1-20 of 91 items from 2012 « Prev | Next »
Toronto – On December 4th, Tiff saluted the best of Canadian Cinema at the 12th Annual Canada’s Top Ten industry event, hosted by Sarah Gadon (Cosmopolis, A Dangerous Method) and Don McKellar (Blindness, Trigger). A panel of industry professionals selected the top 10 Canadian feature and short films. Tiff Senior Programmer Steve Gravestock said that this year’s lineup “champions the work of familiar faces as well as emerging talent – all of whose stellar filmmaking achievements shape the Canadian film community”.
To celebrate the best Canadian films of 2012, Tiff will be hosting a 10-day festival of the winners. Cameron Bailey, Artistic Director of the Toronto International Festival, says that the festival “offers homegrown talent a dedicated platform to showcase their success, and we couldn’t be more impressed by the calibre of films the industry has produced this year.”
The selected top ten are as follows, in no particular order:
Bydlo dir. »
- Justin Li
Film lovers, TCM fans and anyone with fully functioning tear ducts will likely be moved by the elegant 2012 installment of "TCM Remembers." The video is set to M83's plaintive "Wait," and includes tributes to French New Wave iconoclast Chris Marker, "A Face in the Crowd" star Andy Griffith, "Marty" star Ernest Borgnine, sci-fi master Ray Bradbury, mega-producer Richard D. Zanuck and many more filmmakers who died this past year. But the video also mourns the loss of something without a screen credit: 35mm. »
- Beth Hanna
After stops in Locarno, Tiff and Nyff, The Cinema Guild have The Last Time I Saw Macao , João Pedro Rodrigues was born in Lisbon. His feature films are and “The Last Time I Saw Macao” (2012). João Rui Guerra da Mata has co-written with João Pedro Rodrigues the feature film “To Die Like a Man” (2009). “The Last Time I Saw Macao” (2012) is his first feature film as director.
Do We Care?: Although our Blake Williams does have some reservations about the film (Tiff ’12 Daily recap), he thinks that “the disappearance of history and culture (Macao was a Portuguese colony for 4 centuries, ending in 1999, so the filmmakers are playing with their own genuine and personal nostalgia from its past), these little bursts of light infused a visual poeticism that made the overall viewing rewarding. »
- Eric Lavallee
Above: 1999 Japanese poster for La jetée (Chris Marker, France, 1962). Designer: unknown.
This Sunday I will be posting my 366th post on my Movie Poster of the Day Tumblr, meaning that I have managed to keep up this endeavor for an entire year, not yet skipping a day. Back in early July I wrote about the blog and posted the 20 most popular (most liked and reblogged) posters to date. With the year anniversary approaching I thought I would do the same thing, tallying the 20 most popular posters of the past four months. Movie Poster of the Day’s viewership has grown exponentially in the interim and as of writing it has 56,964 followers, which blows my mind. You can scroll through the entire archive here.
The most popular poster of the past four months, and the second most popular of the entire year, was this Japanese B1 for La jetée, which I »
- Adrian Curry
Still from Sonchidi
The 3rd edition of Naya Cinema Festival, to be held in Mumbai from November 22-25, will screen Amit Dutta’s Sonchidi and Nainsukh. Both films were selected for Venice Film Festival in 2011 and 2010 respectively.
Organised by Enlighten Film Society, the festival will be held at Russian Centre, Pedder Road, Mumbai.
The registration fee for the festival is Rs 599 that includes delegate pass for the entire festival, a festival booklet and access to online festival from 12th December, 2012 to 15th January, 2013. For registration, click here.
22nd November, 2012
Dir.: Robert Bresson
Time: 12 pm. (B&W / France / 1959 / 75 mins)
Trial of Joan of Arc
Dir.: Robert Bresson
Time: 1:30 pm (Colour / France / 1962 / 65 mins)
Dir.: Henri-Georges Clouzot
Time: 3:15 pm (B&W / France / 1953 / 147 mins)
Dir.: Henri-Georges Clouzot
Cinecity: The Brighton Film Festival | Bradford Animation Festival | Bath Film Festival | William Klein
Cinecity: The Brighton Film Festival
Before Cinecity came along 10 years ago, this most movie-friendly of cities didn't have a regular festival to call its own. The void has been decisively filled ever since, thankfully, and this year's anniversary event springs up in venues across the city, including the Pavilion and The Basement, which becomes a pop-up cinema showing music films. There's the expected roster of new international cinema, such as The Hunt, but off the beaten track are artists, films, live music, and a celebration of the late Brighton-based film-maker Jeff Keen.
Various venues, Thu to 2 Dec
Bradford Animation Festival
Animation might reach the parts live-action can't, but it doesn't always reach the audiences it could. So it's only through events like this you'll even find out what you're missing. Led by the feature-length Crulic, which uses »
- Steve Rose
What follows is an exchange between Josh Timmermann (a fellow critic and Vancouver resident, who you may recall from this) and I, wherein we discuss the Vancouver International Film Festival and its individual parts, a chance to color outside the lines a bit and discuss the ins and outs of our festival experiences.
Above: Granville 7 Theatre, Viff's primary venue.
Adam Cook: I’ve been attending Viff since 2008—and you’ve been attending since 2007—so it seems kind of safe to say we’re well on our way to being veterans of the festival; although, this claim is humbled when encountering someone like Chuck Stephens—a member of this year’s Dragons & Tigers jury—who has been coming (from out of town, no less) for something like twenty years. However, five years of Viff-going has equipped me with a knack for knowing how to approach the festival, how to navigate the programming—and, »
- Adam Cook
"How do you draw the line between art and terror?" That's the tagline in the new trailer for Anders Ronnow Klarlund's "The Secret Society of Fine Arts," an upcoming feature about a violent secret society whose "goal is to set beauty free." The Danish director, who gained international acclaim with 2004's marionette marvel "Strings," looks like he's challenging audiences with this gorgeous, provocative and slightly pretentious movie. Created through manipulating 3-D still photographs, the film is inspired by Chris Marker's 1962 "La Jetee." Just a few weeks ago, the New York Times' Ao Scott wrote about the influence of the short film about memory and time travel on such films as "The Terminator," "Back to the Future," "Primer," the most recent "Star Trek" movie, and "Looper." Film and time travel suit each other, he writes: "The »
- Maggie Lange
The New York Film Festival is celebrating its 50th birthday this year while at the same time saying goodbye to Richard Peña, who served as Program Director for the last 25 years. This year’s festival is packed with films from all over the world, bringing the best of the best from Cannes, Berlin, and other renowned festivals to a New York audience. Peña, who also teaches in the Film Department at Columbia University, has long championed Latin American cinema, in particular. After traveling in the region as a young undergrad he decided to focus his academic research on Latin America. Peña has gone on to not only spotlight Latino films in the classroom but also carved out a space, year after year, for Latino films to shine at the New York Film Festival. This year is no exception. Now in its second week, the fest has some exciting Latino premieres that will close out its 50th edition.
Mexico/Spain/USA | Spanish with English subtitles | Format: Dcp | 110 minutes
Having won the top prize at the Critic’s Week sidebar at Cannes, this debut feature from Antonio Méndez Esparza looks at immigration from a different point of view--what happens when you go back? Pedro returns home to his family in Mexico after a stint working in New York. When he arrives he is surprised to see how different things look, how things have changed. He has little to say to his daughters and has to get to know his wife all over again. He feels detached, lonely, alienated. He feels distant from his family--and in parallel, the camera stays far away from the characters. In a series of long takes, conversations amongst family and friends are seen from a distance and the camera remains stationary. People walk in and out of scenes, have their backs turned to the camera, or are just too far away to see clearly. We rarely get a glimpse of those who talk and without close-ups of their faces--miss out on facial expressions and the nuances of the nonverbal. Just like Pedro--the audience, as a result of the camera work--has trouble emotionally connecting with the people on the screen.
Pablo Larraín (2012)
Chile/USA | Spanish with English subtitles | Format: Dcp | 110 minutes
“In 1988, in an effort to extend and legitimize its rule, the Chilean military junta announced it would hold a plebiscite to get the people’s permission to stay in power. Despite being given 15 minutes a day to plead its case on television, the anti-Pinochet opposition was divided and without a clear message. Enter Rene Saavedra, an ad man who, after a career pushing soft drinks and soap, sets out to sell Chileans on democracy and freedom.” Gael García Bernal (Y Tu Mama Tambien, Motorcycle Diaries) stars as Rene Saavedra. His performance is said to be the major reason behind the standing ovation it received at the Cannes Film Festival, its world premiere. It also was just announced as Chile’s entry for the Best Foreign Language Film Academy Award.
The Dead Man and Being Happy
El muerto y ser feliz | Javier Rebollo (2012)
Spain/Argentina/France | Spanish with English subtitles | Format: Dcp | 94 minutes
“For his third feature, the gifted Spanish director Javier Rebollo (Woman Without Piano) has decamped to Argentina and created a literate, screwball road movie that Borges surely would have loved. The “dead man” of the title is Santos (veteran Spanish screen star José Sacristán), a cancer-stricken hired killer who flees his Buenos Aires hospital bed and sets off on one last assignment. It is a journey that takes him through an interior Argentina rarely glimpsed in movies, from the Cordoba resort town of La Cumbrecita (with its disproportionate—and disconcerting—population of elderly Germans) to the northern province of Santiago del Estero. Along the way, Santos finds himself joined by Alejandra (the wonderful Roxana Blanco), an attractive middle-aged woman who impulsively jumps into his vintage Ford Falcon at a gas station and soon thwarts him from his intended path.”
Films from Portugal are often excluded from a discussion of Latin American or Latino films. But, in the same way that we include Brazilian films even though they are in Portuguese and Spanish films because of the country’s colonial ties to the Americas--i personally think that films from Portugal should also qualify as Latin American or Latino. Maybe, I’ll just start calling them Ibero-American films.
Miguel Gomes (2012)
Portugal | Portuguese with English Subtitles | Format: 35mm | 118 minutes
“Shot in ephemeral black-and-white celluloid, Tabu is movie-as-dream—an evocation of irrational desires, extravagant coincidences, and cheesy nostalgia that nevertheless is grounded in serious feeling and beliefs, even anti-colonialist politics. There is a story, which is delightful to follow and in which the cart comes before the horse: the first half is set in contemporary Lisbon, the second, involving two of the same characters, in a Portuguese colony in the early 1960s. “Be My Baby” belted in Portuguese, a wandering crocodile, and a passionate, ill-advised coupling seen through gently moving mosquito netting make for addled movie magic.”
Portugal/France | Portuguese with English Subtitles | 85 minutes
“This stunning amalgam of playful film noir and Chris Marker–like cine-essay from João Pedro Rodrigues (To Die Like a Man, Nyff 2009) and João Rui Guerra da Mata explores the psychic pull of the titular former Portuguese colony. After a spectacular opening scene, in which actress Cindy Scrash lip-synchs, as tigers pace behind her, to Jane Russell’s “You Kill Me”—from Josef von Sternberg’s Macao (1952), a key reference here—the film shifts to da Mata’s off-screen recollections of growing up in this gambling haven in the South China Sea.”
The New York Film Festival, presented by the Film Society of Lincoln Center, runs through October 14.
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature onSydneysBuzzthat highlights emerging and established Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow@LatinoBuzzon twitter.
- Vanessa Erazo
Denmark's Anders Ronnow Klarlund has never been a director shy to challenge himself or his audience. He first came to international attention thanks to Strings, a fantasy tale executed beautifully entirely with marionettes. That was followed with How To Get Rid Of The Others, a more conventionally filmed tale that firmly embraced a sense of Swiftian satire. And now Klarlund is back with another experiment, The Secret Society Of Fine Arts.An experiment in more than one sense, Klarlund claims Secret Society will be his final film. Clearly inspired by La Jetee, the film was created through the manipulation of 3D still photographs and is being distributed within Denmark as a DVD insert on the film magazine Ekko with Chris Marker's La Jetee included as a »
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece, »
On Blu-ray and DVD this week, Sound of My Voice follows a pair of investigative filmmakers out to expose a cult run by a young woman named Maggie, who claims to be from the future. The film stars Brit Marling, who also co-wrote the script with director Zal Batmanglij. We recently caught up with the actress to chat about the movie, the future, and what it means to be living in these end times.
Here is our conversation.
From since you first wrote this film, to where we are as a culture right now, a lot has changed. History and our social climate are morphing at an expedient rate. Do you think you would have changed anything about the story and where it goes, had you started writing Sound of My Voice today?
Brit Marling: Totally. It's »
In Chris Marker’s groundbreaking 1962 time travel film La Jetee, the woman (Helene Chatelain) in the film refers to the films time-traveling protagonist (Davos Hanich) as a ghost. Later in the film, the man realizes that as a child he witnessed his own death at the hands of a time traveling assassin. La Jetee in many ways became the first time traveling ghost story. Director Rian Johnson has regarded La Jetee as one of the inspirations for his new film Looper.
Time travel films are the greatest ghost stories science fiction has to offer. The very idea of people from the future and past commingling with people in the present offers countless waves of possible interweaving conflict. The logic of time travel itself in these films is often thoughtfully constructed and mind-numbingly complex. Luckily, Rian Johnson is a fan and student of sci-fi film, so with Looper he’s constructed »
- Tony Nunes
While the debate will certainly go on for the better part of the award season as to where Anna Karenina will land in categories such as Best Picture and Best Actress, one category it will certainly be viewed as a major contender is Best Costumes. Getting an early start on the campaign trail, costume designer, Jacqueline Durran, who has nominated for an Oscar for her work on Joe Wright's Atonement and Pride and Prejudice, spoke with The Genteel about her work on Anna. Here's a snippet: Director Joe Wright wanted me to trace the shapes of the 1870s but to make them completely unfussy. He wanted me to take away all the trimmings of the clothing and keep a very stark silhouette. And the way he explained it to me was: "Look at '50s couture, how it's all about silhouette and apply that approach to the 1870s." So, »
- Brad Brevet
London Spanish Film Festival
This year's festival includes a separate focus on Catalan cinema, just weeks after Catalans came out in droves to campaign for independence. Partisan or not, Spanish cinema still looks to be in decent shape. There are accessible commercial movies here – Los Pelayo is a sort of Mallorcan Ocean's Eleven; A Game Of Werewolves is a Galician horror. But there's also more pensive cinema, such as Los Pasos Dobles, a Mali-set meditation on art and memory.
Ciné Lumière, SW7, Fri to 10 Oct
Safar: A Journey Through Popular Arab Cinema, London
Call yourself a global cinema aficionado? If names like Soad Hosny or Adel Imam mean nothing to you, you're still a few regions short of all-encompassing movie omnipotence. So here's the place to quickly fill that gap. Despite the title, what we're mostly talking about here is Egyptian cinema – the biggest player in the region. Hosny, who »
- Steve Rose
Above: Larry Rivers’ poster for the first New York Film Festival.
With the New York Film Festival celebrating its 50th edition next week I thought I’d look back on the very first festival, 49 years ago, in 1963. Whereas this year’s festival has a main slate of 33 films (as well as abundant sidebars) the inaugural event, programmed by Richard Roud and Amos Vogel, had only 21 features and a selection of shorts. The festival opened—on a Tuesday evening, September 10th, 1963—with a now-classic but then ill-received Buñuel, The Extermining Angel, and closed with a film and a director that have been all but forgotten: Dragées au poivre (Sweet and Sour), a French-Italian comedy with an all-star cast, directed by one Jacques Baratier.
Of the 21 selections—handpicked by Roud and Vogel as the year’s best—only six (masterpieces by Buñuel, Ozu, Olmi, Kobayashi, Polanski and Resnais) are currently available on DVD in the Us, »
Kahlil Gibran's prose-poem may have Hallmark sentiments, but this is a cinematic rhapsody
Gary Tarn is a British director creating collages of images and ideas, in the tradition of Chris Marker – directing, shooting, editing, and composing the music. After his Bafta-nominated Black Sun, he has returned with a visual quilt inspired by the prose-poem The Prophet, a spiritual-humanist work by Kahlil Gibran. He assembles intriguing and potent images, strikingly juxtaposed, a free-form cinematic rhapsody, which is accompanied by an adapted voice-over of the original text. This may also have absorbed something from Terrence Malick's The Tree of Life. I am an agnostic about Gibran – for me, his work verges on Hallmark-card-speak – and it took a while to acclimatise to Thandie Newton's narration, in a sonorous American accent. But Tarn is persuasive, and you can't help but respond to the boldness, intelligence and creativity of hisfilm-making.
- Peter Bradshaw
The last couple of months of the festival season will go out with a bang in London, as the Raindance Film Festival begins next Wednesday, September 26th, with the Mexican film Here Comes the Devil, which was very popular in Tiff this past month. Raindance slants itself quite firmly to independent cinema, showcasing films that have played at festivals such as Sundance and Fantasia, a focus on Quebec, a retrospective of Chris Marker, as well as conducting master classes and live music events. From the press release: The Raindance Film Festival's 20th lineup includes over 100 features, over 138 shorts and 64 UK Premieres, 13 International Premieres, 5 European Premieres, 20 World Premieres and 24 Directorial Debuts from 42 countries with another exceptional year of »
Encounters Short Film And Animation Festival, Bristol
The short-film and animation communities descend on Bristol for this annual gathering, which offers networking for pros and viewing pleasures galore for punters. Most screenings are organised into bite-sized programmes, where you'll find new talent alongside familiar names like Harmony Korine (with his bizarre South African jaunt Umshini Wam), Gina McKee, plus – in animation – the cast of Aardman's Pirates feature in a gameshow.
Various venues, Tue to 23 Sep
Film & Media Arts Festival, Berwick-upon-Tweed
Cinema and photography mix in unpredictable ways at this imaginative festival, which finds room for both a pastoral Swedish documentary called Women With Cows and Milla Jovovich kicking-corporate zombie ass in Resident Evil: Retribution. There are countless crossover movies, from road romance Here (between a cartographer and a snapper) to Chasing Ice, in which a photographer tracks melting polar ice, to art films by Shirin Neshat, Wim Wenders and Chris Marker. »
- Steve Rose
Written by Chris Marker
Directed by Chris Marker
Not only has the late Chris Marker’s Sans Soleil been revered for over two decades as a singular work of imaginative filmmaking, but it’s since gone on to receive a multitude of accolades as well as the Criterion treatment. Most importantly, it works as a sort of trailblazing dreamscape that defies explanation. It remains alive in ways that few films of its kind are: 2001: A Space Odyssey, Baraka, Hiroshima mon amour, and The Tree of Life also seem to be cut from the same cinematic cloth; films that are constantly churning the brain toward contemplation and appreciation for the cosmic and every day wonders of our existence. The film would be the first proper viewing of this year’s Toronto International Film Festival, perhaps an odd choice given how dated it is, but rather appropriate due to Marker’s recent passing. »
- Ty Landis
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