Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook.Newsa Different Man.IATSE, Teamsters, and the Hollywood Basic Crafts unions began bargaining jointly with the Alliance of Motion Picture and Television Producers after a thousands-strong rally in Los Angeles. In Variety, IATSE president Matthew Loeb discusses the union’s priorities and the threat of another strike after the current contract expires on July 31.In an open letter, Carlo Chatrian, the outgoing artistic director of the Berlinale, and Mark Peranson, the festival’s head of programming, respond to the backlash that followed the closing ceremony, at which a number of award recipients called for a ceasefire in Gaza: “This year’s festival was a place for dialogue and exchange for ten days; yet once the films stopped rolling, another form of communication...
- 3/6/2024
- MUBI
David Bordwell, the noted film scholar, teacher, author and researcher known for sharing his knowledge and enthusiasm of cinema with movie lovers everywhere, has died. He was 76.
Bordwell died Thursday after a long illness, the University of Wisconsin-Madison announced. He taught at the school from 1973 until his retirement in 2004 and was its Jacques Ledoux Professor Emeritus of Film Studies at the time of his death.
For more than two decades, Bordwell supplied commentaries, visual and written essays and interviews for films in the Criterion Collection and was seen and heard on 50 insightful episodes of Observations on Film Art on the Criterion Channel.
In a statement, Criterion called him “a great, longtime friend and a tireless champion of cinema who spent decades imparting his wisdom and passion onto film lovers around the world.”
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Bordwell wrote his essential textbooks Film Art: An Introduction,...
Bordwell died Thursday after a long illness, the University of Wisconsin-Madison announced. He taught at the school from 1973 until his retirement in 2004 and was its Jacques Ledoux Professor Emeritus of Film Studies at the time of his death.
For more than two decades, Bordwell supplied commentaries, visual and written essays and interviews for films in the Criterion Collection and was seen and heard on 50 insightful episodes of Observations on Film Art on the Criterion Channel.
In a statement, Criterion called him “a great, longtime friend and a tireless champion of cinema who spent decades imparting his wisdom and passion onto film lovers around the world.”
View this post on Instagram
A post shared by Criterion Collection (@criterioncollection)
Bordwell wrote his essential textbooks Film Art: An Introduction,...
- 3/2/2024
- by Mike Barnes
- The Hollywood Reporter - Movie News
Mickey Mouse, the iconic fi – oh, you don’t need a refresher on who Mickey Mouse is? Well, the Disney mascot is now officially in the public domain…under certain specifications. In short, you won’t be seeing him and Goofy slashing their way through Disney World anytime soon…
As U.S. copyright law says a work can enter the public domain 95 years after its publication, a form of Mickey Mouse will be made available for use by anyone. This chiefly concerns Steamboat Willie, which is generally considered the debut of Mickey Mouse, although Plane Crazy and The Gallopin’ Gaucho were both produced prior to the landmark short. As such, those films will also be in the public domain.
But the Mickey Mouse of Steamboat Willie is most definitely not the same as the Mickey Mouse we all identify. The 1928 version has more rat-like features, with an elongated nose, smaller...
As U.S. copyright law says a work can enter the public domain 95 years after its publication, a form of Mickey Mouse will be made available for use by anyone. This chiefly concerns Steamboat Willie, which is generally considered the debut of Mickey Mouse, although Plane Crazy and The Gallopin’ Gaucho were both produced prior to the landmark short. As such, those films will also be in the public domain.
But the Mickey Mouse of Steamboat Willie is most definitely not the same as the Mickey Mouse we all identify. The 1928 version has more rat-like features, with an elongated nose, smaller...
- 1/1/2024
- by Mathew Plale
- JoBlo.com
Today, Jan. 1, isn’t just New Year’s Day — it’s also Public Domain Day, where thousands of cinematic treasures, literary classics, Great American Songbook selections, and works of art see their copyrights expire and enter the public domain.
The headliner this year is the fair use of Mickey Mouse — at least, the Steamboat Willie version of the beloved character — as that copyright expiration has been anticipated for years. However, there’s much more than just Mickey entering the public domain in 2024.
Jennifer Jenkins, Director of Duke’s Center for...
The headliner this year is the fair use of Mickey Mouse — at least, the Steamboat Willie version of the beloved character — as that copyright expiration has been anticipated for years. However, there’s much more than just Mickey entering the public domain in 2024.
Jennifer Jenkins, Director of Duke’s Center for...
- 1/1/2024
- by Daniel Kreps
- Rollingstone.com
The episode of Wtf Happened to This Horror Movie? covering The Invisible Man (2020) was Written and Narrated by Adam Walton, Edited by Jaime Vasquez, Produced by Andrew Hatfield and John Fallon, and Executive Produced by Berge Garabedian.
One of the most recurring trends in Hollywood right now is the horror remake, and for better, or worse, it isn’t gonna disappear (pun intended) anytime soon. David Gordon Green’s The Exorcist remake may have been met with a geyser of pea soup from the mouths of critics and fans alike, but that isn’t slowing the trend down for the foreseeable future. The Halloween franchise has been picked up by Miramax with the intention of creating a TV series, and a possible cinematic universe, and that’s just hot off the heels of Halloween Ends, erm, ending the recent trilogy with somewhat of a whimper. Another classic horror franchise that...
One of the most recurring trends in Hollywood right now is the horror remake, and for better, or worse, it isn’t gonna disappear (pun intended) anytime soon. David Gordon Green’s The Exorcist remake may have been met with a geyser of pea soup from the mouths of critics and fans alike, but that isn’t slowing the trend down for the foreseeable future. The Halloween franchise has been picked up by Miramax with the intention of creating a TV series, and a possible cinematic universe, and that’s just hot off the heels of Halloween Ends, erm, ending the recent trilogy with somewhat of a whimper. Another classic horror franchise that...
- 12/11/2023
- by Adam Walton
- JoBlo.com
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSCapital.The Palestinian Film Institute and several prominent filmmakers—including Sky Hopinka, Miko Revereza, Maryam Tafakory, Charlie Shackleton, and Basma al-Sharif—have withdrawn from the International Documentary Festival Amsterdam in response to the festival’s messaging about the war in Gaza. On the festival’s opening night, a group of activists took to the stage holding a banner that read “From the river to the sea, Palestine will be free”; on November 10, IDFA published a statement apologizing to patrons who may have been offended by this “hurtful slogan.” On November 11, the Pfi and the advocacy group Workers for Palestine Netherlands announced their withdrawal from IDFA: “As the world’s largest documentary film festival, IDFA holds the responsibility to respond to the plight of journalists and documentarians on the ground in Gaza,...
- 11/16/2023
- MUBI
Pablo Larraín’s primary mode is deconstruction, of everything from genre to myth to ideology. But given its intensely subjective point of view, El Conde shares more in common with Spencer and Jackie than the filmmaker’s earlier investigations into Chile’s tumultuous past, Post Mortem and No. The film seeks to dispense with the historical record and imagine what happens behind closed doors. Of course, there’s one important difference here: El Conde is certainly no stickler for verisimilitude, as the Augusto Pinochet (Jaime Vadell) of this film is a morose vampire fasting from blood in order to ease himself into death.
That premise might suggest that Larraín has sympathy for the devil, but El Conde is no hagiography. The film renders Pinochet as an aging, ever-prattling child of sorts, who no longer wants to live in a Chile that has no appreciation for all his “great work,” nor...
That premise might suggest that Larraín has sympathy for the devil, but El Conde is no hagiography. The film renders Pinochet as an aging, ever-prattling child of sorts, who no longer wants to live in a Chile that has no appreciation for all his “great work,” nor...
- 8/31/2023
- by Greg Nussen
- Slant Magazine
Seven years ago this month, in the aftermath of the attack on Orlando’s Pulse nightclub, one call to action rose above the din: “Say their names.” New Yorkers chanted it steps from the Stonewall Inn. The mother of a child gunned down at Sandy Hook penned it in an open letter. The Orlando Sentinel printed the names. Anderson Cooper recited them. A gunman, 29-year-old Omar Mateen, murdered 49 people and wounded 53 others in the wee hours of that awful Sunday, massacring LGBTQ people of color and their allies in the middle of Pride Month, and the commemoration of the dead demanded knowing who they were. “These,” as MSNBC’s Lawrence O’Donnell urged his viewers, “are the names to remember.”
The titles on our list of the best LGBTQ movies of all time are a globe-spanning, multigenerational testament to our existence in a world where our erasure is no abstraction. From...
The titles on our list of the best LGBTQ movies of all time are a globe-spanning, multigenerational testament to our existence in a world where our erasure is no abstraction. From...
- 6/12/2023
- by Slant Staff
- Slant Magazine
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
This piece contains major spoilers for "Knock at the Cabin."
"Knock at the Cabin" simultaneously feels like classic M. Night Shyamalan and something completely new for him. While he's certainly tackled difficult and heavy topics in his work before, none have arguably been as explicit about unexplainable acts of God as this one. It will certainly be a divisive piece of filmmaking, but is it really a Shyamalan movie if it isn't divisive?
One thing about the director, however, is that he has a poignant and genuine love for the medium of film. He's gone on record numerous times about his wide range of influences, and he's one of the few filmmakers who can take classic genre tropes and turn them into something uniquely compelling. "Knock at the Cabin" is no different, as it flips the home invasion thriller on its end by making its intruders not only sympathetic, but...
"Knock at the Cabin" simultaneously feels like classic M. Night Shyamalan and something completely new for him. While he's certainly tackled difficult and heavy topics in his work before, none have arguably been as explicit about unexplainable acts of God as this one. It will certainly be a divisive piece of filmmaking, but is it really a Shyamalan movie if it isn't divisive?
One thing about the director, however, is that he has a poignant and genuine love for the medium of film. He's gone on record numerous times about his wide range of influences, and he's one of the few filmmakers who can take classic genre tropes and turn them into something uniquely compelling. "Knock at the Cabin" is no different, as it flips the home invasion thriller on its end by making its intruders not only sympathetic, but...
- 2/3/2023
- by Erin Brady
- Slash Film
The words “Quentin Tarantino” and “video store” will forever be linked in the popular imagination. But imagine that Quentin didn’t just work at a video store. Imagine that he owned, operated, designed, and organized every shelf of the video store of his dreams. That place might have looked a lot like Kim’s Video.
If you were an ardent film fanatic and you walked into Kim’s, the fabled New York movie-rental emporium, which opened in 1987 and ultimately expanded to five Manhattan locations (the most famous was Mondo Kim’s on St. Mark’s Place), the store looked like nothing so much as the inside of your brain. At Kim’s, you seemed to be standing in the middle of an explosion of cinema. It was a store where grindhouse movies rubbed shoulders with Bergman and Bresson, where the wall of horror included films by Dario Argento that weren’t even out on video,...
If you were an ardent film fanatic and you walked into Kim’s, the fabled New York movie-rental emporium, which opened in 1987 and ultimately expanded to five Manhattan locations (the most famous was Mondo Kim’s on St. Mark’s Place), the store looked like nothing so much as the inside of your brain. At Kim’s, you seemed to be standing in the middle of an explosion of cinema. It was a store where grindhouse movies rubbed shoulders with Bergman and Bresson, where the wall of horror included films by Dario Argento that weren’t even out on video,...
- 1/20/2023
- by Owen Gleiberman
- Variety Film + TV
If I were an ambitious producer of horror films, like Jason Blum, the first thing I would do this year is to offer a deal to Kyle Edward Ball, the writer-director of “Skinamarink.” But it would be a special kind of deal — comparable, in its way, to the one Mel Brooks struck with David Lynch to direct “The Elephant Man,” after Brooks had seen and loved “Eraserhead.”
“Skinamarink” isn’t like other horror films. Made for $15,000, it’s a hushed and nearly plotless experimental creep-out — a movie with barely any people in it (though a couple of child actors hover on the margins), one that consists mostly of static images shot inside a nondescript house at what looks like 3:00 a.m. The film will open on Jan. 13 at selected megaplexes, and that’s the right place for it; you want to experience it with an audience, kind of like a séance.
“Skinamarink” isn’t like other horror films. Made for $15,000, it’s a hushed and nearly plotless experimental creep-out — a movie with barely any people in it (though a couple of child actors hover on the margins), one that consists mostly of static images shot inside a nondescript house at what looks like 3:00 a.m. The film will open on Jan. 13 at selected megaplexes, and that’s the right place for it; you want to experience it with an audience, kind of like a séance.
- 1/10/2023
- by Owen Gleiberman
- Variety Film + TV
IFFKAs part of the International Film Festival of Kerala, films from across the world will be screened simultaneously on fourteen screens in Thiruvananthapuram from December 9 to 16.Don PalatharaA still from the Lav Diaz film 'When The Waves are Gone'The International Film Festival of Kerala (Iffk) is a mammoth event, not only in terms of the number of attendees, but also the number of films screened there each year. Films from across the world will be screened simultaneously on fourteen screens in Kerala’s capital city of Thiruvananthapuram for six days, excluding the opening and closing days. The 27th edition of the festival, scheduled to be held from December 9 to 16, is special to me for several reasons. Even though I am attending the festival with a professional obligation, many of the films being screened this time are from filmmakers whose works I admire and look up to. By now, I have...
- 12/8/2022
- by LakshmiP
- The News Minute
I have been breathlessly awaiting the release of Sight and Sound's once-a-decade poll on the 100 greatest films of all time. Even though the makeup of the list has absolutely no bearing on my own feelings about the films I love, I am always curious to get a lay of the land and see what kind of filmgoing consensus is out there, especially in a corner of the film community that isn't constantly obsessed with superheroes and the box office. This only comes around every 10 years, so it's important for us to treasure this celebration of Hollywood classics, art-house favorites, and international landmarks.
In this new 2022 update of the poll, 25 of the films that appeared on the previous list in 2012 are completely gone. This isn't a case of 25 films released in the last 10 years — or, actually, 24 new films, as the 2012 list featured 101 titles due to a tie — joining the list since it was last published.
In this new 2022 update of the poll, 25 of the films that appeared on the previous list in 2012 are completely gone. This isn't a case of 25 films released in the last 10 years — or, actually, 24 new films, as the 2012 list featured 101 titles due to a tie — joining the list since it was last published.
- 12/2/2022
- by Mike Shutt
- Slash Film
Mubi is exclusively streaming restored versions of Lars von Trier's The Kingdom I (1994) and The Kingdom II (1997), and will be premiering episodes of The Kingdom: Exodus (2022) beginning November 27, 2022.The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history.Lars von Trier. Photo by Peter Hjorth.While many may proclaim the death of the author, and even more acknowledge that cinema is an art far more collaborative than the idea of a film's auteur suggests, there are nevertheless certain directors whose name on a film carries undeniable connotations. Among contemporary filmmakers, Danish provocateur Lars von Trier is one of the hardest to ignore. But this is not to say one knows exactly what one is getting with every von Trier picture. On the contrary, not only are his stylistic tendencies extensive and varied, but the stories he tells, even those ostensibly contained within thematic trilogies,...
- 12/1/2022
- MUBI
Bram Stoker’s Dracula is a film that, much like its protagonist, crosses oceans of time. Director Francis Ford Coppola, one of the filmmakers at the leading edge of the “film school” generation of the seventies, tapped into the talents of the young up-and-coming stars, both in front of and behind the camera, to tell a familiar story using very old techniques. Opting to avoid the rising tide of digital effects, expensive location shooting, and elaborate artifices in favor of “naïve” in-camera effects, stage-bound shooting, and lavish costumes as “sets,” Coppola and his collaborators created a thoroughly unique retelling of Dracula. The look of the film is simultaneously timeless and on the cutting-edge of innovation. Though it celebrates its thirtieth anniversary this year, it still feels as modern and transgressive as the day it was released.
Though Coppola is cited as one of cinema’s great auteurs, he is first...
Though Coppola is cited as one of cinema’s great auteurs, he is first...
- 11/14/2022
- by Brian Keiper
- bloody-disgusting.com
“Press releases and social media messages achieve nothing,” said the filmmaker.
Iranian filmmaker Mani Haghighi has called on the international film community to step up efforts in the fight against the authoritarian Iranian government, and says festivals, markets and the Oscars should exclude state-run Iranian entities.
“Press releases condemning the imprisonment of filmmakers change nothing. Film stars holding signs demanding the release of imprisoned filmmakers change nothing,” Haghighi told Screen from his home in Tehran. “They are very nice, and are done with the best intentions, but they make no difference at all. The only thing they accomplish is to...
Iranian filmmaker Mani Haghighi has called on the international film community to step up efforts in the fight against the authoritarian Iranian government, and says festivals, markets and the Oscars should exclude state-run Iranian entities.
“Press releases condemning the imprisonment of filmmakers change nothing. Film stars holding signs demanding the release of imprisoned filmmakers change nothing,” Haghighi told Screen from his home in Tehran. “They are very nice, and are done with the best intentions, but they make no difference at all. The only thing they accomplish is to...
- 11/13/2022
- by Stuart Kemp
- ScreenDaily
"A Nightmare on Elm Street" was the little movie that could, a film that became a turning point for its writer and director, Wes Craven. Inspired by a series of newspaper articles concerning a group of people complaining of having bad nightmares and then dying of mysterious causes soon afterward, the tale of dream demon Freddy Krueger (Robert Englund) menacing a group of teens led by Nancy Thompson (Heather Langenkamp) made such an enormous amount of money (as did its first few subsequent sequels) that it made distribution house New Line Cinema into "the house that Freddy built," and began a franchise that remains popular to this day.
Yet "Nightmare" wasn't only successful for its makers; it also added to the culture in numerous ways. It became a watershed moment for the horror film, providing a brand new template for unscrupulous producers and ambitious young stalwarts to follow ever since...
Yet "Nightmare" wasn't only successful for its makers; it also added to the culture in numerous ways. It became a watershed moment for the horror film, providing a brand new template for unscrupulous producers and ambitious young stalwarts to follow ever since...
- 11/7/2022
- by Bill Bria
- Slash Film
Every Halloween, horror fans curate lists of holiday appropriate horror films and TV specials to immerse themselves in. The genre has given us plenty to choose from. The options range from the obvious – such as the Halloween films to new classics like Trick r’ Treat to beloved family friendly staples like Hocus Pocus and everything in between.
Every year websites publish Halloween movie listicles and social media is awash in personalized lists and recommendations.
But what about horror films that are a bit off the beaten path – horror films that don’t have anything at all to do with the holiday, but give us those special vibes that make them great viewing for the season? Below are three films to seek out if you’re looking for fun and immersive thrills for your Halloween binging.
Fender Bender
Mark Pavia of The Night Flier wrote and directed this straight-to-television slow burn slasher.
Every year websites publish Halloween movie listicles and social media is awash in personalized lists and recommendations.
But what about horror films that are a bit off the beaten path – horror films that don’t have anything at all to do with the holiday, but give us those special vibes that make them great viewing for the season? Below are three films to seek out if you’re looking for fun and immersive thrills for your Halloween binging.
Fender Bender
Mark Pavia of The Night Flier wrote and directed this straight-to-television slow burn slasher.
- 10/27/2022
- by Tyler Eschberger
- bloody-disgusting.com
Few movies have the diabolical aura of "The Exorcist," and much of its reputation comes from its sensational and controversial release almost 50 years ago. William Friedkin's film had people queuing in the streets to see what all the fuss was about, as tales of moviegoers vomiting or passing out in theaters only served to emphasize its devilish allure. Critic Andrew Sarris of The Village Voice even went so far as to call it "a thoroughly evil film." Then there were the predictable rumors of an on-set curse and the subsequent ban in the UK, all of which added to its stature as one of the most frightening mainstream horrors ever made.
Despite its whiff of sulfur, I never saw the film as anything remotely evil. I approached it with caution at first but I consider it a good film in the purest sense of the word. Sure, it catalogs...
Despite its whiff of sulfur, I never saw the film as anything remotely evil. I approached it with caution at first but I consider it a good film in the purest sense of the word. Sure, it catalogs...
- 10/16/2022
- by Lee Adams
- Slash Film
Women are a force to be reckoned with both in real-life and in reel-life. Over the decades, strong women have permeated cinema from its infancy — remember Pearl White in the 1914 serial “The Perils of Pauline”? Viola Davis plays the title role in Gina Prince-Bythewood’s hit film “The Woman King.” The Oscar Emmy and Tony winner’s character leads a group of women warriors called the Agojie who protected the West African Kingdom of Dahomey from the 17th-19th centuries.
Reviews have been strong for the “The Woman King,” which earned 19 million on its opening weekend, especially for the Davis. Noted Variety: “She plays Nanisca, who in the film’s aggressive prologue, stands firm before a phalanx of well-armed soldiers, her hair fashioned into a kind of Mohawk. Scars visible on her face and shoulders We’ve never seen the actor like this, and not for a second do we...
Reviews have been strong for the “The Woman King,” which earned 19 million on its opening weekend, especially for the Davis. Noted Variety: “She plays Nanisca, who in the film’s aggressive prologue, stands firm before a phalanx of well-armed soldiers, her hair fashioned into a kind of Mohawk. Scars visible on her face and shoulders We’ve never seen the actor like this, and not for a second do we...
- 9/26/2022
- by Susan King
- Gold Derby
The long, long, long-delayed Marvel superhero movie “Morbius” finally hit theaters earlier this year (and is now on Netflix), and it may very well introduce a whole new generation to vampire movies. At least, one would hope. The vampire subgenre has been at the forefront of horror for over 100 years, and the myths of undead creatures living off of human blood go back countless years further. The best vampire movies ever made are, mostly, incredibly varied. There’s a whole of lot great “Dracula” movies out there, sure, but also art-house nightmares, mainstream action movies, silly comedies, Neo-westerns, heartwarming romances and more. And if you ask us, these are the very, very best.
“Nosferatu: A Symphony of Horror” (1922) Film Arts Guild
F.W. Murnau’s eerie silent classic is 100 years old, and it still has the power to shock and horrify. Telling an extremely plagiarized version of Bram Stoker’s “Dracula” – Stoker’s estate successfully sued,...
“Nosferatu: A Symphony of Horror” (1922) Film Arts Guild
F.W. Murnau’s eerie silent classic is 100 years old, and it still has the power to shock and horrify. Telling an extremely plagiarized version of Bram Stoker’s “Dracula” – Stoker’s estate successfully sued,...
- 9/16/2022
- by William Bibbiani
- The Wrap
(Welcome to Year of the Vampire, a series examining the greatest, strangest, and sometimes overlooked vampire movies of all time in honor of "Nosferatu," which turns 100 this year.)
Allan Gray chases shadows. That sounds like a metaphor, and maybe it is one. However, it's also what Gray, played by Julian West (the screen name of Baron Nicolas de Gunzburg), does in a literal sense as he wanders around a sleepy European village looking for supernatural adventure in Carl Theodor Dreyer's "Vampyr."
One shadow has a peg leg; others enjoy dancing and digging. Yet by chasing them, what Gray really seeks to do...
The post Year of the Vampire: Carl Theodor Dreyer's Vampyr Is A Waking Dream Inside A Coffin appeared first on /Film.
Allan Gray chases shadows. That sounds like a metaphor, and maybe it is one. However, it's also what Gray, played by Julian West (the screen name of Baron Nicolas de Gunzburg), does in a literal sense as he wanders around a sleepy European village looking for supernatural adventure in Carl Theodor Dreyer's "Vampyr."
One shadow has a peg leg; others enjoy dancing and digging. Yet by chasing them, what Gray really seeks to do...
The post Year of the Vampire: Carl Theodor Dreyer's Vampyr Is A Waking Dream Inside A Coffin appeared first on /Film.
- 6/18/2022
- by Joshua Meyer
- Slash Film
It’s the final day of the 2022 Cannes Film Festival and Darius Khondji is reminiscing. “The films that inspired me to be a cinematographer,” he explained, dipping into the memory banks, “Citizen Kane was a film that inspired me a lot. The films of Orson Welles—The Magnificent Ambersons, you know—the films of Carl Dreyer: Ordet, Gertrud, or Vampyr. Dreyer inspired me a lot!”
Unless you’re someone like Léa Seydoux, or Paul Mescal, few artists have more than one reason to attend Cannes any year, yet Khondji could boast that feat in 2022: as Dp on James Gray’s Armageddon Time, playing in competition, and as the recipient of this year’s Pierre Angénieux Tribute, an annual award for achievements in cinematography.
If the plaudit was overdue, the film was right on time: a deeply moving, autobiographical work from Gray with serious things to say about white privilege.
Unless you’re someone like Léa Seydoux, or Paul Mescal, few artists have more than one reason to attend Cannes any year, yet Khondji could boast that feat in 2022: as Dp on James Gray’s Armageddon Time, playing in competition, and as the recipient of this year’s Pierre Angénieux Tribute, an annual award for achievements in cinematography.
If the plaudit was overdue, the film was right on time: a deeply moving, autobiographical work from Gray with serious things to say about white privilege.
- 6/16/2022
- by Rory O'Connor
- The Film Stage
Rereleased for its 90th anniversary, Carl Theodor Dreyer’s film established some of the staples of the genre with a female, rather than male, vampire
Carl Theodor Dreyer’s macabre gothic romance from 1932 is now rereleased for its 90th anniversary. It’s an eerie, semi-silent classic which really does have the uncanny quality of a bad dream, in which event follows event with an unhurried somnambulist confidence. All early cinema, or maybe all cinema of any period, has that unspoken I-see-dead-people fascination: the spectacle of dead or forgotten actors revivified and brought back to undead life – and this is very appropriate for Vampyr.
It’s a film which took as its starting point the stories of Sheridan Le Fanu, so predating Bram Stoker’s Dracula. It has a female vampire, and is thus very different from the male-centred satanic predator who was to become such a colossal horror-franchise player throughout the 20th century.
Carl Theodor Dreyer’s macabre gothic romance from 1932 is now rereleased for its 90th anniversary. It’s an eerie, semi-silent classic which really does have the uncanny quality of a bad dream, in which event follows event with an unhurried somnambulist confidence. All early cinema, or maybe all cinema of any period, has that unspoken I-see-dead-people fascination: the spectacle of dead or forgotten actors revivified and brought back to undead life – and this is very appropriate for Vampyr.
It’s a film which took as its starting point the stories of Sheridan Le Fanu, so predating Bram Stoker’s Dracula. It has a female vampire, and is thus very different from the male-centred satanic predator who was to become such a colossal horror-franchise player throughout the 20th century.
- 5/17/2022
- by Peter Bradshaw
- The Guardian - Film News
Devil’s Familiars: Noé Stirs a Witches’ Brew in Latest Provocation
For those familiar with cult auteur Gaspar Noé, one either has a taste for his outré stylings or they do not. His latest, the medium length Lux Æterna, is a bit more on the experimentally playful side, produced by Saint Laurent and designed as the perfect vehicle for art-house scream queens Béatrice Dalle and Charlotte Gainsbourg. A film-within-a-film nightmare pulls from Noé’s usual bag of cinematic and literary provocateurs, freely interspersing texts from Dostoevsky, Carl Theodor Dreyer, and, first name basis references to Jean-Luc and Rainer W.…...
For those familiar with cult auteur Gaspar Noé, one either has a taste for his outré stylings or they do not. His latest, the medium length Lux Æterna, is a bit more on the experimentally playful side, produced by Saint Laurent and designed as the perfect vehicle for art-house scream queens Béatrice Dalle and Charlotte Gainsbourg. A film-within-a-film nightmare pulls from Noé’s usual bag of cinematic and literary provocateurs, freely interspersing texts from Dostoevsky, Carl Theodor Dreyer, and, first name basis references to Jean-Luc and Rainer W.…...
- 5/3/2022
- by Nicholas Bell
- IONCINEMA.com
“It’s humbling, to tell you the truth,” exclaims production designer Stefan Dechant about receiving his first career Oscar nomination for his work on “The Tragedy of Macbeth.” This adaptation the classic Shakespeare drama, written and directed by Oscar winner Joel Coen, stars Oscar winners Denzel Washington and Frances McDormand as the murderous title couple. Along with Dechant’s nomination, the film also Oscar nods for Actor (Washington) and Cinematography. Check out our exclusive video interview with Dechant above.
SEEDenzel Washington movies: 21 greatest films ranked from worst to best
Dechant says his designs for the film were driven by Coen’s desire to create a “Macbeth” that was both theatrical and cinematic. “He wanted to abstract it, but he didn’t want to be filming a theatrical event,” he explains. “He very much wanted it to be cinematic. So the question was how do we abstract it. How do we...
SEEDenzel Washington movies: 21 greatest films ranked from worst to best
Dechant says his designs for the film were driven by Coen’s desire to create a “Macbeth” that was both theatrical and cinematic. “He wanted to abstract it, but he didn’t want to be filming a theatrical event,” he explains. “He very much wanted it to be cinematic. So the question was how do we abstract it. How do we...
- 3/8/2022
- by Tony Ruiz
- Gold Derby
Some of the most indelible performances in cinema seem to come from a place beyond acting. One of the greatest ever committed to film was from Renée Maria Falconetti in Carl Theodor Dreyer's "The Passion of Joan of Arc," which gives us an unbearable intimacy with the young martyr as she faces her cruel inquisitors. For all the director's severe stylistic choices, it is Falconetti's raw emotion that lingers the most. To look upon her face at a distance of almost a century, her intensity is so vital that it gives the sense that she is still alive and suffering in the same room as you. The screen ceases...
The post How Possession Changed Isabelle Adjani Forever appeared first on /Film.
The post How Possession Changed Isabelle Adjani Forever appeared first on /Film.
- 2/25/2022
- by Lee Adams
- Slash Film
Filmmaker Joel Coen wanted “The Tragedy of Macbeth,” his adaptation of the Shakespearean staple about the ambitious Scottish king, to be rooted in theatricality but to avoid looking like a filmed play. For his first solo movie as a director, he chose to shoot in the stark black and white of classic expressionist works. The A24-Apple Original film, starring Denzel Washington and Frances McDormand as Lord and Lady Macbeth, opens in theaters Dec. 25 prior to streaming.
Production designer Stefan Dechant collaborated closely with cinematographer Bruno Delbonnel, who started prepping with Coen almost 18 months before shooting began. Dechant explains that the stylized sets, more than any he’d seen, were built to contrast “where shadow and light fall. Going back to abstraction, we started painting in shadows.”
Reference images came from the austerity of director Carl Theodor Dreyer, Charles Laughton’s influential 1955 noir “The Night of the Hunter” and even...
Production designer Stefan Dechant collaborated closely with cinematographer Bruno Delbonnel, who started prepping with Coen almost 18 months before shooting began. Dechant explains that the stylized sets, more than any he’d seen, were built to contrast “where shadow and light fall. Going back to abstraction, we started painting in shadows.”
Reference images came from the austerity of director Carl Theodor Dreyer, Charles Laughton’s influential 1955 noir “The Night of the Hunter” and even...
- 12/17/2021
- by Jazz Tangcay
- Variety Film + TV
Threading together sequences showing the lunar face of subjects from love to madness, this is a gorgeous journey into outer and inner space
It only takes eight minutes of To the Moon before we hear the ripples of Debussy’s Clair de Lune, over a gorgeous vintage montage of embracing lovers. It’s the equivalent of Pomp and Circumstance at the Proms for Tadhg O’Sullivan’s beautifully succinct visual essay on the little guy in the sky; the moon’s beguiling apartness exerting a constant pull on our emotional and imaginative lives, paradoxically making it an inseparable part of us. As the opening quotation, from a Jennifer Elise Foerster poem, puts it: “Moon / Earth fragment / Remember us.”
Appropriately, given the presiding deity here and its remit of the unconscious, O’Sullivan’s film is an estuarial wash of lunar-related images, sound and text – all the better to percolate straight into us.
It only takes eight minutes of To the Moon before we hear the ripples of Debussy’s Clair de Lune, over a gorgeous vintage montage of embracing lovers. It’s the equivalent of Pomp and Circumstance at the Proms for Tadhg O’Sullivan’s beautifully succinct visual essay on the little guy in the sky; the moon’s beguiling apartness exerting a constant pull on our emotional and imaginative lives, paradoxically making it an inseparable part of us. As the opening quotation, from a Jennifer Elise Foerster poem, puts it: “Moon / Earth fragment / Remember us.”
Appropriately, given the presiding deity here and its remit of the unconscious, O’Sullivan’s film is an estuarial wash of lunar-related images, sound and text – all the better to percolate straight into us.
- 11/23/2021
- by Phil Hoad
- The Guardian - Film News
Director Joel Coen, star/producer Frances McDormand, and star Denzel Washington unveiled their Apple/A24 Shakespeare adaptation “The Tragedy of Macbeth” to a packed, early morning New York Film Festival press screening on Friday. The black-and-white, Academy-ratio drama evokes the atmospheres of German Expressionism and Carl Theodor Dreyer in telling the brutal tragedy entirely on a sound screen, as framed within an inch of its life by Bruno Delbonnel.
Speaking to the press corps, the trio were joined by Moses Ingram (Lady Macduff), Harry Melling (Malcolm), and Bertie Carvel (Banquo). Washington and McDormand spoke about their relationships to Shakespeare.
As “Tragedy of Macbeth” is both a theatrical (December 24) and streaming (January 14 on Apple TV+) release, the question inevitably arose over what Joel Coen thinks about his movie being seen by audiences at home, and on a smaller screen. (This visually engulfing Shakespeare epic deserves to be seen on the big screen.
Speaking to the press corps, the trio were joined by Moses Ingram (Lady Macduff), Harry Melling (Malcolm), and Bertie Carvel (Banquo). Washington and McDormand spoke about their relationships to Shakespeare.
As “Tragedy of Macbeth” is both a theatrical (December 24) and streaming (January 14 on Apple TV+) release, the question inevitably arose over what Joel Coen thinks about his movie being seen by audiences at home, and on a smaller screen. (This visually engulfing Shakespeare epic deserves to be seen on the big screen.
- 9/24/2021
- by Ryan Lattanzio
- Indiewire
In the 18 feature films he has made with his brother Ethan, Joel Coen has proved himself, over and over again, to be as fetishistically visual a director as anyone from the independent film world of the last four decades. Wes Anderson might be a more extreme example, but even there it would be hard to imagine the Wes Anderson life-as-a-dollhouse school had it not been for the example of the Coen brothers: the obsession they’ve always had with rendering a story in meticulously organized images, with each shot framed just so, the sets designed almost like dioramas, the whole sense of camera placement and cutting and spatial dynamics creating a heightened graphic-novel approach that, for the Coens, often seems to be the main reason they’re making the movie.
So it’s no surprise that in “The Tragedy of Macbeth,” an adaptation of the Shakespeare play that is Joel...
So it’s no surprise that in “The Tragedy of Macbeth,” an adaptation of the Shakespeare play that is Joel...
- 9/24/2021
- by Owen Gleiberman
- Variety Film + TV
Furious and fleet, emotional and elemental, Joel Coen’s stripped-down take on the Scottish play instantly secures its place among the most audacious modern screen adaptations of Shakespeare. The extended title makes sense, given that Denzel Washington and Frances McDormand, leading a superlative ensemble, play not just the ruthless thirst for power but also the anxious race against time to seize their place in history, instead sealing their self-destruction. The Tragedy of Macbeth is a raw, lucid retelling, rendered spellbinding by its enveloping stylized design and its masterful black-and-white visuals, evoking the chiaroscuro textures of Carl Theodor Dreyer.
That latter aspect makes French cinematographer ...
That latter aspect makes French cinematographer ...
- 9/24/2021
- The Hollywood Reporter - Film + TV
Acclaimed writer/director David Lowery joins Josh and Joe to discuss the films that inspired The Green Knight.
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
- 8/31/2021
- by Kris Millsap
- Trailers from Hell
Anders Thomas Jensen takes us through some of his most formative cinematic experiences.
Show Notes: Movies Referenced In This Episode
Election Night (1998)
Mifune (1999)
Riders of Justice (2020)
Star Wars (1977)
Raiders of the Lost Ark (1981)
Reptilicus (1961)
Plan 9 From Outer Space (1959)
Innerspace (1987)
Amazon Women On The Moon (1987)
Airplane! (1980)
The Kentucky Fried Movie (1977)
Lawrence of Arabia (1962)
The Bridge On The River Kwai (1957)
Das Boot (1982)
Doctor Zhivago (1965)
Ryan’s Daughter (1970)
The Apartment (1960)
The Producers (1967)
The Adventure of Sherlock Holmes’ Smarter Brother (1975)
Key Largo (1948)
The Hudsucker Proxy (1994)
Blood Simple (1984)
Groundhog Day (1993)
Boss Level (2021?)
Live Die Repeat: Edge of Tomorrow (2014)
Palm Springs (2020)
Barry Lyndon (1975)
A Clockwork Orange (1971)
Amadeus (1984)
Ed Wood (1994)
The Buddy Holly Story (1978)
The Greatest Story Ever Told (1965)
Jesus Christ Superstar (1973)
The Last Temptation of Christ (1988)
The Little Shop of Horrors (1960)
Little Shop of Horrors (1986)
A Prophet (2009)
The Sisters Brothers (2018)
The Outlaw Josey Wales (1976)
Unforgiven (1992)
Joe Kidd (1972)
Dirty Harry (1971)
Other Notable Items
Our friends at Movies Unlimited!
Show Notes: Movies Referenced In This Episode
Election Night (1998)
Mifune (1999)
Riders of Justice (2020)
Star Wars (1977)
Raiders of the Lost Ark (1981)
Reptilicus (1961)
Plan 9 From Outer Space (1959)
Innerspace (1987)
Amazon Women On The Moon (1987)
Airplane! (1980)
The Kentucky Fried Movie (1977)
Lawrence of Arabia (1962)
The Bridge On The River Kwai (1957)
Das Boot (1982)
Doctor Zhivago (1965)
Ryan’s Daughter (1970)
The Apartment (1960)
The Producers (1967)
The Adventure of Sherlock Holmes’ Smarter Brother (1975)
Key Largo (1948)
The Hudsucker Proxy (1994)
Blood Simple (1984)
Groundhog Day (1993)
Boss Level (2021?)
Live Die Repeat: Edge of Tomorrow (2014)
Palm Springs (2020)
Barry Lyndon (1975)
A Clockwork Orange (1971)
Amadeus (1984)
Ed Wood (1994)
The Buddy Holly Story (1978)
The Greatest Story Ever Told (1965)
Jesus Christ Superstar (1973)
The Last Temptation of Christ (1988)
The Little Shop of Horrors (1960)
Little Shop of Horrors (1986)
A Prophet (2009)
The Sisters Brothers (2018)
The Outlaw Josey Wales (1976)
Unforgiven (1992)
Joe Kidd (1972)
Dirty Harry (1971)
Other Notable Items
Our friends at Movies Unlimited!
- 6/8/2021
- by Kris Millsap
- Trailers from Hell
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe 49th annual New Directors/New Films (Nd/Nf) has been rescheduled from March to December 9-20, with films slated to premiere in the Film at Lincoln Center Virtual Cinema. The line-up includes Zheng Lu Xinyuan’s The Cloud in Her Room, Maya Da-Rin's The Fever, and Alexander Nanau’s Collective. Lynne Ramsay, who last directed You Were Never Really Here, will be adapting Steven King's psychological horror novel The Girl Who Loved Tom Gordon, about a young girl who becomes lost in the woods. Recommended VIEWINGAbel Ferrara's new documentary, Sportin' Life, which premiered out of competition at the Venice Film Festival in August, has gone an unusual premiere route, streaming first through Indiewire (currently unavailable), and now at The Film Stage. Shot by Sean Price Willaims, the documentary follows Ferrara as he...
- 11/18/2020
- MUBI
by Cláudio Alves
Carl Theodor Dreyer is one of my favorite filmmakers. I'll never forget the first time I watched The Passion of Joan of Arc on the big screen and was transported, how experiencing Vampyr felt like witnessing a projected nightmare, the ecstasy of Ordet's ending or Gertrud's stern ruminations on love. It's to my great shame that I'm not familiar with the Danish director's early works, having mostly ignored them until now. The centennial of Dreyer's second feature, Leaves from Satan's Book, makes this a great time to start correcting these cinephilic lacunas…...
Carl Theodor Dreyer is one of my favorite filmmakers. I'll never forget the first time I watched The Passion of Joan of Arc on the big screen and was transported, how experiencing Vampyr felt like witnessing a projected nightmare, the ecstasy of Ordet's ending or Gertrud's stern ruminations on love. It's to my great shame that I'm not familiar with the Danish director's early works, having mostly ignored them until now. The centennial of Dreyer's second feature, Leaves from Satan's Book, makes this a great time to start correcting these cinephilic lacunas…...
- 11/15/2020
- by Cláudio Alves
- FilmExperience
With readers turning to their home viewing options more than ever, this daily feature provides one new movie each day worth checking out on a major streaming platform.
Carl Theodor Dreyer’s 1932 horror masterpiece “Vampyr” (now streaming on HBO Max) begins with a text crawl that describes the protagonist Allan Gray (Nicolas de Gunzburg) as “a dreamer for whom the line between the real and the supernatural [is] blurred.” It’s a descriptor that applies as much as to Dreyer’s main character as it does to Guillermo del Toro, who believes in monsters the way people believe in religion. Del Toro has long considered “Vampyr” to be one of his favorite films and a pillar of the horror genre, and all it takes is one viewing of Dreyer’s classic to see how it became a driving force behind del Toro’s own filmmaking vision.
“‘Vampyr’ is as close as...
Carl Theodor Dreyer’s 1932 horror masterpiece “Vampyr” (now streaming on HBO Max) begins with a text crawl that describes the protagonist Allan Gray (Nicolas de Gunzburg) as “a dreamer for whom the line between the real and the supernatural [is] blurred.” It’s a descriptor that applies as much as to Dreyer’s main character as it does to Guillermo del Toro, who believes in monsters the way people believe in religion. Del Toro has long considered “Vampyr” to be one of his favorite films and a pillar of the horror genre, and all it takes is one viewing of Dreyer’s classic to see how it became a driving force behind del Toro’s own filmmaking vision.
“‘Vampyr’ is as close as...
- 6/24/2020
- by Zack Sharf
- Indiewire
With readers turning to their home viewing options more than ever, this daily feature provides one new movie each day worth checking out on a major streaming platform.
Carl Theodor Dreyer’s 1932 horror masterpiece “Vampyr” (now streaming on HBO Max) begins with a text crawl that describes the protagonist Allan Gray (Nicolas de Gunzburg) as “a dreamer for whom the line between the real and the supernatural [is] blurred.” It’s a descriptor that applies as much as to Dreyer’s main character as it does to Guillermo del Toro, who believes in monsters the way people believe in religion. Del Toro has long considered “Vampyr” to be one of his favorite films and a pillar of the horror genre, and all it takes is one viewing of Dreyer’s classic to see how it became a driving force behind del Toro’s own filmmaking vision.
“‘Vampyr’ is as close as...
Carl Theodor Dreyer’s 1932 horror masterpiece “Vampyr” (now streaming on HBO Max) begins with a text crawl that describes the protagonist Allan Gray (Nicolas de Gunzburg) as “a dreamer for whom the line between the real and the supernatural [is] blurred.” It’s a descriptor that applies as much as to Dreyer’s main character as it does to Guillermo del Toro, who believes in monsters the way people believe in religion. Del Toro has long considered “Vampyr” to be one of his favorite films and a pillar of the horror genre, and all it takes is one viewing of Dreyer’s classic to see how it became a driving force behind del Toro’s own filmmaking vision.
“‘Vampyr’ is as close as...
- 6/24/2020
- by Zack Sharf
- Thompson on Hollywood
With readers turning to their home viewing options more than ever, this daily feature provides one new movie each day worth checking out on a major streaming platform.
Filmmaker, libertine, and decadent visionary Rainer Werner Fassbinder went through more doomed romances in the 1970s, the peak of his epic career, than even the most tragic poet could fit into a lifetime. For one, there was his affair with Moroccan actor El Hedi ben Salem, the star of “Ali: Fear Eats the Soul,” a time marked by alcohol and drug abuse, psychological torment by all parties involved, and which ended with Salem going on a stabbing spree and later killing himself. But then there was Armin Meier, an orphaned butcher whom Fassbinder cast in “Chinese Roulette,” “Satan’s Brew,” and “I Only Want You to Love Me.” After their eventual split, Meier downed four bottles of sleeping pills during the week of Fassbinder’s birthday,...
Filmmaker, libertine, and decadent visionary Rainer Werner Fassbinder went through more doomed romances in the 1970s, the peak of his epic career, than even the most tragic poet could fit into a lifetime. For one, there was his affair with Moroccan actor El Hedi ben Salem, the star of “Ali: Fear Eats the Soul,” a time marked by alcohol and drug abuse, psychological torment by all parties involved, and which ended with Salem going on a stabbing spree and later killing himself. But then there was Armin Meier, an orphaned butcher whom Fassbinder cast in “Chinese Roulette,” “Satan’s Brew,” and “I Only Want You to Love Me.” After their eventual split, Meier downed four bottles of sleeping pills during the week of Fassbinder’s birthday,...
- 6/16/2020
- by Ryan Lattanzio
- Indiewire
With readers turning to their home viewing options more than ever, this daily feature provides one new movie each day worth checking out on a major streaming platform.
Filmmaker, libertine, and decadent visionary Rainer Werner Fassbinder went through more doomed romances in the 1970s, the peak of his epic career, than even the most tragic poet could fit into a lifetime. For one, there was his affair with Moroccan actor El Hedi ben Salem, the star of “Ali: Fear Eats the Soul,” a time marked by alcohol and drug abuse, psychological torment by all parties involved, and which ended with Salem going on a stabbing spree and later killing himself. But then there was Armin Meier, an orphaned butcher whom Fassbinder cast in “Chinese Roulette,” “Satan’s Brew,” and “I Only Want You to Love Me.” After their eventual split, Meier downed four bottles of sleeping pills during the week of Fassbinder’s birthday,...
Filmmaker, libertine, and decadent visionary Rainer Werner Fassbinder went through more doomed romances in the 1970s, the peak of his epic career, than even the most tragic poet could fit into a lifetime. For one, there was his affair with Moroccan actor El Hedi ben Salem, the star of “Ali: Fear Eats the Soul,” a time marked by alcohol and drug abuse, psychological torment by all parties involved, and which ended with Salem going on a stabbing spree and later killing himself. But then there was Armin Meier, an orphaned butcher whom Fassbinder cast in “Chinese Roulette,” “Satan’s Brew,” and “I Only Want You to Love Me.” After their eventual split, Meier downed four bottles of sleeping pills during the week of Fassbinder’s birthday,...
- 6/16/2020
- by Ryan Lattanzio
- Thompson on Hollywood
The star and the writer/director of Sea Fever talk about a diverse array of influential films in a double episode.
Show Notes: Movies Referenced In This Episode
Sea Fever (2020)
Soldier (1998)
Unforgiven (1992)
Blade Runner (1982)
Gladiator (2000)
The Ice Harvest (2005)
Wonder Woman (2017)
Ordet (1955)
Ditte, Child of Man (1946)
Frances (1982)
The Accused (1988)
The Deer Hunter (1978)
My American Uncle (1980)
8 ½ (1963)
Ikiru (1952)
Heaven’s Gate (1980)
Thunderbolt and Lightfoot (1974)
Europa (1991)
Diva (1981)
The Sacrifice (1986)
Saturday Night Fever (1977)
The Party (1968)
Westworld (1973)
The Searchers (1956)
Alien (1979)
Cool Hand Luke (1967)
The Exterminating Angel (1962)
Contagion (2011)
Idiocracy (2006)
The Company of Wolves (1984)
Mona Lisa (1986)
King Kong (1933)
Arrival (2016)
In The Cut (2003)
Crouching Tiger, Hidden Dragon (2000)
Zero Dark Thirty (2012)
Mandy (2018)
Blade Runner 2049 (2017)
Dune (1984)
Dune (2020… maybe)
Bright Star (2009)
Basic Instinct (1992)
Innerspace (1987)
American Gigolo (1980)
Thelma and Louise (1991)
Wild Things (1998)
Ginger Snaps (2000)
Life of Pi (2012)
Hulk (2003)
Die Hard (1988)
The Hurt Locker (2009)
Psycho (1960)
1917 (2019)
Shane (1953)
Other Notable Items
Brendan McCarthy
David Peoples
Kurt Russell
Lars Von Trier
Carl Theodor Dreyer
Bjarne Henning-Jensen...
Show Notes: Movies Referenced In This Episode
Sea Fever (2020)
Soldier (1998)
Unforgiven (1992)
Blade Runner (1982)
Gladiator (2000)
The Ice Harvest (2005)
Wonder Woman (2017)
Ordet (1955)
Ditte, Child of Man (1946)
Frances (1982)
The Accused (1988)
The Deer Hunter (1978)
My American Uncle (1980)
8 ½ (1963)
Ikiru (1952)
Heaven’s Gate (1980)
Thunderbolt and Lightfoot (1974)
Europa (1991)
Diva (1981)
The Sacrifice (1986)
Saturday Night Fever (1977)
The Party (1968)
Westworld (1973)
The Searchers (1956)
Alien (1979)
Cool Hand Luke (1967)
The Exterminating Angel (1962)
Contagion (2011)
Idiocracy (2006)
The Company of Wolves (1984)
Mona Lisa (1986)
King Kong (1933)
Arrival (2016)
In The Cut (2003)
Crouching Tiger, Hidden Dragon (2000)
Zero Dark Thirty (2012)
Mandy (2018)
Blade Runner 2049 (2017)
Dune (1984)
Dune (2020… maybe)
Bright Star (2009)
Basic Instinct (1992)
Innerspace (1987)
American Gigolo (1980)
Thelma and Louise (1991)
Wild Things (1998)
Ginger Snaps (2000)
Life of Pi (2012)
Hulk (2003)
Die Hard (1988)
The Hurt Locker (2009)
Psycho (1960)
1917 (2019)
Shane (1953)
Other Notable Items
Brendan McCarthy
David Peoples
Kurt Russell
Lars Von Trier
Carl Theodor Dreyer
Bjarne Henning-Jensen...
- 4/28/2020
- by Kris Millsap
- Trailers from Hell
Considering we are no longer getting a James Bond film this spring, those seeking slick espionage thrills will get a healthy dose (and much more of the unexpected) with The Whistlers, the latest work from Romanian director Corneliu Porumboiu, which is now in theaters. Clearly inspired by a number of noir films, today we’re taking a more general look at his favorite movies of all-time.
As voted on in the latest Sight & Sound poll, as well as a recent feature from our friends at Le Cinéma Club, his picks range include a healthy range of world cinema, from Apichatpong Weerasethakul to Michelangelo Antonioni to Éric Rohmer to Yasujirô Ozu. “All of them influenced my way of making movies and also my way of seeing world,” he said of the majority of the selections. Speaking about La Dolce Vita, he added, “I watched it by chance when I was 18 years old.
As voted on in the latest Sight & Sound poll, as well as a recent feature from our friends at Le Cinéma Club, his picks range include a healthy range of world cinema, from Apichatpong Weerasethakul to Michelangelo Antonioni to Éric Rohmer to Yasujirô Ozu. “All of them influenced my way of making movies and also my way of seeing world,” he said of the majority of the selections. Speaking about La Dolce Vita, he added, “I watched it by chance when I was 18 years old.
- 3/11/2020
- by Jordan Raup
- The Film Stage
As someone who loves to dig into The Exorcist multiple times a year, when Alexandre O. Philippe mentioned to me during a 2019 interview that he was collaborating with the legendary William Friedkin for a deep dive into the maestro’s landmark cinematic achievement, I knew it was going to be right up my proverbial alley. And I’m pleased to report that Leap of Faith: William Friedkin on The Exorcist absolutely delivers an endlessly compelling examination of not only Friedkin’s process in making one of the most seminal feats of cinematic greatness ever, but also explores many of Friedkin’s own artistic influences and shares some intriguing anecdotes about The Exorcist that I had not heard before (and there is one tidbit that the doc’s central figure admits is something he’s never discussed before).
In a day and age when it feels like all stones have...
In a day and age when it feels like all stones have...
- 1/31/2020
- by Heather Wixson
- DailyDead
Sf Studios International will close this week.
Leading Nordic independent studio Sf Studios has expanded its sales deal with Rikke Ennis’ REinvent Studios, to also include Sf’s new Nordic feature films and its huge library of more than 1,000 films.
For the past year, REinvent had handled Sf’s Nordic TV series.
The exclusive, multi-year deal means that Sf will this week shut down its in-house sales department, Sf Studios International, which had included a team of four people led by head of international sales Anita Simovic.
“This is a new approach for how we conduct international sales going forward,...
Leading Nordic independent studio Sf Studios has expanded its sales deal with Rikke Ennis’ REinvent Studios, to also include Sf’s new Nordic feature films and its huge library of more than 1,000 films.
For the past year, REinvent had handled Sf’s Nordic TV series.
The exclusive, multi-year deal means that Sf will this week shut down its in-house sales department, Sf Studios International, which had included a team of four people led by head of international sales Anita Simovic.
“This is a new approach for how we conduct international sales going forward,...
- 1/30/2020
- by 1100142¦Wendy Mitchell¦0¦
- ScreenDaily
” The city can be lonely too. Sometimes people who are never alone are the loneliest. “
Webster University presents “The Other St. Nick”, a six-film Nicholas Ray Film Festival that runs December 27th-January 5th at the University’s Moore Auditorium(470 E Lockwood Ave). The films screen Friday, Saturdays, and Sundays at 7:00pm the weekends of Dec 27-29th and Jan 3-5th. The series continues tonight, December 29th at 7pm with On Dangerous Ground (1951)
A film noir more often compared to the work of Carl Theodor Dreyer than its American contemporaries, On Dangerous Ground concerns the hot-headed detective Jim Wilson (Robert Ryan), who partners up with Walter Brent (Ward Bond), the father of a murdered young girl, in the solving of the crime. Along the way they encounter a blind woman, Mary Malden (Ida Lupino), who may offer a key to the case. Featuring a memorable score from master Bernard Herrmann.
Webster University presents “The Other St. Nick”, a six-film Nicholas Ray Film Festival that runs December 27th-January 5th at the University’s Moore Auditorium(470 E Lockwood Ave). The films screen Friday, Saturdays, and Sundays at 7:00pm the weekends of Dec 27-29th and Jan 3-5th. The series continues tonight, December 29th at 7pm with On Dangerous Ground (1951)
A film noir more often compared to the work of Carl Theodor Dreyer than its American contemporaries, On Dangerous Ground concerns the hot-headed detective Jim Wilson (Robert Ryan), who partners up with Walter Brent (Ward Bond), the father of a murdered young girl, in the solving of the crime. Along the way they encounter a blind woman, Mary Malden (Ida Lupino), who may offer a key to the case. Featuring a memorable score from master Bernard Herrmann.
- 12/29/2019
- by Tom Stockman
- WeAreMovieGeeks.com
” This boy… and this girl… were never properly introduced to the world we live in… To tell their story… They Live by Night. “
Webster University presents “The Other St. Nick”, a six-film Nicholas Ray Film Festival that runs December 27th-January 5th at the University’s Moore Auditorium(470 E Lockwood Ave). The films screen Friday, Saturdays, and Sundays at 7:00pmthe weekends of Dec 27-29th and Jan 3-5th.The series kicks off tonight, December 27th at 7pm with They Live By Night – 1948
After seven years in prison, 23-year-old Bowie (Farley Granger) escapes alongside some bank robbers. Once out, he runs into new love Keechie (Cathy O’Donnell), and makes it a priority to prove his innocence, or at least escape to the mountains with Keechie in tow. With this, his film debut, Nicholas Ray already exhibits future preoccupations with young underdogs and offers a fine contribution to the film noir canon.
Webster University presents “The Other St. Nick”, a six-film Nicholas Ray Film Festival that runs December 27th-January 5th at the University’s Moore Auditorium(470 E Lockwood Ave). The films screen Friday, Saturdays, and Sundays at 7:00pmthe weekends of Dec 27-29th and Jan 3-5th.The series kicks off tonight, December 27th at 7pm with They Live By Night – 1948
After seven years in prison, 23-year-old Bowie (Farley Granger) escapes alongside some bank robbers. Once out, he runs into new love Keechie (Cathy O’Donnell), and makes it a priority to prove his innocence, or at least escape to the mountains with Keechie in tow. With this, his film debut, Nicholas Ray already exhibits future preoccupations with young underdogs and offers a fine contribution to the film noir canon.
- 12/27/2019
- by Tom Stockman
- WeAreMovieGeeks.com
” I’ve got the bullets! “
Webster University has announced “The Other St. Nick”, a six-film Nicholas Ray Film Festival that runs December 27th-January 5th at the University’s Moore Auditorium(470 E Lockwood Ave). The films screen Friday, Saturdays, and Sundays at 7:00pm the weekends of Dec 27-29th and Jan 3-5th.
Jean-Luc Godard once famously wrote that “Cinema is Nicholas Ray.” Champion of the underdog, one of the earliest masters of Cinemascope, forward thinking in depictions of the aligned and marginalized, Mr. Ray’s contributions to film continue to resonate with modern filmmakers and audiences. Sure, you can spend the holiday season with an old man in a red suit, but Nicholas Ray is the one giving the gifts that keep on giving.
Here’s the lineup:
They Live By Night (1948) Friday, December 27 at 7:00pm
After seven years in prison, 23-year-old Bowie (Farley Granger) escapes alongside some bank robbers.
Webster University has announced “The Other St. Nick”, a six-film Nicholas Ray Film Festival that runs December 27th-January 5th at the University’s Moore Auditorium(470 E Lockwood Ave). The films screen Friday, Saturdays, and Sundays at 7:00pm the weekends of Dec 27-29th and Jan 3-5th.
Jean-Luc Godard once famously wrote that “Cinema is Nicholas Ray.” Champion of the underdog, one of the earliest masters of Cinemascope, forward thinking in depictions of the aligned and marginalized, Mr. Ray’s contributions to film continue to resonate with modern filmmakers and audiences. Sure, you can spend the holiday season with an old man in a red suit, but Nicholas Ray is the one giving the gifts that keep on giving.
Here’s the lineup:
They Live By Night (1948) Friday, December 27 at 7:00pm
After seven years in prison, 23-year-old Bowie (Farley Granger) escapes alongside some bank robbers.
- 11/25/2019
- by Tom Stockman
- WeAreMovieGeeks.com
With a new restoration of Béla Tarr’s 1994 opus Sátántangó now playing in theaters, today we’re taking a look back at the Hungarian maestro’s favorite films. It may not be quite as immersive as attending his recent film school in Sarajevo, but watching these ten films may give one greater insight into his vision of the world.
As voted on in the latest Sight & Sound poll, selections include Carl Theodor Dreyer’s The Passion of Joan of Arc, Rainer Werner Fassbinder’s Berlin Alexanderplatz (a film that’s about double the length of Sátántangó), fellow Hungarian director Miklós Jancsó’s break-out drama The Round-Up, and more.
We recently spoke with Tarr at Berlinale, where he gave some lively advice about filmmaking and the state of the industry, “Go and shoot something with your phone and find your own way and that’s all. Who cares? Fuck off this shitty film industry.
As voted on in the latest Sight & Sound poll, selections include Carl Theodor Dreyer’s The Passion of Joan of Arc, Rainer Werner Fassbinder’s Berlin Alexanderplatz (a film that’s about double the length of Sátántangó), fellow Hungarian director Miklós Jancsó’s break-out drama The Round-Up, and more.
We recently spoke with Tarr at Berlinale, where he gave some lively advice about filmmaking and the state of the industry, “Go and shoot something with your phone and find your own way and that’s all. Who cares? Fuck off this shitty film industry.
- 10/21/2019
- by Leonard Pearce
- The Film Stage
Adapted from Steve Erickson’s brilliant and hypnotic 2007 novel of the same name, this is a story about someone who thinks that movies are the most precious things in the universe; someone who believes that cinema reveals the work of God, and that celluloid hides the secrets of all creation in the space between sprocket holes. Franco, on the other hand, has always maintained a somewhat messier “throw shit at the wall and see what sticks” approach to artistic creation. Prolific to the point of self-parody before reports of sexually exploitative behavior slowed him down, he’s been emboldened by a digital culture that rewards volume and encourages disposability.
That isn’t meant to be a criticism so much as a statement of fact. Franco is a creature of the 21st century, far better equipped to pay homage to “The Room” than to solve the hidden mysteries of George Stevens’ “A Place in the Sun.
That isn’t meant to be a criticism so much as a statement of fact. Franco is a creature of the 21st century, far better equipped to pay homage to “The Room” than to solve the hidden mysteries of George Stevens’ “A Place in the Sun.
- 9/19/2019
- by David Ehrlich
- Indiewire
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