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After Bosnian director Danis Tanović’s (Tiger), it’s Serbian director Goran Paskaljevic who will film his next feature in India. Paskaljevic, who is heading the India Gold jury at 16th Mumbai Film Festival, announced his latest Dev Bhoomi starring Victor Banerjee on Sunday.
Dev Bhoomi will be the first ever Indo-Serbian co-production.
The film explores the homecoming of a 65 year old man, Rahul, who, when he discovers he is going blind, decides to return from England to his village in Garhwal, in India, to take one last look at the world he ran away from, 40 years ago. Produced by Milan Markovic, the film will be entirely shot in Uttarakhand in March-April 2015. The director with his team has been travelling to Dehradun and nearby places in Uttarakhand for scouting locations.
Goran said in a press conference: “Dev Bhoomi is a story of simple dramatic structure, tense inside, without a lot of external effects, »
Produced by Milan Markovic, the film will be entirely shot in the north Indian state of Uttarakhand in March-April 2015.
The story follows a 65-year-old man, Rahul, who decides to return from England to his village in Garhwal, Uttarakhand when he discovers he is going blind, to take one last look at the world he left 40 years ago.
Paskaljevic is currently serving on the India Gold jury of the on-going Mumbai Film Festival. His credits include Cabaret Balkan (1998), Honeymoons (2009) and When Day Breaks (2012).
“Dev Bhoomi is a story of simple dramatic structure, tense inside, without a lot of external effects, an intimate poem, such as the »
- firstname.lastname@example.org (Liz Shackleton)
It felt like I watched a lot this week, primarily because I spent a lot of time exploring not only the movies, but special features on three Criterion Blu-rays. I already posted my reviews for Roman Polanski's Macbeth (read my review here) and Federico Fellini's La Dolce Vita (read my review here) and just last night I watched Shohei Imamura's Vengeance is Mine as well as the 1999 interview with Imamura. As I'm sure you all know, exploring the features on a Criterion release can take some time, almost always more time than watching the movie itself. I'll have my review of Vengeance is Mine this coming week. The only other movie I watched this last week, and another movie I'll have a review of this coming week, is Alejandro Gonzalez Inarritu's Birdman, which did gangbusters this weekend in limited release and I'm really interested in reading some of »
- Brad Brevet
Departure Day: When it comes to TV, is closure important?
If you happen to follow a decent number of TV critics on Twitter, you may have noticed a minor eruption of late. A schism has emerged, prompted by accounts like The Cancellation Bear, which concerns itself solely with the topic of whether or not series are likely to survive based on current ratings patterns. That may sound perfectly innocent on its own, but quite a few admirers have expressed the notion that they refuse to dive into a series if they get the sense that it will come to a premature end, thereby robbing them of closure. This idea has, naturally, left many critics incensed: isn’t TV a medium founded on chaos, on the thrill of working within limitations and at the whims of fickle audiences? Moreover, isn’t it silly to always want tidy resolution in the context »
The Digital Era: Real-time Films From 2000 To Today
40 years before, in 1960, lighter cameras enabled a cinéma vérité-flavored revolution in street realism. By 2000, new digital cameras suggested a whole new set of promises, including telling stories that would have been unimaginable within minimum budgets for features even ten years before. In 2000, film purists warned that digital still didn’t look as good as celluloid, but that didn’t stop at least three innovative filmmakers from boldly going where no filmmaker had gone before. Mike Figgis’ Timecode (2000) was the first star-supported (Salma Hayek, Stellan Skarsgard, Holly Hunter, among many others) single-shot project since Rope, underlining that earlier film’s timelessness. If Run Lola Run could do one story three times, then Timecode would do three or four stories one time: the movie is four separate ninety-minute shots shown all at the same time, each in one quadrant of the screen. Where do you look? »
- Daniel Smith-Rowsey
What do film directors Alfred Hitchcock, Stanley Kubrick, Agnès Varda, Robert Wise, Fred Zinnemann, Luis Buñuel, Alain Resnais, Roman Polanski, Sidney Lumet, Robert Altman, Louis Malle, Richard Linklater, Tom Tykwer, Alexander Sokurov, Paul Greengrass, Song Il-Gon, Alfonso Cuarón, and Alejandro Iñárritu have in common? More specifically, what type of film have they directed, setting them apart from fewer than 50 of their filmmaking peers? Sorry, “comedy” or “drama” isn’t right. If you’ve looked at this article’s headline, you’ve probably already guessed that the answer is that they’ve all made “real-time” films, or films that seemed to take about as long as their running time.
The real-time film has long been a sub-genre without much critical attention, but the time of the real-time film has come. Cuarón’s Gravity (2013), which was shot and edited so as to seem like a real-time film, floated away with the most 2014 Oscars, »
- Daniel Smith-Rowsey
Macbeth was the first film Roman Polanski made following the murder of his wife, Sharon Tate, and friends at the hands of the Manson family. At the time he'd been working on the sci-fi thriller The Day of the Dolphin, which would later be made by Mike Nichols. It was during a skiing trip arranged by Victor Lownes, a subsequent producer of the film, Polanski made the decision Macbeth would be his next film. It was a decision he made feeling his next film "should be something serious, not a comedy... something with some depth." Polanski would team with Kenneth Tynan to write the screenplay and, thanks to urging from Lownes, Hugh Hefner and Playboy would eventually serve as the film's producer after no one else would touch it. As Polanski notes in an included 60-minute documentary on this new Criterion Blu-ray release, to that point there had only been »
- Brad Brevet
The French equivalent of theatrical turkey is "turnip," and the French-language musical adaptation of Roman Polanski’s The Fearless Vampire Killers, staged by the maestro himself and called Dance of the Vampires (Le Bal des Vampires), is an enormous, all-singing, all-dancing turnip, a toothless musical in which the only moving parts belong to the gigantic rotating and sliding sets. Inexplicably a hit production in Mitteleuropa, this musical was originally written in German by Michael Kunze and features music by Jim Steinman, the man behind Meatloaf and Bonnie Tyler. His bombastic work for these crooners often creeps into
- Boyd van Hoeij
X-Men: Days of Future Past It's interesting to me in that I consider X-Men: Days of Future Past one of the best movies of 2014 and the second best blockbuster of the summer behind Edge of Tomorrow and yet I have little to no interest in seeing it again. I've seen plenty of trailers as of late promoting today's release of the DVD and Blu-ray and each time I remember enjoying the movie, but a feeling of meh when it comes to watching it again comes over me. Nevertheless, I can still I say I felt it was a good movie... that one time I saw it.
Fargo Season One Here's a show I need to get back to and finish. Everyone I've talked to and seen comment online has enjoyed it and having already watched three of the ten episodes it only makes sense I finish it.
Venus in Fur »
- Brad Brevet
Knife in the Water
Directed by Roman Polanski
Certainly a stretch to categorize as horror, Roman Polanski’s debut feature anticipates the creeping dread and tense blocking that will characterize his later, truer films of the genre.
Husband and wife Andrzej (Leon Niemczyk) and Krystyna (Jolanta Umecka) pick up a young hitchhiker (Zygmunt Malanowicz) on their way to a sailing outing. The young man joins them on the water and tensions rise among the three as the men jockey for power.
Coming after a number of murky, eerie shorts – including 1957’s grim A Murder – Knife in Water is Lifeboat meets Dead Calm but with Polanski’s signature brooding unease rather than overt, textbook suspense or violence. Repulsion, Rosemary’s Baby, and The Tenant make up the director’s “Apartment Trilogy,” and though Knife in Water is almost exclusively on open water it may as well mark the beginning of a “Claustrophobia Quadrilogy. »
- Neal Dhand
In theaters this week I caught Dracula Untold (my review here) and Fury (review coming tomorrow) while at home I ended up watching about 45 minutes or so of Life Aquatic with Steve Zissou, All Quiet on the Western Front and about 30 minutes of Criterion's new Blu-ray release of Roman Polanski's Macbeth as I'm hoping to catch up on my Criterion reviews this week. I also have Criterion's Vengeance is Mine and the upcoming La Dolce Vita to take in and for those of you that were around for my first Best Movies entry, you already know how much I love "the sweet life". So let's hear from you, what did you watch this weekendc »
- Brad Brevet
Austin Film Society continues their "Art Horror" series this month at the Marchesa with a 35mm print of Masaki Kobayashi's 1964 ghost story anthology, Kwaidan. Tonight's screening is actually a Free Member Friday event, so if you're an Afs member you won't have to pay a dime for this horror classic. It will also screen again on Sunday at noon. Also on Sunday, you can check out the 2013 documentary The Sarnos: A Life In Dirty Movies, which examines the life and career of sexploitation director Joe Sarno and his wife Peggy. It will be paired with Joe's 1966 feature Moonlighting Wives on Sunday evening.
There is a lot of rep activity at Alamo Drafthouse theaters this week and we'll start off by looking at what is going down at the Ritz. You can catch Guys And Dolls in 35mm for "Broadway Brunch" on Saturday and Sunday, and Kubrick's big-screen classic 2001: »
- Matt Shiverdecker
Few directors have touched the level of quality achieved by Roman Polanski in the last half-century of cinema, In spite of his, shall we say, tainted reputation. The man whose life was marred by a childhood spent in Nazi-occupied Poland, the murder of his wife Sharon Tate and his notorious rape case and subsequent exile has also given us some of the most memorable films of all time, including “Knife in the Water,” “Rosemary’s Baby,” and “Chinatown" among others. One of Polanski’s most overlooked and visually ravishing pictures is his adaptation of Shakespeare’s tragedy “Macbeth.” The film —an uncharacteristically violent and grim period piece— was released in the aftermath of his wife’s gruesome murder and has since been lovingly restored by the great folks at Criterion, who have also commissioned stellar releases of many of Polanski’s cruel, darkly amusing early films (“Cul de Sac,” “Repulsion »
- Nicholas Laskin
Former ICM chief Jeff Berg launched Resolution less than two years ago on the heels of his bitter breakup from ICM, the agency where he spent nearly 40 years until finding himself on the losing end of a power struggle with Chris Silbermann. His failed attempt to maintain his status as a top Hollywood power broker eerily echoes Michael Ovitz’s rise and quick fall with Artists Management Group more than a decade ago.
Berg founded Resolution as a talent and literary agency in early 2013 with much fanfare. He chose luxurious offices in a ritzy Century City building and went on a hiring spree of veteran film, TV and music agents at eyebrow-raising salaries — some at $1 million annually. On Monday, Berg informed the staff–which numbers between 40 and 50 — that »
- Dave McNary and Justin Kroll
Having read (and enjoyed) the book by S.J. Watson and now seeing the filmed adaptation of Before I Go To Sleep (10/31) has gone to Clarius Entertainment, I feel like I'm going to have to pass on the upcoming thriller in which Nicole Kidman stars as a woman who wakes up every day, remembering nothing as a result of a traumatic accident in her past. One day, new terrifying truths emerge that force her to question everyone around her. It's one thing to read the description of the novel and seeing it compared to Christopher Nolan's Memento and then reading the book, but it was never a story that would easily translate to the big screen, at least not in a way that looks as hacky as what Rowan Joffe has done here. amz asin="B004GUSG4M" size="small"When you're reading the novel it doesn't have any of these massive visual flourishes, »
- Brad Brevet
Berg, the chairman of Resolution, told his staff of about 40 on Monday that he was shuttering the agency, promised that he would help them find new jobs and blamed the closure on Chinese investor Bison Capital Holdings.
Berg had opened the agency with a flourish in January 2013 in lavish offices in Century City and moved aggressively to hire agents, who were paid around $200,000 to $300,000, with some getting seven figure salaries.
The downfall came seven months after Resolution’s announcement in March that Beijing-based Bison had taken a stake in Resolution Talent and Literary Agency, the first time that a Chinese company had invested in an American talent agency.
Berg was not available for comment but insiders have said that Bison simply failed to provide the promised funding, creating an atmosphere of uncertainty at Resolution, »
- Dave McNary
Holly Johnson last week released his new studio album Europa, his first new studio album in 14 years.
Blade Runner turns 30: Iconic sci-fi movie's greatest moments - 15-1
Blade Runner turns 30: Sci-fi masterpiece's greatest moments - 30-16
"It was just the most exciting thing, visually and sonically, I'd ever seen. I went to the cinema to see it when it came out and it was very, very affecting in lots of ways."
He added: "I got the call from Vangelis's assistant to say, »
Robert Downey Jr. set the internet ablaze with crazy and wild speculation after making a comment about the liklihood of his involvement in Iron Man 4 should certain factors fall into place. When asked about his long time friend Mel Gibson directing the movie, Downey responded with an honest and playful answer:
“Why not? That movie would be bananas.”
You’re god damned right it would. Can you even imagine an Iron Man movie directed by Mel Gibson? It wouldn’t just be bananas. It would be a metric ton of bananas soaked in kerosene and hurled into the stratosphere by a catapult made from the remains of the little people who played the Munchkins in Wizard of Oz, lit into combustion by a flaming arrow fired by the ghost of Andy Kaufman.
To be honest, I would have »
- Anghus Houvouras
Written for the screen and directed by Paul Thomas Anderson
Even if you were not around during the 1970s, Inherent Vice comes across as a faded, nostalgic memory. Being a faithful adaptation of Thomas Pynchon’s novel, the film recounts the dying days of the free love era, laced with the look, feel and paraphernalia of the subculture. Anderson’s comedic thriller peppers itself with restless, almost out of place laughter, while dedicating itself to the themes of the early Seventies. One is reminded of private-eye classics such as Roman Polanski’s Chinatown and Robert Altman’s The Long Goodbye, with traces of Zucker-Abrahams comedies like Airplane! and The Naked Gun. For many, the homage to 1970s filmmaking will be a very real and thrilling look down memory lane. For others, it’ll be a history lesson like no other found in modern day filmmaking.
Larry ‘Doc »
- Christopher Clemente
The scares are cheap but periodically effective in “Annabelle,” a cut-rate spinoff from James Wan’s superlative haunted-house hit “The Conjuring” that (partly) makes up in crude shock effects what it lacks in craft, atmosphere and just about every other department. Designed mainly as a starring vehicle for the eponymous, creepy-as-hell doll (who easily outclasses her human co-stars), this WB/New Line quickie will slake the thirst of die-hard genre fans put out by the abysmal “Dracula Untold.” Mere casual fright fans are advised to wait for the proper sequel, “The Conjuring 2,” due in 2015.
Among the many objects from paranormal investigators Ed and Lorraine Warren’s cabinet of demonically possessed curiosities that got their closeups in “The Conjuring,” the indisputable scene-stealer was Annabelle, a pigtailed, rosy-cheeked wooden moppet who looked like Howdy Doody in drag, or Raggedy Ann after a long night in the wrong part of town. Now, in “Annabelle, »
- Scott Foundas
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