1-20 of 120 items from 2015 « Prev | Next »
Currently titled after Portuguese’s second largest city and favorite gross domestic product, this fictional feature debut comes from a name who has appeared in such publications as Sight & Sound, Film Comment, and Cinema Scope. Gabe Klinger saw his non-fiction feature debut played out on the Lido (Double Play: James Benning and Richard Linklater) and earlier this year he packed Lucie Lucas and Anton Yelchin (the narrator is the dearly departed Chantal Akerman) for a Portugal/Paris shoot on the failed love theme. Porto is another Champs-Elysées Film Festival (2015) Us in Progress selected project to be featured on our predictions list, this was filmed in multiple film formats and carries a distinct Euro feel and appeal.
- Eric Lavallee
Kon Ichikawa (The Burmese Harp, Fires on the Plain, Tokyo Olympiad) was born 100 years ago today. Also in today's roundup: Melissa Anderson remembers Chantal Akerman, André Bazin and Jean Renoir on television, Girish Shambu on Gina Teleroli's Here's to the Future! and Kurt Walker's Hit 2 Pass, J. Hoberman on Robert Aldrich's Emperor of the North and Nicholas Ray's Wind Across the Everglades, a roundup on Jonathan Demme's Stop Making Sense, Laurie Anderson on Fresh Air, independent Chinese cinema in San Francisco, Soon-Mi Yoo's Songs from the North in Los Angeles, plus news of an animated feature from Edgar Wright and the latest on that sequel to Trainspotting. » - David Hudson »
Luke McKernan presents a quick guide to a site devoted to Auguste and Louis Lumière, widely considered the world's first filmmakers. Also in today's roundup: A tribute to Chantal Akerman, appreciations of Richard Brooks's In Cold Blood, Kurt Walker's Hit 2 Pass and Gina Telaroli's Here's to the Future!, the Hollywood Reporter's actress roundtable with Cate Blanchett, Jane Fonda, Brie Larson, Jennifer Lawrence, Helen Mirren, Carey Mulligan, Charlotte Rampling and Kate Winslet, interviews with Mark Rappaport, Walter Murch, Terence Davies, Tippi Hedren, László Nemes, Todd Haynes, Deniz Gamze Ergüven, Mathieu Amalric and Gaspar Noé—and more. » - David Hudson »
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Guy's CollagesThe Criterion Collection is highlighting the collage work by The Forbidden Room co-director Guy Maddin.Richard Linklater's SXSW Opening Night FilmVery exciting news for fans of Richard Linklater (sure to be a much larger number after the wide success of Boyhood): his next feature, Everybody Wants Some, will be the Opening Night Film of the 2016 South by Southwest Film Festival.Berlinale's RetrospectiveSpeaking of festival lineups, the Berlin International Film Festival has announced its first major programming strand for 2016: their retrospective will be dedicated to German cinema in 1966.Rosenbaum's Ten Best Movies of the 90sIt feels like every week Jonathan Rosenbaum (the latest guest, by the way, on the podcast The Cinephiliacs) has republished a fabulous piece of criticism on his website. Most recently, it's his essential »
“Criminally unfair. Those are the two words that spring to mind when I consider the fate of female directors throughout the short history of the cinematic medium. Not enough opportunity. Appalling sexism. Terrible chance and circumstances, coupled with biases, slander and mistrust,” our friend Scout Tafoya stated when asking a group of critics for their favorite films directed by female filmmakers. He added, “When I began asking for these lists from all the critics below many replied reluctantly. Their reasoning that so many of their films would be modern, that so many of the classics would be homogenous, is not without justification. But it’s no one’s fault that we all fall back on the same seven classics.”
He continues, “It’s a worldwide shortage of support and funding for female artists. It’s a lack of distribution of more esoteric work by women. It’s many major film »
- Jordan Raup
"To Save and Project: The 13th MoMA International Festival of Film Preservation" runs from November 4-25, 2015 and features 74 newly restored masterworks and rediscovers including films by Chantal Ackerman, Dario Argento, Samuel Fuller, Orson Welles and many more. Read More: Guy Maddin on His Obsession with Lost Films and Why We Need to Preserve Them The festival was organized by Joshua Siegel, Curator, and Dave Kehr, Adjunct Curator, Department of Film, MoMA. Indiewire recently chatted with Kehr about the state of film preservation. What are some of the most pressing issues in the world of film preservation at the moment? I think the big change is that everything is moving to digital very quickly. It's getting hard to even get analog work done. The laboratories are closing, the film stock is disappearing. Most of that work ends up being done inside of computers and what we’re showing are DCPs instead of film prints. »
- Paula Bernstein
"To Save and Project: The 13th MoMA International Festival of Film Preservation" runs from November 4-25, 2015 and features 74 newly restored masterworks and rediscovers including films by Chantal Ackerman, Dario Argento, Samuel Fuller, Orson Welles and many more. Read More: 10 Rare Gems MoMA Just Saved from Obscurity Special guests for the series include Oja Kodar, Stefan Droessler, Guy Maddin, Chris Langdon, Academy Award–nominated filmmaker Abderrahmane Sissako ("Timbuktu") and noted film historians John Canemaker, Tom Gunning and Eddie Muller. Maddin will introduce two films on the silent program including “Pan,” the 1922 film by Harald Schwenzen based on the novel by Knut Hamsun; and “Monsieur Don’t Care,” a 1924 comedy short starring Stan Laurel in his pre-Oliver Hardy days. Indiewire recently spoke to Maddin over the phone about why these two films matter to him and about the state of film preservation. Why these two films in particular? Although, I »
- Paula Bernstein
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.The biggest news of the week for us is the online release of new films by two Notebook contributors: Gina Telaroli's Here's to the Future! and Kurt Walker's Hit 2 Pass, two fundamentally undefinable and wildly adventurous movies made and released independently. (The two filmmakers discussed their independence in a conversation published on the Notebook.) Both films will be be available to stream through November 22, 2015, and all proceeds they make on the release will go towards their future film projects.The full trailer for Quentin Tarantino's The Hateful Eight has been released, above, and it looks like the man generally derided (unfairly, we must add) as a kind of adolescent film nerd has made a film that looks akin to Alain Resnais' late films—and we couldn't be happier. »
Kino Lorber is releasing Alain Resnais's Je t'aime je t'aime (1968) on DVD and Blu-ray today, and Jonathan Rosenbaum's posted the essay he's written for the package. Also in today's roundup: Philippe Garrel remembers Chantal Akerman. Jane Birkin on her work with Agnès Varda, specifically, Jane B. par Agnes V. and Kung-Fu Master! Samuel Beckett's Film starring Buster Keaton. An interview with J.J. Abrams, one month away from the release of Star Wars: Episode VII - The Force Awakens. A sprawling piece on Bob Rafelson's Head starring The Monkees. A Manoel de Oliveira retrospective in Porto. And more. » - David Hudson »
Chis Marker's Chat écoutant la musiqueThere are dog people and there are cat people, this we know, and there are even people who claim to be of both—though latent sympathies remain unspoken, like with a parent and which child is their favorite. With the Vienna Film Festival welcoming me with a tumbling collection of dog and cat short films spanning cinema's history—the Austrian Film Museum, an essential destination each year collaborating with the Viennale, is hosting a “a brief zoology of cinema” throughout the festivities—it is clear that filmmakers, too, have their preference. Silent cinema decidedly prefers the more easily trained and exhibited canine, with 1907’s surreal favorite Les chiens savants as a certain kind of cruel pinnacle. For the cats, Chris Marker, already the presiding figure over so much in 20th century art, I think we can easily claim is the cine-laureate. One need not know »
- Daniel Kasman
Chantal Akerman Now, currently on view at Ambika P3 in London through December 6 and jointly curated by Michael Mazière and, for A Nos Amours, Joanna Hogg and Adam Roberts, is "the first large scale exhibition in the English-speaking world of Akerman’s installation work." Seven installations in all, the centerpiece being Now (2015), originally commissioned for this year's Venice Biennale. We're collecting reviews, impressions overshadowed by the late director's suicide, and we've got a bit of video as well. » - David Hudson »
Ambika P3, London
A show of the late Chantal Akerman’s films is beautiful, bleak and at times overwhelming
The Belgian-born film-maker Chantal Akerman died in Paris last month at the age of 65. According to Le Monde, she took her own life. Shocked obituaries have appeared all over the world, with the result that many more people now know about Akerman’s death than her life’s work, which is extraordinarily diverse, original and inventive. Her filmography includes adaptations of Proust and Conrad, conventional comedies starring William Hurt, documentaries, biopics, travelogues and political essays, as well as wildly radical departures such as the film that made her name in 1975, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, a mesmerising portrait of a young widow turned prostitute frequently described as a masterpiece of European cinema.
No doubt there will be lifetime surveys to come, although the Ica has only just finished screening 40 films over two years. »
- Laura Cumming
The film his already played Locarno, Toronto and New York. No Home Movie is a portrait of the filmmaker’s relationship with her mother Natalia, a Holocaust survivor and familiar presence from many of her daughter’s films.
Icarus plans to launch the North American theatrical release on April 1,2016 at BAMcinematek in New York.
The deal was signed by Daniela Elstner for Doc & Film and Jonathan Miller for Icarus Films, which has previously worked on a number of Akerman films.
Akerman died on October 5 at the age of 65. »
- firstname.lastname@example.org (Wendy Mitchell)
The new issue of Film Comment features opposing takes on László Nemes's Son of Saul, an interview with Todd Haynes and reviews of Omer Fast’s Remainder, Guy Maddin’s Bring Me the Head of Tim Horton, Fellipe Barbosa's Casa Grande, Rick Alverson's Entertainment, Frederick Wiseman’s In Jackson Heights, Tom McCarthy's Spotlight, Andrew Haigh's 45 Years, Nicholas Hytner's The Lady in the Van, John Crowley's Brooklyn, Deniz Gamze Ergüven's Mustang and Jay Roach's Trumbo, plus: Alex Cox on L.M. “Kit” Carson and Lawrence Schiller’s The Last Movie and Matías Piñeiro on Setsuko Hara in No Regrets for Our Youth. Also in today's roundup: David Bordwell on Wes Anderson and Cristina Álvarez López and Adrian Martin on Chantal Akerman. » - David Hudson »
The Museum of Modern Art’s festival of film preservation, To Save and Project, "feels like a yearly miracle," writes R. Emmet Sweeney in an overview of this year's edition for Film Comment. Among the highlights: Otto Rippert's Homunculus, Norman Foster's Woman on the Run, Ewald André Dupont's Verieté, Michel Brault's Les Ordres, Helma Sanders-Brahm's Germany, Pale Mother, Mário Peixoto's Limite, William K. Howard's The Trial of Vivienne Ware, Chantal Akerman's I, You, He, She, Ebrahim Golestan's The Brick and the Mirror, Orson Welles's The Deep and Ahmed El Maanouni's Oh the Days!. » - David Hudson »
Reel-Important People is a monthly column that highlights those individuals in or related to the movies that have left us in recent weeks. Below you'll find names big and small and from all areas of the industry, though each was significant to the movies in his or her own way. Chantal Akerman (1950-2015) - Belgian Filmmaker. She made one of the most famous feminist films of all time, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (see below). Her other notable works include The Meetings of Anna, News From Home, Hotel Monterey, On Tour with Pina Bausch, A Couch in New York, From the East, From the Other Side and her latest documentary, No Home Movie, about her late mother. She committed suicide on October 5...
- Christopher Campbell
Chantal Akerman, who died on October 5, 2015, will have UK premières of her 8 channel video installation Now and her last film No Home Movie on October 30. Now, commissioned for the 2015 Venice Biennale, is in surround sound with collected images by Akerman from "desert regions, specifically violently contested regions in the Middle East, her aim to present the current condition of violence and conflict as lived experience." Chantal Akerman: Now is curated by Michael Mazière of Ambika P3, Joanna Hogg and Adam Roberts of A Nos Amours, presented in association with Marian Goodman Gallery.
Chantal Akerman: Now at Ambika P3, University of Westminster
Atom Egoyan's remembrance of Chantal Akerman after having returned from the world premiere of his film Remember at the Venice International Film Festival: "What a terrible shock. I will never forget the experience of watching Jeanne Dielman »
- Anne-Katrin Titze
The ninth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.***It is something of a pity that, due to the sterling work of Criterion and the Belgian Cinematek, Chantal Akerman (1950-2015) is today best known and celebrated chiefly for her widely accessible string of 1970s masterpieces—Je tu il elle (1974), Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975), News from Home (1976), and Les Rendez-vous d’Anna (1978)—to the exclusion of anything much else that followed in the subsequent 35 years of her career. Many recent tributes to her memory and legacy hardly mention this total body of work or, if so, only cursorily. Yet Akerman’s level of achievement and inventiveness never flagged. Just taking her fiction feature film output alone, her later trajectory is marked by four towering masterpieces roughly a decade apart: Toute une nuit (1982), Nuit et jour (1991), La captive (1999), and Almayer’s Folly »
- Cristina Álvarez López & Adrian Martin
No film buff wants to see a promising, or prominent filmmaker pull a disappearing act a la Terrence Malick, (though it seems he isn’t keen to repeat another lapse like the one between Days of Heaven to The Thin Red Line), but whether they’re dealing with unforeseeable professional (endless pre-production woes, writer’s block) or personal issues, sometimes there is a considerable time between projects.
With John Cameron Mitchell, Charlie Kaufman, Rebecca Miller, Patty Jenkins, Kenneth Lonergan and more recently, Barry Jenkins recently moving out of the so called “inactive” period, we decided to compile a list of the top ten American filmmakers who, for the most part, we’ve lost sight of and would like to see get back in the director’s chair again. Most of the filmmakers listed below have gone well over half a decade without a substantial movement in this category. Here is »
- Nicholas Bell
Reverse Shot opens its tenth annual Halloween series with a piece on Robert Eggers's The Witch. Also in today's roundup: The New Yorker and n+1 on Joshua Oppenheimer's The Act of Killing and The Look of Silence, Farran Smith Nehme on a dual biography of Marlene Dietrich and Leni Riefenstahl, Richard Elfman on his cult classic Forbidden Zone, an interview with Pedro Costa, an audiovisual essay on Chantal Akerman’s Almayer’s Folly, plus early word that Edgar Wright may direct Johnny Depp in a story by Neil Gaiman, while George Clooney may take on a screenplay written by Joel Coen and Ethan Coen. » - David Hudson »
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