposed contemporary Japanese materialism, while also examining what it means to be Japanese in the face of rapid industrialization and Westernization.
In 2020 Vincent Canby might have revisited The Night Porter and seen it in a different light. His 2020 review of Visconti’s last film, L’innocente (The Innocent), completed in 1976 shortly before his death was “among the most beautiful and severely disciplined films he has ever made.” It was also brazenly sadistic and sexy to a point that today would be labeled pornographic, and today could not be conceived of, much less made, diving, as it does, into sex, abortion, male domination and violence.
According to The World, public radio’s longest-running daily global news program, a co-production of Prx and Wgbh, in 2012:
British scientists have finally confirmed what women worldwide have been suspecting for centuries. It’s not religious principles that start wars. It’s not even civilization’s thirst for oil. Ladies and gentlemen, it’s the penis.
According to a study published this week in the Philosophical Transactions of the Royal Society publication, the male sex drive is the cause of most conflicts in the world, from soccer hooliganism to religious wars, not to mention family disputes over the toilet seat being left up.
According to this story in The Telegraph, the scientists call it the “male warrior instinct” and claim men are programmed to be aggressive toward outsiders. It apparently used to be a handy instinct, back when you had to kill other suitors in order to gain more access to mates, but nowadays, this only works in some countries and a few US cities. For the rest of us, this unreformed sex drive only means ever-increasing defense budgets.
The magnitude of this discovery is so great, it’s difficult to estimate the potential ramifications.
At only eight inches on average (or that’s what we have been told), it’s smaller in size than most other controversial discoveries, yet — just like the atom — it has catastrophic consequences if in the hands of the wrong people.
And so these filmmakers show us the pathological drive of the unleashed male libido.
But times are different in the 21st century. These films could never be approximated by our Tik Tok generation where porn has created a quick witty and essentially violent vibrato of sexuality. These films of the late ‘60s and ‘70s took the libido at its rawest and showed its drive as an expression of political evil in very different types of stories.
And it might be worth noting that of all these films, the most reviled was written and directed by a woman and in most of the films, it is, in fact, a woman who proves the stronger of the two sexes and disarms the man. What remains viscerally true to this day is that that missile shaped 8 inch organ needs to be beaten into a plowshare.
SexFascismMoviesItalyInternational Film...
Italy was the hotbed of this examination of fascism coming out of World War II. Luchino Visconti’s The Damned (1969), Bertolucci’s The Conformist (1970), Pier Paolo Pasolini’s infamous Salò, or the 120 Days of Sodom (1975). Even the American musical, via Bob Fosse’s adaptation of Christopher Isherwood’s Berlin Stories, Cabaret (1972) hinted at what the Italians went after with their full force of creative muscle.
Take Liliana Cavani’s The Night Porter (1974), set in Vienna in 1957, the film centers on the sadomasochistic relationship between a former Nazi concentration camp officer (Dirk Bogarde) and one of his inmates (Charlotte Rampling). Their sadomasochistic love is their only happiness and it paralyzes the former Nazis who have been reintegrated into polite society.
Universally reviled by U.S.’s top critics, Roger Ebert of The Chicago Sun-Times called it “as nasty as it is lubricious, a despicable attempt to titillate us by exploiting memories of persecution and suffering”. Vincent Canby, prominent critic for The New York Times, called it “romantic pornography” and “a piece of junk”. Pauline Kael wrote in The New Yorker, “Many of us can’t take more than a few hard-core porno movies, because the absence of any human esteem makes them depressing rather than sexy; The Night Porteroffers the same dehumanized view and is brazen enough to use the Second World War as an excuse.”
Susan Sontag’s essay Fascinating Facism for New York Review of Books (February 6, 1975) stated, “If the message of fascism has been neutralized by an aesthetic view of life, its trappings have been sexualized. This eroticization of fascism can be remarked in such enthralling and devout manifestations as Mishima’s Confessions of a Mask and Sun and Steel, and in films like Kenneth Anger’s Scorpio Rising and, more recently and far less interestingly, in Visconti’s The Damned and Cavani’s The Night Porter.”
However, its value was recognized by the executive producer Joseph E. Levine who quoted them on the posters of the U.S. theatrical release through his company Avco Embassy.
In a brilliant essay of the film by Kat Ellinger I quote:
Filmmakers were suddenly touching the untouchable, and it made certain people incredibly uncomfortable.”
Unlike Naziploitation, The Night Porter does nothing to cartoonise the Nazi officers that dominate the narrative. It isn’t a case of good versus evil, or that sadism is presented as a form of lasivious softcore pornography. Neither is the film a deliberate political treatise like the art films of Bertolucci, Visconti, or Pasolini. Its biggest transgression is that it humanises one of its main characters, Max (Dirk Bogarde), a former Nazi officer with a penchant for sadism, when he finds his ‘little girl’ again in the postwar period; a former concentration camp inmate Lucia (Charlotte Rampling) with whom he undertook a sadistic affair while she was incarcerated. On reuniting it is clear that their loved never died, so they continue, even though they know it will eventually contribute to their downfall and consequent death. Love in this realm is desperately profane, disgusting, something that should never be. And because of this it remains infinitely fascinating and uniquely humanistic.
Related in spirit was Bernardo Bertolucci’s Last Tango in Paris (1972), using sex to express the death of love and male causality, its own furor when it hit American cinemas still continues to court controversy; and Luchino Visconti’s The Innocent (1976), based upon the novel by the decadent writer Gabriele D’Annunzio, expressing the same but in a totally antithetical environment of the aristocracy. Bertolluci’s The Conformist(1970) twisted the repressed homosexual of its title into a sadomasochistic fascist.
One could say, as did Gabriel Jenkinson, “the dynamics of conformity present in the modern consumerist capitalist system result in repression, which in turn manifests as violent sadomasochism — and …if one does not actively rebel against this system, one is complicit in its proliferation.”
Parenthetically on the other side of the earth, in Japan, In the Realm of the Senses (1976) by Nagisa Ôshima about a woman whose affair with her master leads to an obsessive and ultimately destructive sexual relationship also came out of Oshima’s early involvement with the student protest movement in Kyoto in ‘68 and out of his concern with the contradictions and tensions of postwar Japanese society in which he exposed contemporary Japanese materialism, while also examining what it means to be Japanese in the face of rapid industrialization and Westernization.
In 2020 Vincent Canby might have revisited The Night Porter and seen it in a different light. His 2020 review of Visconti’s last film, L’innocente (The Innocent), completed in 1976 shortly before his death was “among the most beautiful and severely disciplined films he has ever made.” It was also brazenly sadistic and sexy to a point that today would be labeled pornographic, and today could not be conceived of, much less made, diving, as it does, into sex, abortion, male domination and violence.
According to The World, public radio’s longest-running daily global news program, a co-production of Prx and Wgbh, in 2012:
British scientists have finally confirmed what women worldwide have been suspecting for centuries. It’s not religious principles that start wars. It’s not even civilization’s thirst for oil. Ladies and gentlemen, it’s the penis.
According to a study published this week in the Philosophical Transactions of the Royal Society publication, the male sex drive is the cause of most conflicts in the world, from soccer hooliganism to religious wars, not to mention family disputes over the toilet seat being left up.
According to this story in The Telegraph, the scientists call it the “male warrior instinct” and claim men are programmed to be aggressive toward outsiders. It apparently used to be a handy instinct, back when you had to kill other suitors in order to gain more access to mates, but nowadays, this only works in some countries and a few US cities. For the rest of us, this unreformed sex drive only means ever-increasing defense budgets.
The magnitude of this discovery is so great, it’s difficult to estimate the potential ramifications.
At only eight inches on average (or that’s what we have been told), it’s smaller in size than most other controversial discoveries, yet — just like the atom — it has catastrophic consequences if in the hands of the wrong people.
And so these filmmakers show us the pathological drive of the unleashed male libido.
But times are different in the 21st century. These films could never be approximated by our Tik Tok generation where porn has created a quick witty and essentially violent vibrato of sexuality. These films of the late ‘60s and ‘70s took the libido at its rawest and showed its drive as an expression of political evil in very different types of stories.
And it might be worth noting that of all these films, the most reviled was written and directed by a woman and in most of the films, it is, in fact, a woman who proves the stronger of the two sexes and disarms the man. What remains viscerally true to this day is that that missile shaped 8 inch organ needs to be beaten into a plowshare.
SexFascismMoviesItalyInternational Film...
- 2/11/2023
- by Sydney
- Sydney's Buzz
In “The March on Rome,” which world premieres in the Venice Days sidebar of Venice Film Festival Wednesday, Northern Irish-Scottish filmmaker Mark Cousins tracks the ascent of fascism in Italy in the 1920s, and its fall-out across 1930s Europe. He also draws a dotted line from those events to the storming of the Capitol in Washington, D.C., in January 2021.
The documentary, illustrated with archive footage and Cousins’ characteristic cinematic analysis, starts with Donald Trump defending his decision to retweet a quote from Italian dictator Benito Mussolini: “It is better to live one day as a lion than 100 years as a sheep.” Later in the film, Cousins inserts footage of Trump supporters attacking the Capitol, hoping to overturn Joe Biden’s electoral victory.
The issue of the Mussolini quote made a strong impression on Cousins at the time. “I remember seeing that thing on TV and thinking, ‘Wow, he’s actually not denouncing Mussolini,...
The documentary, illustrated with archive footage and Cousins’ characteristic cinematic analysis, starts with Donald Trump defending his decision to retweet a quote from Italian dictator Benito Mussolini: “It is better to live one day as a lion than 100 years as a sheep.” Later in the film, Cousins inserts footage of Trump supporters attacking the Capitol, hoping to overturn Joe Biden’s electoral victory.
The issue of the Mussolini quote made a strong impression on Cousins at the time. “I remember seeing that thing on TV and thinking, ‘Wow, he’s actually not denouncing Mussolini,...
- 8/30/2022
- by Leo Barraclough
- Variety Film + TV
Celebrated actor was married three times, loved motor racing.
Jean-Louis Trintignant, a leading light of the French New Wave who broke out in Claude Lelouch’s A Man And A Woman and later in life starred in Michael Haneke’s Amour, has died. He was 91.
According to Agence France-Presse Trintignant died on Friday (June 17) at his home in the southern region of Gard. His wife Marianne Hoepfner was with him.
Trintignant was born on December 11 1930 in the southern Vaucluse region to businessman Raoul and Claire. As a shy man in his 20s – his personality would inform a personal aversion to...
Jean-Louis Trintignant, a leading light of the French New Wave who broke out in Claude Lelouch’s A Man And A Woman and later in life starred in Michael Haneke’s Amour, has died. He was 91.
According to Agence France-Presse Trintignant died on Friday (June 17) at his home in the southern region of Gard. His wife Marianne Hoepfner was with him.
Trintignant was born on December 11 1930 in the southern Vaucluse region to businessman Raoul and Claire. As a shy man in his 20s – his personality would inform a personal aversion to...
- 6/17/2022
- by Jeremy Kay
- ScreenDaily
€50,000 joint restoration grant to the film Life Of A Shock Force Worker.
Ace (Association des Cinémathèques Européennes) has awarded its 53,000 joint restoration grant to Life Of A Shock Force Worker, the 1972 film by Bosnian director Bahrudin ‘Bato’ Cengic.
The jury was comprised of filmmaker Sergei Loznitsa, Pordenone Silent Film Festival director Jay Weissberg and Arte director Claudia Tronnier.
Ace’s A Season of Classic Films will run online and in European cinemas from June to December.
The free screenings look to engage younger audiences. Most are new digital restorations, and some screenings will include live music performances and interactive educational sessions.
Ace (Association des Cinémathèques Européennes) has awarded its 53,000 joint restoration grant to Life Of A Shock Force Worker, the 1972 film by Bosnian director Bahrudin ‘Bato’ Cengic.
The jury was comprised of filmmaker Sergei Loznitsa, Pordenone Silent Film Festival director Jay Weissberg and Arte director Claudia Tronnier.
Ace’s A Season of Classic Films will run online and in European cinemas from June to December.
The free screenings look to engage younger audiences. Most are new digital restorations, and some screenings will include live music performances and interactive educational sessions.
- 5/23/2022
- by Geoffrey Macnab
- ScreenDaily
Abel Ferrara on his selections for Abel Ferrara’s Cinema Village: “Desperate Living by John Waters, one of my favorite directors. Then we got a couple of films by the guys that I worked with. My editor and my Dp Sean Williams, Stephen Gurewitz, Michael Bilandic. Photo: Anne-Katrin Titze
Abel Ferrara’s Cinema Village starts on Tuesday, June 29 at 7:30pm with a free screening of The Projectionist on Nicolas Nicolaou, followed by a Q&a with Abel. Tommaso; Pasolini; Siberia (Dafoe); Ms. 45; 4:44 Last Day On Earth, and Driller Killer will have $5 screenings.
John Waters’ Desperate Living; Bernardo Bertolucci’s The Conformist; Stephen Gurewitz’s Honky Kong; Alejandro Jodorowsky’s El Topo, and Jim Sharman’s The Rocky Horror Picture Show are among the films selected by Ferrara to be screening during his celebration of the reopening...
Abel Ferrara’s Cinema Village starts on Tuesday, June 29 at 7:30pm with a free screening of The Projectionist on Nicolas Nicolaou, followed by a Q&a with Abel. Tommaso; Pasolini; Siberia (Dafoe); Ms. 45; 4:44 Last Day On Earth, and Driller Killer will have $5 screenings.
John Waters’ Desperate Living; Bernardo Bertolucci’s The Conformist; Stephen Gurewitz’s Honky Kong; Alejandro Jodorowsky’s El Topo, and Jim Sharman’s The Rocky Horror Picture Show are among the films selected by Ferrara to be screening during his celebration of the reopening...
- 6/27/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and past round-ups here.
Audition (Takashi Miike)
Perhaps I’ve been subconsciously squeamishly avoiding it, but I’ve been waiting to see Takashi Miike’s Audition for some time and now the opportunity has easily arrived courtesy of Mubi. As Daisy Phillipson writes for Little White Lies, “On closer inspection, however, Miike asks us to consider the cultural context in which the film is set. Based on a novel by Ryu Murakami, who often uses social commentary to skewer concerns facing modern Japan, Audition offers an ingenious twist on national femininity by subverting the passive female horror narrative.”
Where to Stream: Mubi (free for 30 days)
The Conformist (Bernardo Bertolucci)
One of the most ravishing movies ever made,...
Audition (Takashi Miike)
Perhaps I’ve been subconsciously squeamishly avoiding it, but I’ve been waiting to see Takashi Miike’s Audition for some time and now the opportunity has easily arrived courtesy of Mubi. As Daisy Phillipson writes for Little White Lies, “On closer inspection, however, Miike asks us to consider the cultural context in which the film is set. Based on a novel by Ryu Murakami, who often uses social commentary to skewer concerns facing modern Japan, Audition offers an ingenious twist on national femininity by subverting the passive female horror narrative.”
Where to Stream: Mubi (free for 30 days)
The Conformist (Bernardo Bertolucci)
One of the most ravishing movies ever made,...
- 2/26/2021
- by Jordan Raup
- The Film Stage
After unveiling the discs that will be arriving in April, including Bong Joon Ho’s Memories of Murder, Olivier Assayas’ Irma Vep, and more, Criterion has now announced what will be coming to their streaming channel next month.
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
Highlights include retrospectives dedicated to Guy Maddin, Ruby Dee, Lana Turner, and Gordon Parks, plus selections from Marlene Dietrich & Josef von Sternberg’s stellar box set. They will also present the exclusive streaming premieres of Bill Duke’s The Killing Floor, William Greaves’s Nationtime, Kevin Jerome Everson’s Park Lanes, and more.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai, which recently arrived on the collection, will be landing on the channel as well, along with a special “Lovers on the Run” series including film noir (They Live by Night) to New Hollywood (Badlands) to the French New Wave (Pierrot le fou) to Blaxploitation (Thomasine & Bushrod) and beyond. Also...
- 1/26/2021
- by Leonard Pearce
- The Film Stage
Triple Oscar winner Italian cinematographer Vittorio Storaro will be honoured with Lifetime Achievement Award at the 51st edition of the International Film Festival of India (Iffi).
The festival will be held in Goa from January 16 to 24, in hybrid format this year due to the pandemic.
"This year at #IFFI51, Mr. Vittorio Storaro, Italian cinematographer will be honoured with the prestigious lifetime Achievement Award. He has received three Academy Awards for Best Cinematography. He is one of three living persons who has won the award three times," read a tweet posted on the festival's handle on Friday.
Storaro is known for his work in films like "Apocalypse Now" (1979), "Last Tango In Paris" (1972), "The Bird With The Crystal Plumage"(1970), and "The Conformist" (1970).
The festival will also honour late actors Irrfan Khan, Sushant Singh Rajput, Rishi Kapoor and Chadwick Boseman.
"The 51st Edition Of Iffi Is All Set To Pay Homage To Eminent...
The festival will be held in Goa from January 16 to 24, in hybrid format this year due to the pandemic.
"This year at #IFFI51, Mr. Vittorio Storaro, Italian cinematographer will be honoured with the prestigious lifetime Achievement Award. He has received three Academy Awards for Best Cinematography. He is one of three living persons who has won the award three times," read a tweet posted on the festival's handle on Friday.
Storaro is known for his work in films like "Apocalypse Now" (1979), "Last Tango In Paris" (1972), "The Bird With The Crystal Plumage"(1970), and "The Conformist" (1970).
The festival will also honour late actors Irrfan Khan, Sushant Singh Rajput, Rishi Kapoor and Chadwick Boseman.
"The 51st Edition Of Iffi Is All Set To Pay Homage To Eminent...
- 1/15/2021
- by Glamsham Editorial
- GlamSham
Studios didn’t exactly jump at the chance to make a movie about the late Black Panther chairman Fred Hampton.
“It knocked me on my ass,” admits Shaka King, the co-writer and director of “Judas and the Black Messiah,” the blistering new look at Hampton’s short life and enduring impact. “I was under the impression that if you make a movie about a Black Panther, produced by the director of ‘Black Panther,’ which made a billion dollars, starring two of the best actors of our generation, and you have a producer and co-financer in Charles King, who is willing to put up half the budget, it’s going to be a bidding war. That was not the case.”
Hollywood is facing a lot of pressure to become more diverse in the stories it tells and the filmmakers it promotes. However, Black filmmakers say that it’s still a struggle to get projects made.
“It knocked me on my ass,” admits Shaka King, the co-writer and director of “Judas and the Black Messiah,” the blistering new look at Hampton’s short life and enduring impact. “I was under the impression that if you make a movie about a Black Panther, produced by the director of ‘Black Panther,’ which made a billion dollars, starring two of the best actors of our generation, and you have a producer and co-financer in Charles King, who is willing to put up half the budget, it’s going to be a bidding war. That was not the case.”
Hollywood is facing a lot of pressure to become more diverse in the stories it tells and the filmmakers it promotes. However, Black filmmakers say that it’s still a struggle to get projects made.
- 12/23/2020
- by Clayton Davis
- Variety Film + TV
Mentoring emerging cinematographers has always been a key mission at the EnergaCamerimage International Film Festival and this year’s online version of the event features a score of streaming master classes and seminars that inform and offer insights from top filmmakers and technology experts.
Streaming through the end of 2020 (online.energacamerimage.pl), the talks and teach-ins are, with rare exceptions, accessible without a password or online Camerimage entry card – unlike the usual live format of master classes at the festival, which invariably sell out if you don’t find a seat at least 20 minutes before the start.
One of the buzziest events from the festival, which officially ran Nov. 13-20, is the virtual career masterclass with cinematographer Phedon Papamichael, in which he discusses his remarkable career, leading up to his latest feature, Aaron Sorkin’s “The Trial of the Chicago 7.”
The Netflix drama is built around the sensational political...
Streaming through the end of 2020 (online.energacamerimage.pl), the talks and teach-ins are, with rare exceptions, accessible without a password or online Camerimage entry card – unlike the usual live format of master classes at the festival, which invariably sell out if you don’t find a seat at least 20 minutes before the start.
One of the buzziest events from the festival, which officially ran Nov. 13-20, is the virtual career masterclass with cinematographer Phedon Papamichael, in which he discusses his remarkable career, leading up to his latest feature, Aaron Sorkin’s “The Trial of the Chicago 7.”
The Netflix drama is built around the sensational political...
- 12/18/2020
- by Will Tizard
- Variety Film + TV
Guest reviewer Lee Broughton returns with a review of a previously hard to find Gallic Spaghetti Western. Filmed in the Dolomites mountain range and primarily existing as a vehicle for the French rock ‘n’ roll singer Johnny Hallyday, this might well be Corbucci’s best looking Western. The respected French actresses Francoise Fabian and Sylvie Fennec bring a noticeable touch of class to a show that ends with wide shots of dozens of butt naked backsides.
The Specialists
Region B Blu-ray
Eureka Entertainment
1969 / Color / 2:35 widescreen / 104 min. / Gli Specialisti, Drop Them or I’ll Shoot / Street Date May 18, 2020 / £14.99
Starring: Johnny Hallyday, Francoise Fabian, Gaston Moschin, Mario Adorf, Sylvie Fennec, Gino Pernice, Angela Luce, Serge Marquand, Gabriella Tavernese, Andres Jose Cruz, Christian Belaygue, Stefano Cattarossi.
Cinematography: Dario Di Palma
Film Editor: Elsa Armanni
Production Designer: Riccardo Domenici
Original Music: Angelo Francesco Lavagnino
Written by Sergio Corbucci and Sabatino Ciuffini
Produced by Edmond Tenoudji,...
The Specialists
Region B Blu-ray
Eureka Entertainment
1969 / Color / 2:35 widescreen / 104 min. / Gli Specialisti, Drop Them or I’ll Shoot / Street Date May 18, 2020 / £14.99
Starring: Johnny Hallyday, Francoise Fabian, Gaston Moschin, Mario Adorf, Sylvie Fennec, Gino Pernice, Angela Luce, Serge Marquand, Gabriella Tavernese, Andres Jose Cruz, Christian Belaygue, Stefano Cattarossi.
Cinematography: Dario Di Palma
Film Editor: Elsa Armanni
Production Designer: Riccardo Domenici
Original Music: Angelo Francesco Lavagnino
Written by Sergio Corbucci and Sabatino Ciuffini
Produced by Edmond Tenoudji,...
- 6/20/2020
- by Glenn Erickson
- Trailers from Hell
The David di Donatello Awards, which are modeled on the Oscars, were established in the 1950s as Italy’s film industry started thriving amid the country’s postwar reconstruction effort.
Below are some milestones that provide a partial mini-history of postwar Italian cinema.
1956: The first David di Donatello awards ceremony takes place at Rome’s Cinema Fiamma. The gold statuette, which is a replica of Michelangelo’s David, is made by Bulgari. Vittorio De Sica, Walt Disney, and Gina Lollobrigida are among the year’s prizewinners.
1957: The Davids ceremony moves to Taormina’s Ancient Greek Theater, which will host the ceremony for many more years to come. Federico Fellini wins the best director prize for “Nights of Cabiria.”
1958: Anna Magnani wins best actress for George Cukor’s “Wild Is the Wind.” Marilyn Monroe is feted for her role in “The Prince and the Showgirl,” directed by Laurence Olivier.
Below are some milestones that provide a partial mini-history of postwar Italian cinema.
1956: The first David di Donatello awards ceremony takes place at Rome’s Cinema Fiamma. The gold statuette, which is a replica of Michelangelo’s David, is made by Bulgari. Vittorio De Sica, Walt Disney, and Gina Lollobrigida are among the year’s prizewinners.
1957: The Davids ceremony moves to Taormina’s Ancient Greek Theater, which will host the ceremony for many more years to come. Federico Fellini wins the best director prize for “Nights of Cabiria.”
1958: Anna Magnani wins best actress for George Cukor’s “Wild Is the Wind.” Marilyn Monroe is feted for her role in “The Prince and the Showgirl,” directed by Laurence Olivier.
- 5/8/2020
- by Nick Vivarelli
- Variety Film + TV
For director Ridley Scott, it was one look at a 19th-century neoclassical work of art that convinced him to make the Oscar-winning picture “Gladiator.” Jean-Léon Gérôme’s painting “Pollice Verso” depicts an armored gladiator in the ring, triumphantly facing onlookers as the crowd reacts with thumbs turned down, signaling their approval for the fighter to deliver a final, fatal blow. Without even knowing what the film’s story would be, Scott signed on to build a Roman Empire saga that would go on to score five Academy Awards.
Raking in over $460 million dollars globally on what Scott told Variety was at the time a massive budget of $103 million, the film triumphed at the box office when it debuted on May 5, 2000. The Russell Crowe and Joaquin Phoenix action drama paved the way for more historical epics like “300,” “Troy” and “Centurion.” Steven Spielberg at Dreamworks, already in a three-picture deal with screenwriter David Franzoni,...
Raking in over $460 million dollars globally on what Scott told Variety was at the time a massive budget of $103 million, the film triumphed at the box office when it debuted on May 5, 2000. The Russell Crowe and Joaquin Phoenix action drama paved the way for more historical epics like “300,” “Troy” and “Centurion.” Steven Spielberg at Dreamworks, already in a three-picture deal with screenwriter David Franzoni,...
- 5/4/2020
- by Mackenzie Nichols
- Variety Film + TV
When it comes to releasing unique and collectible Blu-ray box sets (such as their Al Adamson: The Masterpiece Collection), Severin Films has done an amazing job preserving horror history, and this summer they'll continue to do so with The Complete Lenzi Baker Giallo Collection, featuring Umberto Lenzi's collaborations with Carroll Baker:
"On June 30th, Severin Films is bringing together the complete collaborative works of two cult film legends with The Complete Lenzi Baker Giallo Collection, which includes superlative editions of Orgasmo, So Sweet… So Perverse, A Quiet Place To Kill, and Knife Of Ice.
Italian writer/director Umberto Lenzi helmed popular peplums, created extreme poliziotteschi, and invented the Italian cannibal phenomenon. Hollywood actress Carroll Baker was the Golden Globe® winning/Academy Award® nominated star of Baby Doll, Giant and The Carpetbaggers. Together in the late ‘60s/early ‘70s, they made four landmark films that changed the erotic thriller and giallo genres forever.
"On June 30th, Severin Films is bringing together the complete collaborative works of two cult film legends with The Complete Lenzi Baker Giallo Collection, which includes superlative editions of Orgasmo, So Sweet… So Perverse, A Quiet Place To Kill, and Knife Of Ice.
Italian writer/director Umberto Lenzi helmed popular peplums, created extreme poliziotteschi, and invented the Italian cannibal phenomenon. Hollywood actress Carroll Baker was the Golden Globe® winning/Academy Award® nominated star of Baby Doll, Giant and The Carpetbaggers. Together in the late ‘60s/early ‘70s, they made four landmark films that changed the erotic thriller and giallo genres forever.
- 5/1/2020
- by Derek Anderson
- DailyDead
Director Jamie Thraves had only been out of art school for a few years when he was approached to direct the video for Radiohead’s “Just,” a single off their 1995 album, The Bends. Thraves got the gig through his new job at Oil Factory Productions, a video company run by John Stewart (the brother of Eurythmics’ Dave Stewart). “John sent my films to Dilly Gent, the commissioner of Radiohead,” Thraves recalls. “She sent me ‘Just’ to have a listen.”
Soon Thraves ended up directing one of the most iconic music...
Soon Thraves ended up directing one of the most iconic music...
- 3/13/2020
- by Angie Martoccio
- Rollingstone.com
No one attending the Pingyao International Film Festival can escape learning about Jia Zhangke’s upcoming projects, with the same three trailers for them playing before each and every screening. The arthouse icon-turned-businessman’s presence looms large over the festival he founded in his native Shanxi province.
First off, there is a new collaboration between Jia and Momo, a Chinese social media app that started as a Tinder knockoff and now appears to be pivoting in more wholesome directions, with moves into live-streaming and, now, film production via a new arm called Momo Pictures. The app is one of the main sponsors of the Pingyao festival.
Jia will executive produce Momo’s first foray into features, a Beijing-based production called “The Best Is Yet to Come.” A co-production between his Fabula Entertainment and Momo Pictures, it will be the first full-length work by newcomer Wang Jing, a Beijing Film Academy...
First off, there is a new collaboration between Jia and Momo, a Chinese social media app that started as a Tinder knockoff and now appears to be pivoting in more wholesome directions, with moves into live-streaming and, now, film production via a new arm called Momo Pictures. The app is one of the main sponsors of the Pingyao festival.
Jia will executive produce Momo’s first foray into features, a Beijing-based production called “The Best Is Yet to Come.” A co-production between his Fabula Entertainment and Momo Pictures, it will be the first full-length work by newcomer Wang Jing, a Beijing Film Academy...
- 10/16/2019
- by Rebecca Davis
- Variety Film + TV
A film festival dedicated to late film director Bernardo Bertolucci at the Italian Cultural Institute in Tirana wound up with the screening of his "Little Buddha" drama.
The tribute to Bertolucci, who died in November last year, kicked off in January in the Institute's CineClub ? Incontri in Biblioteca, with the screening of the film "La Commare Secca" ('The Grim Reaper).
Bertolucci's epic movie "1900" was screened in two different installments on two nights in February, and was followed by "The Last Emperor" in March and "The Sheltering Sky" in April.
Bertolucci's best-known films also include "The Conformist", "Last Tango in Paris" and "The Last Emperor", for which he won the Academy Award for Best Director and the Academy Award for Best Adapted Screenplay.
-By Ians...
The tribute to Bertolucci, who died in November last year, kicked off in January in the Institute's CineClub ? Incontri in Biblioteca, with the screening of the film "La Commare Secca" ('The Grim Reaper).
Bertolucci's epic movie "1900" was screened in two different installments on two nights in February, and was followed by "The Last Emperor" in March and "The Sheltering Sky" in April.
Bertolucci's best-known films also include "The Conformist", "Last Tango in Paris" and "The Last Emperor", for which he won the Academy Award for Best Director and the Academy Award for Best Adapted Screenplay.
-By Ians...
- 5/9/2019
- GlamSham
There is something to be said for unbridled ambition. No matter its accepted outcome, no matter how it scores at the box office or what instantaneous praise it receives, a film can still be admired for its fearless commitment to scope and the best of its intentions. If it’s passionately executed with personal conviction, even a faulty feature can be respected for aspiration alone. And if said film happens to also be very good, so much the better. This, on more than one occasion, has defined the best of Bernardo Bertolucci, a filmmaker who thrived in the realization of such grand cinematic enterprise. From Before the Revolution (1964) to Last Tango in Paris (1972), from The Conformist (1970) to The Dreamers (2003), his films have been fortified by a visual potency and an overt thematic prominence—big ideas, brazenly presented. Even when they’re a tad self-important, the stirring spirit of his work is impressively demonstrable.
- 2/22/2019
- MUBI
In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
To celebrate the 100th anniversary of the American Society of Cinematographers (Asc) this year, they’ve polled their members to determine 100 milestone films in the art and craft of cinematography of the 20th century. Topping the list is David Lean’s epic Lawrence of Arabia, shot by Freddie Young. Also in the top ten is Blade Runner (Jordan Cronenweth), The Conformist (Vittorio Storaro), Days of Heaven (Néstor Almendros), and more.
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
Organized by Steven Fierberg, he said “Asc members wanted to call attention to the most significant achievements of the cinematographer’s art but not refer to one achievement as ‘better’ than another. The selected films represent a range of styles, eras and visual artistry, but most importantly, it commemorates films that are inspirational or influential to Asc members and have exhibited enduring influence on generations of filmmakers.”
See the top 10 below, along with the full list.
1. Lawrence of Arabia (1962), Freddie Young,...
- 1/9/2019
- by Jordan Raup
- The Film Stage
The American Society of Cinematographers, in celebration of the organization’s 100th anniversary, has revealed its list of 100 milestone films in the art and craft of cinematography from the 20th century. The list culminates with a top 10, topped by Freddie Young’s lensing of David Lean’s Oscar-winning 1962 epic “Lawrence of Arabia.”
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
Jordan Cronenweth’s work on Ridley Scott’s 1982 sci-fi standard “Blade Runner” came in at number two. Celebrated cinematographer Roger Deakins finally won an Oscar last year for the film’s sequel, “Blade Runner 2049.”
Vittorio Storaro rounded out the top three for Francis Ford Coppola’s 1979 Vietnam odyssey “Apocalypse Now.” He, Conrad Hall and Gordon Willis each appeared on the overall list five times, leading the pack. John Alcott, Caleb Deschanel and Haskell Wexler each lensed four.
Organized by Steven Fierberg, Asc (“The Affair”) and voted on by Asc members, the milestones list is the first of...
- 1/8/2019
- by Kristopher Tapley
- Variety Film + TV
The American Society of Cinematographers (Asc), an elite organization of cinematographers at the top of their field, is celebrating the 100th anniversary of its founding today. What better way to honor that milestone than to create a list of 100 milestone films known for the art and craft of cinematography in the 20th century, and they call it the Best Shot Films Of All Time.
Asc says this is the first time a list like this has been compiled, at least by a group of pros who should know what they are talking about. The list culminates in a Top 10 (the other 90 are unranked). The Top 10 Best Shot Films Of All Time are:
Lawrence of Arabia (1962), shot by Freddie Young, Bsc (Dir. David Lean) Blade Runner (1982), shot by Jordan Cronenweth, Asc (Dir. Ridley Scott) Apocalypse Now (1979), shot by Vittorio Storaro, Asc, Aic (Dir. Francis Ford Coppola) Citizen Kane (1941), shot by Gregg Toland,...
Asc says this is the first time a list like this has been compiled, at least by a group of pros who should know what they are talking about. The list culminates in a Top 10 (the other 90 are unranked). The Top 10 Best Shot Films Of All Time are:
Lawrence of Arabia (1962), shot by Freddie Young, Bsc (Dir. David Lean) Blade Runner (1982), shot by Jordan Cronenweth, Asc (Dir. Ridley Scott) Apocalypse Now (1979), shot by Vittorio Storaro, Asc, Aic (Dir. Francis Ford Coppola) Citizen Kane (1941), shot by Gregg Toland,...
- 1/8/2019
- by Pete Hammond
- Deadline Film + TV
The American Society of Cinematographers (Asc) celebrates its 100th anniversary on Tuesday by unveiling two lists devoted to 20th century visual achievements: the 100 Milestone Films and the top 10 Best-Shot Films, led by “Lawrence of Arabia” (1962), shot by Oscar-winning cinematographer Freddie Young.
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
- 1/8/2019
- by Bill Desowitz
- Indiewire
With 2018 now ending, Gold Derby celebrates over 30 celebrities who died in the past 12 months. Tour our photo gallery above as we feature tributes to these entertainer losses from this past year.
Just a few of the people honored in our special photo gallery:
Actress and director Penny Marshall died December 17 at age 75. She became one of the biggest stars on TV in the 1970s and early 1980s with “Laverne and Shirley.” She then directed such blockbuster films as “Big,” “A League of Their Own” and “Awakenings.”
SEERaise a beer to Penny Marshall, who talked like a Bronx truck driver and directed mass-appeal films like a pro
Bernardo Bertolucci died on November 26 at age 77. His 1987 film “The Last Emperor” swept the Oscars, including for Best Picture and Best Director. Other movies in his career included “Last Tango in Paris,” “The Conformist,” “The Sheltering Sky” and “Little Buddha.”
Screenwriter William Goldman died...
Just a few of the people honored in our special photo gallery:
Actress and director Penny Marshall died December 17 at age 75. She became one of the biggest stars on TV in the 1970s and early 1980s with “Laverne and Shirley.” She then directed such blockbuster films as “Big,” “A League of Their Own” and “Awakenings.”
SEERaise a beer to Penny Marshall, who talked like a Bronx truck driver and directed mass-appeal films like a pro
Bernardo Bertolucci died on November 26 at age 77. His 1987 film “The Last Emperor” swept the Oscars, including for Best Picture and Best Director. Other movies in his career included “Last Tango in Paris,” “The Conformist,” “The Sheltering Sky” and “Little Buddha.”
Screenwriter William Goldman died...
- 12/28/2018
- by Chris Beachum
- Gold Derby
Delicatessen (1991)Growing up in the mid-to-late nineties, the pan-and-scan generation, I can remember the first time I saw a movie that was shot by Darius Khondji. Se7en, the cinematographer’s first American film and best-known work, looked scarier that any movie I’d seen other than The Shining; it was miasmic and biblically unclean, with deep shadows that seeped and stuck like gunk, rain pelting from a pre-apocalyptic sky. Then came The City of Lost Children, a dark storybook fantasy of Gilliam-esque camera angles, about a squalid port town lost in fog and a mad scientist’s lair built on piles out in a sludge-green sea. That one I watched maybe twenty times, always with sympathy for the disembodied brain Uncle Irvin and for Krank, the child-snatching villain who cannot dream.Later there was Alien: Resurrection, the video for Madonna’s “Frozen,” and The Ninth Gate, another movie I had...
- 12/11/2018
- MUBI
Bernardo Bertolucci’s “The Echo Chamber,” the final project the acclaimed director was worked on prior to his death last month, will be coming to the big screen.
Indigo Film, an Italian production company behind several Paolo Sorrentino films including “The Great Beauty” and “Youth,” is working to finish the film as a tribute to Bertolucci, one of Indigo Film’s founding partners Nicola Giuliano told TheWrap.
“The Echo Chamber” would’ve been Bertolucci’s first film as a director since 2012’s “Me and You.” No director has yet been selected to direct the picture in his stead. Bertolucci was wheelchair bound for much of the end of his life and died on Nov. 26 at age 77 after a short fight with cancer.
Also Read: Martin Scorsese Says Bernardo Bertolucci 'Inspired' and 'Opened Many Doors' for Him
Bertolucci wrote the first draft of the screenplay along with Ludovica Rampoldi, a writer for the Italian series “Gomorrah,...
Indigo Film, an Italian production company behind several Paolo Sorrentino films including “The Great Beauty” and “Youth,” is working to finish the film as a tribute to Bertolucci, one of Indigo Film’s founding partners Nicola Giuliano told TheWrap.
“The Echo Chamber” would’ve been Bertolucci’s first film as a director since 2012’s “Me and You.” No director has yet been selected to direct the picture in his stead. Bertolucci was wheelchair bound for much of the end of his life and died on Nov. 26 at age 77 after a short fight with cancer.
Also Read: Martin Scorsese Says Bernardo Bertolucci 'Inspired' and 'Opened Many Doors' for Him
Bertolucci wrote the first draft of the screenplay along with Ludovica Rampoldi, a writer for the Italian series “Gomorrah,...
- 12/6/2018
- by Brian Welk
- The Wrap
“The Echo Chamber,” the unfinished project that Italian great Bernardo Bertolucci was working on before his unexpected death last month, is to be brought to the big screen by Italy’s Indigo Film.
Nicola Giuliano, a founding partner of Indigo (“The Great Beauty”), confirmed that the chamber piece would be produced as a tribute to Bertolucci’s artistic vitality. The project would have marked Bertolucci’s first time back in the director’s chair since his 2012 coming-of-age drama, “Me and You.” Giuliano said that a new helmer for the film had not yet been chosen.
Bertolucci, who died on Nov. 26 in Rome after a short bout with cancer, had completed a first draft of the screenplay, which he co-wrote with two young Italian writers: Ludovica Rampoldi, whose credits include hit series “Gomorrah,” and Ilaria Bernardini, a novelist who has worked on the Italian adaptation of “In Treatment.”
Very little is...
Nicola Giuliano, a founding partner of Indigo (“The Great Beauty”), confirmed that the chamber piece would be produced as a tribute to Bertolucci’s artistic vitality. The project would have marked Bertolucci’s first time back in the director’s chair since his 2012 coming-of-age drama, “Me and You.” Giuliano said that a new helmer for the film had not yet been chosen.
Bertolucci, who died on Nov. 26 in Rome after a short bout with cancer, had completed a first draft of the screenplay, which he co-wrote with two young Italian writers: Ludovica Rampoldi, whose credits include hit series “Gomorrah,” and Ilaria Bernardini, a novelist who has worked on the Italian adaptation of “In Treatment.”
Very little is...
- 12/5/2018
- by Nick Vivarelli
- Variety Film + TV
Reel-Important People is a monthly column that highlights those individuals in or related to the movies that have left us in recent weeks. Below you'll find names big and small and from all areas of the industry, though each was significant to the movies in his or her own way. Bernardo Bertolucci (1941-2018) - Filmmaker. He won two Oscars for writing and directing The Last Emperor, which also won Best Picture. He was also nominated for helming The Conformist and Last Tango in Paris. His other movies include The Dreamers, Stealing Beauty, 1900, Little Buddha, The Sheltering Sky and Before the Revolution. Early in his career, he served as assistant director for Pasolini's Accattone! He died on November 26. [THR] Dominique Blanchar (1927-2018) - Actress. She co-starred in...
- 12/3/2018
- by Christopher Campbell
- Movies.com
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