Last Saturday, at the TCM Classic Film Festival in Los Angeles (via The Hollywood Reporter), “Holdovers” director Alexander Payne presented The Robert Osborne Award — an award named for the late TCM anchor that honors individuals dedicated to preserving classic film history — to an educator and historian that many people may not have heard of. Her name is Jeanine Basinger and before her 60-year career teaching at Wesleyan University, or writing 13 books on film that continue to inspire, she was a movie theater usher in a town in South Dakota with only two venues. So vast was her love for the medium that, according to Payne, she worked “at both theaters.”
It was this love that fostered a passion in Payne as well despite never having had a single class with Basinger. In his speech to her, he said, “I didn’t go to Wesleyan. And I would say she’s...
It was this love that fostered a passion in Payne as well despite never having had a single class with Basinger. In his speech to her, he said, “I didn’t go to Wesleyan. And I would say she’s...
- 4/27/2024
- by Harrison Richlin
- Indiewire
Sydney, June 11 (Ians) These days Jane Campion — Palme d’Or and Oscar-winning film director — is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing, writes ‘Variety’.
She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.
India, incidentally, is being represented at the Festival,...
She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualising Campion’s body of work, ‘Variety’ reports. Its screening programme includes all nine of her feature films, from “Two Friends” to “The Power of the Dog”, and a selection of her shorts.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff Director Nashen Moodley in notes ahead of the event.
India, incidentally, is being represented at the Festival,...
- 6/11/2023
- by Agency News Desk
- GlamSham
These days Jane Campion – Palme d’Or and Oscar-winning film director – is celebrated for a vein of heartfelt cinema that is aching and quirky, rather than gushing. She’s also an intelligent and determined female pioneer who has had to struggle for her present standing in a male-dominated industry.
The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.
On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...
The Sydney Film Festival this week is showcasing and contextualizing her body of work. Its screening program includes all nine of her feature works, from “Two Friends” to “The Power of the Dog,” and a selection of her short films.
“For our 70th edition, we wanted to present a retrospective commensurate with the milestone, reflecting the audacious and boundary pushing filmmaking synonymous with our festival and region. There was no one more appropriate than Jane Campion,” said Sff director Nashen Moodley in notes ahead of the event.
On Saturday, the festival screened Julie Bertucelli’s 2022 documentary “Jane Campion, the Cinema Woman...
- 6/11/2023
- by Patrick Frater
- Variety Film + TV
This past week, veteran filmmakers and industry insiders gathered at the Paris Theatre in New York to bid adieu to Tom Luddy, the Telluride Film Festival co-founder and longtime producer who influenced virtually every facet of the global film community. Luddy’s death earlier this year was a shock not only because he was a beloved figure, but also because of what he represented: the role of the curatorial influencer, who could galvanize filmmakers and impact the state of the art form in ways not so easily quantified.
So who will take the baton now?
Anne Thompson was in town for the Luddy memorial, and on this week’s episode of Screen Talk, she shares some of her takeaways from the memorial with co-host Eric Kohn. In her report from the memorial, Thompson wrote:
Tom Luddy wasn’t famous exactly. But he had a huge impact on film culture via...
So who will take the baton now?
Anne Thompson was in town for the Luddy memorial, and on this week’s episode of Screen Talk, she shares some of her takeaways from the memorial with co-host Eric Kohn. In her report from the memorial, Thompson wrote:
Tom Luddy wasn’t famous exactly. But he had a huge impact on film culture via...
- 4/21/2023
- by Eric Kohn and Anne Thompson
- Indiewire
Baz Luhrmann’s Elvis strutted its way up the Cannes Film Festival red carpet this evening for the film’s world premiere which was greeted by explosive applause inside the Palais.
The crowd got to its feet during the end credits on the Warner Bros title, clapping in rhythm before the lights came up, and remained standing for 10 minutes to mark a 2022 record so far at the festival.
Amid shouts of “Bravo!” from the crowd, an emotional Luhrmann told the audience inside the Lumière Theatre he’d had a “bit of an epiphany” because “30 years ago my wife and I made a little film called Strictly Ballroom” and the one exhibitor who had given him one screen said, “That is the worst film I have ever seen, and you have ruined the career of Pat [Thomson],” who went on to win Best Actress from the Australian Film Academy posthumously.
‘Elvis’ Review:...
The crowd got to its feet during the end credits on the Warner Bros title, clapping in rhythm before the lights came up, and remained standing for 10 minutes to mark a 2022 record so far at the festival.
Amid shouts of “Bravo!” from the crowd, an emotional Luhrmann told the audience inside the Lumière Theatre he’d had a “bit of an epiphany” because “30 years ago my wife and I made a little film called Strictly Ballroom” and the one exhibitor who had given him one screen said, “That is the worst film I have ever seen, and you have ruined the career of Pat [Thomson],” who went on to win Best Actress from the Australian Film Academy posthumously.
‘Elvis’ Review:...
- 5/25/2022
- by Nancy Tartaglione and Anthony D'Alessandro
- Deadline Film + TV
The audience at the Cannes Film Festival was trembling for Austin Butler as the King in Baz Luhrmann’s world premiere of “Elvis.”
The film received an uproarious 12-minute standing ovation, the longest of this year’s festival so far.
As the the cheers went on and on, a teary-eyed Butler hugged an equally-emotional Priscilla Presley, who flew to the South of France to give her blessing for the movie about her late husband.
The Warner Bros. musical drama had Cannes spontaneously erupting into applause as Butler recreated some of Presley’s greatest hits including “Jailhouse Rock,” “Blue Suede Shoes” and “Suspicious Minds.”
“Elvis” is one of the biggest titles to screen at Cannes, with a star-studded carpet that included Sharon Stone, Shakira, Kylie Minogue, Diplo, Jeremy O. Harris and Italian rock band Måneskin.
It wasn’t only celebrity power lighting up the red carpet, either: Warner Bros. Discovery CEO...
The film received an uproarious 12-minute standing ovation, the longest of this year’s festival so far.
As the the cheers went on and on, a teary-eyed Butler hugged an equally-emotional Priscilla Presley, who flew to the South of France to give her blessing for the movie about her late husband.
The Warner Bros. musical drama had Cannes spontaneously erupting into applause as Butler recreated some of Presley’s greatest hits including “Jailhouse Rock,” “Blue Suede Shoes” and “Suspicious Minds.”
“Elvis” is one of the biggest titles to screen at Cannes, with a star-studded carpet that included Sharon Stone, Shakira, Kylie Minogue, Diplo, Jeremy O. Harris and Italian rock band Måneskin.
It wasn’t only celebrity power lighting up the red carpet, either: Warner Bros. Discovery CEO...
- 5/25/2022
- by Matt Donnelly, Zack Sharf, Ramin Setoodeh and Manori Ravindran
- Variety Film + TV
Not long after attending my first Cannes Film Festival almost 35 years ago, I was still green and naïve enough to ask long-time Cannes attendees why the famed French fest held such a powerful place in the pecking order of international film gatherings. The late Richard Corliss, Time magazine’s peerless and beloved film critic, answered warmly and succinctly, with his own more worldly query: “Would you rather be in Germany in the winter or the South of France in the spring?”
Corliss had a point, but in the decades since I’ve tucked my own couple of dozen Cannes fests under my belt, I’ve compiled my own list of reasons why Cannes remains the one film festival that people who’ve never been to a film festival have heard about and wish they could go to, and know that if a film has scored there, it must be worth their time.
Corliss had a point, but in the decades since I’ve tucked my own couple of dozen Cannes fests under my belt, I’ve compiled my own list of reasons why Cannes remains the one film festival that people who’ve never been to a film festival have heard about and wish they could go to, and know that if a film has scored there, it must be worth their time.
- 5/11/2022
- by Steven Gaydos
- Variety Film + TV
There’s no putting Clint Eastwood out to pasture.
Clint turns 91 today, and it’s worth celebrating the fact that this Hollywood legend is still turning out work at a faster clip and higher quality than practically anyone in the business. Granted, prolific doesn’t always mean better, and it can be frustrating to see his fans greet every new film as a fresh masterpiece, when only a fraction of them truly deserve the title. But consider that since the turn of the century, he has given us 17 films including “Mystic River,” “Million Dollar Baby,“ “Letters from Iwo Jima” and “American Sniper”.
Five decades ago this year, Eastwood made his directorial debut in “Play Misty for Me,” and for a time, he was dismissed as one of those “actors who directs” — a condescending label typically slapped on dilettantes who did the job just once, like Marlon Brando (with “One-Eyed Jacks...
Clint turns 91 today, and it’s worth celebrating the fact that this Hollywood legend is still turning out work at a faster clip and higher quality than practically anyone in the business. Granted, prolific doesn’t always mean better, and it can be frustrating to see his fans greet every new film as a fresh masterpiece, when only a fraction of them truly deserve the title. But consider that since the turn of the century, he has given us 17 films including “Mystic River,” “Million Dollar Baby,“ “Letters from Iwo Jima” and “American Sniper”.
Five decades ago this year, Eastwood made his directorial debut in “Play Misty for Me,” and for a time, he was dismissed as one of those “actors who directs” — a condescending label typically slapped on dilettantes who did the job just once, like Marlon Brando (with “One-Eyed Jacks...
- 5/31/2021
- by Peter Debruge
- Variety Film + TV
This past week I happily immersed myself in the latest book by protean film critic/biographer/sometime novelist David Thomson, A Light in the Dark: A History of Movie Directors. Even as he approaches 80, the author of the invaluable Biographical Dictionary of Film editions is able to find fresh things to say about such cinematic imperishables as Hitchcock, Welles, Lang, Renoir, Bunuel, Hawks, Godard and Nicholas Ray.
Midway through the new tome, Thomson delivers his most unexpected and welcome piece, a savory appreciation of a director who, almost defiantly, is not an auteur and therefore remains somewhat taken for granted, far too much so, despite having made any number of notable films of considerable class and merit. That would be Stephen Frears, who himself will turn 80 in June.
Like such Hollywood non-auteurs as Michael Curtiz, Raoul Walsh, Don Siegel, Henry Hathaway, Richard Fleischer and any number of others, Frears is not a writer.
Midway through the new tome, Thomson delivers his most unexpected and welcome piece, a savory appreciation of a director who, almost defiantly, is not an auteur and therefore remains somewhat taken for granted, far too much so, despite having made any number of notable films of considerable class and merit. That would be Stephen Frears, who himself will turn 80 in June.
Like such Hollywood non-auteurs as Michael Curtiz, Raoul Walsh, Don Siegel, Henry Hathaway, Richard Fleischer and any number of others, Frears is not a writer.
- 4/21/2021
- by Todd McCarthy
- Deadline Film + TV
As a critic committed to maintaining a certain professional distance with those whose work I might review, I don’t often play the fan in the presence of filmmakers. But with French director Bertrand Tavernier — who passed away at the age of 79 on Thursday — I made an exception.
Knowing that Tavernier would be attending the Cannes Film Festival, as always, I once stuffed my suitcase with his “50 Years of American Cinema” — a two-volume, 1,247-page encyclopedia of classic film history — then lugged it to his hotel so that this éminence grise might sign it. The book, like Tavernier’s even heavier but more personable “Amis Américains”, serves as proof that, apart from Martin Scorsese perhaps, the great authority on American cinema is in fact a Frenchman.
Like Scorsese, Tavernier’s “day job” was as a director. He worked for decades, but the best among them are arguably “Coup de Torchon” (1981), about...
Knowing that Tavernier would be attending the Cannes Film Festival, as always, I once stuffed my suitcase with his “50 Years of American Cinema” — a two-volume, 1,247-page encyclopedia of classic film history — then lugged it to his hotel so that this éminence grise might sign it. The book, like Tavernier’s even heavier but more personable “Amis Américains”, serves as proof that, apart from Martin Scorsese perhaps, the great authority on American cinema is in fact a Frenchman.
Like Scorsese, Tavernier’s “day job” was as a director. He worked for decades, but the best among them are arguably “Coup de Torchon” (1981), about...
- 3/28/2021
- by Peter Debruge
- Variety Film + TV
The last time I saw Bertrand Tavernier, who died yesterday in Paris at 79, was at the Cannes Film Festival nearly two years ago after the world premiere of Once Upon a Time in Hollywood. It was after 1 a.m. and my son Nick and I, who had been elated by the film, were walking down a largely empty Rue d’Antibes when I saw Bertrand’s unmistakable bulky frame approaching us. He was with his wife Sarah and I had seen them just a few evenings before in Paris at a gathering of friends of the late Pierre Rissient, cinema champion extraordinaire, who had worked with Bertrand championing films in the 1960s.
With just about anyone else, this would have remained just a brief nocturnal encounter. But talks with Bertrand were seldom short. To the contrary, because Bertrand was almost always a lava flow of opinion, information, insight and, for the most part,...
With just about anyone else, this would have remained just a brief nocturnal encounter. But talks with Bertrand were seldom short. To the contrary, because Bertrand was almost always a lava flow of opinion, information, insight and, for the most part,...
- 3/25/2021
- by Todd McCarthy
- Deadline Film + TV
The French director’s films include Golden Bear-winner Fresh Bait, Bafta-winner Life And Nothing But and Round Midnight.
French director, screenwriter and producer Bertrand Tavernier has died aged 79, the Institute Lumière has announced.
Tavernier was president of the Lyon-based museum and cinematheque devoted to the legacy of local cinema pioneers Auguste and Louis Lumiere, working alongside its director and Cannes Film Festival delegate general Thierry Frémaux.
Born in Lyon, the son of a writer and resistance fighter, Tavernier studied law before deciding to pursue his dream of making films.
For a time, he combined his filmmaking with working as a...
French director, screenwriter and producer Bertrand Tavernier has died aged 79, the Institute Lumière has announced.
Tavernier was president of the Lyon-based museum and cinematheque devoted to the legacy of local cinema pioneers Auguste and Louis Lumiere, working alongside its director and Cannes Film Festival delegate general Thierry Frémaux.
Born in Lyon, the son of a writer and resistance fighter, Tavernier studied law before deciding to pursue his dream of making films.
For a time, he combined his filmmaking with working as a...
- 3/25/2021
- by Melanie Goodfellow
- ScreenDaily
“Killer Writer”
By Raymond Benson
The likely apocryphal story Fritz Lang told folks was that in 1933, after enjoying a successful career with German silent films and a couple of talkies, he was invited to a meeting with Joseph Goebbels. The job offer was to be in charge of the Nazis’ propaganda filmmaking. Lang, a Jew, nodded enthusiastically, went straight to the train station without going home to pack a bag, and fled the country. He left behind his wife (who was a member of the Nazi party), spent some time in France, and then came to Hollywood. The rest, as they say, is history.
Lang worked in all genres but specialized in crime pictures (some of the best examples of film noir). Most of his work in any of the genres are dark, pessimistic, and have a bite. His 1950 noir, House by the River, which was based on a novel by A.
By Raymond Benson
The likely apocryphal story Fritz Lang told folks was that in 1933, after enjoying a successful career with German silent films and a couple of talkies, he was invited to a meeting with Joseph Goebbels. The job offer was to be in charge of the Nazis’ propaganda filmmaking. Lang, a Jew, nodded enthusiastically, went straight to the train station without going home to pack a bag, and fled the country. He left behind his wife (who was a member of the Nazi party), spent some time in France, and then came to Hollywood. The rest, as they say, is history.
Lang worked in all genres but specialized in crime pictures (some of the best examples of film noir). Most of his work in any of the genres are dark, pessimistic, and have a bite. His 1950 noir, House by the River, which was based on a novel by A.
- 4/4/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
The opening ceremony of the first edition of the Gangneung International Film Festival was dominated by a tribute to the French film scout and festival selector Pierre Rissient, who died in May 2018.
The new festival, 240 km from Seoul, counts former Busan festival co-founder Kim Dong-ho as its chairman and former Bucheon festival head Kim Hong-joon as its chief selector. It got under way on Friday and runs until Nov. 14.
Kim Hong-joon called Rissient a “cinephile” worthy of celebration. He played a part in introducing and highlighting global film talents, notably Korean film makers Im Kwon-taek, Lee Chang-dong and Hong Sang-soo (“Hotel by the River”) to global festival audiences.
Top Korean filmmakers Lee (“Burning”), Im (“Painted Fire”) and Yang Ik-joon (“Breathless”), were present at the event. Bong Joon-ho, currently supporting the U.S. release of “Parasite,” sent a video tribute and said that it was appropriate to recognize Rissient’s contribution...
The new festival, 240 km from Seoul, counts former Busan festival co-founder Kim Dong-ho as its chairman and former Bucheon festival head Kim Hong-joon as its chief selector. It got under way on Friday and runs until Nov. 14.
Kim Hong-joon called Rissient a “cinephile” worthy of celebration. He played a part in introducing and highlighting global film talents, notably Korean film makers Im Kwon-taek, Lee Chang-dong and Hong Sang-soo (“Hotel by the River”) to global festival audiences.
Top Korean filmmakers Lee (“Burning”), Im (“Painted Fire”) and Yang Ik-joon (“Breathless”), were present at the event. Bong Joon-ho, currently supporting the U.S. release of “Parasite,” sent a video tribute and said that it was appropriate to recognize Rissient’s contribution...
- 11/11/2019
- by Sonia Kil
- Variety Film + TV
Lyon, France — The Lumière Film Festival opened in Lyon, France, on Saturday with a grand ceremony celebrating the event’s 10th anniversary.
Institut Lumière Director Thierry Frémaux welcomed a host of French and international stars and filmmakers to the festivities at the city’s immense Halle Tony Garnier concert hall, among them Javier Bardem, Monica Bellucci, Jean Dujardin and Guillermo del Toro.
It was Jean-Paul Belmondo who drew the evening’s biggest applause and a standing ovation, however. The iconic French star was on hand for the opening night screening of Claude Lelouch’s 1988 comedy-drama “Itinerary of a Spoiled Child” in a newly restored print. Lelouch and co-star Richard Anconina were likewise in attendance.
“For our 10th anniversary we wanted to show a French film,” Frémaux said. “Lelouch was here our first year … and he’s here because he is one of the greatest filmmakers in France and the world.
Institut Lumière Director Thierry Frémaux welcomed a host of French and international stars and filmmakers to the festivities at the city’s immense Halle Tony Garnier concert hall, among them Javier Bardem, Monica Bellucci, Jean Dujardin and Guillermo del Toro.
It was Jean-Paul Belmondo who drew the evening’s biggest applause and a standing ovation, however. The iconic French star was on hand for the opening night screening of Claude Lelouch’s 1988 comedy-drama “Itinerary of a Spoiled Child” in a newly restored print. Lelouch and co-star Richard Anconina were likewise in attendance.
“For our 10th anniversary we wanted to show a French film,” Frémaux said. “Lelouch was here our first year … and he’s here because he is one of the greatest filmmakers in France and the world.
- 10/15/2018
- by Ed Meza
- Variety Film + TV
Fritz Lang's House By The River starring Louis Hayward and Jane Wyatt to screen in the tribute to Pierre Rissient
The Film Society of Lincoln Center has announced that they will honour Pierre Rissient, programmer of the Mac-Mahon Theatre in Paris, publicist in partnership with Bertrand Tavernier, Cannes Film Festival mover and shaker, and so much more. Seven films will screen in tribute in the Retrospective section of the 56th New York Film Festival.
Clint Eastwood's Play Misty For Me; Raoul Walsh's The Man I Love with Ida Lupino, Bruce Bennett and Robert Alda; Joseph Losey's Time Without Pity starring Michael Redgrave; Mehboob Khan's Mother India with Nargis; King Hu's A Touch Of Zen; Lino Brocka's Manila In The Claws Of Light with Bembel Roco and Hilda Koronel, and Fritz Lang's House By The River.
The Retrospective section is co-programmed by New York...
The Film Society of Lincoln Center has announced that they will honour Pierre Rissient, programmer of the Mac-Mahon Theatre in Paris, publicist in partnership with Bertrand Tavernier, Cannes Film Festival mover and shaker, and so much more. Seven films will screen in tribute in the Retrospective section of the 56th New York Film Festival.
Clint Eastwood's Play Misty For Me; Raoul Walsh's The Man I Love with Ida Lupino, Bruce Bennett and Robert Alda; Joseph Losey's Time Without Pity starring Michael Redgrave; Mehboob Khan's Mother India with Nargis; King Hu's A Touch Of Zen; Lino Brocka's Manila In The Claws Of Light with Bembel Roco and Hilda Koronel, and Fritz Lang's House By The River.
The Retrospective section is co-programmed by New York...
- 8/24/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Following their impressively varied Main Slate section and Projections lineup, the full slate for Retrospective and Revivals at the 56th New York Film Festival have been announced. After last year’s Robert Mitchum retrospective, this year’s edition is split into three parts, paying tributing to the late Dan Talbot and Pierre Rissient, as well as spotlighting a trio of documentaries that delve into cinema history.
“For Pierre and Dan, two genuine heroes, everything to do with cinema was urgent. This year’s retrospective section pays tribute to both men, who passed away within six months of each other,” Nyff Director and Selection Committee Chair Kent Jones said.
Talbot, founder of New Yorker Films and longtime director of Lincoln Plaza Cinemas, will be honored with personal favorites from Bernardo Bertolucci, Straub-Huillet, Nagisa Oshima, Jean-Luc Godard, Rainer Werner Fassbinder, and more. Meanwhile, producer, publicist, distributor, curator, and cinema polymath Pierre Rissient...
“For Pierre and Dan, two genuine heroes, everything to do with cinema was urgent. This year’s retrospective section pays tribute to both men, who passed away within six months of each other,” Nyff Director and Selection Committee Chair Kent Jones said.
Talbot, founder of New Yorker Films and longtime director of Lincoln Plaza Cinemas, will be honored with personal favorites from Bernardo Bertolucci, Straub-Huillet, Nagisa Oshima, Jean-Luc Godard, Rainer Werner Fassbinder, and more. Meanwhile, producer, publicist, distributor, curator, and cinema polymath Pierre Rissient...
- 8/21/2018
- by Leonard Pearce
- The Film Stage
Jane Fonda will receive this year’s Lumière Award at the 10th Lumière Festival in Lyon, France.
Describing the Oscar-winning actress, festival director Thierry Fremaux said Fonda is “a feminist, activist, and she remains a star.”
The festival said it was honoring Fonda for an “acting career that has led her from Sidney Pollack to Arthur Penn, from René Clément to Roger Vadim; for her willingness to embody fierce independence from a young age …” It also stressed the actress’ work as “a committed, life-long activist, ahead of her time as a vanguard of ideals,” calling her a “symbol of struggles for freedom, anti-racism and peace” as well as “an international star, an icon spanning several decades of audiences.”
“I am honored to be invited to the Lumière Festival in Lyon,” Fonda said, adding that she was “over the moon” upon hearing the news that she would receive the award.
As part of its tribute,...
Describing the Oscar-winning actress, festival director Thierry Fremaux said Fonda is “a feminist, activist, and she remains a star.”
The festival said it was honoring Fonda for an “acting career that has led her from Sidney Pollack to Arthur Penn, from René Clément to Roger Vadim; for her willingness to embody fierce independence from a young age …” It also stressed the actress’ work as “a committed, life-long activist, ahead of her time as a vanguard of ideals,” calling her a “symbol of struggles for freedom, anti-racism and peace” as well as “an international star, an icon spanning several decades of audiences.”
“I am honored to be invited to the Lumière Festival in Lyon,” Fonda said, adding that she was “over the moon” upon hearing the news that she would receive the award.
As part of its tribute,...
- 6/11/2018
- by Ed Meza and John Hopewell
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSThe great post-war Italian auteur Ermanno Olmi had died at the age of 86. Winner of the Palme d'Or in 1978 for The Tree of the Wooden Clogs, Olmi was making great cinema up until the end. Sam Roberts of the The New York Times remembers.And another mourning that also hits us personally: Pierre Rissient, the ultimate cinephile (and filmmaker in his own right!), has left us. Scott Foundas has penned a most thorough remembrance for IndieWire.Recommended VIEWINGWe're covering the Cannes Film Festival this week and next, and are ever-more excited for the latest film from South Korean director Lee Chang-dong (Poetry), which so happens to be his first film in 8 (!) years.Two of the minds behind the brilliant television series Atlanta, Donald Glover (in his musical alias Childish Gambino) and director Hiro Murai,...
- 5/9/2018
- MUBI
Lineup
2018 Cannes Film Festival Lineup: Spike Lee, Jean-Luc Godard, and More to Compete for Palme d’Or
‘Solo: A Star Wars Story’ Set for Special Premiere Screening at Cannes
Orson Welles Is Coming to Cannes 2018 After All, but Not With Netflix
Cannes: Nicolas Cage’s ‘Mandy’ and Gaspar Noe’s ‘Climax’ Lead 2018 Directors’ Fortnight Lineup
Paul Dano’s ‘Wildlife,’ Starring Jake Gyllenhaal and Carey Mulligan, to Headline 2018 Cannes Critics’ Week
Cannes 2018: Terry Gilliam’s ‘Don Quixote’ to Close Festival, Michael B. Jordan’s ‘Fahrenheit 451’ Sets Premiere
Pre-Festival Announcements and News
Terry Gilliam Suffers Stroke While Awaiting ‘The Man Who Killed Don Quixote’ Cannes Verdict
Amazon Studios Will No Longer Distribute Terry Gilliam’s ‘The Man Who Killed Don Quixote’
Netflix Eyes Cannes Loophole, Could Buy ‘Everybody Knows’ and More Palme d’Or Contenders — Report
Pierre Rissient, Warrior of Cinema and Advocate of Major Filmmakers Worldwide, Dies at 81
Bradley Cooper...
2018 Cannes Film Festival Lineup: Spike Lee, Jean-Luc Godard, and More to Compete for Palme d’Or
‘Solo: A Star Wars Story’ Set for Special Premiere Screening at Cannes
Orson Welles Is Coming to Cannes 2018 After All, but Not With Netflix
Cannes: Nicolas Cage’s ‘Mandy’ and Gaspar Noe’s ‘Climax’ Lead 2018 Directors’ Fortnight Lineup
Paul Dano’s ‘Wildlife,’ Starring Jake Gyllenhaal and Carey Mulligan, to Headline 2018 Cannes Critics’ Week
Cannes 2018: Terry Gilliam’s ‘Don Quixote’ to Close Festival, Michael B. Jordan’s ‘Fahrenheit 451’ Sets Premiere
Pre-Festival Announcements and News
Terry Gilliam Suffers Stroke While Awaiting ‘The Man Who Killed Don Quixote’ Cannes Verdict
Amazon Studios Will No Longer Distribute Terry Gilliam’s ‘The Man Who Killed Don Quixote’
Netflix Eyes Cannes Loophole, Could Buy ‘Everybody Knows’ and More Palme d’Or Contenders — Report
Pierre Rissient, Warrior of Cinema and Advocate of Major Filmmakers Worldwide, Dies at 81
Bradley Cooper...
- 5/9/2018
- by Kate Erbland
- Indiewire
Festival dedicates Cannes Classics title Five and the Skin to memory of late cinema world mover and shaker.
The Cannes Film Festival has paid tribute to its long-time, multi-hatted collaborator Pierre Rissient who passed away on the eve of the 71st edition which kicked off today.
“We are deeply saddened by the news that the cinephile, historian and director Pierre Rissient died this weekend, aged 81. That is why we would like to pay tribute to him, on this opening day of the 71st Cannes Film Festival,” the festival said in a statement, signed off by president Pierre Lescure, delegate general Thierry Frémaux,...
The Cannes Film Festival has paid tribute to its long-time, multi-hatted collaborator Pierre Rissient who passed away on the eve of the 71st edition which kicked off today.
“We are deeply saddened by the news that the cinephile, historian and director Pierre Rissient died this weekend, aged 81. That is why we would like to pay tribute to him, on this opening day of the 71st Cannes Film Festival,” the festival said in a statement, signed off by president Pierre Lescure, delegate general Thierry Frémaux,...
- 5/8/2018
- by Melanie Goodfellow
- ScreenDaily
The Cannes Film Festival will pay tribute to French film fixer and behind-the-scenes mover and shaker Pierre Rissient.
Rissient, a fixture at Cannes for more than 50 years, died this past weekend at age 81.
“Pierre was one of the most important members of the Cannes community and of the festival, putting all of his creative energy into helping it show films from distant countries,” said the festival Tuesday. “We would wait for him to arrive on the Croisette every year with a mixture of joy, impatience and some nerves, too, because he had such strong and original views on...
Rissient, a fixture at Cannes for more than 50 years, died this past weekend at age 81.
“Pierre was one of the most important members of the Cannes community and of the festival, putting all of his creative energy into helping it show films from distant countries,” said the festival Tuesday. “We would wait for him to arrive on the Croisette every year with a mixture of joy, impatience and some nerves, too, because he had such strong and original views on...
- 5/8/2018
- by Scott Roxborough
- The Hollywood Reporter - Movie News
The Cannes Film Festival will pay tribute to French film fixer and behind-the-scenes mover and shaker Pierre Rissient.
Rissient, a fixture at Cannes for more than 50 years, died this past weekend at age 81.
“Pierre was one of the most important members of the Cannes community and of the festival, putting all of his creative energy into helping it show films from distant countries,” said the festival Tuesday. “We would wait for him to arrive on the Croisette every year with a mixture of joy, impatience and some nerves, too, because he had such strong and ...
Rissient, a fixture at Cannes for more than 50 years, died this past weekend at age 81.
“Pierre was one of the most important members of the Cannes community and of the festival, putting all of his creative energy into helping it show films from distant countries,” said the festival Tuesday. “We would wait for him to arrive on the Croisette every year with a mixture of joy, impatience and some nerves, too, because he had such strong and ...
World cinema has lost one of its greatest champions — and also one of its most enigmatic characters — with the passing of Pierre Rissient, the inveterate French film publicist, occasional filmmaker, and string-pulling éminence grise of the international festival scene.
Rissient died Saturday in Paris, just days before the start of Cannes, where he was scheduled to unveil a restoration of the 1982 drama “Cinq et la peau,” which debuted 36 years earlier at the festival in Un Certain Regard. And true to his encyclopedic command of film history, he also appears in the Cannes Classics documentary “Be Natural: The Untold Story of Alice Guy-Blaché.”
Rissient’s connection to Cannes is long and profound, dating back decades, to his early days (alongside partner-in-crime Bertrand Tavernier) as a film “praiser” — to invoke a cheeky bit of Variety slanguage that, in Rissient’s case, couldn’t be more apt, as he was never less than sincere about his passions.
Rissient died Saturday in Paris, just days before the start of Cannes, where he was scheduled to unveil a restoration of the 1982 drama “Cinq et la peau,” which debuted 36 years earlier at the festival in Un Certain Regard. And true to his encyclopedic command of film history, he also appears in the Cannes Classics documentary “Be Natural: The Untold Story of Alice Guy-Blaché.”
Rissient’s connection to Cannes is long and profound, dating back decades, to his early days (alongside partner-in-crime Bertrand Tavernier) as a film “praiser” — to invoke a cheeky bit of Variety slanguage that, in Rissient’s case, couldn’t be more apt, as he was never less than sincere about his passions.
- 5/7/2018
- by Peter Debruge
- Variety Film + TV
Pierre Rissient, France’s iconoclastic “man of cinema,” who was best known for discovering and promoting directors he believed in at film festivals around the world but whose eclectic career also embraced directing, producing and publicity work, died Saturday at a Paris hospital. He was 81 and had been suffering from numerous ailments over the past several years, although he had continued to make the festival rounds.
Rissient was due to appear at the upcoming Cannes Film Festival to present a restored version of one of his directorial efforts, Cinq et la peau (1982), in Cannes Classics.
One of the most...
Rissient was due to appear at the upcoming Cannes Film Festival to present a restored version of one of his directorial efforts, Cinq et la peau (1982), in Cannes Classics.
One of the most...
- 5/6/2018
- by Todd McCarthy
- The Hollywood Reporter - Movie News
Influential figure who championed Clint Eastwood, Hou Hsiao-hsien, Edward Yang, Jane Campion and Im Kwon-taek passes away on eve of 71st edition of the Cannes Film Festival.
Pierre Rissient, the influential, behind-the-scenes mover, shaker and fixer in the French cinema world and the Cannes Film Festival, has died. He was 81.
French director Bertrand Tavernier, who worked alongside Rissient as a press attaché in the 1960s before turning to directing and was a lifelong friend, broke the news via the Twitter account of the Lumière Institute in Lyon, of which he is president.
“Pierre Rissient died last night,” Tavernier wrote. “His...
Pierre Rissient, the influential, behind-the-scenes mover, shaker and fixer in the French cinema world and the Cannes Film Festival, has died. He was 81.
French director Bertrand Tavernier, who worked alongside Rissient as a press attaché in the 1960s before turning to directing and was a lifelong friend, broke the news via the Twitter account of the Lumière Institute in Lyon, of which he is president.
“Pierre Rissient died last night,” Tavernier wrote. “His...
- 5/6/2018
- by Melanie Goodfellow
- ScreenDaily
Pierre Rissient, France’s iconoclastic “man of cinema,” who was best known for discovering and promoting directors he believed in at film festivals around the world but whose eclectic career also embraced directing, producing and publicity work, died Saturday at a Paris hospital. He was 81 and had been suffering from numerous ailments over the past several years, although he had continued to make the festival rounds.
Rissient was due to appear at the upcoming Cannes Film Festival to present a restored version of one of his directorial efforts, <em>Cinq et la peau</em> (1982), in Cannes Classics.
One of ...
Rissient was due to appear at the upcoming Cannes Film Festival to present a restored version of one of his directorial efforts, <em>Cinq et la peau</em> (1982), in Cannes Classics.
One of ...
On the eve of the Cannes Film Festival, one of the most influential fixtures on the international film circuit has died. Pierre Rissient, a critic, programmer, distributor, press attaché, assistant director, director and talent advocate, passed away overnight last night. He was 81. Bertrand Tavernier announced the news in a tweet that was relayed by France’s Institut Lumière.
Rissient began his career programming Paris’ Mac Mahon cinema in the 1950s and went on to wear several hats within the industry. He was an assistant to Jean-Luc Godard on Breathless and helped bring international recognition to such filmmakers as Clint Eastwood, Martin Scorsese, Jerry Schatzberg, Francis Ford Coppola, Quentin Tarantino, Jane Campion and Abbas Kiarostami. Eastwood, who Rissient met in the 1970s, dubbed him “Mr Everywhere.”
The movie lover was an artistic adviser to the Cannes Film Festival and is credited with being instrumental in bringing Campion’s The Piano to the Croisette.
Rissient began his career programming Paris’ Mac Mahon cinema in the 1950s and went on to wear several hats within the industry. He was an assistant to Jean-Luc Godard on Breathless and helped bring international recognition to such filmmakers as Clint Eastwood, Martin Scorsese, Jerry Schatzberg, Francis Ford Coppola, Quentin Tarantino, Jane Campion and Abbas Kiarostami. Eastwood, who Rissient met in the 1970s, dubbed him “Mr Everywhere.”
The movie lover was an artistic adviser to the Cannes Film Festival and is credited with being instrumental in bringing Campion’s The Piano to the Croisette.
- 5/6/2018
- by Nancy Tartaglione
- Deadline Film + TV
Pierre Rissient called me on Thursday, welcoming me to Paris and hoping I would see “Burning,” Korean director Lee Chang-dong’s latest film set to premiere in a week at the Cannes Film Festival. He was organizing local screenings and advising the filmmaker, much like this indefatigable warrior of cinema had done for over 50 years. Two days later, he died in a Paris hospital after suffering complications from a blood clot. He was 81.
Rissient had struggled from health problems for years, but continued advising on the movies he loved until the day of his death. That should come as no surprise to those who fell into his orbit, and there were many.
Rissient was dubbed “Mr. Everywhere” by longtime pal Clint Eastwood for good reason: The multi-tasker was a critic in the ’50s, then an assistant director on the set of Jean-Luc Godard’s “Breathless,” and joined forces with future...
Rissient had struggled from health problems for years, but continued advising on the movies he loved until the day of his death. That should come as no surprise to those who fell into his orbit, and there were many.
Rissient was dubbed “Mr. Everywhere” by longtime pal Clint Eastwood for good reason: The multi-tasker was a critic in the ’50s, then an assistant director on the set of Jean-Luc Godard’s “Breathless,” and joined forces with future...
- 5/6/2018
- by Eric Kohn
- Indiewire
Pierre Rissient, a French producer, publicist and formerly an influential festival selector, has died. He was 81.
His death was announced (in French) by the Institut Lumiere and French director Bertrand Tavernier. “Pierre Rissient died last night. His wife Yung Hee asked me to let you know this, and, thinking of her, it is with infinite sadness that I write this message. Pierre was a great human being and an total cinephile. We will miss him,” Tavernier wrote on the institute’s Twitter feed.
Former festival head Gilles Jacob tweeted, “Pierre Rissient was a super-discoverer of filmmakers, with an inestimable flair and curiosity. When he helped someone like Jane Campion, he took them under his wing and helped them develop their art. He loved and supported the Cannes Film Festival, I can say with sadness and feeling.”
After being an assistant to Jean-Luc Godard on “Breathless,” Rissient went on to become a publicist and film distributor.
His death was announced (in French) by the Institut Lumiere and French director Bertrand Tavernier. “Pierre Rissient died last night. His wife Yung Hee asked me to let you know this, and, thinking of her, it is with infinite sadness that I write this message. Pierre was a great human being and an total cinephile. We will miss him,” Tavernier wrote on the institute’s Twitter feed.
Former festival head Gilles Jacob tweeted, “Pierre Rissient was a super-discoverer of filmmakers, with an inestimable flair and curiosity. When he helped someone like Jane Campion, he took them under his wing and helped them develop their art. He loved and supported the Cannes Film Festival, I can say with sadness and feeling.”
After being an assistant to Jean-Luc Godard on “Breathless,” Rissient went on to become a publicist and film distributor.
- 5/6/2018
- by Patrick Frater
- Variety Film + TV
The Festival de Cannes has announced the lineup for the official selection, including the Competition and Un Certain Regard sections, as well as special screenings, for the 71st edition of the festival:COMPETITIONEverybody Knows (Asghar Farhadi)At War (Stéphane Brizé)Dogman (Matteo Garrone)Le livre d'images (Jean-Luc Godard)Netemo Sameteo (Asako I & II) (Ryūsuke Hamaguchi)Sorry Angel (Christophe Honoré)Girls of the Sun (Eva Husson)Ash Is Purest White (Jia Zhangke)Shoplifter (Hirokazu Kore-eda)Capernaum (Nadine Labaki)Burning (Lee Chang-dong)BlacKkKlansman (Spike Lee)Under the Silver Lake (David Robert Mitchell)Three Faces (Jafar Panahi)Cold War (Pawel Pawlikowski)Lazzaro Felice (Alice Rohrwacher)Yomeddine (A.B. Shawky)Leto (Kirill Serebrennikov)Un couteau dans le cœur (Yann Gonzalez)Ayka (Sergei Dvortsevoy)The Wild Pear Tree (Nuri Bilge Ceylan)Out Of COMPETITIONSolo: A Star Wars Story (Ron Howard)Le grand bain (Gilles Lelouch)The House That Jack Built (Lars von Trier)Un Certain REGARDGräns (Ali Abbasi...
- 4/25/2018
- MUBI
Despite Netflix removing all of its films from the 2018 Cannes Film Festival, Orson Welles will still be represented on the Croisette next month. The festival has announced the official lineup for this year’s Cannes Classics sidebar, and included on the list is the FilmStruck-produced documentary “The Eyes of Orson Welles,” from British documentarian Mark Cousin.
Netflix had originally been set to bring Welles’ unfinished film, “The Other Side of the Wind,” to the festival’s Out of Competition section, but the streaming giant announced it would not be attending the festival in any capacity after Cannes reinstated a rule preventing films without French theatrical distribution from competing for the Palme d’Or. The rule would not have affected “The Other Side of the Wind,” but Netflix wasn’t going to make an exception.
“The Eyes of Orson Welles” includes access to a lifetime of private drawings and paintings by Welles,...
Netflix had originally been set to bring Welles’ unfinished film, “The Other Side of the Wind,” to the festival’s Out of Competition section, but the streaming giant announced it would not be attending the festival in any capacity after Cannes reinstated a rule preventing films without French theatrical distribution from competing for the Palme d’Or. The rule would not have affected “The Other Side of the Wind,” but Netflix wasn’t going to make an exception.
“The Eyes of Orson Welles” includes access to a lifetime of private drawings and paintings by Welles,...
- 4/23/2018
- by Zack Sharf
- Indiewire
Orson Welles will be featured at next month’s Cannes Film Festival. It still won’t be via his previously unfinished The Other Side Of The Wind, which recently got caught in the scrum between the festival and Netflix. Rather, Welles will be represented in The Eyes Of Orson Welles, a new documentary from Mark Cousins that’s part of the Cannes Classics selection.
The festival today unveiled its full roster for the Classics sidebar which includes tributes and documentaries about film and filmmakers, and restorations presented by producers, distributors, foundations, cinemathèques and rights holders. Among the attendees this year are Martin Scorsese, Jane Fonda, Christopher Nolan and John Travolta.
The Eyes Of Orson Welles is a journey through the filmmaker’s visual process. Thanks to Welles’ daughter Beatrice, Cousins (The Story Of Film) was granted access to never-before-seen drawings, paintings and early works that form a sketchbook from his life.
The festival today unveiled its full roster for the Classics sidebar which includes tributes and documentaries about film and filmmakers, and restorations presented by producers, distributors, foundations, cinemathèques and rights holders. Among the attendees this year are Martin Scorsese, Jane Fonda, Christopher Nolan and John Travolta.
The Eyes Of Orson Welles is a journey through the filmmaker’s visual process. Thanks to Welles’ daughter Beatrice, Cousins (The Story Of Film) was granted access to never-before-seen drawings, paintings and early works that form a sketchbook from his life.
- 4/23/2018
- by Nancy Tartaglione
- Deadline Film + TV
Del Toro returned after winning best director, picture at the Oscars.
The 33rd Guadalajara film festival (March 9-16) paid tribute to Guillermo del Toro, back in Mexico after winning the best director and best film Oscars for The Shape Of Water.
The filmmaker, met with standing ovations during the festival, took part in three master classes attended by around 12,000 people and launched three scholarships. During the event he revealed plans to shoot a film in Mexico.
Del Toro also opened a new cinema named after him, one of nine new state of the art venues with a 3500-seat capacity in...
The 33rd Guadalajara film festival (March 9-16) paid tribute to Guillermo del Toro, back in Mexico after winning the best director and best film Oscars for The Shape Of Water.
The filmmaker, met with standing ovations during the festival, took part in three master classes attended by around 12,000 people and launched three scholarships. During the event he revealed plans to shoot a film in Mexico.
Del Toro also opened a new cinema named after him, one of nine new state of the art venues with a 3500-seat capacity in...
- 3/19/2018
- by Alexis Grivas
- ScreenDaily
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.Recommended VIEWINGSteven Spielberg has new movie coming out soon. No, not the prestige drama The Post, soon in limited release for Oscar season, but rather his upcoming Ready Player One, an adaptation of Ernest Cline’s Vr-themed sci-fi novel. A great idea, surely, but now that CGI can render the fantastic and unlikely with (seemingly) so little effort, doesn't that negate the very sense of fantasy and the thrill of imagination? At any rate, we'll be there front and center.Speaking of thrills on a different scale, after Unknown (2011), Non-Stop (2014), and Run All Night (2014), director Jaume Collet-Serra and re-invented B-film action star Liam Neeson have another genre film for us in The Commuter, which looks every bit as lean and expert as their previous collaborations.Recommended READINGWe're eagerly anticipating the release of Paul Thomas Anderson's new film,...
- 12/20/2017
- MUBI
The Wandering Soap OperaThis year at the Locarno Festival I am looking for specific images, moments, techniques, qualities or scenes from films across the 70th edition's selection that grabbed me and have lingered past and beyond the next movie seen, whose characters, story and images have already begun to overwrite those that came just before.***The camera’s brief tracking movements in Jacques Tourneur's Appointment in Honduras (1953). This filmmaker, to whom Locarno is devoting an extensive retrospective, is not a formalist like some of his more acclaimed contemporaries like John Ford, Otto Preminger, or Hitchcock, whose overt and idiosyncratic use of the camera makes far more obvious each director’s perspective on their stories. But that doesn't mean Tourneur didn't have formal flourishes, and none are so lyrically charged as the subtle and surprising times in his films when there’s a cut and suddenly the camera is floating...
- 8/12/2017
- MUBI
In those circles traveled by fans and collectors of anything home video, few things are more hallowed than The Criterion Collection’s first volume of their World Cinema Project DVD/Blu-ray series. One of the company’s most lauded and adored releases in recent memory, Volume 1 of Martin Scorsese’s World Cinema Project included six new restorations of six legendary films spanning the history of world cinema. From a foundational work in African cinema to a tale of sexual obsession that changed the history of Korean filmmaking, the first in this series has become one of the most important and exciting releases in recent Criterion Collection memory.
And finally, they’re back for a second round.
Again bringing to light six superlative films from across the world, “No. 2” as it’s billed on their website features a treasure trove of world cinema that in many ways rivals if not exceeds its predecessor.
And finally, they’re back for a second round.
Again bringing to light six superlative films from across the world, “No. 2” as it’s billed on their website features a treasure trove of world cinema that in many ways rivals if not exceeds its predecessor.
- 6/16/2017
- by Joshua Brunsting
- CriterionCast
After four years Martin Scorsese is back with another six filmic gems from all corners of the Earth. Love struggles in the slums of Thailand and the economic boom town of Taipei; underdog heroes undertake troubled missions in Turkey and Kazakhstan, a Malay storyteller plays cinematic games with basic narrative, and a vintage Brazilian art film is pure visual poetry. They’ve all been rescued by the World Cinema Project.
Martin Scorsese’s World Cinema Project No. 2
Blu-ray + DVD
The Criterion Collection 873-879
1931 – 2000 / Color + B&W / available through The Criterion Collection / Street Date May 30, 2017 / 124.95
Directed by Lino Brocka, Apichatpong Weerasethakul, Ermek Shinarbaev, Mário Peixoto, Lütfi Ö. Akad, Edward Yang
I readily confess that in my patchy history of film festival attendance, I gravitated not toward the really obscure foreign films, unless they promise to be as entertaining as things I’m more familiar with. Based on the results, one of...
Martin Scorsese’s World Cinema Project No. 2
Blu-ray + DVD
The Criterion Collection 873-879
1931 – 2000 / Color + B&W / available through The Criterion Collection / Street Date May 30, 2017 / 124.95
Directed by Lino Brocka, Apichatpong Weerasethakul, Ermek Shinarbaev, Mário Peixoto, Lütfi Ö. Akad, Edward Yang
I readily confess that in my patchy history of film festival attendance, I gravitated not toward the really obscure foreign films, unless they promise to be as entertaining as things I’m more familiar with. Based on the results, one of...
- 5/23/2017
- by Glenn Erickson
- Trailers from Hell
The Philippine Daily Inquirer is reporting that Lino Brocka’s 1975 film, Manila in the Claws of Light (Maynila sa mga Kuko ng Liwanag) will be joining the Criterion Collection in 2017. This will be the first Filipino film in the Collection.
Lino Brocka’s “Maynila sa mga Kuko ng Liwanag,” which was restored by the Film Foundation’s World Cinema Project, will be released by the prestigious Criterion Collection and Janus Films next year.
The good news was relayed to the Inquirer by filmmaker Mike de Leon, who’s the cinematographer and producer of the landmark social-realist drama released in 1975.
Jennifer Ahn, managing director of the Film Foundation, told De Leon that “Maynila” is “on the short list of titles for distribution in 2017.” Ahn explained that the film will be “available on DVD/Blu-ray in North America.”
Manila in the Claws of Light was restored by the Film Foundation and L’Immagine Ritrovata.
Lino Brocka’s “Maynila sa mga Kuko ng Liwanag,” which was restored by the Film Foundation’s World Cinema Project, will be released by the prestigious Criterion Collection and Janus Films next year.
The good news was relayed to the Inquirer by filmmaker Mike de Leon, who’s the cinematographer and producer of the landmark social-realist drama released in 1975.
Jennifer Ahn, managing director of the Film Foundation, told De Leon that “Maynila” is “on the short list of titles for distribution in 2017.” Ahn explained that the film will be “available on DVD/Blu-ray in North America.”
Manila in the Claws of Light was restored by the Film Foundation and L’Immagine Ritrovata.
- 10/25/2016
- by Ryan Gallagher
- CriterionCast
The honor of Telluride Film Festival’s first official screening Friday went to “La La Land.” Introduced by star Emma Stone and its bleary-eyed director, Damien Chazelle, the film’s looking to better his “Whiplash” record for Oscars (five nominations, including best picture; three wins, including best supporting). The Venice Film Festival, where it opened the event, embraced the film; would Telluride follow suit?
RelatedTelluride Film Festival: These 7 Films Could Change the Awards Conversation
Judging from initial reactions: So far, so good. The audience settled into the stylized love story that lets everyone know in the first frames that it’s an ambitious jump-up-and-sing musical, all in glorious Cinemascope. With an original score and songs by Justin Hurwitz, the movie takes a while to find its groove as a musical romance about artistic striving. How do creative people devote themselves to a meaningful career—as well as unselfish relationships?
Attractive and graceful,...
RelatedTelluride Film Festival: These 7 Films Could Change the Awards Conversation
Judging from initial reactions: So far, so good. The audience settled into the stylized love story that lets everyone know in the first frames that it’s an ambitious jump-up-and-sing musical, all in glorious Cinemascope. With an original score and songs by Justin Hurwitz, the movie takes a while to find its groove as a musical romance about artistic striving. How do creative people devote themselves to a meaningful career—as well as unselfish relationships?
Attractive and graceful,...
- 9/3/2016
- by Anne Thompson
- Thompson on Hollywood
The honor of Telluride Film Festival’s first official screening Friday went to “La La Land.” Introduced by star Emma Stone and its bleary-eyed director, Damien Chazelle, the film’s looking to better his “Whiplash” record for Oscars (five nominations, including best picture; three wins, including best supporting). The Venice Film Festival, where it opened the event, embraced the film; would Telluride follow suit?
RelatedTelluride Film Festival: These 7 Films Could Change the Awards Conversation
Judging from initial reactions: So far, so good. The audience settled into the stylized love story that lets everyone know in the first frames that it’s an ambitious jump-up-and-sing musical, all in glorious Cinemascope. With an original score and songs by Justin Hurwitz, the movie takes a while to find its groove as a musical romance about artistic striving. How do creative people devote themselves to a meaningful career—as well as unselfish relationships?
Attractive and graceful,...
RelatedTelluride Film Festival: These 7 Films Could Change the Awards Conversation
Judging from initial reactions: So far, so good. The audience settled into the stylized love story that lets everyone know in the first frames that it’s an ambitious jump-up-and-sing musical, all in glorious Cinemascope. With an original score and songs by Justin Hurwitz, the movie takes a while to find its groove as a musical romance about artistic striving. How do creative people devote themselves to a meaningful career—as well as unselfish relationships?
Attractive and graceful,...
- 9/3/2016
- by Anne Thompson
- Indiewire
Now that most of the Cannes Film Festival 2016 line-up has been settled when it comes to new premieres, their Cannes Classics sidebar of restored films is not only a treat for those attending, but a hint at what we can expect to arrive at repertory theaters and labels like Criterion in the coming years.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
- 4/20/2016
- by Jordan Raup
- The Film Stage
Bob Hawk is the Pierre Rissient of American Independent Films. Pierre was for French cinema what Bob is to American independent cinema. When he discovered a film and told Cannes about it, Cannes programmed it. Those who know Pierre and those who know Bob know that their influence cannot be quantified by the number of films they have fostered in one way or another. Bob’s influence extends in innumerable ways throughout the independent film world. Independent films are Bob Hawk's life, and now his life is an independent film.
After the thrill of watching the documentary “Film Hawk” by Jj Garvine and Tai Parquet whose first, ever-so-shocking film “Keeping the Peace” in 2009 was about the brutal and first such beheading in Iraq, I was whisked off to lunch with Bob and the filmmakers Jj Garvine and Tai Parquet. It seemed as if our lunch were a continuation of the film, so alive and vivid was the film and so full of references and ideas was our conversation.
We immediately began a non-stop talk of passionate love for movies. Bob showed me the tee shirt he wore just for our lunch, a Filmmaker Magazine tee from the early days when Indiewire’s offices were upstairs in the Filmmaker offices. In all the scenes of this film, his tee shirts are remarkable for titles he primarily has worked on or been somehow attached to. He must have hundreds of such mementos of his life.
So how did you make this film? I finally asked, because even if this is “the usual sort of question we get” according to Jj, it is really of interest to me.
Jj and Tai ‘s first film, “Keeping The Peace”, premiered and won the Audience Award at the 2009 Philadelphia Independent Film Festival and went on to be selected for the PBS Pov "United States of Documentaries” series. They are often indistinguishable themselves in their simultaneously answering questions or commenting on the talk. “We decided to make this movie on the day before his 74th birthday when we all went to the IFC Center in New York to see the Spalding Gray movie by Steven Soderbergh. We had a three hour dinner and learned so much about Bob. We then met Soderbergh. Going home we thought his life would make a great story. We knew him because he helped us with our film ‘Keeping the Peace’ but we had never talked about anything but the movie at that time. We said to him, ‘What if we made a short about your life?’ He said ‘What?’ And that was it.
“Film Hawk” itself is a broad swatch of a life well-lived with honesty and integrity. Surrounded by loving family and friends – although he and his brother as boys fought hard and often with each other as they grew up in very different ways. Bob veered toward art and his brother toward sports. Bob knew at an early age he was gay but his brother was strictly sports and girls. They were the sons of a minister, a minister who preached love. Their mother was a copy editor and proofreader – initially of insurance documents -- and Bob credits her with his own love for editing and proofreading. He proofread auction catalogs and the Sharper Image catalog at one point in his life.
Bob: “My mother, who lived to be 97, was a proofreader to the end. She edited and proofed the monthly newsletter of the home in which she lived in good health until she died. In fact, she proofread the April edition of the home’s newsletter, the very month she died.”
He did not like having to be the exemplary son of a minister and he had a stutter. At one point, hearing his father’s oratorical voice in the church, he realized there was a thin line between the church and theater and he choose theater as a young child and he credits his father for his love of dramaturgy and theater.
When he acted, his stutter disappeared and so he acted, though he much preferred working behind the scenes.
Our conversation switched between talk of film and talk of Bob the man. For he is incredibly full of love and life, a man whose boundaries include public and private love and film in one full embrace.
Bob grew up loud and proud, working as a techie Off Broadway in New York City. Even as a high school student he often went to New York City and explored both live theater and underground movies like Jean Genet’s “Un Chant d’Amour” and Kenneth Anger’s “Scorpio Rising”. Those were the predecessors to independent movies, he says.
Eventually he moved to stage managing in San Francisco where he met filmmaker Rob Epstein and contributed his thoughts to the seminal gay-themed documentary “Word Is Out”, made by a film collective that included Rob.
Tai: “Bob was an activist and that led him to film. In 1976 ,when the five hour rough cut of “Word is Out” was previewed for the public in a work-in-progress screening, Bob’s notes as a member of the audience were volumes of comments. In 1978 when Mayor George Moscone and Supervisor Harvey Milk were shot and killed by another supervisor, he and Rob, with whom he had become friends, both knew a film had to be made, but it took five years of grassroots fundraising.
Bob: “Rob and producer Richard Schmiechen initially went to Kqed, San Francisco’s public television station, but they turned it down, saying the story was too local. So they went to Wnet in New York, who provided funding for a one hour version. Then we realized that ‘The Times of Harvey Milk’ needed to be a feature, so we went again to Wnet and they gave us the additional money. This was the first film I worked on, as print media researcher and archivist.”
Jj: “Bob researched not only Harvey Milk but the whole era.”
Bob: “I had volumes -- over 600 news and magazine articles -- all organized by 20 main topics like Harvey Milk, George Moscone, Trial, Verdict, Riot, Gay Climate, Dan White and they were cross referenced, so when we had to speak about any subject, we had it ready.”
Says Tai , “Bob’s emphasis is always on storytelling. He even has a sense of arc in his copy editing.”
Tai thought he was a great writer, but Bob is not so sure.
Says Jj : “Bob is not good at original copy because he’s such an editor himself.”
Bob: “Yes, when I write, I feel my editor self looking over my shoulder.”
“The weakness of some narrative indies is that the filmmakers are so eager to shoot that they do not fully develop the script beforehand.”
So Bob is the articulate but silent spokesman for indies, always behind the scenes, editing and tightening scripts, reading copy and imperceptibly influencing a vast body of independent film today.
Tai: “He is like a drop of water in a small stream which he knows runs to the sea and which affects the very water of the ocean.
“Bob is not about connections. He’s about connection.”
There was so much research done for Film Hawk, you must have worked very hard.
Jj: We just listened to Bob and followed all the leads he gave us.
Tai: “Bob is not associated as strictly ‘gay’ or for gay films only. You can see that in his long term relationship to ‘Brothers McMullen’ in the film, but homosexuality is as intrinsic to him as is his whole childhood. He is secure in himself as a person”.
Bob Hawk’s keen insights and feedback became the precious wind that provided flight for many filmmakers. This fiery, eccentric fairy Godfather of indie film not only battled depression, but was the first to discover and champion the talents of Kevin Smith (“Clerks”, “Chasing Amy”), Edward Burns (“The Brothers McMullen”, “Purple Violets”), Ira Sachs (“Keep The Lights On”, “Love Is Strange”) and Scott McGehee and David Siegel (“The Deep End”, “What Maisie Knew”).
Here are what a few have to say about him:
"I didn't ever consider myself an artist, I was just a guy who wanted to make ‘Clerks’, until Bob Hawk started talking about it."
- Kevin Smith
"Bob was always there to encourage me. Bob is a friend and a mentor"
- Ed Burns
With his 30+ year Sundance presence - including work as consultant, programmer, moderator, juror, and impassioned viewer - usually seated front-row and often asking the first question (as in the case of the “Sex, Lies and Videotape” world premiere) Bob deserves kudos and honors and yet has never sought the spotlight for himself.
Not only is this a film about film, but about a man who is as intrinsic to indie films as is the drop of water in a stream that goes into the ocean, but this film should also stand up in educational venues – whether about filmmaking or about standing proud as a gay man in the world.
In many ways this film recalls the classic “Bill Cunningham” that Zeitgeist had such success with in that both films are quintessentially New York films about men whose calling is their life-long love; each is a living example of the importance of love for one’s self and for one’s life lived with passion. “Film Hawk” deserves to be seen at the IFC Center, in the center of New York.
Bob grew up in that time in the 50s when to be gay meant very little to society. Gay men married, had children and if they were lucky they did not find their dual role in life unsettling. He was just at the edge and realized he did not have to go the marriage route and have children, and so he went the art route and his children are numerous.
Bob will be speaking at the Berlinale Queer Academy during the 30th Anniversary of the Teddy Awards and a clip of the film will accompany him. He is also receiving a Maverick of the Year Award from Cinequest this month.
After the thrill of watching the documentary “Film Hawk” by Jj Garvine and Tai Parquet whose first, ever-so-shocking film “Keeping the Peace” in 2009 was about the brutal and first such beheading in Iraq, I was whisked off to lunch with Bob and the filmmakers Jj Garvine and Tai Parquet. It seemed as if our lunch were a continuation of the film, so alive and vivid was the film and so full of references and ideas was our conversation.
We immediately began a non-stop talk of passionate love for movies. Bob showed me the tee shirt he wore just for our lunch, a Filmmaker Magazine tee from the early days when Indiewire’s offices were upstairs in the Filmmaker offices. In all the scenes of this film, his tee shirts are remarkable for titles he primarily has worked on or been somehow attached to. He must have hundreds of such mementos of his life.
So how did you make this film? I finally asked, because even if this is “the usual sort of question we get” according to Jj, it is really of interest to me.
Jj and Tai ‘s first film, “Keeping The Peace”, premiered and won the Audience Award at the 2009 Philadelphia Independent Film Festival and went on to be selected for the PBS Pov "United States of Documentaries” series. They are often indistinguishable themselves in their simultaneously answering questions or commenting on the talk. “We decided to make this movie on the day before his 74th birthday when we all went to the IFC Center in New York to see the Spalding Gray movie by Steven Soderbergh. We had a three hour dinner and learned so much about Bob. We then met Soderbergh. Going home we thought his life would make a great story. We knew him because he helped us with our film ‘Keeping the Peace’ but we had never talked about anything but the movie at that time. We said to him, ‘What if we made a short about your life?’ He said ‘What?’ And that was it.
“Film Hawk” itself is a broad swatch of a life well-lived with honesty and integrity. Surrounded by loving family and friends – although he and his brother as boys fought hard and often with each other as they grew up in very different ways. Bob veered toward art and his brother toward sports. Bob knew at an early age he was gay but his brother was strictly sports and girls. They were the sons of a minister, a minister who preached love. Their mother was a copy editor and proofreader – initially of insurance documents -- and Bob credits her with his own love for editing and proofreading. He proofread auction catalogs and the Sharper Image catalog at one point in his life.
Bob: “My mother, who lived to be 97, was a proofreader to the end. She edited and proofed the monthly newsletter of the home in which she lived in good health until she died. In fact, she proofread the April edition of the home’s newsletter, the very month she died.”
He did not like having to be the exemplary son of a minister and he had a stutter. At one point, hearing his father’s oratorical voice in the church, he realized there was a thin line between the church and theater and he choose theater as a young child and he credits his father for his love of dramaturgy and theater.
When he acted, his stutter disappeared and so he acted, though he much preferred working behind the scenes.
Our conversation switched between talk of film and talk of Bob the man. For he is incredibly full of love and life, a man whose boundaries include public and private love and film in one full embrace.
Bob grew up loud and proud, working as a techie Off Broadway in New York City. Even as a high school student he often went to New York City and explored both live theater and underground movies like Jean Genet’s “Un Chant d’Amour” and Kenneth Anger’s “Scorpio Rising”. Those were the predecessors to independent movies, he says.
Eventually he moved to stage managing in San Francisco where he met filmmaker Rob Epstein and contributed his thoughts to the seminal gay-themed documentary “Word Is Out”, made by a film collective that included Rob.
Tai: “Bob was an activist and that led him to film. In 1976 ,when the five hour rough cut of “Word is Out” was previewed for the public in a work-in-progress screening, Bob’s notes as a member of the audience were volumes of comments. In 1978 when Mayor George Moscone and Supervisor Harvey Milk were shot and killed by another supervisor, he and Rob, with whom he had become friends, both knew a film had to be made, but it took five years of grassroots fundraising.
Bob: “Rob and producer Richard Schmiechen initially went to Kqed, San Francisco’s public television station, but they turned it down, saying the story was too local. So they went to Wnet in New York, who provided funding for a one hour version. Then we realized that ‘The Times of Harvey Milk’ needed to be a feature, so we went again to Wnet and they gave us the additional money. This was the first film I worked on, as print media researcher and archivist.”
Jj: “Bob researched not only Harvey Milk but the whole era.”
Bob: “I had volumes -- over 600 news and magazine articles -- all organized by 20 main topics like Harvey Milk, George Moscone, Trial, Verdict, Riot, Gay Climate, Dan White and they were cross referenced, so when we had to speak about any subject, we had it ready.”
Says Tai , “Bob’s emphasis is always on storytelling. He even has a sense of arc in his copy editing.”
Tai thought he was a great writer, but Bob is not so sure.
Says Jj : “Bob is not good at original copy because he’s such an editor himself.”
Bob: “Yes, when I write, I feel my editor self looking over my shoulder.”
“The weakness of some narrative indies is that the filmmakers are so eager to shoot that they do not fully develop the script beforehand.”
So Bob is the articulate but silent spokesman for indies, always behind the scenes, editing and tightening scripts, reading copy and imperceptibly influencing a vast body of independent film today.
Tai: “He is like a drop of water in a small stream which he knows runs to the sea and which affects the very water of the ocean.
“Bob is not about connections. He’s about connection.”
There was so much research done for Film Hawk, you must have worked very hard.
Jj: We just listened to Bob and followed all the leads he gave us.
Tai: “Bob is not associated as strictly ‘gay’ or for gay films only. You can see that in his long term relationship to ‘Brothers McMullen’ in the film, but homosexuality is as intrinsic to him as is his whole childhood. He is secure in himself as a person”.
Bob Hawk’s keen insights and feedback became the precious wind that provided flight for many filmmakers. This fiery, eccentric fairy Godfather of indie film not only battled depression, but was the first to discover and champion the talents of Kevin Smith (“Clerks”, “Chasing Amy”), Edward Burns (“The Brothers McMullen”, “Purple Violets”), Ira Sachs (“Keep The Lights On”, “Love Is Strange”) and Scott McGehee and David Siegel (“The Deep End”, “What Maisie Knew”).
Here are what a few have to say about him:
"I didn't ever consider myself an artist, I was just a guy who wanted to make ‘Clerks’, until Bob Hawk started talking about it."
- Kevin Smith
"Bob was always there to encourage me. Bob is a friend and a mentor"
- Ed Burns
With his 30+ year Sundance presence - including work as consultant, programmer, moderator, juror, and impassioned viewer - usually seated front-row and often asking the first question (as in the case of the “Sex, Lies and Videotape” world premiere) Bob deserves kudos and honors and yet has never sought the spotlight for himself.
Not only is this a film about film, but about a man who is as intrinsic to indie films as is the drop of water in a stream that goes into the ocean, but this film should also stand up in educational venues – whether about filmmaking or about standing proud as a gay man in the world.
In many ways this film recalls the classic “Bill Cunningham” that Zeitgeist had such success with in that both films are quintessentially New York films about men whose calling is their life-long love; each is a living example of the importance of love for one’s self and for one’s life lived with passion. “Film Hawk” deserves to be seen at the IFC Center, in the center of New York.
Bob grew up in that time in the 50s when to be gay meant very little to society. Gay men married, had children and if they were lucky they did not find their dual role in life unsettling. He was just at the edge and realized he did not have to go the marriage route and have children, and so he went the art route and his children are numerous.
Bob will be speaking at the Berlinale Queer Academy during the 30th Anniversary of the Teddy Awards and a clip of the film will accompany him. He is also receiving a Maverick of the Year Award from Cinequest this month.
- 2/16/2016
- by Sydney Levine
- Sydney's Buzz
The International Council for Film, Television and Audiovisual Communication (Icft) recently presented at the United Nations Educational, Scientific and Cultural Organization (Unesco) headquarters in Paris the Unesco Fellini Medal to Jasmina Bojic, Founder and Executive Director of the United Nations Association Film Festival (Unaff), in recognition of her exceptional contribution in promoting the principles of the Universal Declaration of Human Rights through the art of documentary film.
The Federico Fellini Medal was created by Unesco in 1994 to recognize major contributions to the international film heritage, its promotion and preservation.
The first Fellini Medal was awarded to the President of the Cannes Film Festival, Pierre Voit, and over the years it had many distinctive recipients, among them Gerard Depardieu, Vanessa Redgrave, Clint Eastwood, Abbas Kiarostami, Im Kwon taek, Lester James Peries, Pierre Rissient and Jerome Clement, President of the Franco-German TV channel Arte.
The medal itself was designed in 1994 by the Italian artist Valerio Adami, as homage to the Italian Maestro Federico Fellini, who passed away the year before. Unesco's Fellini Medal was first presented at the 48th Cannes Film Festival (1994), which was also the occasion of the Centenary of the creation of cinema.
Jasmina Bojic, who is also a film critic and educator at Stanford University, was informed of the award in April during the InfoPoverty Conference at the Un in New York, while the Fellini Medal was officially presented to her in May at the Unesco headquarters in Paris.
Presenting the award, the Icft stated, "Over the years Unaff has become a highly regarded platform for intrepid documentaries with a stellar reputation with filmmakers and audiences alike. Through the "Camera As Witness" program, which Ms. Bojic created at Stanford University, Unaff and its films have become an invaluable tool in the education process as well.
"For the last 15 years Unaff has also offered a Traveling Film Festival, which has spread the reach of its documentary films through dozens of communities, cooperating with other Festivals, Universities and Organizations.
"The four films presented at the Unaff Traveling Film Festival during the Un InfoPoverty Conference in New York are of the highest quality, both from the point of view of content and of cinematographic aesthetic. In addition, there is a concurrence between the Unaff and the Icft's objectives as well as Unesco's mandate in this field.
"It is a real lesson to the media, and the Icft wishes to develop this vision of a world that is more and more essential for intercultural dialogue and mutual understanding.
"The Icft hopes that the Unaff will continue to develop this line of action and to be recognized in the world that has an ever greater need for moral values"...
The Federico Fellini Medal was created by Unesco in 1994 to recognize major contributions to the international film heritage, its promotion and preservation.
The first Fellini Medal was awarded to the President of the Cannes Film Festival, Pierre Voit, and over the years it had many distinctive recipients, among them Gerard Depardieu, Vanessa Redgrave, Clint Eastwood, Abbas Kiarostami, Im Kwon taek, Lester James Peries, Pierre Rissient and Jerome Clement, President of the Franco-German TV channel Arte.
The medal itself was designed in 1994 by the Italian artist Valerio Adami, as homage to the Italian Maestro Federico Fellini, who passed away the year before. Unesco's Fellini Medal was first presented at the 48th Cannes Film Festival (1994), which was also the occasion of the Centenary of the creation of cinema.
Jasmina Bojic, who is also a film critic and educator at Stanford University, was informed of the award in April during the InfoPoverty Conference at the Un in New York, while the Fellini Medal was officially presented to her in May at the Unesco headquarters in Paris.
Presenting the award, the Icft stated, "Over the years Unaff has become a highly regarded platform for intrepid documentaries with a stellar reputation with filmmakers and audiences alike. Through the "Camera As Witness" program, which Ms. Bojic created at Stanford University, Unaff and its films have become an invaluable tool in the education process as well.
"For the last 15 years Unaff has also offered a Traveling Film Festival, which has spread the reach of its documentary films through dozens of communities, cooperating with other Festivals, Universities and Organizations.
"The four films presented at the Unaff Traveling Film Festival during the Un InfoPoverty Conference in New York are of the highest quality, both from the point of view of content and of cinematographic aesthetic. In addition, there is a concurrence between the Unaff and the Icft's objectives as well as Unesco's mandate in this field.
"It is a real lesson to the media, and the Icft wishes to develop this vision of a world that is more and more essential for intercultural dialogue and mutual understanding.
"The Icft hopes that the Unaff will continue to develop this line of action and to be recognized in the world that has an ever greater need for moral values"...
- 6/17/2014
- by Sydney Levine
- Sydney's Buzz
Jean-Luc Godard’s Breathless gave France’s nascent La nouvelle vague a solid international underpinning and it has remained a vibrant, stylish and entertaining influence on filmmakers for 54 years. Largely improvised and capriciously photographed, Breathless tore away the final threads that bound films to novels – and the formal elements of novels – leaving each medium a little freer to reach their own respective potentials. The narrative of Breathless, and unlike some later Godard films it does have one, is not dispensed through written dialogue designed to advance plot points but rather a capturing of fleeting ideas and quickly dissolving moments in time. Like life itself, some of these moments are big and important while others simply banal markers on the timeline of existence. Breathless gives equal dramatic weight to the climactic and the mundane, throwing a greasy yet elegant monkey wrench into 1960‘s accepted orthodoxy of what a movie was supposed to be.
- 2/25/2014
- by David Anderson
- IONCINEMA.com
Hail Mary
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
Written and directed by Jean-Luc Godard
France, 1985
When Jean-Luc Godard’s 1985 film Hail Mary was initially released, it set off a firestorm of protest. According to an article in a contemporary issue of Film Quarterly, the film was met with everything from “the Pope’s Vatican Radio denunciations and Italian magazine covers depicting barebreasted blondes on crucifixes, to Catholics lighting candles and shaking rosaries outside offending theaters.” The film was banned and was the subject of boycotts, and religious leaders worldwide deemed it blasphemous (a quote from Pope John Paul II, stating that the movie, “deeply wounds the religious sentiments of believers,” was displayed on a previously issued DVD almost as a badge of honor).
At the heart of the controversy, first and foremost, was the plot. Godard’s film is a modern-day retelling of the virgin birth. Here, Mary (Myriem Roussel) is a basketball-playing student who works...
- 1/10/2014
- by Jeremy Carr
- SoundOnSight
Blu-ray & DVD Release Date: Feb. 25, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Jean-Paul Belmondo and Jean Seberg are Breathless
As the Criterion press release puts it, “There was before Breathless, and there was after Breathless.”
Jean-Luc Godard (Weekend) burst onto the film scene in 1960 with this jazzy, free-form, and sexy crime drama, an homage to the American film genres that inspired him as a writer for the seminal French film magazine Cahiers du cinéma.
With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo (Leon Morin, Priest) as a gangster and Jean Seberg (Bonjour tristesse) as his American lady friend, Breathless helped launch the French New Wave and ensured that cinema would never be the same.
Criterion’s Blu-ray/DVD Combo release of the classic movie includes the following features:
• Restored high-definition digital transfer, approved by director of photography Raoul Coutard, with uncompressed monaural...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Jean-Paul Belmondo and Jean Seberg are Breathless
As the Criterion press release puts it, “There was before Breathless, and there was after Breathless.”
Jean-Luc Godard (Weekend) burst onto the film scene in 1960 with this jazzy, free-form, and sexy crime drama, an homage to the American film genres that inspired him as a writer for the seminal French film magazine Cahiers du cinéma.
With its lack of polish, surplus of attitude, anything-goes crime narrative, and effervescent young stars Jean-Paul Belmondo (Leon Morin, Priest) as a gangster and Jean Seberg (Bonjour tristesse) as his American lady friend, Breathless helped launch the French New Wave and ensured that cinema would never be the same.
Criterion’s Blu-ray/DVD Combo release of the classic movie includes the following features:
• Restored high-definition digital transfer, approved by director of photography Raoul Coutard, with uncompressed monaural...
- 11/21/2013
- by Laurence
- Disc Dish
Here I am at the Toronto International Film Festival for the first time, searching for where I fit in as both a spectator and a writer. In addition to being a third wheel of sorts representing this publication, as Daniel Kasman and Fernando C. Croce have revived their lovely “Correspondences” series that debuted at last year’s edition, I am also navigating the massive programming without the privilege of accreditation. I find myself in a not so unfamiliar position, purchasing tickets, budgeting my schedule instead of merely assembling it; after all, it was only just over a year ago that I was accredited at a festival for the first time. So, as I said, I’m searching, for an angle (and tickets!).
What follows is a reworking of the “Impressions” format I used at the Berlinale earlier this year, which allows me to share brief snapshots of initial reactions to the films,...
What follows is a reworking of the “Impressions” format I used at the Berlinale earlier this year, which allows me to share brief snapshots of initial reactions to the films,...
- 9/10/2013
- by Adam Cook
- MUBI
Apart from the three sneak screening titles that will stir up the buzz in the coming days, Julie Huntsinger and Tom Luddy’s 40th edition of the Telluride Film Festival excels in bringing a concentration of solid docus from the likes of Errol Morris and Werner Herzog who this year cuts the ribbon on a theatre going by his name and introduces Death Row, a pinch of Berlin Film Fest items (Gloria, Slow Food Story, Fifi Howls from Happiness) Palme d’Or winner (this year Abdellatif Kechiche will be celebrated), upcoming Sony Pictures Classics items (Tim’s Vermeer, The Lunchbox), Venice to Telluride to Tiff titles (Bethlehem, Tracks and Under the Skin), the latest Jason Reitman film (Labor Day) and the barely known docu-home-movie whodunit (by helmers Dan Geller and Dayna Goldfine) The Galapagos Affair: Satan Came to Eden which features narration from the likes of Cate Blanchett, Diane Kruger and Connie Nielsen.
- 8/28/2013
- by Eric Lavallee
- IONCINEMA.com
When the opportunity arose at the Locarno Film Festival to interview Fabrice Aragno, one of the cinematographers of Jean-Luc Godard's Film socialisme as well as his forthcoming 3D film Adieu au langage, I jumped at it. It was a chance to uncover some of what went on in the making of what is one of the most exciting films in recent years, a great work that ennobles the potential of digital form(s). It was also a chance to get a different perspective on Godard himself, without having to read into his own coded words. Aragno is a filmmaker in his own right, and recently completed a documentary with Godard that was commissioned by Swiss Television (and actually features some footage from Adieu au langage). What our conversation revealed to me was a new, simpler image of Godard, of a curious, creatively generous man with a collaborative spirit. Not...
- 10/23/2012
- by Adam Cook
- MUBI
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