1-20 of 42 items from 2016 « Prev | Next »
After a few delays, Frank Ocean‘s Channel Orange follow-up, Blond, has now arrived and, with it, not only an additional visual album, but Boys Don’t Cry, a magazine that only a select few were able to get their hands on. (Although, if you believe the artist’s mom, we can expect a wider release soon.) In between a personal statement about his new work and a Kanye West poem about McDonalds, Ocean also listed his favorite films of all-time and we have the full list today.
Clocking at 207.23 hours, as Ocean notes, his list includes classics from Andrei Tarkovsky, David Lynch, Ingmar Bergman, Stanley Kubrick, Martin Scorsese, Orson Welles, Rainer Werner Fassbinder, Jean Cocteau, Alfred Hitchcock, Francis Ford Coppola, Fritz Lang, Werner Herzog, Akira Kurosawa, Ridley Scott, Bernardo Bertolucci, Sergei Eisenstein, F. W. Murnau, Luis Buñuel, and more.
As for some more recent titles, it looks like The Royal Tenenbaums »
- Jordan Raup
Palme Thursday is A.A. Dowd’s monthly examination of a winner of the Palme D’Or, determining how well the film has held up and whether it deserved the highest prize awarded at the Cannes Film Festival.
Secrets & Lies (1996)
Robert Altman. David Cronenberg. Michael Cimino. Stephen Frears. Raúl Ruiz. André Téchiné. Chen Kaige. The Coen brothers. Bernardo Bertolucci. Hou Hsiao-Hsien. Mike Leigh. Aki Kaurismäki. Lars Von Trier. Arnaud Desplechin. What do these men have in common? For one, they all belong on a list of some of the most acclaimed directors of the late 20th century. Beyond that, each had a film in competition at Cannes in 1996, which is one of those years when the world’s most prestigious film festival actually lived up to its reputation—when it played, in other words, like a who’s who of moviemakers that matter.
The big names, once ...
- A.A. Dowd
Locarno, Switzerland — For veteran British producer Jeremy Thomas serving as executive producer of Bhutanese lama and film director Khyentse Norbu’s fourth feature “Hema Hema: Sing Me a Song While I Wait” — which world premiers in Locarno today— is a natural development of a long rapport that began during the Bhutan shoot for Bernardo Bertolucci’s 1993 film “Little Buddha.”
Norbu at the time served as a consultant for Bertolucci. He then went to film school in New York and made a splash with his directorial debut “The Cup,” in 1999, about a bunch of soccer-crazed Tibetan monks who rent a satellite dish to watch the 1998 World Cup final. “Travellers and Magicians,” in which a young Bhutanese government official dreams of escaping to America, followed in 2003; segued by “Vara: A Blessing,” a tale of forbidden love between a Hindi dancer and a Muslim sculptor, in 2013.
These titles have all been executive produced »
- Nick Vivarelli
The Film Society of Lincoln Center announces Ava DuVernay’s documentary The 13th as the Opening Night selection of the 54th New York Film Festival (September 30 – October 16), making its world premiere at Alice Tully Hall. The 13th is the first-ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.
Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and »
- Kellvin Chavez
If the languid summer tentpole season has you down, fear not, as the promising fall slate is around the corner and today brings the first news of what we’ll see at the 2016 New York Film Festival. For the first time ever, a non-fiction film will open The Film Society of Lincoln Center’s festival: Ava DuVernay‘s The 13th. Her timely follow-up to Selma chronicles the history of racial inequality in the United States and will arrive on Netflix and in limited theaters shortly after its premiere at Nyff, on October 7.
“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard »
- Jordan Raup
Green then played 'Bond Girl' 'Vesper Lynd' in "Casino Royale" (2006).
She has also appeared in the TV series "Camelot" (2011)...
In 2014, Green played 'Artemisia' in the "300: Rise of an Empire"...
Green also stars in »
- Michael Stevens
An estimated 7,000 spectators packed Bologna’s Piazza Maggiore square to catch the 1936 classic starring Chaplin and Paulette Goddard in a restored version with live musical accompaniment on Saturday, as it opened the 30th edition of the Il Cinema Ritrovato festival dedicated to rediscovered gems.
Directors Jean-Pierre and Luc Dardenne, Bernardo Bertolucci, Ermanno Olmi, and Cannes Film Festival artistic director Thierry Fremaux are among guests of this year’s 30th edition of Cinema Ritrovato, which will run through July 2. Fremaux, who also heads the Lumiere Institute in Lyon, inaugurated a photo exhibition dedicated to the Lumiere Brothers, cinema’s most illustrious pioneers.
The Dardenne brothers Sunday night introduced the freshly restored copy of their 1996 breakthrough feature “La Promesse” (“The Promise”), on the timely topic of immigration in Europe. Bertolucci and cinematographer Vittorio Storaro (“Apocalypse Now”) will be »
- Nick Vivarelli
Cinema gives filmmakers an opportunity to be a modern-day Chronos: They can manipulate the time in their feature to their liking, whether it be in flashback dreamscape like Bernardo Bertolucci‘s “The Conformist” or tattooed on an amnesiac like in Christopher Nolan‘s “Memento.” Not only can the film be manipulated in execution, but a range of shots can […]
The post Watch: Video Essay Explores The Art Of Slow Motion In Cinema appeared first on The Playlist. »
- Samantha Vacca
Morrow will be making the trek to the Italian island off the coast of Naples to present the festival premiere of his directorial debut “Smitten!,” an Italy-set romcom based on his own script. It stars “Glee” actor Darren Criss as an American fashion exec who gets kidnapped and taken to the Alps.
Also set for Ischia’s 14th edition, which runs from July 10 to 17, is the first screening in Italy of Iranian director Majid Majidi’s lavish epic “Muhammad: The Messenger of God,” about the birth of Islam. Storaro worked as cinematographer on this film for three years. Considered the Islamic Republic’s most expensive production ever, “Muhammad” was released last year in Iran but has not traveled much outside its home country. Storaro, who won Oscars for “Apocalypse Now, »
- Nick Vivarelli
In his Village Voice review of Jim Jarmusch’s criminally under-appreciated The Limits of Control, J. Hoberman described the director as “a full-blown talent [who] erupts once a decade: Stranger than Paradise in the ’80s, Dead Man in the ’90s and The Limits of Control [in the ’00s].” Jarmusch has now validated Hoberman’s estimation with a fresh new masterpiece for our present decade: Paterson.
If there is one element working against the sheer wonder of Jarmusch’s film, it’s our own expectations. The narrative is an exercise in repetition, split up into seven days, the first five near-identical. Each one starts with a captioned – Monday, Tuesday… – top-down shot of Paterson (Adam Driver) and his girlfriend Laura (Golshifteh Farahani) asleep in bed together, followed by a relatively strict routine of events: Paterson gets up a little after 6 a.m. and goes to work as a bus driver, drives around until knock-off time, then »
- Giovanni Marchini Camia
Marking the oldest parallel section of the Cannes Film Festival, International Critics' Week has a long and starry history of showcasing first or second features from directors all over the world. The competition has always been devoted to discovering new talents, and acclaimed directors to emerge from the program range from Bernardo Bertolucci and Wong Kar-wai to Jacques Audiard, Arnaud Desplechin, Gaspar Noé and Alejandro González Iñárritu. Just like the Cannes Film Festival itself, many of us will have to experience Critics' Week from afar this year -- forced to stay glued to the internet for any breaking news and reviews -- but what if that didn't have to be the case? We're here to help. Read More: The 2016 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During the Festival Now through Thursday, May 19, Indiewire readers have an exclusive opportunity to register for a chance to win an online Festival Pass to screen. »
- Zack Sharf
Bernardo Bertolucci will head the jury of the Film4Climate Global Video Competition, a new festival dedicated to shorts intended to raise climate-change awareness around the world.
The fest, which is an initiative of the World Bank’s Connect4Climate program, will be unveiled this May 16 in Cannes at the Plage Royale.
The venerable Italian auteur, whose “The Last Emperor” won nine Oscars, will preside over a large group of prominent jurors which includes U.S. producer Lawrence Bender (“Pulp Fiction”); British-American documaker Robert Stone (“Pandora’s Promise”); Finnish filmmaker Mika Kaurismaki (“Zombie and the Ghost Train”); Sharmeen Obaid-Chinoy, who is the only Pakistani to have won two Oscars (“Saving Face,” and short “A Girl in the River”); Argentine director Pablo Trapero (“The Clan”); and Carole Tomko, director of productions at Paul Allen’s Vulcan Prods.
Vulcan Prods, known for making pics such as “Ivory Rising,” about the illegal ivory trade, »
- Nick Vivarelli
Last year, the three-part, six-hours-and-twenty-two minutes long epic Arabian Nights by Portuguese director Miguel Gomes rejected a slot in the Cannes Film Festival’s second-rung Un Certain Regard section, opting instead to be premiered at the Directors’ Fortnight (Quinzaine des Réalisateurs ), taking place in the same French Riviera city at the same time. Why wasn’t Arabian Nights in Cannes’ official competition? Gomes’ previous film, Tabu, won two prizes at the Berlin International Film Festival, finished 2nd Sight & Sound’s and Cinema Scope’s polls of the best films of 2012, 10th in the Village Voice’s, and 11th in both Film Comment’s and Indiewire’s; he was exactly the kind of rising art-house star who should have been competing in the most prominent part of the official festival. But organizers balked at the idea of offering such a lengthy film a slot in competition where two or three others could be chosen, »
French actor and New Wave icon Jean-Pierre Léaud, who started his career in François Truffaut’s The 400 Blows (Les 400 Coups) will receive an honorary Palme d’or at the closing ceremony of the Festival’s 69th edition on Sunday 22 May.
Léaud made his first appearance on the Croisette in 1959 as the young and rebellious hero Antoine Doinel, a character who continued through Antoine Et Colette (1962), Baisers Volés (Stolen Kisses) (1968), Domicile Conjugal (Bed And Board) (1970) and L'Amour En Suite (Love On The Run) (1979).
Leaud stars as King Louis Xiv in Spanish director »
- Richard Mowe
The French actor and star of The 400 Blows will receive an honourary Palme d’Or at this year’s festival.
French actor and comedian Jean-Pierre Léaud will receive an honourary Palme d’Or at this year’s Cannes Film Festival.
The award will be presented during the festival’s closing ceremony on Sunday May 22.
First discovered by Francois Truffaut when he cast the young actor as the lead in his The 400 Blows, Léaud went on to have a glittering career in French cinema, working with the likes of Jean-Luc Godard (La Chinoise), Bernardo Bertolucci (Last Tango In Paris), Jacques Rivette (Out 1), and many others.
He made his debut at Cannes in 1959 with The 400 Blows at the age of just 14, and has since returned to the Croisette on numerous occasions, including with 2001’s The Pornographer, when he was awarded a Firpresci prize for his performance.
Léaud was also an assistant director to Godard on [link »
The 400 Blows star Jean-Pierre Léaud made his first appearance on the Croisette at age 14 in François Truffaut‘s 1959 debut. Now, 57 years later, he will be the recipient of the Cannes Film Festival’s honorary Palme d’Or. Léaud joins such previous recipients as Agnès Varda, Clint Eastwood, Manoel de Oliveira, Woody Allen and Bernardo Bertolucci. The award will go to Léaud at the Closing Ceremony on May 22. Prior to that, a Special Screening of Albert Serra’s The Death Of L… »
A symbol of the French New Wave, Léaud, who’s had a long relationship with Cannes, was discovered at 14 by François Truffaut with “The 400 Blows.” Leaud also starred in “Antoine and Colette,” “Stolen Kisses,””Bed and Board” and “Love on the Run.” He later starred in Bernardo Bertolucci’s Last Tango in Paris,” Jacques Rivette’s “Out 1,” Jean Eustache’s “The Mother and the Whore. which received the Cannes’s Special Grand Prize.
- Elsa Keslassy
With editors and cinematographers chiming in on the best examples of their craft in cinema history, it’s now time for directors to have a say. To celebrate the 80th anniversary of the Directors Guild of America, they’ve conducted a poll for their members when it comes to the 80 greatest directorial achievements in feature films since the organization’s founding in 1936. With 2,189 members participating, the top pick went to Francis Ford Coppola for The Godfather, one of three films from the director making the top 10.
Even with films from nonmembers being eligible, the male-dominated, America-centric choices are a bit shameful (Kathryn Bigelow is the only female director on the list, and the first foreign film doesn’t show up until number 26), but not necessarily surprising when one looks at the make-up of its membership. As with any list, there’s bound to be disagreements (Birdman besting The Bicycle Thief, »
- Jordan Raup
A rare 35mm revival screening of Bernardo Bertolucci's 1979 controversial drama La Luna, organized and hosted by Cinema Retro columnist David Savage and co-sponsored by Iconic Linx, brought near-sellout crowds to Anthology Film Archives in Manhattan last Monday night, April 25th, including the family of the late Jill Clayburgh (1944-2010) star of the film.
Organized both as a belated tribute to Clayburgh and an attempt, as described by Savage, to bring the neglected film back into popular and critical consciousness, the screening was a family affair for the beloved Clayburgh-Rabe family, bringing together Jill's husband, famed playwright David Rabe, their actress daughter Lily Rabe (star of the forthcoming "Miss Stevens") and their actor son Michael Rabe. Matthew Barry, Jill Clayburgh's co-star and son in the film, now 53 and a casting director, flew in from Los Angeles to attend the screening and panel discussion that followed, moderated by Savage.
They were joined by David Rabe, »
- firstname.lastname@example.org (Cinema Retro)
Today sees the publication of not one but two tenth issues. The new Alphaville Journal features Fiona Handyside on Sofia Coppola and Mia Hansen-Løve, Frances Smith on Amy Heckerling, Fiona Clancy on Lucrecia Martel, Ciara Barrett on Joanna Hogg and more. In desistfilm, you'll find pieces on Jonathan Demme and The Silence of the Lambs, Bernardo Bertolucci, Benjamin Nuel's Hotel and more. Also in today's roundup: Greta Gerwig on the cover of Brooklyn Magazine, ten essential films by Douglas Sirk, Rachel Kushner and James Benning in Chicago, Karel Zeman in Los Angeles, a new doc on Manoel de Oliveira, the latest on a film about Morrissey and on another featuring Elliott Gould, Jemaine Clement, Ingrid Michaelson, Bebe Neuwirth and Annie Potts. » - David Hudson »
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