1-20 of 22 items from 2013 « Prev | Next »
Swedish screens are challenging the idea that two women talking to each other is diametrically opposed to film quality
Four independent Swedish cinemas now tell audiences if the films they screen pass the Bechdel test – which requires that a film (1) feature two named female characters who (2) talk to each other about (3) something other than men. Films that meet these criteria get a seal of approval, or an A rating.
The test owes its name to the cartoonist Alison Bechdel, whose 1985 Dykes to Watch Out For comic strip drew attention to how few films appeal to viewers who take pleasure in female "sociality" – forms of social bonding between women. Twenty-eight years later cinemas are turning Bechdel's black humour into policy in order to raise consciousness among audiences about gender imbalance. Indeed, their action has prompted huge national and international debate in recent weeks.
Film critics and scholars, however, have been quick »
- Anu Koivunen, Ingrid Ryberg, Laura Horak
Looking for any excuse, Landon Palmer and Scott Beggs are using the 2012 Sight & Sound poll results as a reason to take different angles on the best movies of all time. Every week, they’ll discuss another entry in the list, dissecting old favorites from odd angles, discovering movies they haven’t seen before and asking you to join in on the conversation. Of course it helps if you’ve seen the movie because there will be plenty of spoilers. This week, they spend a few days with Chantal Akerman‘s delightfully uptight Jeanne Dielman at her home at 23 quai du Commerce, 1080 Bruxelles. In the #36 (tied) movie on the list, a woman of incredible order provides for her son by sleeping with men for money, maintaining a spotless home and cooking hearty meals day in and day out. When she ruins dinner one night, it destroys the comfort of her routine. But »
- FSR Staff
Italy/West Germany, 1968
In Nick Pinkerton’s signing off for his review of The Chronicle of Anna Magdalena Bach in Reverse Shot, he wishes “…[it] long may continue to send Matrix-weaned mouth-breathers screaming from film classes, wondering what they’ve gotten themselves into.” It’s the mental image many hardcore cineastes latch onto — of minimalist auteur vision as temporal torture to the modern viewer. The upper echelon is dominated by the sessions of marathoning explorations into time, beginning with many of Warhol’s experiments (Sleep, Empire) and culminating in such recent works as Tarr’s Sátángtangó, Wang Bing’s Tie Xi Qu: West of the Tracks, and most of Lav Diaz’s oeuvre: films that also serve as medals of experience to the cinephiles who grip their seats tightly enough to earn their bragging rights, if »
- Zach Lewis
Among the daily noise about casting, box office, special effects, trends, awards and whatever else is dominating the conversation, the reason we go to the movies is often left undiscussed. But this exclusive trailer for the forthcoming documentary "What Is Cinema?" is sure to get you thinking about the moments that make you keep returning to the theater, eager for the lights to go down and the projector to turn on. Directed by Chuck Workman ("Superstar: The Life and Times of Andy Warhol"), this documentary/visual essay pays particular attention to filmmakers who are pushing the edges of the form and stepping past conventional boundaries. And he's rounded up a great list of participants with Mike Leigh, Jonas Mekas, David Lynch, Kelly Reichardt, Costa-Gavras and Michael Moore among those granting new interviews, alongside archival footage featuring Robert Bresson, Alfred Hitchock, Chantal Akerman and Akira Kurosawa. It should be fascinating stuff. »
- Kevin Jagernauth
I spoke with Chantal Akerman about her films from the 1970s, with special emphasis on their sounds and shot lengths, and on her mother's influence on her work. The interview, recorded in early November in a sunny Upper West Side apartment, is the second installment in a series of talks that will continue with Nathan Silver in December and Alex Ross Perry in January. »
- Ricky D'Ambrose
It's 100 years since the first volume of À La Recherche du Temps Perdu was published, but a definitive cinematisation of Proust's epic novel has so far proved elusive
This year has been punctuated by a rash of anniversary-themed books and articles anticipating the first world war centenary, and indeed attempting snapshots of how Europe looked and felt in 1913, eerily poised on the precipice. The other centenary is similar in many ways: on 8 November 1913, Marcel Proust published the first volume of À La Recherche du Temps Perdu, his monumental novel about memory, mortality and art, the belle époque, and the leisured and aristocratic classes of Paris, a city crammed in Proust's pages with the most vivid and extraordinary personalities, destined to be swept away by the Great War.
- Peter Bradshaw
Directed by Georges Franju
France and Italy, 1960
The idea of what a quintessential French horror film might be, especially in the middle of the last century, would be a conflicting concept, the French being culturally revered as the custodians of the high-brow, the poetically human, and the avant-garde (we even import the word in its French form); horror is a genre maintained to provoke the base and primal, better left to B-movie thrills. Enter Georges Franju, a co-founder of the Cinémathèque Française, to helm Eyes Without a Face, a work to arrive with scorn from both French and Anglophone audiences as it had not been crafted to either of their palettes, but rather an amalgamation of tastes and something completely new.
When Dr. Génessier (Pierre Brasseur) identifies the body of his daughter Christiane »
- Zach Lewis
In 1971, at the age of 21, Belgian-born filmmaker Chantal Akerman, after stints in Paris and Jerusalem, moved to New York because, as she explained when I interviewed her in 2009, "I had a strange but realistic feeling that things were happening here." Introduced to Jonas Mekas and the work of the avant-gardists such as Michael Snow who were part of his regular programming at Anthology Film Archives, Akerman, who had made two shorts by the time of her arrival, "discovered another way of looking at things." Her formalist portraits of New York—two of which were made during her 18-month stay here, the other during a brief return to Manhattan a year after the premiere of her masterwork Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)—stand as some of greatest »
Written and directed by Ramon Zürcher
A terrific chamber piece that illustrates one crisp fall Saturday afternoon in the life of one family, Ramon Zürcher’s film is a sumptuous journey of visual storytelling that fills its claustrophobic spaces with the animated pace of modern life and its quiet revelatory moments. Loosely inspired by Kafka’s novella Metamorphosis, and with comparisons made to Chantal Akerman’s Jeanne Dielman and the raucous hubbub of Thomas Vinterberg’s Festen, The Strange Little Cat is a hypnotic film that places its focus on the comings and goings of a family preparing a dinner for an ailing matriarch.
The film is peppered by family members ducking in and out of frame, almost with the fervor of actors in a stage play, as though busying themselves behind the scenes with the preparations for a final, defining performance. »
- Gregory Ashman
Among other things, Tiff is a place for getting rid of aesthetic prejudices. I often drag my feet going to experimental projects—you know, from our conversations, that I’m far more of a narrative guy—and yet I always marvel at the beauties I find in them. Imagery and rhythm are self-sufficient pleasures, and the three-part Wavelengths program we saw showcased plenty of these elements. Following Un conte de Michel de Montaigne, João Pedro Rodrigues’ The King’s Body also uses a statue as a recurring image—not the smilingly contemplative Montaigne of Jean-Marie Straub’s splendid recitation, but the armored-for-battle Afonso Henriques, Portugal’s first conquering monarch. There their similarities end, however: whereas Straub gets his mysterious effects from sun-dappled tableaux punctured by darkness, the rustling of leaves and Barbara Ulrich’s reading of the text, Rodrigues envisions a different form of performance through a parade of sinewy beefcake. »
- Fernando F. Croce
Dan Sallitt tours the housefrom The Unspeakable Act in the inaugural episode of what I hope will be an ongoing series of filmed interviews with directors. Our talk, recorded in Brooklyn in July, includes Sallitt's remarks on screenwriting, the importance of Eric Rohmer on the development of his sensibility as a filmmaker, and cinephilia. Craig Keller's interview with Dan Sallitt on The Unspeakable Act, which is now available on DVD from Cinema Guild, can also be found on Mubi. Forthcoming episodes, featuring Nathan Silver and Chantal Akerman, will be available on Vimeo. »
- Ricky D'Ambrose
Masterful in its silences, a little less so in its chatter, writer/director Noah Buschel's Sparrows Dance begins almost as a tribute to Chantal Akerman’s masterpiece, Jeanne Dielman, 23 Qual du Commerce, 1080 Bruxelles, the difference mainly being a dissimilar choice of heroines. Instead of a bored housewife turned prostitute, we have a former actress turned agoraphobic who hasn't left her apartment in over year.
Additionally, here the heroine has no name, at least her moniker's never revealed. Instead she's listed as Woman in Apartment (Marin Ireland) on the credits. That's possibly why in many of the early shots her physiognomy is blocked out. She's lying in the bathtub with a white washcloth over her face. We view her from the back as she vigorously rides her exercise bike. Or we just see her eye as she stares out of her peephole to make sure she’s safe.
The camera »
- Brandon Judell
While international film festivals, especially those of the calibre and history of Venice (this year celebrating its 70th edition), are most commonly seen as a golden opportunity to catch new cinema from contemporary filmmakers, many offer meaty and mightily tempting repertory programmes loaded with restorations. This year’s Cannes festival, for example, featured restored prints of Vertigo, Hiroshima Mon Amour and Borom Sarret (the first film by a black African: Ousmane Sembene), among sundry others. Venice, as ever, has its own Classics strand, with 29 restorations (and documentaries on cinema), including works by Chantal Akerman, Nagisa Oshima and Satyajit Ray. However, the […] »
- Ashley Clark
French actor Niels Arestrup's career spans almost 40 years. He has worked with such directors as Alain Resnais, Chantal Akerman and Claude Sautet. But it's Jacques Audiard's films of the last decade -- The Beat That My Heart Skipped (2005), A Prophet (2009) -- in which he plays stern father figures that really put him on the map. With that unmistakable white mane and stop-in-your-tracks stare, he is also fantastic as an overbearing father in Gilles Legrand's You Will Be My Son, a family drama set in the Bordeaux wine region of France.Paul de Marseul (Arestrup) is an owner of prestigious winery. He has a dilemma. He really doesn't like the idea of his meek son Martin (Lorant Deutsch) taking over the business that's been...
[Read the whole post on twitchfilm.com...]
The Venice International Film Festival has announced the lineup for its 70th edition.
Es-Stouh (Merzak Allouache, Algeria/France)
L'Intrepido (Gianna Amelio, Italy)
Miss Violence (Alexandros Avranas, Greece)
Tom à la ferme (Xavier Dolan, Canada/France)
Child of God (James Franco, USA)
Ana Arabia (Amos Gitai, Israel/France)
Under the Skin (Jonathan Glazer, UK/USA)
Joe (David Gordon Green, USA)
The Police Officer's Wife (Philip Gröning, Germany)
The Wind Rises (Hayao Miyazaki, Japan)
The Unknown Known: The Life and Times of Donald Rumsfeld (Errol Morris, USA)
Sacro Gra (Gianfranco Rosi, Italy)
Stray Dogs (Tsai Ming-liang, Chinese Taipei/France)
Out Of Competition
Summer '82 — When Zappa Came to Siciliy (Salvo Cuccia, »
Following the announcement that came earlier this week, launching yet another hugely impressive line-up at the 2013 Toronto International Film Festival, the respective line-up has now been announced for what is in some ways its European counterpart, the 2013 Venice Film Festival.
The announcement shows that the two will continue to have a number of films overlapping, including Alfonso Cuarón’s Gravity (the Opening Night Film in Venice), Peter Landesman’s Parkland, Stephen Frears’ Philomena, and more. But it also brings with its news of where a number of films will be making their debut, including Terry Gilliam’s The Zero Theorem; the latest film from Hayao Miyazaki, The Wind Rises; James Franco’s Child of God; Lee Sang-il’s Yurusarezaru Mono, the Japanese remake of Unforgiven; and Steven Knight’s Locke, led by Tom Hardy, and shot in one take.
Es-Stouh – Merzak Alloucache (Algeria, France, 94’) L’Intrepido – Gianni Amelio (Italy, »
- Kenji Lloyd
Claudia Cardinale, best known for roles in Once Upon a Time in the West and Fellini’s 8 ½, is to be the guest host of Venezia Classici, the section devoted to restored films and to documentaries about cinema of the 70th Venice International Film Festival (August 28 – September 7.
The section, introduced last year, features a selection of classic film restorations completed over the past year by film libraries, cultural institutions or production companies around the world.
Cardinale will attend the screening of Vaghe stelle dell’Orsa, Luchino Visconti’s 1965 film in which she starred that won the Golden Lion at the 30th Viff and has been restored by Sony Pictures Entertainment.
It is is one of the four classics restored this year that has been conserved at the Historic Archives of the »
- email@example.com (Michael Rosser)
Belgium is country of honour at summer festival in French capital which also hosts the industry-focused Paris Project co-production market.
Roman Polanski’s Venus in Fur, starring his wife Emmanuelle Seigner opposite Mathieu Amalric as an actress and director embroiled in a racy, pschological battle of the sexes, will open this year’s Paris Cinema film festival.
The summer, public-focused event has drawn heavily on Cannes for its 11th edition, running June 28 to July 9.
There will be previews of Abdellatif Kechiche’s Palme d’Or winner Blue, in the presence of co-stars Adèle Exarchopoulos and Léa Seydoux, as well as Ari Folman’s Directors’ Fortnight opener The Congress and Francois Ozon’s Palme d’Or contender Young and Beautiful among others.
Some 50 upcoming titles will screen at the festival.
Nothing Human Loves Forever: Cassavetes’ Feature Debut Gloriously Vintage
Xan Cassavetes joins the family directorial legacy with her feature debut, Kiss of the Damned, a deliciously vintage throwback to the erotic horror output of the Hammer studio heyday. Previously, this Cassavetes was responsible for a 2004 documentary Z Channel: A Magnificent Obsession, and her fiction debut seems considerably removed both from her own work and that of the familial output. A visual feast with a killer sound design, she manages to invoke Stephanie Rothman and Jean Rollin, where naughty immortal creatures from the dark side explore a bloodlust as inextinguishable as their sexual desires.
Djuna (Josephine de La Baume), a beautiful, lovelorn vampire residing in a remote mansion in the Connecticut countryside spends her nights hunting animals in the surrounding woods and watching vintage cinema. The residence belongs to Xenia (Anna Mougalalis), an actress and older, wiser vampire, but the estate »
- Nicholas Bell
Meeting up with Daniel Hoesl in a Manhattan café before he jets off to the Sundance Film Festival where his Soldate Jeannette is showing in the World Cinema Dramatic Competition category, we discuss working with director Ulrich Seidl, wildlife, the cost of eggs, and how Anna Karina in Jean-Luc Godard's Vivre Sa Vie watching Carl Theodor Dreyer's Passion Of Jeanne D'Arc, becomes one with Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles to enter a new chapter in cinema history.
Anne-Katrin Titze: Let's start with the beginning. You start your film with crocodiles and leopards and end in a farm.
- Anne-Katrin Titze
1-20 of 22 items from 2013 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners