1-20 of 56 items from 2015 « Prev | Next »
In today's roundup: A conversation about films by—and recommended by—Pedro Costa; the work of Gena Rowlands, film by film; Nelson George on Samba Gadjigo and Jason Silverman's documentary about Ousmane Sembene; an appreciation of Satyajit Ray; Aki Kaurismäki Day at DC's; interviews with Abbas Kiarostami and Sean Baker; a new book on Dario Argento's Suspiria; a call to save Anne Carlisle and Slava Tsukerman's Liquid Sky; fashion by Kenneth Anger; Illeana Douglas on Robert De Niro; and Francesca Coppola's Jonny Come Lately, featuring Deragh Campbell, Kentucker Audley and Evan Louison, has premiered online at Filmmaker (18'43"). » - David Hudson »
This interview was originally published online by Sight & Sound. It is being re-published on the Notebook in conjunction with Albert Serra's Story of My Death playing on Mubi in most countries in the world through December 14, 2015.If new movie masterpieces are proclaimed at each and every major film festival each and every year, the notable absence of adventurous, exciting and otherwise transgressive cinema amongst those lauded should inspire us to question not only the terms we use to describe films but also the standards to which we hold them.Catalan filmmaker Albert Serra, a transcendental minimalist who wields his camera like only a handful of fellow feature-film digital adventurers – among them Pedro Costa, David Lynch and Michael Mann – is one of the few who produces work that truly creates a new encounter with the audience. His radically stripped-down, voluptuously shaggy adaptations of canonical writing – Cervantes in Honour of the Knights »
- Daniel Kasman
Chis Marker's Chat écoutant la musiqueThere are dog people and there are cat people, this we know, and there are even people who claim to be of both—though latent sympathies remain unspoken, like with a parent and which child is their favorite. With the Vienna Film Festival welcoming me with a tumbling collection of dog and cat short films spanning cinema's history—the Austrian Film Museum, an essential destination each year collaborating with the Viennale, is hosting a “a brief zoology of cinema” throughout the festivities—it is clear that filmmakers, too, have their preference. Silent cinema decidedly prefers the more easily trained and exhibited canine, with 1907’s surreal favorite Les chiens savants as a certain kind of cruel pinnacle. For the cats, Chris Marker, already the presiding figure over so much in 20th century art, I think we can easily claim is the cine-laureate. One need not know »
- Daniel Kasman
Reverse Shot opens its tenth annual Halloween series with a piece on Robert Eggers's The Witch. Also in today's roundup: The New Yorker and n+1 on Joshua Oppenheimer's The Act of Killing and The Look of Silence, Farran Smith Nehme on a dual biography of Marlene Dietrich and Leni Riefenstahl, Richard Elfman on his cult classic Forbidden Zone, an interview with Pedro Costa, an audiovisual essay on Chantal Akerman’s Almayer’s Folly, plus early word that Edgar Wright may direct Johnny Depp in a story by Neil Gaiman, while George Clooney may take on a screenplay written by Joel Coen and Ethan Coen. » - David Hudson »
In today's roundup: Essays on Krzysztof Kieslowski's Blind Chance, Martin Scorsese's Goodfellas, Nicholas Roeg's The Man Who Fell to Earth, Bob Rafelson's Five Easy Pieces, Wim Wenders's A Trick of the Light and actresses Rafaela Ottiano and Marceline Day; interviews with Pedro Costa (Horse Money) and John Magary (The Mend); the new trailer for Adam McKay's The Big Short, based on the book by Michael Lewis and starring Christian Bale, Steve Carrell, Ryan Gosling and Brad Pitt; and Clint Eastwood may lure Doris Day back in front of a camera. » - David Hudson »
A retrospective of films by Jean-Marie Straub and Danièle Huillet is heading to New York's MoMA next spring. Also in today's roundup: J. Hoberman on Sidney Lumet’s Daniel and Costa-Gavras’s The Confession, Nick Pinkerton on Pedro Costa's Horse Money, Uncle John producer and co-writer Erik Crary on his years as an assistant to David Lynch, Erik Morse's interview with Mélanie Laurent and Anne-Sophie Brasme (Breathe), Valerie Grove on a new biography of Maggie Smith, Adrian Curry on posters for movies by Vittorio De Sica, Lodge Kerrigan in New York, Agnès Varda in Chicago—and more. » - David Hudson »
Pedro Costa’s latest is the dreamlike parable of a man dwelling on the haunting scenes of his past
The charismatic Ventura, star of 2006’s Colossal Youth, unites once again with writer/director Pedro Costa in this enigmatic parable of poverty, politics and persistence. Apparently playing a version of himself, Ventura drifts through disparate periods of his life – from the 19-year-old Cape Verdean immigrant picked up by the Portuguese revolutionary army in the 70s to the 60-year-old now wandering the corridors of what may be a hospital or a cavernous dungeon.
An inky blackness fills the screen from which faces, fingers and bodies emerge, evoking a netherworld between the here and the hereafter. Perhaps Ventura is a ghost, his life as yet unlived, his past and future indistinguishable. In one scene, he is caught in an elevator with a stone soldier, a living sculpture of the 1974 “carnation revolution”, who speaks »
- Mark Kermode
★★★★☆ Since as far back as his third feature, 1997's Ossos, the work of auteur Pedro Costa has frequently explored the troubled Lisbon district of Fontainhas. In a loose trilogy he has chronicled the existential wanderings of impoverished immigrants, most recently in Colossal Youth (2006), which focused on the Cape Verdean Ventura. Costa is once again the subject of the director's latest film, Horse Money (2014), which moves at a brisker pace than previous outings but is unlikely to convert disbelievers. It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal and won the Best Director prize at last year's Locarno Film Festival.
- CineVue UK
Portuguese film-maker Pedro Costa makes challenging, uncompromising films, yet his artistry always commands attention
When Tate Modern in London had its 2009 retrospective for the Portuguese film-maker Pedro Costa, I wrote that he was the Samuel Beckett of world cinema. And like Beckett, his later work only gets more difficult, more stark, more austere. Another comparison now comes to mind. Polish stage director Jerzy Grotowski wrote about a “poor theatre”, theatre stripped down to physical essentials. Maybe Costa is creating a “poor cinema”. Horse Money is an extension, of sorts, to his film Colossal Youth (2006). Again, it is an opaque and challenging work, an elusive still-life evocation of Lisbon’s now vanished ghetto-district Fontainhas. Again it features a real-life resident: Ventura, a grizzled old man with calm and impassive divinity.
Continue reading »
- Peter Bradshaw
Going UNDERGROUNDEverybody and their dog, it seems, feels this off imperative to try to identify common themes in the handful of festival films they (we) (I) see in a given year. It's the Ghost of Hegel, I suppose, demanding that we make sense of our times by referring to some Zeitgeist. (Zeitgeist? Isn't this just as likely to Strand the FilmsWeLike in some oh-so-precious Music Box, to be unearthed years later by members of some as-yet-unassembled Cinema Guild? But I digress.) There may or may not be tendencies running through this year's feature selections, and if there are, that could have as much to do with the people who selected them than with any global mood. But there does seem to be a generalized turning-inward, with filmmakers making works about themselves and their immediate lives, the cinematic process, and the very complexities of communicating with other human beings. There are »
- Michael Sicinski
With the dreamlike film Horse Money, Costa has returned to his most powerful and enduring subject: the Cape Verdean diaspora who inhabit Lisbon’s shadows. He explains how the project began as a collaboration with the Us rapper and poet
In the world of independent film, nothing comes cheaper than talk of going guerrilla, of doing it all outside the system on minimal budgets. But Pedro Costa is one film-maker who can genuinely claim to do things differently. The Guardian’s Peter Bradshaw once described the Portuguese director as “the Samuel Beckett of cinema” – which certainly honours the austerity of Costa’s vision. But you could also call him cinema’s Vincent van Gogh – an artist who has turned his back on the worldlier ways of film to find an intense, troubling poetry in urban life at its most disadvantaged.
Costa’s new film Horse Money is his latest to »
- Jonathan Romney
Read More: Watch: Alex Ross Perry Drives Elisabeth Moss Insane in 'Queen of Earth' Trailer The stars are currently aligning auspiciously for Katherine Waterston, who quickly supplements her attention-grabbing performance as the not-so-missing person in Paul Thomas Anderson's "Inherent Vice" with a startlingly impressive co-lead turn opposite small-screen favorite Elisabeth Moss in Alex Ross Perry's "Queen of Earth". The fourth feature from the Pennsylvanian writer-director -- whose Sundance-premiered "Listen Up Philip" nabbed the runner-up prize (splitting Lav Diaz and Pedro Costa, no less) at Locarno last August -- this janglingly unsettling, darkly comic psychological drama proved to be the hottest ticket at the Berlin International Film Festival's parallel Forum section. With Perry confirmed as a critically-lauded leading light among younger U.S. indie filmmakers, the enigmatically-titled "Queen of Earth" can expect plentiful festival »
- Neil Young
Lovers of "Marnie," Alfred Hitchcock's 1964 psychosexual pas de deux with Tippi Hedren that placed weirdly high on a recent BBC critics' poll of the best movies ever, are in for a treat at this year's Vienna fest. The quintessential Hitchcock blonde gets her very own tribute, titled Choreography of Desire, including screenings of that film, "The Birds" and her recently re-released film maudit "Roar," co-starring her daughter Melanie Griffith. Read More: 'Citizen Kane' Still the Best American Movie Ever, According to BBC Critics Poll The now-unspooling Viennale lineup also includes an ode to late filmmaker Manoel de Oliveira, who died this year at age 106, presented by fellow Portuguese auteur Pedro Costa. Highlights of the feature film lineup include Sundance titles "Diary of a Teenage Girl," "Dope," "End of the Tour" and "Tangerine," as well as other festival faves such as Alex Ross Perry's "Queen of »
- Ryan Lattanzio
They're calling it a "Preview," but what the Vienna International Film Festival has unveiled today looks to be pretty much the bulk of its lineup for its 2015 edition. Tippi Hedren will be on hand for a screening of Alfred Hitchcock's The Birds. Other highlights include Pedro Costa's tribute to Manoel de Oliveira, special programs dedicated to Raúl Perrone and Federico Veiroj, documentaries by Thom Andersen, Les Blank, Adam Curtis and Frederick Wiseman, new features by Woody Allen, Corneliu Porumboiu, Hou Hsiao-Hsien, Apichatpong Weerasethakul, Sean Baker, Alex Ross Perry, Britni West and more. » - David Hudson »
In other news: Doc Alliance winner revealed; Viennale boss signs to 2018; update to reports of Tunisian filmmakers pulling titles.
UK sales company Film Republic has picked up international sales for Brazilian director José Pedro Goulart’s feature debut Point Zero (Ponto Zero) - one of the films presented in Locarno’s Carte Blanche showcase dedicated to Brazil last year.
The co-production between Porto Alegre-based Minima and Okna Producoes centres on one fateful night when a young boy, faced with many challenges at home and in school, has to learn to grow up very quickly after stealing his violent father’s car to find a call girl whose number he found of the windscreen.
Film Republic’s managing director Xavier Henry-Rashid is in Locarno this week for the international premire at the independent Critics’ Week of Karolina Bielawska’s award-winning Polish documentary Call Me Marianna.
He is also handling two Swiss titles:
Claudia Lorenz’s first feature What’s »
- firstname.lastname@example.org (Martin Blaney)
Interview has posted its 1972 conversation with Warren Beatty, who, at the time, was working on George McGovern's presidential campaign. More interviews: David Simon on The Wire, Treme and his forthcoming series, Show Me a Hero; William Friedkin on the 70s; Pedro Costa discusses Horse Money and the late Gil-Scott Heron; Jem Cohen explains why his new film, Counting, isn't all that different from Museum Hours; Rick Alverson on testing audience's patience with The Comedy and Entertainment; James Ponsoldt defends The End of the Tour; Greta Gerwig on Frances Ha and Mistress America; and The Believer's interview with Amber Tamblyn. » - David Hudson »
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Ace Hotel has several amazing photos by Stefanie Zoche and Sabine Haubitz of movie theatres in India. It sure makes us wish our neighborhood multiplex gave a damn about conjuring excitement for going out to the movies.We love Hou Hsiao Hsien's The Assassin, but it undoubtedly a difficult film to market. Most trailers have tried to pass of this contemplative drama as an action movie, but the above trailer gets the closest, so far, to the tone of the entire film.Speaking of trailers, we don't know what to say or think about the one for Michael Bay's 13 Hours: The Secret Soldiers of Benghazi, which seems to be combining the lean look of his great Pain & Gain with the "seriousness" of Pearl Harbor and his gross, overall »
In 1997, Pedro Costa (above), at the age of 38, began a trilogy exploring Portugal's impoverished, an undertaking that would continuously draw raves from the more erudite critics around the world. First came Ossos, which was pursued by In Vanda's Room (2000) and Colossal Youth (2006). These films, often showcasing the same characters, are sublimely visual, meditative masterworks that paint within shadows the seemingly plotless lives of the drug-addled inhabitants of a ghetto that is slowly being dismantled.
The Film Society of Lincoln Center last week had a retrospective of these early works plus other tidbits of Costa's oeuvre, a sort of celluloid foreplay leading to the release of Costa's latest effort, Horse Money. The accompanying press release for this tribute notes that "Costa is now widely regarded as one of the most important artists on the international film scene," and the Film Society's Director of Programming, Dennis Lim, added, "Simply put, nobody makes »
- Brandon Judell
Hey, it's Stanley Kubrick's birthday. As it happens, the BFI has just posted an edited extract from the introduction to the new collection, Stanley Kubrick: New Perspectives. Also in today's roundup: Madison Brookshire on Josef von Sternberg and Jack Smith by way of Gilles Deleuze; interviews with Pedro Costa (conducted by David Barker and Matthew Porterfield), Bruno Dumont, Barbara Kopple, Paul Schrader and "illustrator, concept artist and visual futurist" Syd Mead; Anna Shechtman on James Ponsoldt's The End of the Tour and the David Foster Wallace Industry; news of Fatih Akin's next project; and remembering producer Pierre Cottrell. » - David Hudson »
After a lengthy absence from the slums of Fontainhas, the physical setting of his trilogy on impoverished marginalized humanity personified by Cape Verdean immigrants —"Ossos" (1997), "In Vanda's Room" (2000), "Colossal Youth" (2006)— Portuguese filmmaker Pedro Costa returns with "Horse Money." We re-connect with Ventura, the window to the souls of 'youth,' who appears physically and psychologically drained since we've last seen him, resting peacefully on Vanda's bed. The familiarity of the setting, Ventura's screen presence as magnanimous and magnetic as ever, and Costa's pictorial mise-en-scène, are stalwart reminders of the same universe. But something is undeniably, remarkably and a touch frighteningly different in the air. "Horse Money" is situated on some metaphysical plane, twice removed from the ramshackle physicality of its three predecessors, but through Ventura, newcomer Vitalina, a stupendous musical montage and a »
- Nikola Grozdanovic
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