11 items from 2017
Colcoa is keeping up with the times. Now in its twenty-first year, the lauded French film festival, sponsored by the Franco-American Cultural Fund, has added a pair of forward-thinking new categories for its newest edition. This year will include a virtual reality program and a web series competition, in addition to its Cinema, Television and Shorts competitions.
“These two new popular formats offer more opportunities to showcase the creativity of French producers and filmmakers as well as the diversity of French production,” said François Truffart, Colcoa Executive Producer and Artistic Director. “While entertainment is still the key word for the program, with a balanced mix of comedies and dramas, several topical issues will cover the program this year, including the environment, discrimination, racism, terrorism, and the role of the artist in society. More than ever, Colcoa will offer a unique opportunity to see these universal topics from different angles.”
- Kate Erbland
Close-Up is a column that spotlights films now playing on Mubi. The retrospective The Many Sins of Walerian Borowczyk is showing February 12 - June 18, 2017 in the United States and in many other countries around the world.As the reverberation of horses fervently neighing and clomping their hooves begins to permeate the opening credit soundtrack of The Beast, one may recall the similarly orchestrated donkey brays that introduce Robert Bresson’s Au hasard Balthazar (1966). Or, given its title, and the very basic concept of a young woman becoming enamored with an savage creature, one may be tempted to compare this 1975 feature to the many variations of Gabrielle-Suzanne Barbot de Villeneuve’s classic fairy tale, La belle et la bête. One would be more than a little confounded, however, by making either inadequate association. If Walerian Borowczyk’s semi-porn-semi-art-semi-monster movie bears any resemblance to another film or story, it would be »
Last night, at the end of a busy week at work when I was just in the mood to hang out at home and unwind a little, I decided that it was a good time for me to wrap up my viewing of Criterion ’68 by ingesting an assortment of short films that had accumulated, like the last crumbs of cereal at the bottom of the bag, in my chronological checklist of films that I’ve been blogging about over the years. It was a suitable occasion for me to fully immerse myself into what turned out to be a festival of random weirdness. My wife, recovering from a bout with illness, was feeling a bit better but wanted to find a productive use of her time with the resurgence of energy, so she kept herself busy by working on a new quilting project. That left me free to indulge without »
- David Blakeslee
Colcoa and the Franco-American Cultural Fund also announced the Focus on a Filmmaker programme in addition to a line up of French classics consisting of predominantly digitally restored films.
The programme will take place at the DGA in Hollywood from April 24-May 2 as part of Colcoa’s 21st anniversary.
This Carte Blanche screening will be presented in association with Rialto Pictures, with the support of the French Embassy in the Us and l’Institut Francais.
The Festival will also host the West Coast premiere of Brizé’s new film A Woman’s Life »
Earlier this January, Barry Jenkins’ “Moonlight” won Best Picture — Drama at the 74th Golden Globes after racking up widespread critical acclaim since its world premiere at Telluride last September. The film has recently racked up eight Oscar nominations, including Best Picture and Best Director. In honor of his new film and all the recent accolade, the Criterion Collection invited Barry Jenkins to check out the famed Criterion Closet and pick out some films to take home. Watch the video below.
Read More: National Society of Film Critics Names ‘Moonlight’ Best Picture of 2016
Jenkins picks out a host of films from the closet that have special significance for him. Some of these films include the “John Cassavetes: Five Films” box set, which Jenkins describes as “foundational”; Krzysztof Kieślowski’s ten-hour long “Dekalog,” a film Jenkins once bought on Ebay because he “felt like he had to see it”; Mathieu Kassovitz’s “La Haine, »
- Vikram Murthi
24 January 2017 11:06 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
A comedy of embarrassment, discomfort and anxiety that just keeps getting funnier as it goes along, Lemon is a one-of-a-kind treat that, by ending almost too soon, follows the old showbiz principle of leaving ‘em wanting more. A stylized and very stylish piece that becomes an acquired taste after about twenty minutes, Janicza Bravo’s debut feature occasionally recalls the work of the great Jacques Tati in its precision physicality. But the film forges a completely distinctive personality of its own through its characters’ perverse behavior and neuroses, exacting framing and editing, wildly imaginative use of unanticipated music and its unusual »
- Todd McCarthy
Kirsten Johnson’s Cameraperson came out of nowhere, sweeping up a variety of awards (most recently the Cinema Eye Honors) and, most important of all, places on our year–end lists. The work is so singular that it would probably be all right, ultimately, if it was the only thing we received from her — filmographies can be more interesting when given that sort of one-and-done power — but news of more is all the better once you hear what she actually has planned.
Speaking to Variety, Johnson revealed that she’s developing, along with “the pilot of a hybrid project” alongside Transparent‘s Jill Soloway, “an observational documentary” that’s aiming for the “hilarious heartbreaker” label. Following her father, himself seen in Cameraperson, it aims to capture the spirit of Jacques Tati, Buster Keaton, Groundhog Day, and, yes, Jackass in an attempt to preserve his memory via cinema.
The patchwork editorial »
- Nick Newman
Exclusive: Wild Bunch is launching sales on Pan-Européenne-led production at Unifrance Rdv in Paris.
Set against the backdrop of a small French town, the film will star Benoît Poelvoorde as the endearingly comic figure of Raoul Taburin, a reputed bicycle shop owner desperate to hide the fact he cannot ride a bike himself.
Altitude has pre-bought UK rights with company chief Will Clarke taking an executive producer credit.
The deal builds on a growing relationship between Altitude and Nathalie Gastaldo-Godeau and Philippe Godeau’s Paris and London-based Pan-Européene which has developed since the couple moved to the UK in 2015.
Last year, the two companies entered a partnership for the UK release of Jérôme Salles’s Jacques Cousteau bio-pic The Odyssey, under which the film will hit UK screens this June.
Discussions on Raoul »
Disney’s whimsical animated short, “Inner Workings” (playing in front of “Moana”), works like a quirkier “Inside Out” — a tug of war between logic and passion. It marks yet another innovative blend of CG and 2D, following the Oscar-winning “Feast” and “Paperman.” (Watch the exclusive clip below.)
Director Leo Matsuda takes us inside the cartoony body of a hapless clerk named Paul, whose brain nearly squashes his heart because of a neurotic fear of death.
Read More: How Four Animated Oscar Contenders Made the Cut for Disney, Laika and Illumination
“I’m a Japanese Brazilian, so I’m very disciplined, but I also like to party,” Matsuda told IndieWire.
At first, Matsuda toyed with the idea of using Disney’s Meander drawing program (introduced on “Paperman,” and the recipient of an Academy Sci-Tech award this year), but realized the paper texture look wasn’t appropriate. So he decided on CG »
- Bill Desowitz
Kirsten Johnson, the critically-acclaimed cinematographer behind some of the most impactful and revealing documentaries in recent history — from “Fahrenheit 9/11″ to “Darfur Now,””Citizenfour” and “The Invisible War” — struck a chord with “Cameraperson,” an unconventional, enlightening and utterly personal documentary featuring raw footage captured by Johnson over decades spent traveling the globe.
Without resorting to a voice over or a linear narration, “Cameraperson” sheds light on injustices, racial crimes and genocides, bends stereotypes and gives us a glimpse into her inner world and the ethical dilemmas inherent to her profession.
Shortlisted for an Oscar nomination, “Cameraperson” has already earned unanimous praise and a flurry of awards and nominations for Johnson and her editor Nels Bangerter since premiering at Sundance. “Cameraperson” has so far nabbed prizes at the Boston Society of Film Critics Awards, Cinema Eye Honors Awards, Critics Choice Documentary Awards, International Documentary Association, National Board of Review, as well as prizes at Toronto, »
- Elsa Keslassy
‘Toni Erdmann’ (Courtesy: Tiff)
By: Carson Blackwelder
It’s not too often that foreign-language films get recognized for anything at the Oscars beyond the best foreign-language film category — but it does happen. And, believe it or not, it happens more for best original screenplay and best adapted screenplay than many other categories. A prime example of that is Toni Erdmann, Germany’s submission this year that is proving to be a cross-category threat, which could score a nomination — or a win — for its writing.
The story of Toni Erdmann — which has a solid Rotten Tomatoes score of 91% — follows a father who is trying to reconnect with his adult daughter after the death of his dog. It sounds simple enough but, of course, the two couldn’t be more unalike. The film premiered at the Cannes Film Festival in 2016 and where it won the Fipresci Prize. Since then, it »
- Carson Blackwelder
11 items from 2017
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