1-20 of 106 items from 2015 « Prev | Next »
Having broken out of acting with Submarine and also appearing in a number of other films since then, with this being your first full length feature can you tell us exactly how you came to make Just Jim? It’s an incredibly low-budget film you got off the ground a couple of years ago, is that correct?
Craig Roberts: Yeah it was a low-budget film. It was a £300,000 film we made as part of a scheme called cinematic, a company that picks three directors giving them £300,000 pounds to make a film. I heard about it five days before the deadline and wrote a script that made no sense, which seems to make less sense now.
Was there a certain amount of improvisation that went into the film?
Cr: No, actually. It does make sense. Hopefully. It makes sense to me, »
- Joshua Gill
James Quandt in the new issue of Artforum on Jafar Panahi's Taxi: "That the director of such teeming, expansive works as The Circle (2000) and Offside (2006) should find himself limited to the confines of a car may seem lamentable, but Taxi has illustrious cab-bound ancestors, most obviously Ten (2002) by Panahi’s mentor, Abbas Kiarostami, as well as Jim Jarmusch’s Night on Earth (1991). And with the intrepid Panahi in the driver’s seat as both novice cabbie and veteran filmmaker, spatial restrictions predictably provide ample opportunity for formal innovation." Also today: David Bordwell on Edmund Goulding's Nightmare Alley, La Furia Umana on Manoel de Oliveira—and more. » - David Hudson »
"Today I lost one of my dearest friends, Catherine Coulson," Lynch said in a statement. "Catherine was solid gold. She was always there for her friends — she was filled with love for all people — for her family — for her work. She was a tireless worker. She had a great sense of humor — she loved to laugh and make people laugh. »
Yet a swimming pool splash-about with Kyle MacLachlan in Robocop director Paul Verhoeven's 1995 skin flick Showgirls - the Us's first and only big-budget Nc-17 - unfortunately torpedoed her career before it began.
But as Showgirls celebrates its 20th anniversary this week, having been reappraised and reborn as a midnight movie regular, a musical masterpiece (tagline: "Singing. Dancing. Tits") and a classic exploitation film of our time (not our words, but Jim Jarmusch's), we look at what happened to the actress best known as Nomi Malone.
1. She won two Razzies
In celebration of the 20th anniversary of her company, Killer Films, producer Christine Vachon and Sony Pictures Classics' co-president and co-founder Michael Barker sat down for an Ifp Industry Talk to discuss her experiences working in independent film, and what the future of the industry may hold. Vachon has produced multiple award-winning films, including "Kids," "Boys Don't Cry," "Hedwig and the Angry Inch," and the films of Todd Haynes. Vachon discussed what inspired her to become a producer, changing distribution practices and her recent transition to producing television. Below are highlights from the discussion: Read More: The 8 Best Things Christine Vachon Said at Her SXSW Keynote On her start in independent film and the movies she wants to makeI started in New York in the late '80s, at a time where it felt like there was a real resurgence of personal filmmaking that wasn't highly experimental, that was narrative. »
- Ryan Anielski
The Criterion Collection has recntly announced its line-up of releases for December, which include Ted Wilde’s Speedy, Michael Ritchie’s Downhill Racer, Takashi Murakami’s Jellyfish Eyes and Howard Brookner’s Burroughs: The Movie.
Astonishing Alpine location photography and a young Robert Redford in one of his earliest starring roles are just two of the visual splendors of Downhill Racer, the visceral debut feature by Michael Ritchie. In a beautifully understated performance, Redford is David Chappellet, a ruthlessly ambitious skier competing for Olympic gold with an underdog American team in Europe, and Gene Hackman provides tough support as the coach who tries to temper the upstart’s narcissistic drive for glory. With a subtle screenplay by the acclaimed novelist James Salter, Downhill Racer is a vivid character portrait, buoyed by breathtakingly fast and furious imagery that places the viewer directly in the mind of the competitor.
–High-definition digital restoration, »
- Scott J. Davis
Read More: What We Learned from Watching (Almost) the Entire Criterion Collection Four new films will be added to the Criterion Collection this December, including both classics and movies released as early as this summer. Each film will be released on both Blu-ray and DVD and will come with plenty of extras, such as interviews with the likes of Robert Redford, Jim Jarmusch and Takashi Murakami. Check out all of the new additions below. Synopses are courtesy of Criterion Collection. "Downhill Racer" (1969) Astonishing Alpine location photography and a young Robert Redford in one of his earliest starring roles are just two of the visual splendors of "Downhill Racer," the visceral debut feature by Michael Ritchie. In a beautifully understated performance, Redford is David Chappellet, a ruthlessly ambitious skier competing for Olympic gold with an underdog American team in Europe, and Gene Hackman provides tough support as the coach who tries to temper the. »
- Ryan Anielski
Reviewed by Kevin Scott
Only Lovers Left Alive (2013)
Directed by: Jim Jarmusch
I’ve written on more than one occasion how many subsets there are of zombie films. In most cases, you know what you are going to get. Straight up purist zombie films, contagion zombie films, zom coms, and even zom rom coms (That’s zombie romantic comedy. I don’t know if it’s fully made it into the horror lexicon yet, so I felt that I needed to elaborate) The vampire film has its own unique evolution, and exactly what any vampire film is about is much more difficult to decipher. It could be anything from gothic period pieces, showdowns between a Van Helsing protagonist and a Dracula antagonist, »
Australian cinematographer Christopher Doyle takes the adage ‘always leave them wanting more’ too far in this clumsy narrative documentary about his adopted hometown
Part documentary! Part narrative! All vaguely intriguing! This could be the billboard ad for Hong Kong Trilogy: Preschooled Preoccupied Preposterous, though if one were to advertise for this film, you’d likely lead with the visuals and leave words out of the picture.
It’s no surprise that Hong Kong Trilogy has a striking look, as it is directed by Christopher Doyle, the Australian-born cinematographer who rose to arthouse fame lensing Wong Kar-Wai’s slick, stylized films Chungking Express, Fallen Angels and In the Mood for Love before working with directors like Jim Jarmusch and Gus Van Sant. While not the first time in the director’s chair (there was a Polish thriller called Warsaw Dark, a chapter in the Paris, Je t’aime anthology and Ai Weiwei’s music video Dumbass, »
- Jordan Hoffman
Who knew Loki could sing? Tom Hiddleston is starring as Hank Williams, the legendary country singer with a tragic personal life, in the new film I Saw the Light. In this first clip, we are treated to a fun, hip-swaying, recording session, with Hiddleston providing the vocals and playing the guitar (which he learned for the role) on the song Move it On Over. While Hiddleston has already proven his diversity as an actor (apart from starring in The Avengers, he’s worked with some major directors like Woody Allen and Jim Jarmusch in Midnight in Paris and Only Lovers Left Alive, respectively) it seems that his role in I Saw the Light may be his most challenging and surprising yet.
The French actor, writer and director disappoints in this tale of an obsessive son and his mother
Julie Delpy is a stylish actor and film-maker who has made movies with Krzysztof Kieslowski, Richard Linklater and Jim Jarmusch, and directed garrulous and witty features of her own. But this film, which she has directed and co-written, is a disaster. It’s an oppressively unfunny and unconvincing mainstream French comedy featuring Delpy herself alongside Dany Boon. This male lead is perhaps best known for starring in the homegrown box office smash Bienvenue Chez Les Ch’tis, (Welcome to the Boondocks, 2008) and Boon’s colossal popularity might be as mystifying to the British as Sid James is to the French.
Related: Venice film festival takes on Everest as it regains ground lost to younger rivals
Continue reading »
- Peter Bradshaw
German actor to receive Lifetime Achievement Award.
Mueller-Stahl is one of the few German actors of distinction whose careers have spanned East Germany, West Germany and Hollywood. His most noteworthy films include Lola (1981), Oberst Redl (1985), Momo (1986), Music Box (1989), Night On Earth (1991), Das Geisterhaus (1993) and Shine (1996).
Zff co-directors Nadja Schildknecht and Karl Spoerri said: “We are proud to welcome 84-year-old Armin Mueller-Stahl as our guest to this year’s festival. He is, in our opinion, one of the most important German actors of all time. His skills as a polyglot performer oscillating effortlessly between stage and screen, Germany and the USA, have more than earned him this award.”
Raised in the German Democratic Republic (Gdr) and initially trained as a concert »
- email@example.com (Michael Rosser)
Exclusive: Former Protagonist exec replaces Abigail Walsh at UK sales outfit.
UK sales outfit Independent has appointed former Protagonist exec Nada Cirjanic as head of sales.
Cirjanic, former joint head of sales at UK outfit Protagonist, has worked on titles including Sightseers, Searching For Sugar Man and Monsters.
Cirjanic said: “I’m lucky to be joining Independent at such an exciting time. We have a great slate of our own productions and third party projects lined up for next year and are looking forward to a very busy 2016.”
- firstname.lastname@example.org (Andreas Wiseman)
By 1967 the dictatorial Nikkatsu studio president Kyusaku Hori had had enough. He approached filmmaking like an auditor going over a company’s finances, there were boxes to be ticked and conventions to be adhered to. His corporation was a factory, mass producing entertainment for the cheaply exploitable youth market. The constant spanner in Hori’s assembly line was Seijun Suzuki. Over the previous twelve years, he had directed thirty-nine films and in that time had developed a canon of hysterical, hallucinatory and heretical works. With each production, the insanity became more liberated, excessive and frenzied. He was the enfant terrible of Japanese cinema and Hori was done with his shit.
As a warning shot, Suzuki’s next film would be given only a shoestring budget with the cautionary note that he was ‘going too far’ and needed to ‘play it straight’. Suzuki responded with Branded to Kill, an expressionist fantasia »
- Jamie Lewis
Peter Debruge: Looks like Toronto is the latest film festival to add a television section to its lineup. These days, everywhere from Sundance to SXSW to the Canadian “festival of festivals,” smallscreen content is getting a big push, which is intriguing — and even ironic — for all sorts of reasons (ironic because the state of distribution being what it is, many of the films in Toronto will end up trickling down to VOD, rather than ever getting a commercial theatrical run). On one hand, the trend isn’t exactly new: Classy longform features like “Carlos” (which premiered at Cannes in 2010), “Top of the Lake” (Sundance 2013) and “Olive Kitteridge” (Venice 2014) made their bows at top-tier film fests before going on to air as miniseries on Canal Plus, BBC Two and HBO, respectively.
But Toronto’s Primetime program — like SXSW’s Episodics, which launched last year — represents something different: Rather than expanding the »
- Justin Chang and Peter Debruge
The new issue of Screening the Past features articles on Béla Tarr's Damnation, Robert Altman, Barbara Stanwyck, Otto Preminger and costume designer Edith Head. Also in today's roundup: The films besides Alfred Hitchcock's Vertigo that inform Christian Petzold's Phoenix; more discussion of David Foster Wallace and The End of the Tour; Frederick Raphael's memoir; Jonathan Rosenbaum's conversation with Jim Jarmusch about Dead Man; Xavier Dolan on Tom at the Farm; Jacques Rivette revivals on both sides of the Atlantic; a Vittorio De Sica retrospective; Yasujiro Ozu's Tokyo Story tops a list of the best of Asian cinema; and more. » - David Hudson »
A seminal event happened to actor Lance Henriksen in his late teens that serves as the perfect metaphor for his life: Henriksen was working at a rural New Mexico gas station, and was taken in by the couple who owned it. They had a teenage daughter a couple years his junior. One day, figuring Lance and his daughter were getting a bit too chummy; the man drove Henriksen out to the middle of the desert. “All winter long, the frost has been pushing up these beautiful amethyst stones,” the man explained. “I’ll drop you off and you can collect them, then come back and sell them for a lot of money.” Henriksen stayed half the night, and then started to succumb to the desert’s freezing temperatures. “I dug a hole and buried myself up to my chest, with a fire in front of me. »
- The Hollywood Interview.com
The fall festival rush is upon us. Locarno is currently ramping up. Venice has released their line-up and Thom Powers and the Toronto International Film Festival team have dropped a bomb with a previously unannounced new feature from powerhouse docu-provocateur Michael Moore. It is truly a miracle that the production of a film such as Moore’s upcoming Where To Invade Next (see still above) managed to go completely undetected by the filmmaking community until it was literally announced to world premiere at one of the largest film festivals in the world. Programmed as a one of the key films in the Special Presentations section at Tiff, the film sees Moore telling “the Pentagon to ‘stand down’ — he will do the invading for America from now on.” Also announced to premiere at Tiff was Avi Lewis’ This Changes Everything, which has slowly been rising up this list, as well as »
- Jordan M. Smith
For a guy who’s hardly a household name, Seijun Suzuki sure has influenced a veritable who’s who of popular filmmakers. Watching this new video from Press Play, which examines the 92-year old director’s body of work, it’s actually quite striking to see how his signature flamboyant style has rubbed off on an entire new generation of younger filmmakers. It’s there in the splashy, theatrical violence of Quentin Tarantino, the neon-soaked strangeness of Nicolas Winding Refn (who included two of the Japanese director’s films in his Criterion Top 10), the arch artificiality of Wes Anderson and the sly, morose comedy of Jim Jarmusch, who affectionately pays tribute to one of the director’s most famous shots in “Ghost Dog: Way of the Samurai.” Although many of his films were initially seen as failures, Suzuki’s unhinged visual imagination and penchant for cleverly staged and often »
- Nicholas Laskin
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