’Taylor Swift: The Eras Tour’ crosses $175m.
The Hunger Games: The Ballad Of Songbirds & Snakes opened at number one in North America on an estimated $44m through Lionsgate while The Marvels had a weekend to forget, plummeting 77.9% in its second session in a new low for the Marvel Studios hit factory.
Meanwhile Emerald Fennell’s Saltburn and Aki Kaurismaki’s Cannes entry Fallen Leaves got off to strong award season starts in limited release.
Songbirds & Snakes played in 3,776 locations and delivered the lowest opening weekend of the franchise, behind the unadjusted $102.7m set by The Hunger Games: Mockingjay - Part 2...
The Hunger Games: The Ballad Of Songbirds & Snakes opened at number one in North America on an estimated $44m through Lionsgate while The Marvels had a weekend to forget, plummeting 77.9% in its second session in a new low for the Marvel Studios hit factory.
Meanwhile Emerald Fennell’s Saltburn and Aki Kaurismaki’s Cannes entry Fallen Leaves got off to strong award season starts in limited release.
Songbirds & Snakes played in 3,776 locations and delivered the lowest opening weekend of the franchise, behind the unadjusted $102.7m set by The Hunger Games: Mockingjay - Part 2...
- 11/19/2023
- by Jeremy Kay
- ScreenDaily
Michel Ciment, a revered French film critic and longtime editor of Positif film magazine, died Monday in Paris at 85.
The Cannes and Venice film festivals paid tribute to him after news of his death. Ciment authored several well-regarded books about top directors, including “Kazan by Kazan” (1973); “Conversations With Losey” (1979); “Stanley Kubrick” (1980); and “Boorman: A Visionary in His Time,” and was a regular presence for more than five decades at every edition of both of these top fests and served on the Venice jury in 1980 and 1991.
Cannes in a statement noted that Ciment, besides being Positif’s editor in chief, was producer and host of the popular French radio program “Projection privée” on France Culture, which is a public radio station. He was a film critic for over 50 years on another radio show called “Le Masque et la Plume” on prominent French radio station France Inter, as well as a lecturer...
The Cannes and Venice film festivals paid tribute to him after news of his death. Ciment authored several well-regarded books about top directors, including “Kazan by Kazan” (1973); “Conversations With Losey” (1979); “Stanley Kubrick” (1980); and “Boorman: A Visionary in His Time,” and was a regular presence for more than five decades at every edition of both of these top fests and served on the Venice jury in 1980 and 1991.
Cannes in a statement noted that Ciment, besides being Positif’s editor in chief, was producer and host of the popular French radio program “Projection privée” on France Culture, which is a public radio station. He was a film critic for over 50 years on another radio show called “Le Masque et la Plume” on prominent French radio station France Inter, as well as a lecturer...
- 11/14/2023
- by Nick Vivarelli
- Variety Film + TV
Michel Ciment, the esteemed French film critic, historian, author, radio producer and editor of the influential film magazine Positif, has died. He was 85.
His death was reported Monday by the French radio channel France Inter, the home of his culture program Le Masque et la Plume since 1970.
Ciment was “perhaps the freest and most encyclopedic mind that film criticism has ever produced,” Le Masque et la Plume producer Jérome Garcin in a statement. He made what would be his last appearance on the show in September.
The Paris native also produced Projection privée on France Culture radio from 1990-2016. He was “an immense critic and historian who devoted his entire life to passing on, in words and in writing, his erudition and his passion for the seventh art,” a statement from the channel said.
Ciment joined Positif after sending in a story about the Orson Welles film The Trial in 1963 and would become its editor,...
His death was reported Monday by the French radio channel France Inter, the home of his culture program Le Masque et la Plume since 1970.
Ciment was “perhaps the freest and most encyclopedic mind that film criticism has ever produced,” Le Masque et la Plume producer Jérome Garcin in a statement. He made what would be his last appearance on the show in September.
The Paris native also produced Projection privée on France Culture radio from 1990-2016. He was “an immense critic and historian who devoted his entire life to passing on, in words and in writing, his erudition and his passion for the seventh art,” a statement from the channel said.
Ciment joined Positif after sending in a story about the Orson Welles film The Trial in 1963 and would become its editor,...
- 11/14/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Natural habitat: Michel Ciment asks a question during a press conference for Terrence Malick's A Hidden Life at the 72nd edition of the Cannes Film Festival in Cannes, on 20 May, 2019. Photo: Laurent Emmanuel / Afp) © Laurent Emmanuel / Afp
A doyen of French film criticism, the chief editor of Positif magazine and a regular attendee at the Cannes Film Festival, Michel Ciment has died at the age of 85.
Over the decades he lived and breathed cinema either as host of the programme Projection Privée on France Culture (until 2016), or as a lecturer at the University of Paris-V11.
He spent more than 50 years as radio critic for the programme Le Masque Et La Plume on the station France Inter.
In his element at the Arras Film Festival in northern France where he was accorded a Carte Blanche in 2018 in gratitude for his support over the years Photo: Léa Rener
As a member...
A doyen of French film criticism, the chief editor of Positif magazine and a regular attendee at the Cannes Film Festival, Michel Ciment has died at the age of 85.
Over the decades he lived and breathed cinema either as host of the programme Projection Privée on France Culture (until 2016), or as a lecturer at the University of Paris-V11.
He spent more than 50 years as radio critic for the programme Le Masque Et La Plume on the station France Inter.
In his element at the Arras Film Festival in northern France where he was accorded a Carte Blanche in 2018 in gratitude for his support over the years Photo: Léa Rener
As a member...
- 11/14/2023
- by Richard Mowe
- eyeforfilm.co.uk
The longtime chief of Positif film magazine started working there in 1968, and was a passionate advocate of cinema until his death
Michel Ciment, the celebrated French film critic and longtime editor of Positif magazine, has died aged 85. The magazine reported the news on social media, describing him as Positif’s “master architect” after a 60-year career.
Born in Paris in 1938, Ciment fell in love with cinema as a student, and joined Positif in 1968, becoming editorial director in 1973; he said he admired Positif over Cahiers du Cinéma because the magazine was “left wing” and influenced by surrealism. Ciment published a string of books about prominent film directors, including Kazan by Kazan (1973), Conversations with Losey (1979) and Stanley Kubrick (1980).
Michel Ciment, the celebrated French film critic and longtime editor of Positif magazine, has died aged 85. The magazine reported the news on social media, describing him as Positif’s “master architect” after a 60-year career.
Born in Paris in 1938, Ciment fell in love with cinema as a student, and joined Positif in 1968, becoming editorial director in 1973; he said he admired Positif over Cahiers du Cinéma because the magazine was “left wing” and influenced by surrealism. Ciment published a string of books about prominent film directors, including Kazan by Kazan (1973), Conversations with Losey (1979) and Stanley Kubrick (1980).
- 11/14/2023
- by Andrew Pulver
- The Guardian - Film News
French critic and editor Michel Ciment has died at the age of 85. His friend, Sir John Boorman, pays tribute.
Sir John Boorman has got in touch with Film Stories with a tribute he’s written for his friend, the critic and Positif magazine editor Michel Ciment, who sadly passed today at the age of 85.
I learned today about the death of my dear friend Michel Ciment.
Michel attended every festival and passionately defended the films he loved and attacked the ones he didn’t. Michel was one of the group that used to gather on a Sunday morning to decide on the content of the film magazine, Positif.
To say that Michel was passionate about the cinema was to do him an injustice. He lived and ate and dreamed cinema. I’m so sorry for his family but also for myself. I loved him and admired him, he was an original,...
Sir John Boorman has got in touch with Film Stories with a tribute he’s written for his friend, the critic and Positif magazine editor Michel Ciment, who sadly passed today at the age of 85.
I learned today about the death of my dear friend Michel Ciment.
Michel attended every festival and passionately defended the films he loved and attacked the ones he didn’t. Michel was one of the group that used to gather on a Sunday morning to decide on the content of the film magazine, Positif.
To say that Michel was passionate about the cinema was to do him an injustice. He lived and ate and dreamed cinema. I’m so sorry for his family but also for myself. I loved him and admired him, he was an original,...
- 11/14/2023
- by Sir John Boorman
- Film Stories
French critic, historian and author was loyal contributor to Screen’s Cannes jury grid.
Iconic French film critic and historian Michel Ciment has died, his entourage confirmed on Monday evening to French radio station France Inter, home to his world-renowned radio show Le Masque et la Plume since 1970. He was 85.
Born in 1938 in Paris, Ciment devoted his life to cinema and became a pillar of French film criticism and history for more than half a century.
He served as a juror at major festivals including Cannes, Venice, Berlin and Locarno and received numerous French civic honours including the Legion of Honour,...
Iconic French film critic and historian Michel Ciment has died, his entourage confirmed on Monday evening to French radio station France Inter, home to his world-renowned radio show Le Masque et la Plume since 1970. He was 85.
Born in 1938 in Paris, Ciment devoted his life to cinema and became a pillar of French film criticism and history for more than half a century.
He served as a juror at major festivals including Cannes, Venice, Berlin and Locarno and received numerous French civic honours including the Legion of Honour,...
- 11/13/2023
- by Rebecca Leffler
- ScreenDaily
French film critic and historian Michel Ciment, the long-time publishing director of film magazine Positif, has died Monday, French media reported. He was 85.
Ciment first started writing for the Lyon-based magazine in 1963, when he contributed a piece about the cinema of Orson Welles.
The magazine was launched in 1952 shortly after Les Cahiers du Cinéma by Bernard Chardère, who also died this year.
In a talk at Paris’s Forum Des Images in 2022, marking Positif’s 70th anniversary, Ciment recounted how he started reading the magazine in the 1950s as a teenager, while hanging around the Le Minotaure bookshop in the Paris quarter of Saint-Germain-des-Près.
“It was an amazing place where you’d bump into other cinephiles like Jean-Claude Romer, who went on to create [the cinema magazine] Midi Minuit Fantastique,” recounted Ciment.
“There were a lot of people from Les Cahiers and Positif… You couldn’t find the cinema revues in kiosks then.
Ciment first started writing for the Lyon-based magazine in 1963, when he contributed a piece about the cinema of Orson Welles.
The magazine was launched in 1952 shortly after Les Cahiers du Cinéma by Bernard Chardère, who also died this year.
In a talk at Paris’s Forum Des Images in 2022, marking Positif’s 70th anniversary, Ciment recounted how he started reading the magazine in the 1950s as a teenager, while hanging around the Le Minotaure bookshop in the Paris quarter of Saint-Germain-des-Près.
“It was an amazing place where you’d bump into other cinephiles like Jean-Claude Romer, who went on to create [the cinema magazine] Midi Minuit Fantastique,” recounted Ciment.
“There were a lot of people from Les Cahiers and Positif… You couldn’t find the cinema revues in kiosks then.
- 11/13/2023
- by Melanie Goodfellow
- Deadline Film + TV
Alice Rohrwacher’s ’La Chimera’ and Ken Loach’s ’The Old Oak’ were the final two titles to land on the grid.
Aki Kaurismäki’s Fallen Leaves has topped Screen’s 2023 Cannes jury grid with an average score of 3.2, after the final two titles, Alice Rohrwacher’s La Chimera and Ken Loach’s The Old Oak, landed with 2.9 and 2.1, respectively.
See the final jury grid below.
Rohrwacher’s La Chimera saw four critics give the Italian drama a four (excellent) while Die Zeit’s Katja Nicomedus and Postif’s Michel Ciment gave it one (poor). The rest of the...
Aki Kaurismäki’s Fallen Leaves has topped Screen’s 2023 Cannes jury grid with an average score of 3.2, after the final two titles, Alice Rohrwacher’s La Chimera and Ken Loach’s The Old Oak, landed with 2.9 and 2.1, respectively.
See the final jury grid below.
Rohrwacher’s La Chimera saw four critics give the Italian drama a four (excellent) while Die Zeit’s Katja Nicomedus and Postif’s Michel Ciment gave it one (poor). The rest of the...
- 5/27/2023
- by Ellie Calnan
- ScreenDaily
‘Perfect Days’ is on 2.9 so far, while Catherine Breillat’s ‘Last Summer’ managed 2.3.
Wim Wenders’ Perfect Days has made a strong impression on Screen’s Cannes 2023 jury grid, landing with an average of 2.9 (with one score outstanding), while Catherine Breillat’s Last Summer received a 2.3 average from critics.
Perfect Days received four fours (excellent) from Bangkok Post’s Kong Rithdee, Postif’s Michel Ciment, Time Magazine’s Stephanie Zacharek, and filfan.com’s Ahmed Shawky. The German filmmaker’s 10th competition title also scored two threes (good) and five twos (average), while a rating from Die Zeit’s Katja Nicomedus still pending.
Wim Wenders’ Perfect Days has made a strong impression on Screen’s Cannes 2023 jury grid, landing with an average of 2.9 (with one score outstanding), while Catherine Breillat’s Last Summer received a 2.3 average from critics.
Perfect Days received four fours (excellent) from Bangkok Post’s Kong Rithdee, Postif’s Michel Ciment, Time Magazine’s Stephanie Zacharek, and filfan.com’s Ahmed Shawky. The German filmmaker’s 10th competition title also scored two threes (good) and five twos (average), while a rating from Die Zeit’s Katja Nicomedus still pending.
- 5/26/2023
- by Ellie Calnan
- ScreenDaily
New films by Tran Anh Hung and Nanni Moretti take their place on the grid.
Tran Anh Hung’s The Pot-Au-Feu posted a 2.8 average on Screen International’s 2023 Cannes jury grid, whilst Nanni Moretti’s A Brighter Tomorrow landed joint-bottom with 1.3.
Vietnam-born Hung’s seventh feature, his first since 2016’s French family saga Eternity, is a food-themed period romance starring Juliette Binoche and Benoit Magimel as a cook and a gourmet who fall in love.
Click on the jury grid above for the most up-to-date version.
The Pot-Au-Feu scored fours (excellent) from Meduza International’s Anton Dolan, Time Magazine’s Stehanie Zacharek and rogerebert.
Tran Anh Hung’s The Pot-Au-Feu posted a 2.8 average on Screen International’s 2023 Cannes jury grid, whilst Nanni Moretti’s A Brighter Tomorrow landed joint-bottom with 1.3.
Vietnam-born Hung’s seventh feature, his first since 2016’s French family saga Eternity, is a food-themed period romance starring Juliette Binoche and Benoit Magimel as a cook and a gourmet who fall in love.
Click on the jury grid above for the most up-to-date version.
The Pot-Au-Feu scored fours (excellent) from Meduza International’s Anton Dolan, Time Magazine’s Stehanie Zacharek and rogerebert.
- 5/25/2023
- by Orlando Parfitt
- ScreenDaily
‘Asteroid City’ scored 2.2 while ‘Kidnapped’ received 2.5.
Wes Anderson’s ‘Asteroid City’ and Marco Bellocchio’s ‘Kidnapped’ land in the middle of Cannes 2023 jury grid, scoring 2.2 and 2.5 respectively.
Anderson’s third run for the Palme d’Or scored five three stars (good) and four two stars (average) while LA Times’ Justin Chang, Postif’s Michel Ciment and Time Magazine’s Stephanie Zacherek gave it one star (poor).
Click on the jury grid above for the most up-to-date version.
Featuring an A-list ensemble cast including Tom Hanks, Scarlett Johansson and Margot Robbie, Asteroid City is set in a 1950’s US desert town...
Wes Anderson’s ‘Asteroid City’ and Marco Bellocchio’s ‘Kidnapped’ land in the middle of Cannes 2023 jury grid, scoring 2.2 and 2.5 respectively.
Anderson’s third run for the Palme d’Or scored five three stars (good) and four two stars (average) while LA Times’ Justin Chang, Postif’s Michel Ciment and Time Magazine’s Stephanie Zacherek gave it one star (poor).
Click on the jury grid above for the most up-to-date version.
Featuring an A-list ensemble cast including Tom Hanks, Scarlett Johansson and Margot Robbie, Asteroid City is set in a 1950’s US desert town...
- 5/24/2023
- by Ellie Calnan
- ScreenDaily
Aki Kaurismaki’s latest is the new leader on the grid with a 3.2 average.
Aki Kaurismaki’s Fallen Leaves has snatched the top spot on the Cannes jury grid with an average score of 3.2.
The tragicomedy scored four fours (excellent) from Meduza’s Anton Dolin; Postif’s Michel Ciment; Time Magazine’s Stephanie Zacharek; and Roberebert.com’s Ben Kenigsberg. Kaurismäki’s film received a further six threes (good) and two twos (average).
Click on the jury grid above for the most up-to-date version.
Hailing from Finland, Fallen Leaves centres around a shop assistant and alcoholic sandblaster who met one night in Helsinki.
Aki Kaurismaki’s Fallen Leaves has snatched the top spot on the Cannes jury grid with an average score of 3.2.
The tragicomedy scored four fours (excellent) from Meduza’s Anton Dolin; Postif’s Michel Ciment; Time Magazine’s Stephanie Zacharek; and Roberebert.com’s Ben Kenigsberg. Kaurismäki’s film received a further six threes (good) and two twos (average).
Click on the jury grid above for the most up-to-date version.
Hailing from Finland, Fallen Leaves centres around a shop assistant and alcoholic sandblaster who met one night in Helsinki.
- 5/23/2023
- by Ellie Calnan
- ScreenDaily
Documentary about rural Chinese people who move to work in a textile factory is currently on a 2.7 average.
Wang Bing’s documentary Youth (Spring) took the early lead on Screen’s 2023 Cannes jury grid, with a 2.7 average score.
A 212-minute chronicle of the lives of Chinese people who come from rural areas to work in a textile factory near Shanghai, it scored seven threes (good) from our critics, with one four (excellent) from Le Monde’s Clarisse Fabre. Scores of two (average) from The Telegraph’s Robbie Collin and Tim Robey, and Positif’s Michel Ciment, and a one (poor) from filfan.
Wang Bing’s documentary Youth (Spring) took the early lead on Screen’s 2023 Cannes jury grid, with a 2.7 average score.
A 212-minute chronicle of the lives of Chinese people who come from rural areas to work in a textile factory near Shanghai, it scored seven threes (good) from our critics, with one four (excellent) from Le Monde’s Clarisse Fabre. Scores of two (average) from The Telegraph’s Robbie Collin and Tim Robey, and Positif’s Michel Ciment, and a one (poor) from filfan.
- 5/19/2023
- by Orlando Parfitt
- ScreenDaily
Critics this year include LA Times’ Justin Chang, Die Zeit’s Katja Nicodemus, and Positif’s Michel Ciment.
Screen International has revealed its critics for the jury grid that will run throughout the 2023 Cannes Film Festival (May 16-27).
Joining Screen’s reviewing team will be critics from 11 international outlets to give their verdict on the 21 films in Competition this year for the Palme d’Or.
The results will be published in Screen’s Cannes daily magazines and for the first time the grid will also be updated live on screendaily.com.
Egyptian critic Ahmed Shawky joins the Screen jury critics...
Screen International has revealed its critics for the jury grid that will run throughout the 2023 Cannes Film Festival (May 16-27).
Joining Screen’s reviewing team will be critics from 11 international outlets to give their verdict on the 21 films in Competition this year for the Palme d’Or.
The results will be published in Screen’s Cannes daily magazines and for the first time the grid will also be updated live on screendaily.com.
Egyptian critic Ahmed Shawky joins the Screen jury critics...
- 5/16/2023
- by ¬Ella Gauci
- ScreenDaily
A preview of Patrick Boudet’s documentary “Nicole Kidman – Eyes Wide Open,” produced by Valérie Montmartin at Little Big Story and Arte France, generated significant buzz at the Unifrance Rendez-Vous With French Cinema in Paris.
Boudet has written and directed drama and documentaries for France Télévisions, Arte, M6 and radio, and his previous project was TV movie “La Vie de Brian Jones,” about the Rolling Stones guitarist.
“Kidman” weaves together archive shots from the actor’s films and selected interviews with her, including a 2012 audio interview with French film critic Michel Ciment, reinforced by new interviews recorded by Boudet in Los Angeles, New York, London and Paris, with directors Gus van Sant and John Cameron Mitchell, actor Charlotte Lipinska, and Ciment, alongside fellow critics Anna Smith and Variety’s Peter Debruge.
The pic shows how Kidman moved from Australia to Hollywood to escape from the “tall poppy syndrome” that stifles talent.
Boudet has written and directed drama and documentaries for France Télévisions, Arte, M6 and radio, and his previous project was TV movie “La Vie de Brian Jones,” about the Rolling Stones guitarist.
“Kidman” weaves together archive shots from the actor’s films and selected interviews with her, including a 2012 audio interview with French film critic Michel Ciment, reinforced by new interviews recorded by Boudet in Los Angeles, New York, London and Paris, with directors Gus van Sant and John Cameron Mitchell, actor Charlotte Lipinska, and Ciment, alongside fellow critics Anna Smith and Variety’s Peter Debruge.
The pic shows how Kidman moved from Australia to Hollywood to escape from the “tall poppy syndrome” that stifles talent.
- 1/15/2023
- by Martin Dale
- Variety Film + TV
Stanley Kubrick's 1975 epic "Barry Lyndon" is one of the most beautifully photographed movies ever committed to celluloid. The film's cinematographer John Alcott had previously shot "2001: A Space Odyssey" and "A Clockwork Orange" for Kubrick, and would win an Academy Award for his work on "Lyndon." Alcott would also shoot "The Shining," as well as the sleazy but gorgeous-looking B-movies "Terror Train," "Vice Squad," and "The Beastmaster."
The warm, dim, flame-dappled, Vermeer-like shimmer of "Barry Lyndon" came from Kubrick's insistence that the film be shot entirely with natural light. Because the film was set in the 1770s and 1780s, that meant there were to be no electric lights whatsoever. If a scene was set outdoors, the lighting would be dictated by where the sun was -- and what the weather was like -- at time of shooting. Indoor scenes set at night would be lit with nothing less than hundreds and hundreds of candles.
The warm, dim, flame-dappled, Vermeer-like shimmer of "Barry Lyndon" came from Kubrick's insistence that the film be shot entirely with natural light. Because the film was set in the 1770s and 1780s, that meant there were to be no electric lights whatsoever. If a scene was set outdoors, the lighting would be dictated by where the sun was -- and what the weather was like -- at time of shooting. Indoor scenes set at night would be lit with nothing less than hundreds and hundreds of candles.
- 8/29/2022
- by Witney Seibold
- Slash Film
Stanley Kubrick’s contribution to great cinema of the 1970s offers his vision of what an epic should be. Transported by images that recall great paintings of the period, and Kubrick’s new approaches to low-light cinematography, we witness a rogue’s progress through troubled times. And even Ryan O’Neal is good!
Barry Lyndon
Blu-ray
The Criterion Collection 897
1975 / Color / 1:66 widescreen / 185 min. / available through The Criterion Collection / Street Date October 17, 2017 / 39.95
Starring: Ryan O’Neal, Marisa Berenson, Patrick Magee, Hardy Krüger, Steven Berkoff, Gay Hamilton, Marie Kean, Diana Körner, Murray Melvin, Frank Middlemass, André Morell, Arthur O’Sullivan, Godfrey Quigley, Leonard Rossiter, Philip Stone, Leon Vitali Leon Vitali, Wolf Kahler, Ferdy Mayne, George Sewell, Michael Hordern (narrator).
Cinematography: John Alcott
Editor: Tony Lawson
Production design: Ken Adam
Conductor & Musical Adaptor: Leonard Rosenman
Written by Stanley Kubrick from the novel by William Makepeace Thackeray
Produced and Directed by Stanley Kubrick
The...
Barry Lyndon
Blu-ray
The Criterion Collection 897
1975 / Color / 1:66 widescreen / 185 min. / available through The Criterion Collection / Street Date October 17, 2017 / 39.95
Starring: Ryan O’Neal, Marisa Berenson, Patrick Magee, Hardy Krüger, Steven Berkoff, Gay Hamilton, Marie Kean, Diana Körner, Murray Melvin, Frank Middlemass, André Morell, Arthur O’Sullivan, Godfrey Quigley, Leonard Rossiter, Philip Stone, Leon Vitali Leon Vitali, Wolf Kahler, Ferdy Mayne, George Sewell, Michael Hordern (narrator).
Cinematography: John Alcott
Editor: Tony Lawson
Production design: Ken Adam
Conductor & Musical Adaptor: Leonard Rosenman
Written by Stanley Kubrick from the novel by William Makepeace Thackeray
Produced and Directed by Stanley Kubrick
The...
- 10/3/2017
- by Glenn Erickson
- Trailers from Hell
Welcome to the final film of the aesthetically precise, rigorously austere Robert Bresson, an adaptation of a fateful tale by Leo Tolstoy visualized in Bresson’s frequently maddening personal style. An extreme artist makes a fascinatingly unyielding show: as with the classic paintings that Bresson admires, appreciation requires special knowledge.
L’argent
Blu-ray
The Criterion Collection 886
1983 / Color / 1:85 anamorphic 16:9 / 85 min. / Money / Street Date July 11, 2017 / 39.95
Starring: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Báatrice Tabourin, Didier Baussy.
Cinematography: Pasqualino De Santis, Emmanuel Machuel
Production Designer: Pierre Guffroy
Film Editor: Jean-Francois Naudon
Written by Robert Bresson from a short story by Leo Tolstoy
Produced by Antoine Gannagé, Jean-Marc Henchoz, Daniel Toscan du Plantier
Written and Directed by Robert Bresson
Some movies need disclaimers, and many of the pictures of Robert Bresson could use a caption reading, ‘not for beginners.’ Bresson’s filmography includes the spiritually mysterious Diary of a Country Priest...
L’argent
Blu-ray
The Criterion Collection 886
1983 / Color / 1:85 anamorphic 16:9 / 85 min. / Money / Street Date July 11, 2017 / 39.95
Starring: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Báatrice Tabourin, Didier Baussy.
Cinematography: Pasqualino De Santis, Emmanuel Machuel
Production Designer: Pierre Guffroy
Film Editor: Jean-Francois Naudon
Written by Robert Bresson from a short story by Leo Tolstoy
Produced by Antoine Gannagé, Jean-Marc Henchoz, Daniel Toscan du Plantier
Written and Directed by Robert Bresson
Some movies need disclaimers, and many of the pictures of Robert Bresson could use a caption reading, ‘not for beginners.’ Bresson’s filmography includes the spiritually mysterious Diary of a Country Priest...
- 7/1/2017
- by Glenn Erickson
- Trailers from Hell
With all the scores now collected, it’s a dead heat on this year’s grid.
The final results have now been counted for the 2017 edition of Screen’s Cannes jury grid, which aggregates ratings for all of the films in the festival’s competition…and there’s a tie for first place.
Early pace-setter Loveless was matched on the final day by Lynne Ramsay’s You Were Never Really Here, with both films scoring 3.2.
Ramsay’s latest had sat on 3.1 on the previously published edition of the grid, but a final four-star rating from France’s Michel Ciment bumped it up to match Andrey Zvyagintsev’s Loveless.
The films matched each other’s total of five maximum four-star scores, though they were both hampered by one-star ratings from Julien Gester and Didier Peron.
When compared with last year’s Cannes jury grid, the two films would have placed third, behind Paterson...
The final results have now been counted for the 2017 edition of Screen’s Cannes jury grid, which aggregates ratings for all of the films in the festival’s competition…and there’s a tie for first place.
Early pace-setter Loveless was matched on the final day by Lynne Ramsay’s You Were Never Really Here, with both films scoring 3.2.
Ramsay’s latest had sat on 3.1 on the previously published edition of the grid, but a final four-star rating from France’s Michel Ciment bumped it up to match Andrey Zvyagintsev’s Loveless.
The films matched each other’s total of five maximum four-star scores, though they were both hampered by one-star ratings from Julien Gester and Didier Peron.
When compared with last year’s Cannes jury grid, the two films would have placed third, behind Paterson...
- 5/30/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Alfonso Cuarón taught a packed-out masterclass at Cannes yesterday, where the Mexican filmmaker spoke about his beginnings in film, his friendship with Guillermo del Toro and directing “Gravity” and “Harry Potter and the Prisoner of Azkaban.” The conversation, led by French film critic Michel Ciment, was the second of two masterclasses offered at the festival, following the one given by Clint Eastwood last Sunday.
Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
The Academy Award winner spoke about how for him filmmaking started as just a means of survival. “I come from a middle-class family and I grew up at a time when the golden age of cinema was over in Mexico. Cinema was my survival instinct, I needed it. I wouldn’t recommend the path I took to anyone,” he said, according to the official Cannes site.
The writer-director also spoke...
Read More: The 2017 IndieWire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
The Academy Award winner spoke about how for him filmmaking started as just a means of survival. “I come from a middle-class family and I grew up at a time when the golden age of cinema was over in Mexico. Cinema was my survival instinct, I needed it. I wouldn’t recommend the path I took to anyone,” he said, according to the official Cannes site.
The writer-director also spoke...
- 5/25/2017
- by Yoselin Acevedo
- Indiewire
Loveless still reigns atop the 2017 grid.
Day three of Screen’s 2017 Cannes jury grid saw two new entrants clock strong scores, though neither could dethrone table-topper Loveless.
Ruben Ostlund’s The Square scored an impressive eight three-star ratings, and one maximum four-star score from France’s Michel Ciment.
The film’s overall score, 2.7, was restricted by the awarding of an X-rating (zero out of four), from France’s Julien Gester and Didier Peron. It sits joint-second with Todd Haynes’ Wonderstruck.
The day’s other new entrant was Robin Campillo’s Bpm (Beats Per Minute), which clocked 2.5, all from two-star and three-star ratings.
Today’s premieres are Noah Baumbach’s Netflix title The Meyerowitz Stories (New And Selected) and Michel Hazanavicius’ Redoubtable – can either of them dethrone Loveless?...
Day three of Screen’s 2017 Cannes jury grid saw two new entrants clock strong scores, though neither could dethrone table-topper Loveless.
Ruben Ostlund’s The Square scored an impressive eight three-star ratings, and one maximum four-star score from France’s Michel Ciment.
The film’s overall score, 2.7, was restricted by the awarding of an X-rating (zero out of four), from France’s Julien Gester and Didier Peron. It sits joint-second with Todd Haynes’ Wonderstruck.
The day’s other new entrant was Robin Campillo’s Bpm (Beats Per Minute), which clocked 2.5, all from two-star and three-star ratings.
Today’s premieres are Noah Baumbach’s Netflix title The Meyerowitz Stories (New And Selected) and Michel Hazanavicius’ Redoubtable – can either of them dethrone Loveless?...
- 5/21/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
The Criterion Collection will venture to the Zone this July, and much more, as they’ve announced their new titles for the month. Andrei Tarkovsky‘s long-rumored sci-fi masterpiece Stalker will arrive with a new 2K restoration. The release will also include a new interview with author Geoff Dyer and newly translated English subtitles. Also arriving in July is Albert Brooks‘ satirical comedy Lost in America, featuring a new conversation with the director and Robert Weide, as well as interviews with the cast and crew.
One of the most notable releases of the month is Robert Bresson‘s masterful final film L’argent, which tracks a counterfeit bill through Paris, and the people it touches. Lastly, Roberto Rossellini‘s powerful War Trilogy is getting a much-deserved Blu-ray upgrade with new versions of Rome Open City, Paisan, and Germany Year Zero. Check out the high-resolution cover art below and full release details.
One of the most notable releases of the month is Robert Bresson‘s masterful final film L’argent, which tracks a counterfeit bill through Paris, and the people it touches. Lastly, Roberto Rossellini‘s powerful War Trilogy is getting a much-deserved Blu-ray upgrade with new versions of Rome Open City, Paisan, and Germany Year Zero. Check out the high-resolution cover art below and full release details.
- 4/17/2017
- by Jordan Raup
- The Film Stage
While we’ve wrapped up the 2016 Cannes Film Festival with our favorite films and more, cinema’s finest yearly event also honors the legendary filmmakers that help shape the medium. The man of honor at this year’s festival was William Friedkin, who created one of the scariest films of all-time (The Exorcist), did the impossible by proving a remake can work (Sorcerer), put one of the greatest car chases on film (The French Connection), and much more. While at the festival he gave an 80-minute masterclass which touched on virtually all aspects of his career.
“I decided to become a filmmaker at the age of 21, after seeing Citizen Kane,” he says. “I didn’t go to film school. My school was the Nouvelle Vague and Alfred Hitchcock.” He opens about his the first thing he looks for in an actor, only doing one take most of the time, working alongside Harold Pinter,...
“I decided to become a filmmaker at the age of 21, after seeing Citizen Kane,” he says. “I didn’t go to film school. My school was the Nouvelle Vague and Alfred Hitchcock.” He opens about his the first thing he looks for in an actor, only doing one take most of the time, working alongside Harold Pinter,...
- 5/24/2016
- by Jordan Raup
- The Film Stage
Drama starring Adam Driver clocked the second highest score of the year.
On day seven of Cannes Film Festival, Jim Jarmusch’s Adam Driver-starring Paterson scored an impressive 3.5 out of a possible four.
The film scored a remarkable eight top-ratings of four, and was only held back by ratings of one-star and two-stars from France’s Michel Ciment and Julien Gester/Didier Peron.
The other debutant on the Grid was Jeff Nichols’ Loving, which attracted a four-star rating from the Us’s Stephanie Zacharek and a solitary star from Julien Gester/Didier Peron.
Overall, the film aggregated 2.5, placing it middle of the pack.
Marking the halfway point of Screen’s Cannes 2016 Jury Grid - with 10 films now reviewed out of a possible 21 - Cannes is shaping up to be a vintage year, with both Paterson and table-topper Toni Erdmann clocking some of the highest scores recorded.
Click here for Screen’s Cannes Competition blog...
On day seven of Cannes Film Festival, Jim Jarmusch’s Adam Driver-starring Paterson scored an impressive 3.5 out of a possible four.
The film scored a remarkable eight top-ratings of four, and was only held back by ratings of one-star and two-stars from France’s Michel Ciment and Julien Gester/Didier Peron.
The other debutant on the Grid was Jeff Nichols’ Loving, which attracted a four-star rating from the Us’s Stephanie Zacharek and a solitary star from Julien Gester/Didier Peron.
Overall, the film aggregated 2.5, placing it middle of the pack.
Marking the halfway point of Screen’s Cannes 2016 Jury Grid - with 10 films now reviewed out of a possible 21 - Cannes is shaping up to be a vintage year, with both Paterson and table-topper Toni Erdmann clocking some of the highest scores recorded.
Click here for Screen’s Cannes Competition blog...
- 5/17/2016
- ScreenDaily
Neither film managed to top Cristi Piui’s Sieranevada on the second day of the 69th Cannes Film Festival.
On day two of Screen’s Jury Grid at the 69th Cannes Film Festival, new entries Slack Bay and I, Daniel Blake attracted mixed scores from Screen’s critics.
Both films clocked a four-star rating apiece, as well as a ‘no rating’ X - the lowest available.
Ken Loach’s I, Daniel Blake attracted the higher average score, 2.4, particularly impressing the UK’s Nick James. However, it failed to impress France’s Julien Gester and Didier Peron, who awarded it the lowest score.
Bruno Dumont’s Slack Bay, which scored 2.1, impressed France’s Michel Ciment but tanked with the Us’ Manohla Dargis.
Cristi Piui’s Sieranevada continues to reign top with a strong score of 3.
Click here for Screen’s Cannes Competition blog...
On day two of Screen’s Jury Grid at the 69th Cannes Film Festival, new entries Slack Bay and I, Daniel Blake attracted mixed scores from Screen’s critics.
Both films clocked a four-star rating apiece, as well as a ‘no rating’ X - the lowest available.
Ken Loach’s I, Daniel Blake attracted the higher average score, 2.4, particularly impressing the UK’s Nick James. However, it failed to impress France’s Julien Gester and Didier Peron, who awarded it the lowest score.
Bruno Dumont’s Slack Bay, which scored 2.1, impressed France’s Michel Ciment but tanked with the Us’ Manohla Dargis.
Cristi Piui’s Sieranevada continues to reign top with a strong score of 3.
Click here for Screen’s Cannes Competition blog...
- 5/14/2016
- ScreenDaily
Academy Award-winning director William Friedkin will be at the Cannes Film Festival on May 18 to take part in the Cinema Masterclass, hosted by film critic Michel Ciment. Friedkin sat down with Variety at his home in Los Angeles to discuss his experiences at the festival, including when his 2006 film “Bug” won the Fipresci Prize.
Friedkin, who won an Academy Award for directing the 1972 classic “The French Connection,” and was nominated again for 1973’s “The Exorcist,” calls the Cannes crowd “an audience of people who love cinema — not just like to go to the movies.”
Also screening at Cannes this year will be two of Friedkin’s movies, 1977’s “Sorcerer” and 1985’s “To Live and Die in L.A.”
Based on the Georges Arnaud novel “The Wages of Fear,” “Sorcerer” was a flop when it came out, though it has gone on to build a massive following in recent years and a...
Friedkin, who won an Academy Award for directing the 1972 classic “The French Connection,” and was nominated again for 1973’s “The Exorcist,” calls the Cannes crowd “an audience of people who love cinema — not just like to go to the movies.”
Also screening at Cannes this year will be two of Friedkin’s movies, 1977’s “Sorcerer” and 1985’s “To Live and Die in L.A.”
Based on the Georges Arnaud novel “The Wages of Fear,” “Sorcerer” was a flop when it came out, though it has gone on to build a massive following in recent years and a...
- 5/10/2016
- by Jenelle Riley
- Variety Film + TV
Jury members include Justin Chang, Robbie Collin and Manohla Dargis.
Screen International’s jury of critics at this year’s Cannes Film Festival (May 11-22) has been revealed.
Joining Screen International’s team of film critics, led by chief critic Fionnuala Halligan, is the Los Angeles Times’ Justin Chang, The Telegraph’s Robbie Collin, the New York Times’ Manohla Dargis and 10 other critics from around the world.
Michel Ciment, Positif, FranceFabio Ferzetti, Il Messaggero, Italy Kong Rithdee, The Bangkok Post, ThailandJulien Gester/Didier Peron, Liberation, FranceJan Schulz-Ojala, Der Tagespiegel, GermanyManohla Dargis, The New York Times, USStephanie Zacharek, Time Magazine, USJustin Chang, Los Angeles Times, USNick James, Sight & Sound, UKTim Robey/Robbie Collin, The Telegraph, UKAnton Dolin, Afisha Daily, Russia
Each member will review the 21 titles in Competition and assign a score of up to four stars, which are aggregated to crown an overall winner. The results will be published in Screen’s Cannes dailies as well as...
Screen International’s jury of critics at this year’s Cannes Film Festival (May 11-22) has been revealed.
Joining Screen International’s team of film critics, led by chief critic Fionnuala Halligan, is the Los Angeles Times’ Justin Chang, The Telegraph’s Robbie Collin, the New York Times’ Manohla Dargis and 10 other critics from around the world.
Michel Ciment, Positif, FranceFabio Ferzetti, Il Messaggero, Italy Kong Rithdee, The Bangkok Post, ThailandJulien Gester/Didier Peron, Liberation, FranceJan Schulz-Ojala, Der Tagespiegel, GermanyManohla Dargis, The New York Times, USStephanie Zacharek, Time Magazine, USJustin Chang, Los Angeles Times, USNick James, Sight & Sound, UKTim Robey/Robbie Collin, The Telegraph, UKAnton Dolin, Afisha Daily, Russia
Each member will review the 21 titles in Competition and assign a score of up to four stars, which are aggregated to crown an overall winner. The results will be published in Screen’s Cannes dailies as well as...
- 5/5/2016
- ScreenDaily
Section to include world premiere of Bertrand Tavernier doc; a cinema masterclass with William Friedkin and a tribute to documentary giants Raymond Depardon and Frederick Wiseman.
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The revered French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored prints of 20 international classics including rare gems...
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The revered French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored prints of 20 international classics including rare gems...
- 4/20/2016
- ScreenDaily
Section to include a cinema masterclass with William Friedkin, the 70th anniversary of the Fipresci prize, a tribute to documentary giants Raymond Depardon and Frederick Wiseman and the double Palme d’Or of 1966.
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The legendary French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored...
Bertrand Tavernier’s documentary about French cinema Voyage à Travers le Cinéma Français will receive a world premiere at the Cannes Classic section of the Cannes Film Festival (May 11-22).
The legendary French filmmaker has described his latest work as an expression of “gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life.”
Voyage à Travers le Cinéma Français is a Little Bear-Gaumont-Pathé co-production and was made in participation with Canal+, Cine+ and the Sacem, with the support of Région Ile-de-France and Cnc. Gaumont will handle international sales and Pathé have distribution in France. The film will be released in theaters in October 2016.
As in previous years, Cannes Classic will also feature nine documentaries about cinema and restored...
- 4/20/2016
- ScreenDaily
Now that most of the Cannes Film Festival 2016 line-up has been settled when it comes to new premieres, their Cannes Classics sidebar of restored films is not only a treat for those attending, but a hint at what we can expect to arrive at repertory theaters and labels like Criterion in the coming years.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.
Check out the line-up below.
- 4/20/2016
- by Jordan Raup
- The Film Stage
French Connection director highlights “challenging time” for the future of world cinema.
Us director William Friedkin is to deliver the Cinema Masterclass at the 69th Cannes Film Festival (May 11-22). Filmmakers to previously give the masterclass include Martin Scorsese, Nanni Moretti, Wong Kar-wai, Quentin Tarantino, Marco Bellocchio, Philip Kaufman and Jacques Audiard.
Accepting the invitation, the director of The French Connection (1971) and The Exorcist (1973) said: “This is the most challenging time I can recall for the future of world cinema. There are massive changes coming for production and exhibition, more than I’ve experienced in over 50 years.”
He added it would be “an honour to share my thoughts and ideas with an audience at Cannes, the home of world cinema.”
Friedkin, who won the Oscar for Best Director in 1972 for The French Connection, is also known for features including Sorcerer (1977), Cruising (1980), To Live and Die in La (1985), Rampage (1987), The Guardian (1990), Bug (2006) and Killer Joe (2011).
The Masterclass, which...
Us director William Friedkin is to deliver the Cinema Masterclass at the 69th Cannes Film Festival (May 11-22). Filmmakers to previously give the masterclass include Martin Scorsese, Nanni Moretti, Wong Kar-wai, Quentin Tarantino, Marco Bellocchio, Philip Kaufman and Jacques Audiard.
Accepting the invitation, the director of The French Connection (1971) and The Exorcist (1973) said: “This is the most challenging time I can recall for the future of world cinema. There are massive changes coming for production and exhibition, more than I’ve experienced in over 50 years.”
He added it would be “an honour to share my thoughts and ideas with an audience at Cannes, the home of world cinema.”
Friedkin, who won the Oscar for Best Director in 1972 for The French Connection, is also known for features including Sorcerer (1977), Cruising (1980), To Live and Die in La (1985), Rampage (1987), The Guardian (1990), Bug (2006) and Killer Joe (2011).
The Masterclass, which...
- 4/4/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Iconoclastic director William Friedkin will give the cinema masterclass at this year’s Cannes film festival. The Exorcist director follows in the footsteps of Martin Scorsese, Nanni Moretti, Wong Kar-wai and Quentin Tarantino among others. The masterclass will be hosted by film critic Michel Ciment. Friedkin recently published his memoir The Friedkin Connection, the title a nod to his 1971 classic The French Connection, starring Gene Hackman as NY cop Jimmy “Popeye” Doyle…...
- 4/4/2016
- Deadline
The Hollywood Film Awards® was founded in 1997 and honors excellence in filmmaking and traditionally signals the Official Launch of the Award Season®. The HFAs showcase to the public at large previews of quality films released during the calendar year. The first-ever Hollywood Film Awards® gala took place in October 1997 in the historic Blossom Room at the Hollywood Roosevelt Hotel, in Hollywood. Kirk Douglas took home the inaugural “Hollywood Lifetime Achievement Award.” The Hollywood Film Awards launch the awards season. Over the past 18 years, prior honorees have gone on to garner many Oscar nominations and wins. With participating Hollywood insiders, our Advisory Team identifies and selects the recipients of our honors. Our winners are pre-selected to receive our awards. Our selection is based on their outstanding achievement and contribution to the art of cinema. They are not “nominees.” 2014 honorees included some of the biggest names in Hollywood such as Keira Knightley,...
- 10/2/2015
- by HollywoodNews.com
- Hollywoodnews.com
The Hollywood Film Awards honor established Hollywood artists. The criteria for these awards is based on the recipient’s body of work and/or a film that they have coming out this year. These awards are bestowed in all disciplines of filmmaking*: Career, Leadership, Producer, Director, Actor, Actress, Supporting Actor, Supporting Actress, Screenwriter, Cinematographer, Editor, Film Composer, Production Designer, Costume Designer, Animation, and Visual Effects. Our award/tribute recipients are selected by our Advisory Team which is comprised of a cross section of Hollywood professionals. To read more about the Hollywood Film Awards The selection process for our honorees takes multiple elements into consideration and involves attending pre-press private industry screenings, press screenings, festival screenings, and research. It also includes the support and participation of established entertainment industry executives, from agents, critics, directors, managers, producers, publicists, screenwriters and studio execs to members of the craft guilds. With participating Hollywood insiders,...
- 10/2/2015
- by HollywoodNews.com
- Hollywoodnews.com
Screen International’s legendary Cannes Palme D’Or jury swings back into action today, as the 68th festival gets into full swing and the first two films have played out at the Palais Des Festivals.
New jury members this year include Julien Gester and Didier Peron from French powerhouse daily Liberation; Il Messaggero’s Fabio Ferzetti in Italy; Australian critic Paul Byrnes from The Age/Sydney Morning Herald; and Thailand, where the Bangkok Post’s Kong Rithdee will weigh in with his daily verdicts.
They join Kate Muir and Wendy Ide from The Times, London, Nick James from Sight and Sound, stalwart jury member Michel Ciment, of Positif, and Jan Schulz-Ojala of Der Tagesspiegel, Germany.
Their first two sets of scores are from Hirokazu Kore-eda’s Our Little Sister, and Matteo Garrone’s Tale of Tales, and the overall impression is… mixed.
Kore-eda wowed two critics with four palmes each, leaving most others...
New jury members this year include Julien Gester and Didier Peron from French powerhouse daily Liberation; Il Messaggero’s Fabio Ferzetti in Italy; Australian critic Paul Byrnes from The Age/Sydney Morning Herald; and Thailand, where the Bangkok Post’s Kong Rithdee will weigh in with his daily verdicts.
They join Kate Muir and Wendy Ide from The Times, London, Nick James from Sight and Sound, stalwart jury member Michel Ciment, of Positif, and Jan Schulz-Ojala of Der Tagesspiegel, Germany.
Their first two sets of scores are from Hirokazu Kore-eda’s Our Little Sister, and Matteo Garrone’s Tale of Tales, and the overall impression is… mixed.
Kore-eda wowed two critics with four palmes each, leaving most others...
- 5/15/2015
- by halliganfinn@gmail.com (Fionnuala Halligan)
- ScreenDaily
The Criterion Collection refurbishes its previous release of Yasujiro Ozu’s 1962 swan song, An Autumn Afternoon for a new digital restoration Blu-ray transfer. The auteur, often described as the ‘most Japanese’ of directors, is a prominent cinematic figure (which explains his heavy presence in Criterion’s vault), ranking alongside the likes of Akira Kurosawa and Kenji Mizoguchi. Yet Ozu was a much more subtle, even methodical filmmaker in comparison, reveling in the depiction of everyday life acted out amongst traditional (some would say banal) activities, meant to reflect the changing cultural landscapes that often place its inhabitants at uncomfortable odds.
An aging widower, Shuhei Hiroyama (Chishu Ryu) lives with daughter Michiko (Shima Iwashita) and a younger son. Michiko tends to her father and brother, and it seems a happy existence for all, but now at the age of twenty-four, outsiders are beginning to question why her father hasn’t arranged for her to be married.
An aging widower, Shuhei Hiroyama (Chishu Ryu) lives with daughter Michiko (Shima Iwashita) and a younger son. Michiko tends to her father and brother, and it seems a happy existence for all, but now at the age of twenty-four, outsiders are beginning to question why her father hasn’t arranged for her to be married.
- 2/17/2015
- by Nicholas Bell
- IONCINEMA.com
Stars: Sterling Hayden, Coleen Gray, Vince Edwards, Jay C. Flippen, Ted de Corsia, Marie Windsor, Elisha Cook Jr., Joe Sawyer, Timothy Carey, Kola Kwariani, Dorothy Adams | Written and Directed by Stanley Kubrick
It goes without saying that film fans know that Stanley Kubrick was a master of his art. All masters though have a starting point where they were learning and in some respects were yet to evolve into the legends that they would become. With the Arrow Academy release of The Killing on Blu-ray, which also includes Killer’s Kiss we get to see a director who had a vision, but was yet to perfect his style.
The Killing is a heist movie that when it was first released didn’t make that much of an impact, but not surprisingly when it comes to Kubrick’s work has grown to be respected and revered as a true classic of the genre.
It goes without saying that film fans know that Stanley Kubrick was a master of his art. All masters though have a starting point where they were learning and in some respects were yet to evolve into the legends that they would become. With the Arrow Academy release of The Killing on Blu-ray, which also includes Killer’s Kiss we get to see a director who had a vision, but was yet to perfect his style.
The Killing is a heist movie that when it was first released didn’t make that much of an impact, but not surprisingly when it comes to Kubrick’s work has grown to be respected and revered as a true classic of the genre.
- 2/12/2015
- by Paul Metcalf
- Nerdly
Several Italian papers are reporting that Francesco Rosi has passed away at the age of 92. In 2003, Gino Moliterno wrote for Senses of Cinema that Rosi practiced "an intensely-charged, politically-engaged and socially-committed cinema which has quite justly earned him the title of Italy’s cinematic 'poet of civic courage.'" Michel Ciment for Criterion: "With Salvatore Giuliano [1961], Francesco Rosi developed the style and method that would make him, during the 60s and 70s, the greatest political filmmaker of his time." We're collecting remembrances and reviews of Salvatore Giuliano, Hands over the City (1963), The Moment of Truth (1965) and more. » - David Hudson...
- 1/10/2015
- Fandor: Keyframe
Several Italian papers are reporting that Francesco Rosi has passed away at the age of 92. In 2003, Gino Moliterno wrote for Senses of Cinema that Rosi practiced "an intensely-charged, politically-engaged and socially-committed cinema which has quite justly earned him the title of Italy’s cinematic 'poet of civic courage.'" Michel Ciment for Criterion: "With Salvatore Giuliano [1961], Francesco Rosi developed the style and method that would make him, during the 60s and 70s, the greatest political filmmaker of his time." We're collecting remembrances and reviews of Salvatore Giuliano, Hands over the City (1963), The Moment of Truth (1965) and more. » - David Hudson...
- 1/10/2015
- Keyframe
If you're reading this you're likely a fan of the Criterion Collection, which also means as much as you may be interested to know what new titles are coming to the collection in February 2015, if you aren't yet aware, Barnes & Noble is currently having their 50% of Criterion sale right now, click here for more on that. However, if you're already hip to the sale, let's have a look at the new titles that were just announced. The month will begin on February 3 with a new film from Jean-Luc Godard, his 1980 feature Every Man for Himself starring Jacques Dutronc, Nathalie Baye and Isabelle Huppert. It's a film Godard refers to as a second debut and is described as an examination of sexual relationships, in which three protagonists interact in different combinations. The release includes a new high-definition digital restoration, a short video titled Le scenario created by Godard to secure financing for the film,...
- 11/17/2014
- by Brad Brevet
- Rope of Silicon
Today, FilmmakerIQ posted the following snippet of Alex North's original score for Stanley Kubrick's 2001: A Space Odyssey. The score was ultimately rejected and, in the case of the film's opening title sequence, the score was replaced by Richard Strauss's "Also sprach Zarathustra" composed in 1896. There are a couple ways to look and listen to this piece, but I think the best is to consider just how much we're all likely to prefer Kubrick's decision on which music to go with, especially once you you consider the following interview snippet from an interview in which Michel Ciment noted, "You have abandoned original film music in your last three films." Kubrick's response: Exclude a pop music score from what I am about to say. However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less...
- 5/19/2014
- by Brad Brevet
- Rope of Silicon
A resounding flop upon its release, which saw it recut and rereleased as The Big Carnival without any greater success, Criterion remasters Billy Wilder’s Ace in the Hole for Blu-ray with a beautifully packaged presentation. A darkly prophetic nightmare concerning the carnivalesque power of the media, the 1951 feature is decades ahead of its time, and received a resoundingly sour reception upon initial release. Hot off the success from his 1950 hit, Sunset Boulevard, it would take the box office return of 1953’s Stalag 17 to recuperate Wilder’s studio graces.
Alternating between cocksure aggression and derisive self-loathing, smarmy journalist Chuck Tatum (Kirk Douglas) struts into the office of Albuquerque’s local newspaper where he proceeds to demean a Native American employee and a ridicule the secretary fior her framed and self-embroidered mantra, “Tell the Truth.” It’s immediately clear that Tatum considers the local paper something akin to a cess...
Alternating between cocksure aggression and derisive self-loathing, smarmy journalist Chuck Tatum (Kirk Douglas) struts into the office of Albuquerque’s local newspaper where he proceeds to demean a Native American employee and a ridicule the secretary fior her framed and self-embroidered mantra, “Tell the Truth.” It’s immediately clear that Tatum considers the local paper something akin to a cess...
- 5/13/2014
- by Nicholas Bell
- IONCINEMA.com
Blu-ray & DVD Release Date: May 4, 2014
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Kirk Douglas gets the scoop in Ace in the Hole.
Billy Wilder’s (Sabrina) 1951 film noir drama Ace in the Hole is one of the most scathing indictments of American culture ever produced by a Hollywood filmmaker.
Kirk Douglas (Paths of Glory) gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines.
Also starring Jan Sterling and Bob Arthur, Wilder’s follow-up to his ominously alluring Sunset Boulevard is an even darker vision, a no-holds-barred exposé of the American media’s appetite for sensation that has gotten only more relevant with time.
Criterion’s Blu-ray/DVD Combo edition of the movie contains the following features, the bulk of them ported over from...
Price: Blu-ray/DVD Combo $39.95
Studio: Criterion
Kirk Douglas gets the scoop in Ace in the Hole.
Billy Wilder’s (Sabrina) 1951 film noir drama Ace in the Hole is one of the most scathing indictments of American culture ever produced by a Hollywood filmmaker.
Kirk Douglas (Paths of Glory) gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines.
Also starring Jan Sterling and Bob Arthur, Wilder’s follow-up to his ominously alluring Sunset Boulevard is an even darker vision, a no-holds-barred exposé of the American media’s appetite for sensation that has gotten only more relevant with time.
Criterion’s Blu-ray/DVD Combo edition of the movie contains the following features, the bulk of them ported over from...
- 2/25/2014
- by Laurence
- Disc Dish
Veteran French director Alain Resnais’ latest feature Life Of Riley (Aimer, Boire et Chanter) has received the Fipresci International Critics Prize as the Best Film in the 64th Berlinale’s Competition.
The jury of international critics gave their prize for the Best Film in Panorama to Brazilian film-maker Daniel Ribiero’s The Way He Looks.
Ribeiro’s film has been picked up from Films Boutique by Salzgeber & Co. Medien for German theatrical release.
Meanwhile, the Fipresci Prize for the Best Film in Forum was presented to Japanese first-time director Ayumi Sakamoto’s Forma.
A jury statement said: “We admired the film’s minimalism and simple story, which were effective. Forma is well-written, directed and acted.”
It marks the first time a debut feature by a Japanese film-maker has been awarded the Fipresci prize at the Berlinale. Forma will next screen in the Hong Kong International Film Festival’s Young Cinema Competition (March 24 - April 7).
The jury comprised...
The jury of international critics gave their prize for the Best Film in Panorama to Brazilian film-maker Daniel Ribiero’s The Way He Looks.
Ribeiro’s film has been picked up from Films Boutique by Salzgeber & Co. Medien for German theatrical release.
Meanwhile, the Fipresci Prize for the Best Film in Forum was presented to Japanese first-time director Ayumi Sakamoto’s Forma.
A jury statement said: “We admired the film’s minimalism and simple story, which were effective. Forma is well-written, directed and acted.”
It marks the first time a debut feature by a Japanese film-maker has been awarded the Fipresci prize at the Berlinale. Forma will next screen in the Hong Kong International Film Festival’s Young Cinema Competition (March 24 - April 7).
The jury comprised...
- 2/14/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The word revisionism recurs in reassessments of Heaven's Gate. It rightly suggests a new look at American history. It's also used to imply that back in 1980 everyone went along with the viciously hostile reviews handed out to Cimino's liberal masterpiece by the American critics, a flock of sheep driven by a subconscious desire to apologise to Jane Fonda for having admired The Deer Hunter, a film she'd denounced as rightwing and racist. In fact, after the first European screening at Cannes in its truncated form, Positif's Michel Ciment, Nigel Andrews in the Financial Times and I in the Observer immediately recognised its importance. ("The truth is that Heaven's Gate is a damn good western in the politically disenchanted vein of McCabe and Mrs Miller", was my initial verdict.) We continued to champion it.
Like The Godfather, Heaven's Gate, now re-released in the director's cut, is deeply influenced in its stately...
Like The Godfather, Heaven's Gate, now re-released in the director's cut, is deeply influenced in its stately...
- 8/5/2013
- by Philip French
- The Guardian - Film News
He’s one of the greatest filmmakers of all time, so if there’s ever a chance to hear more from Stanley Kubrick about the art of filmmaking then it would be crazy not to listen. An 11-minute interview with Kubrick has surfaced from a conversation he had with French film critic Michel Ciment, in which he specifically discusses “Barry Lyndon,” “The Shining” and “Full Metal Jacket.” You can listen to the interview on the YouTube video below, and it is truly fascinating to hear one of the greats talking about getting the smaller details right in his movies; from costume and lighting (how do you discuss “Barry Lyndon” and not discuss the lighting?), to making a supernatural movie that doesn’t have the artifice associated with the genre. The interview is then brilliantly signed off by Kubrick declaring himself merely an “aesthetic opportunist.” So definitely give this a listen if you get a chance,...
- 3/13/2013
- by Joe Cunningham
- The Playlist
The following is an introduction to a new edition of Anthony Burgess's "A Clockwork Orange" [W.W. Norton, $24.95] written by Andrew Biswell. The piece sheds light on the enduring legacy of the novel, and the various dystopian works that influenced Burgess's writing. Biswell also discusses Burgess's (often clever) responses to the novel's adaptation, and ideas for adaptations that never came to fruition:
In 1994, less than a year after Anthony Burgess had died at the age of seventy-six, BBC Scotland commissioned the novelist William Boyd to write a radio play in celebration of his life and work. This was broadcast during the Edinburgh Festival on 21 August 1994, along with a concert performance of Burgess’s music and a recording of his Glasgow Overture. The programme was called "An Airful of Burgess," with the actor John Sessions playing the parts of both Burgess and his fictional alter ego, the poet F. X. Enderby. On the same day,...
In 1994, less than a year after Anthony Burgess had died at the age of seventy-six, BBC Scotland commissioned the novelist William Boyd to write a radio play in celebration of his life and work. This was broadcast during the Edinburgh Festival on 21 August 1994, along with a concert performance of Burgess’s music and a recording of his Glasgow Overture. The programme was called "An Airful of Burgess," with the actor John Sessions playing the parts of both Burgess and his fictional alter ego, the poet F. X. Enderby. On the same day,...
- 9/25/2012
- by Madeleine Crum
- Huffington Post
Starting July 13th and running through September 2nd, prepare yourself to be transported to a summer vacation in France. All you have to do is check in at Tiff Cinematheque (350 King Street West, Toronto).
The 41-film sabbatical will make take you to popular and renowned destinations that include Jean-Luc Godard’s Pierrot le Fou (1965), Luis Buñuel’s Belle de Jour (1967), François Truffaut’s The 400 Blows (1959), and Jean Renoir’s La Grande Illusion (1937).
We’ll even be making stops at more remote, recherché locations, such as Jean Eustache’s The Mother and the Whore (1973) and Jean-Pierre Melville’s Army of Shadows (1969).
Remember to pack lightly, re-schedule accordingly, and prepare for the ultimate staycation. Bon voyage!
Screenings include:
La Grand Illusion (1937)
Friday July 13 at 6:00 Pm
Sunday July 22 at 7:30 Pm
117 minutes
Heralded as “one of the fifty best films in the history of cinema” by Time Out Film Guide, Jean Renoir...
The 41-film sabbatical will make take you to popular and renowned destinations that include Jean-Luc Godard’s Pierrot le Fou (1965), Luis Buñuel’s Belle de Jour (1967), François Truffaut’s The 400 Blows (1959), and Jean Renoir’s La Grande Illusion (1937).
We’ll even be making stops at more remote, recherché locations, such as Jean Eustache’s The Mother and the Whore (1973) and Jean-Pierre Melville’s Army of Shadows (1969).
Remember to pack lightly, re-schedule accordingly, and prepare for the ultimate staycation. Bon voyage!
Screenings include:
La Grand Illusion (1937)
Friday July 13 at 6:00 Pm
Sunday July 22 at 7:30 Pm
117 minutes
Heralded as “one of the fifty best films in the history of cinema” by Time Out Film Guide, Jean Renoir...
- 7/2/2012
- by Justin Li
- SoundOnSight
I spent my Friday afternoon at Cannes in a master class with legendary director Philip Kaufman ("The Unbearable Lightness of Being"). During the master class, French film critic Michel Ciment asked provocative questions, guiding Kaufman through his body of work. Clips were shown from a selection of his works including, "Goldstein," "The Great Northfield Minnesota Raid," The Wanderers," "Henry & June," and "Quills." Nicole Kidman and Clive Owen, who star in his new film "Hemingway & Gellhorn," were in attendance.Speaking about casting actors, especially those that are not well known, Kaufaman said you just "perceive something that tells you 'this man is great.'""Now, we were shooting a low budget film (“The Great Northfield Minnesota Raid”) for well under a million dollars up in Oregon during a rainy season, so we had no time for a rehearsal really," Kaufman explains. "[Robert Duvall] had read the script. I liked him. I was...
- 5/27/2012
- by help@backstage.com (Emily Cegielski)
- backstage.com
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