“The Sun is slowly (by progression) pulling in to parallel to the birth position of Neptune, and will become manifest in about two years,” he wrote, as quoted by Richard Koszarski in his biography The Man You Loved to Hate: Erich von Stroheim and Hollywood. “In my thirty years of study and practice with this science, I do not recall having ever seen so many fortunate influences, all operating at one time in a horoscope.”
Branchard may have had 30...
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Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master
Throughout the entire month of July, if you’re in the U.K., you are lucky enough to witness a selection of these influences in a program at BFI Southbank. Featuring all screenings in 35mm or 70mm — including a preview of Dunkirk over a week before it hits theaters — there’s classics such as Greed, Sunrise, and The Wages of Fear, as well as Alien, Speed, and even Tony Scott’s final film.
Check out Nolan’s introduction below, followed by
Christopher Nolan Presents has been personally curated by the award-winning director and will offer audiences unique insight into the films which influenced his hotly anticipated take on one of the key moments of WWII.
The season will include a special preview screening of Dunkirk on Thursday 13 July, which will be presented in 70mm and include an introduction from the director himself.
Christopher Nolan is a passionate advocate for the importance of seeing films projected on film, and as one of the few cinemas in the UK that still shows a vast amount of celluloid film, BFI Southbank will screen all the films in the season on 35mm or 70mm.
In 2015 Nolan appeared on stage alongside visual artist
Julien Duvivier’s final silent film is a modern retelling of Emile Zola’s panoramic chronicle of mid-19th-century Parisian society, centering on a small fabric shop struggling to survive in the shadow of a luxury department store. With expressionistic shades of Erich von Stroheim and G.W. Pabst, the film captures the rhythms of urban life and creates a stinging portrait of capitalist ruthlessness, class tensions, and sexual competition. Scott Foundas in the Village Voice calls the film “an orgy of pure cinema,
Sunset Boulevard screens Wednesday April 26th at The Tivoli Theater (6350 Delmar in ‘The Loop’) as part of their new ‘Classics in the Loop’ Crime & Noir film series. The movie starts at 7pm and admission is $7. It will be on The Tivoli’s big screen.
Billy Wilder is widely considered as one of the most decorated directors of the golden black and white era with movies such as Some Like It Hot, The Apartment, Double Indemnity, etc., but Sunset Boulevard may be his darkest. The movie starts with a man lying dead in a swimming pool of a huge villa located in Sunset Boulevard, a prime location in Hollywood where movie stars dwell. The viewers are then taken into flashback explaining the events that led to his death. The flashback
[Read the whole post on screenanarchy.com...]
Now, I understand plenty of people don’t want to go to a theater, spend a fortune on tickets, popcorn, and a drink just to see the glow of cell phones and hear people rudely talking while someone kicks your seat from behind, but that’s not the experience you’ll get at Landmark theaters affordable ‘Crime & Noir’ film series. St. Louis movie buffs are in for a treat as Landmark’s The Tivoli Theater will return with it’s ‘Classics on the Loop’ every Wednesday beginning April 5th at 7pm. This season, the Tivoli will screen, on their big screen (which seats 320 btw), eight crime and noir masterpiece that need to be seen in a theater with an audience. Admission is only $7.
One benefits of the big screen is
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional,
Coming from Andrew Saladino’s The Royal Ocean Film Society, the five-minute video essay The Story of the Re-Evaluated is a brief overview of this, showing the initial reception of Michael Cimino‘s ambitious flop Heaven’s Gate, Michael Powell‘s dark character study Peeping Tom, and Eric von Stroheim‘s studio-mangled Greed, and how these films have been re-embraced.
In the end,
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris
Directed by Garth Jennings.
Featuring the voice talents of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Seth MacFarlane, Taron Egerton, Peter Serafinowicz, Tori Kelly, Garth Jennings, Rhea Perlman, Nick Kroll, John C. Reilly, Jennifer Saunders, Nick Offerman, Leslie Jones, and Adam Buxton.
Koala bear Buster Moon (the voice of Matthew McConaughey) is easily the least successful impresario in the theatre world. All his shows flop and, staring bankruptcy in the face, he decides to launch a singing contest. One that attracts a long queue of hopefuls, including a crooning mouse, a heavy metal skunk, a shy singing elephant and a narcissistic pig. But who will win the $100,000 prize?
With Gru and his Minions due to return this summer in Despicable Me 3, Illumination is plugging the gap with new animation, Sing, which borrows heavily from the unlikely combination of Disney and X-Factor.
In a city populated entirely by animals, loveable
A unique venue for a unique film written and directed by Cyril Morin and starring Sam Quartin, Chris Schellenger and Davy J. Marr, “NY84” follows the adventures of three young artists in the downtown New York art scene in the early 1980s. Young and carefree, Kate, Anton, and Keith party, photograph, paint, sing, and play their way through the clubs and lofts of Alphabet City.
The party ends in 1984 when Anton and Keith contract a mysterious illness known as the “gay cancer.” We gain an intimate glimpse into their creative and emotional lives as the three lose their youth and innocence.
This is a lyrical poetic paen to those times some of us were lucky enough to have lived through. The sexual revolution and its sexual freedom in effect then for the newly liberated homosexual community, also opened the way for Kate to express herself. And it opened a door for transexuals, women and the whole diversity of humanity to assert itself today.
Reviewed by Glenn Erickson
The first Blu-ray of perhaps
From 2001 and Metropolis, to The Wicker Man and Event Horizon: a look at nine films with scenes we may never see...
There are some movies whose images and ideas are so indelible, it's difficult to imagine a world without them. Yet films are by their nature delicate things; they're the end-product of months or even years of craftsmanship, and whether they're stored on celluloid or captured digitally, they're as vulnerable to the ravages of time or acts of god as any other artform.
Cinema history is littered with stories of lost and damaged movies. Back in the 1920s, eminent director Erich von Stroheim made Greed, an expensive, nine-and-a-half hour epic that was repeatedly cut until only 140 minutes of its original footage remained. Legend has it that a janitor accidentally threw out the removed footage and, just like that, years of work were gone - seemingly forever.
My conversation with the Marguerite director ranged from Erik Satie's food habits, Salieri in Milos Forman's Amadeus, tribute to Jean Renoir's The Rules Of The Game, John Huston's The Man Who Would Be King, Erich von Stroheim in Sunset Boulevard, Robert Redford in Sydney Pollack's Out Of Africa and Karen Blixen, Meryl Streep in Stephen Frears' Florence Foster Jenkins, Woody Allen's Broadway Danny Rose, Danny Kaye and the Carnegie Deli, Charlie Chaplin, Tristan Tzara to Margaret Dumont and the Marx Brothers.
Catherine Frot as Marguerite: "It's the story of a woman who needs love."
When I brought up Michael Shannon and Jeff Nichols' latest film, Midnight Special (after Shotgun Stories and Take Shelter and Mud), Xavier Giannoli said that in Paris there are posters
As such, Marguerite is frantic and compellingly unpredictable, even as it heads into comfortable territory. Loosely based on the life of Jenkins, a ’20s-era socialite and Opera singer renowned for her supernaturally abhorrent voice (here’s a recording of her murdering every poor note of Mozart’s Der Hölle Rache), Marguerite follows Marguerite Dumont
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