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'Everest' 2015, with Jake Gyllenhaal at the Venice Film Festival. What global warming? Venice Film Festival 2015 jury: Oscar winner Alfonso Cuarón president The 2015 Venice Film Festival, to be held Sept. 2–12, has announced the members of its three main juries: Venezia 72, Horizons, and the Luigi De Laurentiis Award for Best Debut Film. In case you're wondering, "Why Venezia 72"? Well, the simple answer is that this is the 72nd edition of the festival. Looking at the lists below, you'll notice that, as usual, Europeans dominate the award juries. The only two countries from the Americas represented are the U.S. and Mexico, and here and there you'll find a sprinkling of Asian film talent. Golden Lion jury The Golden Lion – Venezia 72 Competition – jury is comprised by the following: Jury President Alfonso Cuarón, the first Mexican national to take home the Best Director Academy Award (for the Sandra Bullock-George Clooney »
- Anna Robinson
Francois Truffaut once said that it’s pretty much “impossible to [really] make an anti-war film.” Presumably, what he meant by this is that the cinematic medium is one that thrives on embellishment, exaggeration and heightened dramatic stakes, and can therefore not be relied on to give an accurate, honest-to-God reflection of how horrific war can be. It’s an important question: can any war film actually be “realistic” and still be entertaining? Is the relentless violence of films like Steven Speilberg’s “Saving Private Ryan” and David Ayer’s “Fury” a faithful tip of the hat to the brave men and women who fought for our country, or is the splashy cinematic treatment of wartime atrocities itself a fundamentally disingenuous thing? In helping us to ponder the question, a brand spankin’ new video essay from Now You See It looks at the many visual representations of war in film, and »
- Nicholas Laskin
Read More: Check Out These 10 Parody Movie Posters From 'Me And Earl And The Dying Girl' We've broken down the playlist by track, followed by commentary. You can play the full playlist (save for one track that was not available on Spotify) by scrolling down to the bottom of this page. Enjoy! Gomez-Rejon originally chose Georges Delerue's "Chorale" from the 1973 Francois Truffaut film "Day for Night" as the score for the high school sequence at the beginning of the film. "It really worked, it was like the soundtrack in this cinephile's head," he told us. "'Day for Night' was his way in." As the film began to evolve during post-production, Gomez-Rejon decided to switch to an original composition, which is how composer Nico Muhly ended up being brought in to create, as Gomez-Rejon put it, "a sound for the beginning" of the film -- i. »
- Shipra Harbola Gupta
Cinema’s obsession with the idea of a perfect murder is quite grotesque. The macabre fascination only cements what Francois Truffaut once said, “Film lovers are sick people.” Perfect murders are a form of intellectual freak show, and Irrational Man, Woody Allen’s newest feature, tackles on the visual and physical allure of taking a person’s life. A much less heavy-handed effort than the director’s previous Magic in the Moonlight, Irrational Man stays light while dissecting the ennui of existing.
Abe Lucas (Joaquin Phoenix), a philosophy professor, arrives at the campus of the fictional Braylin University a broken man, suffering from a messy divorce and the untimely death of a friend in Iraq. Abe is often filmed from the waist up, exposing his less than attractive physicality. The guy does not walk; he lumbers around with his big belly. Yet women are inexplicably drawn to him, precisely because »
- Phuong Le
When it comes to naming the great directors of Indian cinema, Mani Ratnam is someone who is always included. Working not only in Hindi films, but also in the major industries in the South, the filmmaker has created some of the best movies in the Indian film canon. He began his career with Pallavi Anu Pallavi and went on to bring audiences such outstanding cinema as Bombay, Roja, Dil Se, Nayakan, Saathiya, Guru, Ravaan and this year’s O Kadhal Kanmani to name just a few. Awarded the Padma Shree in 2002, his films have also won several prestigious National Film Awards. His work has been included on Best Film lists both in Time Magazine and The British Film Institute as well as winning awards at major film festivals around the world.
Naman Ramachandran, the film programmer for The Bagri Foundation London Indian Film Festival, was allowed by Mr. Ratnam, to »
- Stacey Yount
In today's roundup: Guy Maddin on Douglas Sirk, McKenzie Wark on Pier Paolo Pasolini, James Douglas on the politics of Pixar, A.O. Scott on the culture of Comic-Con, Max Nelson on John Ford and Ireland, Stuart Klawans on Sean Baker's Tangerine, Chaitanya Tamhane’s Court, Christian Petzold's Phoenix, Liz Garbus’s What Happened, Miss Simone?, Asif Kapadia’s Amy and Stevan Riley’s Listen to Me Marlon, Jackie Cooper on Andy Warhol's Lupe (1966) with Edie Sedgwick, interviews with Hou Hsiao-hsien and Pedro Costa and a conversation between Kiriro Urayama and François Truffaut. » - David Hudson »
Criterion digitally restores its previous edition of Alain Resnais’ landmark directorial debut, Hiroshima Mon Amour, a jagged cornerstone of the French New Wave, which forever associated the reluctant auteur with one of the most acclaimed cinematic movements to date. Roughly preceding the renowned debut of Jean-Luc Godard and released the same month as Francois Truffaut’s The 400 Blows (they competed against one another at Cannes), Resnais’ contribution changed the way we regarded linear narrative and flashback sequences, and much like those iconic works of his peers, now bears several decades worth of critical acclaim on its shoulders. Tragic, moody and ultimately a poetic exchange of present interludes shattered by ghosts of the recent past, Resnais begins with motifs he would remain fascinated with throughout his career, the nature of remembrance and recollection, instances as shattered as the narrative chronologies in his films.
Fourteen years after the atomic bomb laid waste to Hiroshima, »
- Nicholas Bell
Wes Anderson, one of modern cinema’s most talked-about auteurs, has been compared to a few other great directors who came before him. His early work was said to resemble the melancholy humanist comedies of Hal Ashby, while later pictures like “Moonrise Kingdom” and “The Grand Budapest Hotel” were often mentioned in the same breath as Francois Truffaut and Ernst Lubitsch (respectively). One film great that Mr. Anderson has decidedly not been compared to, however, is the one and only Yasujiro Ozu. There’s a reason for that. Ozu, a titan of mid-century Japanese cinema whose fabulous body of work can currently be viewed via The Criterion Collection, was one of the art form’s most singular practitioners. His films are wholly and totally his, and could almost never be mistaken for the work of another director. Many too have argued that the same is true of the idiosyncratic Anderson, »
- Nicholas Laskin
Rome – The Venice Film Festival has unveiled the poster for its 72nd edition which pays tribute to actress Nastassja Kinski and, in the background, France’s Jean-Pierre Leaud in the final frame of Francois Truffaut’s “The Four Hundred Blows.”
In the background is a tiny portrait of Leaud, who was the star of last year’s Venice poster. Recent Venice posters are all by Italian graphic designer and director Simone Massi, also author of the fest’s signature opening visuals, shown before each screening.
The Venice fest will run September 2-12 2015. The lineup will be announced July 29.
- Nick Vivarelli
There is a case to be made for home movies as the purest form of cinema. It’s folly, of course, to pit films against one another based on the circumstances under which they were made; to argue what is realer, and thus more valid, than the other. In a camera’s lens, especially, the lines of truth and lies blur and overlap. It’s just that in what we believe to be reality the stakes are always higher, the emotions elevated. One of the first films ever made, the Lumière brothers’ L'arrivée d'un train à La Ciotat, was a succinct 56 seconds that depicted the arrival of a train at its station in Lyon, France. When it was first shown to the public it was the audience’s virgin film-viewing experience, and it was reported that many were frightened by the illusion that the train was coming straight for them. »
- Oliver Skinner
The late 1950s were a time of seismic upheaval and innovation in world cinema. In France, Francois Truffaut, Claude Chabrol and Jean-Luc Godard were backing up their boisterous critical rhetoric by placing themselves behind the camera and making movies the way they believed they should be made. English filmmakers were developing the kitchen-sink realism style featuring a lineup of angry young men. Ingmar Bergman brought Scandinavian cinema to global prominence, Italian film boasted the emerging talents of Fellini and Antonioni, and Japan unleashed an exuberant new generation of directors like Suzuki, Kobayashi and others who came out of the agitated rebellion of the Sun Tribe movement. Even India could put forth a prodigious genius like Satyajit Ray to introduce cinephiles from around the world to a culture that was ready to transcend the stereotypes and mystification that its recent colonial past had distorted. Among all the nations that could lay »
- David Blakeslee
The French New Wave, which changed notions of how films could be made, gave birth to a group of young directors headed by Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Claude Chabrol, Alain Resnais and François Truffaut. Although they believed in Alexandre Astruc’s concept of the caméra-stylo – that film-makers should use the camera much as a writer uses a pen to create a personal vision – they still depended, for the most part, on screenwriters to help forge that vision. Among the writers most in demand, particularly by Truffaut and Resnais, was Jean Gruault, who has died aged 90.
Gruault arrived at the start of the New Wave when he co-wrote (with the directors) Rivette’s Paris Belongs to Us (Paris Nous Appartient, shot in 1958, but released in 1961) and Truffaut’s Jules and Jim »
- Ronald Bergan
You no doubt know of a crazy local or two that mills around your town in a daze, occasionally causing disturbances, but otherwise remains fairly harmless. If you stop to think about it, it’s possible that they may have had an entirely different life with a past rich with fame, fortune and family, but sadly, their final warped reality is often the result of something as tragic as mental illness. In the case of François Truffaut‘s true to life telling of French literary master Victor Hugo’s increasingly demented daughter’s obsessive breakdown in The Story of Adèle H., the vagabond fate stems from haughty infatuation and swiftly disintegrates into detached delirium not unlike those familiar empty faces asking for bus fare or something to eat on your local street corner.
The Story of Adèle H. followed Truffaut’s Best Foreign Picture winning Day For Night, gleaning its »
- Jordan M. Smith
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.The New York Film Festival has revealed that Robert Zemeckis's much-anticipated 3D quasi-heist film The Walk will open the 2015 event. The newly released full trailer can be watched above.Famed writer Jean Gruault has died at the age of 90. Gruault had written scripts for François Truffaut (Jules and Jim), Jacques Rivette (The Nun), Alain Resnais (Mon oncle d'Amérique), and others, including writing the novel on which Valérie Donzelli's Cannes competitor this year, Marguerite & Julien, was based.We're crossing our fingers that Quentin Tarantino's The Hateful Eight will make 50+ cinemas in the U.S. equipped to project 70mm.This week is a trailer bonanza, including Mistress America, the new Noah Baumbach collaboration with actress Greta Gerwig after Frances Ha.This Long Century has published several new pieces, including »
Film is unique among many art forms in that it is a very collaborative kind of art. A wonderful film requires an immense number of talents, temperaments and personalities to mesh and work together well; from make-up artists to cinematographers to producers.
Or, of course, if you buy auteur theory, it really just requires one person: the director. While there is certainly a lot of truth to Francois Truffaut’s idea that the director is ultimately the author of the film, some directors take this primacy a bit too far.
These directors see the film as their own singular and perfect vision and view other people as a mere tool for accomplishing this mission. Their methods are extensive, exhaustive and often eccentric. They burn down sets the size of small towns for the sake of seconds worth of screen time, they get involved in brawls with their actors and »
- David O'Donoghue
Jean Gruault, who wrote 25 screenplays between 1960 and 1995, has His screenplay for Alain Renais's Mon oncle d'Amérique (1980) was nominated for an Oscar and a César and won a David di Donatello Award. Other notable works include Jacques Rivette's debut feature, Paris Belongs to Us (1960), and Rivette's The Nun (1966); Roberto Rossellini's Vanina Vanini (1961) and The Taking of Power by Louis Xiv (1966); Jules and Jim (1962), co-written with François Truffaut, as well as Truffaut's The Wild Child (1970), Two English Girls (1971) and The Green Room (1978); Jean-Luc Godard's Les carabiniers (1963); Chantal Akerman's The Eighties (1983) and Golden Eighties (1986); the scenario for Resnais's Love Unto Death (1984); and he worked with Jean-Pierre Dardenne and Luc Dardenne on You're on My Mind (1992). » - David Hudson »
You could be vaccinating felines for a year at an animal shelter and still not hear the word "pussy" as much as you do in the first half hour of Entourage. This expansion of the HBO TV series appears to have been conceived by a gaggle of misogynistic, beer-chugging adolescent virgins who brag about getting laid, but the closest they've ever gotten is a Playboy centerfold bespattered with cream of mushroom soup that they rescued from the city dump.
To be fair, I have never viewed any episode of this series that I thought was supposed to be a tongue-in-cheek inside gander at Hollywood. Instead, what we have here is a glorified daydream of the male need to copulate with any orifice within five inches of his zipper. Make that four inches.
Directed and written with unflinching ineptitude and fetid taste by the series' executive producer Doug Ellin, the film is basically plotless. »
- Brandon Judell
'Harry Potter and the Prisoner of Azkaban' poster. With Daniel Radcliffe. Rupert Grint. Emma Watson. 'Harry Potter and the Prisoner of Azkaban' quiz question: Does state-of-the-art CGI equal movie magic? (Oscar Movie Series) Alfonso Cuarón seems like an odd choice for director of Harry Potter and the Prisoner of Azkaban, the third installment in the Harry Potter movie series. That is, if one thinks only of Cuarón's pre-Harry Potter sleeper hit, the François Truffaut-esque Y tu mamá también, while ignoring two of his earlier efforts, the critically acclaimed A Little Princess and the moderately respected Great Expectations. This time around, working with a reported $130 million budget (approx. $163 million in 2015), state-of-the-art special effects, and the Harry Potter franchise, Cuarón surely could do no wrong. At the box office, that is. For although Harry Potter and the Prisoner of Azkaban is stylistically superior to Chris Columbus' previous work in the series, »
- Andre Soares
In today's roundup of news and views: A new journal on television narratives; a review of a book from Raymond Cauchetier, who photographed Jean-Luc Godard, François Truffaut and other French New Wave filmmakers at work; more long takes on Alex Garland's Ex Machina (and Joe Wright's interview with Alicia Vikander); Boris Nelepo on Manoel De Oliveira; John Powers on The Matrix; Bright Lights on Boyhood; a conversation about Don Hertzfeldt; an appreciation of Federico Fellini; Jaws at 40 and Total Recall at 25; in defense of Cameron Crowe's Aloha; and Bernardo Bertolucci, Wim Wenders, Fernando Meirelles, Walter Salles, Atom Egoyan, Bob Rafelson and Pablo Trapero are among the directors who have pledged their support to Film4Climate. » - David Hudson »
Have you seen literally any of the marketing for Batman vs. Superman? Heavy stuff, right? It's all so dour that Greg Silverman, head of film production at Warner Bros., took to the pages of The Hollywood Reporter to assure moviegoers that Warners' upcoming DC superhero slate would also have jokes. In fact, he said, "humor" would be "an important part" of the studio's plan for its superhero films. But, if not for a total absence of merriment, how will DC's cinematic universe separate itself from Marvel's? "We have a great strategy for the DC films," explained Silverman, "which is to take these beloved characters and put them in the hands of master filmmakers and make sure they all coordinate with each other ... The filmmakers who are tackling these properties are making great movies about superheroes; they aren't making superhero movies." If only François Truffaut were alive, he'd totally love Jared Leto »
- Nate Jones
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