Andrei Tarkovsky - News Poster


The Film Stage Show Classic – Stalker

Welcome, one and all, to another classic review from your friends here at The Film Stage Show. Today, Michael Snydel, Bill Graham and I are joined by freelance critic Nate Fisher to talk about the Andrei Tarkovsky film Stalker, a classic of science fiction and Russian cinema.

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M4A: The Film Stage Classic – Stalker

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If You Loved These Films, You Need to Stream ‘The Strange Ones’

If You Loved These Films, You Need to Stream ‘The Strange Ones’
“The things inside your head, they’re only as real as you want them to be. If you want, you can just decide they’re not real.” Early on in “The Strange Ones,” Nick (Alex Pettyfer) tells this to his younger travel buddy Sam (James Freedson-Jackson), before seemingly making a coffee mug disappear. On its surface, the film is about two brothers heading out on a camping trip, but it quickly becomes apparent that not everything is as it seems, from the pair’s names to their endgame (to the existence of their coffee mugs). The film’s co-directors, Christopher Radcliff and Lauren Wolkstein, may be relatively new to audiences (“The Strange Ones” is their feature-length debut; in fact, it’s an expansion upon their own 2011 short, based on real-life true-crime stories), but movie buffs will recognize flashes of their cinematic inspirations throughout. The film may be intentionally vague, but
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Horror Highlights: I Kill Giants, Comet TV December Viewing Guide, Twin Peaks Fan Film, The Temple Of Lilith

  • DailyDead
The renowned graphic novel from Joe Kelly and Ken Niimura comes to life in the feature film I Kill Giants, which has been acquired for Us distribution by Rlje Films. In today's Horror Highlights we also have a look at Comet TV's December viewing guide, the Indiegogo campaign for a Twin Peaks fan project, and we also enter the woods to watch the eerie short film The Temple of Lilith.

Rlje Films Acquires Us Distribution Rights to I Kill Giants: Press Release: "Los Angeles, Dec. 5, 2017 – Rlje Films, a brand of Rlj Entertainment (Nasdaq: Rlje), Umedia and Xyz Films announced today that Rlje has acquired the U.S. rights to the highly anticipated I Kill Giants, which premiered at the 2017 Toronto International Film Festival to critical praise. Based on the acclaimed Man of Action graphic novel by Joe Kelly and Ken Niimura with a screenplay by Joe Kelly, the film was directed by Anders Walter,
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Ventana Sur: Miami’s FiGa Films Boards Eduardo Nunes’ ‘Unicorn’ (Exclusive)

Buenos Aires — Leveraging a knowledge of brazil’s art film scene which no other sales can match, Sandro Fiorin’s Miami-based FiGa Films has boarded Eduardo Nunes’ bold parable “Unicorn,” from Brazil. Vitrine Filmes will distribute the title in Brazil.

FiGa will handle word sales and is introducing the title to select buyers at this week’s Ventana Sur market. The acquisition comes as Zeca Rezende who has a background in economics and business administration in Brazil, is in the process of becoming a partner of FiGa, acquiring a 25% stake in the company. Lidia Damatto has recently relocated to São Paulo taking on the new role of director of FiGa/Br as FiGa establish it as not only a label but also as a brand new company in Brazil that will eventually co-produce and distribute FiGa titles in the country.

Nunes’ second feature, “Unicorn” follows on “Southwest,” a debut that screened in competition at the Rotterdam Festival
See full article at Variety - Film News »

Rushes. Abel Ferrara's "Siberia", Two New Restorations, "Solaris" Concept Art

  • MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSSharunas Bartas has been accused of sexual misconduct by two past collaborators. Read the full story at The Hollywood Reporter.On the positive news front: Abel Ferrara has secured funding for his previously delayed production Siberia, starring Willem Dafoe, Isabelle Huppert, and Nicholas Cage.Recommended VIEWINGThe trailer for the gorgeous new restoration of the Jacques Rivette masterpiece La belle noiseuse.Watch a rare in-depth discussion with Bela Tarr for the Morelia International Film Festival.Another beautiful restoration trailer—this time for Michael Powell & Emeric Pressburger's A Matter of Life and Death.Somehow we missed this: a trailer for a new Kiyoshi Kurosawa TV series. If anyone has further information on this, we're all ears!Recommended READINGIn the event of Grasshopper's forthcoming Blu-ray release, Straub-Huillet scholar & filmmaker Ted Fendt offers a new essay on
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'Song of Granite': Film Review

'Song of Granite': Film Review
If Andrei Tarkovsky had grown up in rural Ireland, he might have made a biographical cine-memoir as luminously beautiful as Song of Granite. Shot in ravishing monochrome, the second dramatic feature by documentary maker Pat Collins is a lyrical, elliptical, lightly experimental rumination on the life of folk singer Joe Heaney and the cultural hinterland that shaped him. This Irish-Quebecois co-production has been nominated as Ireland’s official entry in the Foreign Language Oscar contest on account of its heavily Gaelic dialogue, with English playing a secondary role.

Collins has crafted a mesmerizing modernist memorial to ancient Celtic traditions, even if...
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Blu-ray Review: Stalker (1979): A Metaphysical Journey Through Fear

  • Film-Book
Stalker Blu-ray Review Stalker (1979) Blu-Ray Review, a movie directed by Andrei Tarkovsky, starring Aleksandr Kaydanovskiy, Nikolay Grinko , and Anatolly Solonitsyn Release Date: May, 1979 Plot “A guide leads two men through an area known as the Zone to find a room that grants wishes.” Disc Specifications Run Time: 161 Minutes Format: Blu-Ray Resolution: 1080p Aspect Ratio: 1.37:1 Language: Russian (Lcpm [...]

Continue reading: Blu-ray Review: Stalker (1979): A Metaphysical Journey Through Fear
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‘The Killing of a Sacred Deer,’ ‘Wonderstruck,’ and ‘Jane’ Lead Weak Specialty Box Office

  • Indiewire
At this point during the prime fall awards season (“Moonlight” opened one year ago), the arthouse box office should be humming along. It’s not. This weekend, Yorgos Lanthimos’ “The Killing of a Sacred Deer” (A24) and the documentary “Jane” (National Geographic/Abramorama) showed credible initial results, while the anticipated opening of Todd Haynes’ “Wonderstruck” (Roadside Attractions) fell shy of expectations.

These three films are catching attention ahead of a glut of upcoming biopics, which can be hit or miss. While “Victoria & Abdul” (Focus) continues to be the biggest success of the season so far, and “Loving Vincent” (Good Deed) is an arthouse sleeper, middling performer “Battle of the Sexes” (Fox Searchlight) failed to reach hoped-for heights. The next round comes in the face of widespread audience disinterest for such true stories as “Goodbye Christopher Robin” (Fox Searchlight), “Marshall” (Open Road) and “Professor Marston and the Wonder Woman” (Annapurna).

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Classics Film Fest Unspools in Colombia (Exclusive)

Classics Film Fest Unspools in Colombia (Exclusive)
With Sean Baker, Trey Edwards, Chris Newman, Ed Lachman, Peter Webber and Mike Hausman among its board members, a new film festival of classic films will unspool from Nov. 10 -13 in Bogota, Colombia.

Dubbed The Classics – Festival of the Films That Will Live Forever, the new film fest is founded by producer Ivonne Torres and Juan Carvajal, co-founder and artistic director of the three-year old Bogota Independent Film Festival, IndieBo.

Buoyed by sell-out crowds at IndieBo last July when the festival screened restored classics via a new pact with Martin Scorsese’s Film Foundation, Carvajal said: “I saw how these movie gems – rescued and restored with the support of the Film Foundation – deserved nothing better than to be enjoyed where they belong: the big screen.”

For many moviegoers in Bogota, it was the first time to see such classics as Joseph L. Mankiewicz’s “All About Eve,” Elia Kazan’s “On the Waterfront,” and [link=nm
See full article at Variety - Film News »

Pain Pays the Income of Each Precious Thing: Stanley Kubrick's "Barry Lyndon"

  • MUBI
“For an intellectual product of any value to exert an immediate influence which shall also be deep and lasting, it must rest on an inner harmony, yes, an affinity, between the personal destiny of its author and that of his contemporaries in general.”—Thomas Mann, Death in Venice Barry Lyndon. I can’t believe there was a time when I didn’t know that name. Barry Lyndon means an artwork both grand and glum. Sadness inconsolable. A cello bends out a lurid sound, staining the air before a piano droopingly follows in the third movement of Vivaldi's “Cello Concerto in E Minor.” This piece, which dominates the second half of the film, steers the hallowed half of my head to bask in the film’s high melancholic temperature. Why should I so often remember it? What did I have to do with this film? I only received it with
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Andrei Tarkovsky’s Final Film ‘The Sacrifice’ Receives Trailer for Theatrical Restoration

After a gorgeous restoration of his landmark existential sci-f film Stalker earlier this year, another Andrei Tarkovsky masterpiece has been remastered and is coming to theaters. The director’s final film, The Sacrifice, has recently undergone a 4K restoration and ahead of a screening at New York Film Festival and theatrical run starting at the Film Society of Lincoln Center, a new trailer has arrived.

Judging from the trailer, this restoration does justice to Tarkovsky’s swan song with no shortages of haunting imagery. The Sweden-shot film follows an upper-class family who learns World War III is upon them. Starring Sven Vollter, Alexander Erland Josephson, Allan Edwall, Valerie Mairesse, Gudron S Gisladottir, and Susan Fleetwood, check out the trailer and poster below.

The sacrifice in Andrei Tarkovsky’s final film, completed only months before his death from cancer at the age of 54, is performed by Alexander, an aging professor who
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Flickering Myth Film Class: Taking time to immerse your audience

In the latest instalment of Flickering Myth’s film class, Tom Jolliffe looks at immersing the audience…

In the ever changing landscape of film, it seems in the modern age of digital film-making, modern editing programmes with limitless options and changing temperament (seemingly) with film audiences, that we’ve seen an inherent shift from film-makers devoting time and indeed bravery in allowing an audience time to ingest their story, to entertainment which washes over us.

Films used to do this with far more regularity. I mean how much longer do you need to fully ingest the majesty of the four hour running time of Lawrence of Arabia? Not much, but regardless, this was a film that was visually beautiful and fully immersed the audience into the setting.

We’re now in the age where you can have 14 cuts in 6 seconds (Taken 3…the second time in a film class I
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Reformed character by Anne-Katrin Titze

Paul Schrader‬ with ‪Kent Jones‬ on Martin Scorsese casting Albert Brooks in Taxi Driver: "Whenever he had a bad role, he put a comic in it." Photo: Anne-Katrin Titze

The Film Society of Lincoln Center's New York Film Festival's added sneak preview of Paul Schrader's First Reformed as a Special Event, starring Ethan Hawke and Cedric the Entertainer with Philip Ettinger and Amanda Seyfried was presented by the director at Alice Tully Hall. Director of Programming and Selection Committee Chair Kent Jones joined Schrader on stage for a post-screening discussion.

The influence of Andrei Tarkovsky, Jean-Luc Godard, Carl Theodor Dreyer, and Ingmar Bergman, Ethan Hawke's character coming from Robert Bresson's Diary of a Country Priest, Ida director Pawel Pawlikowski's encouragement, and what Martin Scorsese's casting of Albert Brooks in Taxi Driver had to with Cedric the Entertainer being in First Reformed were confessed by Paul Schrader.
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‘The Sacrifice’ Trailer: Andrei Tarkovsky’s Newly Restored Final Masterpiece Returns [Exclusive]

When he passed away at the age of 54, Andrei Tarkovsky left a tremendous cinematic legacy with only seven feature films to his name. And his final film, “The Sacrifice,” completed just months before he would succumb to cancer, was his final masterpiece. Now, it has been newly restored and its headed back to the big screen where it deserves to be experienced.

Starring Sven Vollter, Erland Josephson, Allan Edwall, Valerie Mairesse, Gudron S Gisladottir, and Susan Fleetwood, and gorgeously shot by cinematographer Sven Nykvist, the film takes viewers to the anxious edge of World War III, where one family faces the looming horror.

Continue reading ‘The Sacrifice’ Trailer: Andrei Tarkovsky’s Newly Restored Final Masterpiece Returns [Exclusive] at The Playlist.
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‘Blade Runner’: The Sci-Fi Movie That Became a Geek Metaphor for Art

‘Blade Runner’: The Sci-Fi Movie That Became a Geek Metaphor for Art
Blade Runner,” Ridley Scott’s visionary 1982 dystopian noir, is a movie with a mystique that now outstrips its reality. It’s a film of majestic science-fiction metaphor, beginning with its opening shot: the perpetual nightscape of Los Angeles in 2019, the smog turned to black, the fallout turned to rain, the smokestacks blasting fireballs that look downright medieval against a backdrop of obsidian blight. “Blade Runner” wasn’t the first — or last — image of a desiccated future, but it remains one of the only movies that lets you feel the mechanical-spiritual decay. There’s a touch of virtual reality to the way we experience it, sinking into those blackened textures, reveling in the details (the corporate Mayan skyscrapers, the synthetic sushi bars, the Times Square meets Third World technolopolis clutter), seeing an echo of our own world in every sinister facet.

The other metaphor that drives “Blade Runner” is, of course, the spectral notion of replicants,
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‘Baa Baa Land’ Is an Eight-Hour Meditative Sheep Film That Actually Exists — Watch

‘Baa Baa Land’ Is an Eight-Hour Meditative Sheep Film That Actually Exists — Watch
Sometimes a thing exists that is so bizarre you just have to shrug and say, “Sure, why not?” In the tradition of slow cinema, the folks behind meditation app Calm have commissioned an eight-hour long film of sheep grazing in a meadow. Brilliantly titled “Baa Baa Land,” the movie’s tag line: is: “The dullest movie ever made? We think so. We hope you do too.”

“’Baa Baa Land’ is the first screen epic entirely starring sheep,” says the trailer in voiceover. “In a world of constant stress and information overload, of anxious days and restless nights, comes the chance at last to pause, to breathe, to calm our racing minds and fretful souls, to sit and stare — at sheep.

Read More:‘Happy!’ Trailer: Patton Oswalt Is a Blue Unicorn in Dark ‘Shrek’ & ‘Who Framed Roger Rabbit?’ Mashup — Watch

At the film’s recent premiere in London’s West End,
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‘Blade Runner 2049′ Review

Stars: Ryan Gosling, Ana de Armas, Harrison Ford, Jared Leto, Robin Wright | Written by Hampton Fancher, Michael Green | Directed by Denis Villenueve

Films like this make me glad I don’t need to give a star rating. Because films like Blade Runner 2049 – and there aren’t many of them – take time to absorb, to fully comprehend. It’s a most unlikely mega-budget blockbuster: slow and long and extravagantly cerebral; the absolute antidote to YouTube instant reaction culture. Give me another 35 years and I might have finally made up my mind.

Where the 2019-set Blade Runner was a hardboiled noir in future-gothic clothing, Blade Runner 2049, its direct sequel, is an exacting detective procedural sketched on a desolate canvas. Except both those descriptions are hopelessly reductive, which is precisely what makes both films stand out amongst their peers. There’s so much going on here, so mesmerising in its execution,
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Roger Deakins on ‘Blade Runner 2049’ and That Elusive First Oscar

Roger Deakins on ‘Blade Runner 2049’ and That Elusive First Oscar
Cinematographer Roger Deakins has amassed 13 Oscar nominations throughout his career for work on films like “The Shawshank Redemption,” “No Country for Old Men,” and “Skyfall.” It has become a slice of Oscar trivia that he has yet to win, tied for the record on that score with the late George J. Folsey (“The Great Ziegfeld,” “Adam’s Rib”). Denis Villeneuve’s massive blockbuster sequel “Blade Runner 2049” may or may not be the turning of the tide for Deakins at the Academy Awards, but judging by his response to such factoids, he isn’t losing any sleep over it. He’s just happy to still be doing the work of visual storytelling. He continues to perform at a high level, and he’s forged a partnership with Villeneuve over the course of three films now (“Prisoners” and “Sicario” being the others) that makes for one of the great visual signatures in modern cinema.

See full article at Variety - Film News »

Film Review: ‘Blade Runner 2049’

Film Review: ‘Blade Runner 2049’
The world as we know it has nearly caught up to the one Ridley Scott imagined when he directed the 2019-set “Blade Runner,” and yet, for all the influence the dystopian cult favorite has had on other sci-fi movies, Scott’s vision of Los Angeles still looks as mind-blowingly futuristic now as it did in 1982. That may well explain why its sequel, the Denis Villeneuve-directed “Blade Runner 2049,” doesn’t feel the need to reinvent the world in which it takes place, but instead is free to delve deep into the existential concerns suggested by the earlier film, as screenwriters Hampton Fancher (who also co-wrote the original) and Michael Green raise evocative questions about human-android relations and the nuances that will one day be used to tell them apart.

Sure as it is to delight “Blade Runner” fans, this stunningly elegant follow-up doesn’t depend on having seen the original — and like 2010’s “Tron: Legacy,” may
See full article at Variety - Film News »

The 1970s – The Best Era In Cinema History?

Tom Jolliffe on the 1970s and why it is the best era in cinema history…

There will always be a great deal of debate about the best era for cinema. For my two cents I’ll say with a great deal of assurance that the best period in cinema history was the 1970’s. There was most certainly a transition through that decade which saw the gritty cinema of the late 60’s onward, into the birth of the blockbuster as we know it today.

You could almost split the 70’s into two categories, although I will make some mention of sub-categories like the Blaxploitation period too. On one hand directors were beginning to really move as far from the traditional classic Hollywood production code as they could. Boundaries were being pushed and optimism was being replaced with deeply pessimistic work. It wasn’t all happy endings. Things were getting dark, reflecting
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