1-20 of 90 items from 2014 « Prev | Next »
The titles have started to roll in for 2015's editions of Sundance and Rotterdam—we've got all the developments covered here and here.
Above: a new trailer for Inherent Vice. If that's not enough, here are 6 clips from the film for your enjoyment. For his blog, David Bordwell argues that "visual storytelling is seldom purely visual":
"...film needs both sound and more impalpable factors—context, familiar situations, genre conventions—to work. And those factors in turn depend on our knowledge of conceptual structures (schemas) that the film prompts us to lock in. As usual, narrative movies provide the audience an instruction kit, coaxing us to apply our knowledge to a fresh instance. In other words, the eye is part of the brain."
There's a new issue online at desistfilm featuring an interview with the late Peter Von Bagh, a feature on Jeanne Liotta, a discussion about screen formats, and more. »
Where to begin? This past few days saw an influx of "Best of" lists, which will probably continue until and beyond year's end. Let's kick it off with Cahiers du Cinéma's Top Ten:
1. Li'l Quinquin (Bruno Dumont)
5. The Wind Rises (Hayao Miyazaki)
6. Nymphomaniac (Lars Von Trier)
10. Our Sunhi (Hong Sangsoo)
6. The Grand Budapest Hotel (Wes Anderson)
7. Winter Sleep (Nuri Bilge Ceylan)
8. The Tribe (Myroslav Slaboshpytskiy)
See the rest here. »
Quickly becoming one of the under-the-radar critical darlings of the year, Portuguese director Pedro Costa’s latest film Horse Money has finally released a trailer following its screenings at Locarno, Toronto, and New York film festivals. Horse Money is a blend of documentary and drama utilizing Costa’s signature dingy static shots of poverty and underdeveloped regions in Lisbon. Although any hint of a narrative is missing from this elliptical trailer highlighting the film’s distinct visual style above all.
Read our review of Horse Money from Nyff, listen to the Sordid Cinema podcast discussing the film and read our interview with Costa himself. And watch the trailer below:
- Brian Welk
Anyone familiar with minimalist and truly independent Portuguese director Pedro Costa’s work will not be surprised by the unconventional style of the trailer for his latest seamless mix of documentary and drama, “Horse Money." Consisting entirely of high contrast static shots of poor and disenfranchised immigrants living in the Fontainhas area in Lisbon, the trailer doesn’t give a single hint regarding any possible narrative content, not that we should hold out much hope that there will be any. Newcomers might be taken back by Costa’s approach, but for his fans it will more than likely feel like returning home (read our review). This is the fourth feature by Costa taking place in Fontainhas, and his use of static, documentary-style shots bathed in bright light and the darkest of dark is his calling card. Yet he’s still not a director who can be easily pigeonholed into a predictable, »
- Oktay Ege Kozak
Chris Rock's been on a tear, giving one excellent interview after another all last week. More recent interviewees: Béla Tarr, cinematographer Fred Kelemen and composer/actor Mihály Víg; Olivia de Havilland on Gone With the Wind; Im Kwon-taek, who's made 102 films; John Boorman, who thinks he may have one more film in him; Liv Ullmann on working with Jessica Chastain, Colin Farrell and Samantha Morton; Jennifer Kent, whose The Babadook William Friedkin has declared is the most terrifying film he's ever seen; and interviews on video with Pedro Costa and Koji Fukada. » - David Hudson »
Whilst wading through Cph:dox’s mammoth non-fiction programme, I was oddly reminded of a line from one of the those well-thumbed works on documentary film you’re forced to read in college. In his Introduction to Documentary, one of Bill Nichols’ many attempts to define the slippery term is to say that, “Documentaries are what the organisations and institutions that produce them make.” Quite apart from Cph:dox’s own increasingly active role as a producer, it seems at once entirely appropriate and entirely banal to bring this perfectly circular adage to bear on a festival that carries the D-word in its very name: if a film showing at a documentary film festival is by definition a documentary film, how does it behave as such? Yet all banality aside, using the concept of the “documentary” in the capacity of a self-evident reading aid offers as good a way as any of »
- James Lattimer
As we head into December, year-end articles are already starting to appear around the web, and while you’ll have to wait a little longer to check out We Got This Covered’s own coverage, the revered Sight & Sound is getting a head-start, having just unveiled its top 20 films of the year.
112 Sight & Sound contributors and colleagues collaborated to put together the list, which includes a mix of familiar titles, like Alejandro González Iñárritu’s Birdman and Richard Linklater’s list-topping Boyhood, and unfamiliar ones, like Portugese director Pedro Costa’s Horse Money and Argentine filmmaker Lisandro Alonso’s Jaujau. Some of you may raise your eyebrows at the inclusion of Martin Scorsese’s The Wolf of Wall Street, which arrived stateside last year, but Sight & Sound is a U.K. publication and the film was released earlier this year across the pond.
Sight & Sound ended up with multiple ties in its list, »
- Isaac Feldberg
Mar Del Plata, Argentina – Huseyin Karabey’s “Come to My Voice” topped the 29th Mar del Plata Fest on Saturday night, winning the Golden Astor for best film in International Competition. Karabey accepted the award from Paul Schrader, International Competition president.
Elsewhere, top plaudits in major sections had the virtue of shining a light on titles that threaten, like “Voice,” to be lost in the big festival title surfeit at a festival which, with hiked attendance, classy international guest master classes, federal government backing, stable management and dates pushed back to just before Buenos Aires’ Ventana Sur, has laid the foundations for further growth in the future.
Framed in a bard’s song and set in a Kurdish village, “Voice” tells a Kafkaesque tale of an ageing woman and young granddaughter forced to come up wuth non-existent guns that they can turn into Turkish authorities in the hope of freeing »
- John Hopewell and Anna Marie de la Fuente
The 2014 best-of-the-year lists have begun rolling in. I've seen Ann Hornaday at The Washington Post speak up (props for the "Edge of Tomorrow" inclusion) and Sight & Sound's annual poll has just landed as well. The critics phase of awards season has commenced. Let's start with Sight & Sound's list, keeping in mind that international release dates apply: 1. "Boyhood" (Richard Linklater) 2. "Goodbye to Language 3D" (Jean-Luc Godard) = 3. "Leviathan" (Andrey Zvyagintsev) = 3. "Horse Money" (Pedro Costa) 5. "Under the Skin" (Jonathan Glazer) 6. "The Grand Budapest Hotel" (Wes Anderson) 7. "Winter Sleep" (Nuri Bilge Ceylan) 8. "The Tribe" (Myroslav Slaboshpytskiy) = 9. "Ida" (Pawel Pawlikowski) = 9. "Jauja" (Lisandro Alonso) = 11. "Mr. Turner" (Mike Leigh) = 11. "National Gallery" (Frederick Wiseman) = 11. "The Wolf of Wall Street" (Martin Scorsese) = 11. "Whiplash" (Damien Chazelle) 15. "The Duke of Burgundy" (Peter Strickland) = 16. "Birdman" (Alejandro G. Iñárritu) = 16. "Two Days, One Night" (Jean-Pierre and Luc Dardenne) = 18. "Citizenfour" (Laura Poitros) = 18. "The Look of Silence" (Joshua Oppenheimer) = 18. "The Wind Rises" (Hayao Miyazaki) Singular as always. »
- Kristopher Tapley
Richard Linklater's Boyhood tops Sight & Sound's poll of "112 of our international contributors and colleagues." Also making the cut are Jean-Luc Godard's Adieu au langage, Andrey Zvyagintsev's Leviathan, Pedro Costa's Horse Money, Jonathan Glazer's Under the Skin, Wes Anderson's The Grand Budapest Hotel, Nuri Bilge Ceylan's Winter Sleep, Miroslav Slaboshpitsky's The Tribe, Pawel Pawlikowski's Ida, Lisandro Alonso's Jauja, Mike Leigh's Mr. Turner, Frederick Wiseman's National Gallery, Damien Chazelle's Whiplash, Peter Strickland's The Duke of Burgundy, Laura Poitras's Citizenfour, Joshua Oppenheimer's The Look of Silence and more—twenty in all. » - David Hudson »
Mar Del Plata – FiGa/Br, the Brazilian sales division of L.A.-based sales-distribution-production company FiGa Films, has clinched its first sales on Gabriel Mascaro’s “August Winds,” which world premiered at Locarno Fest and plays in International Competition at Argentina’s Mar del Plata.
In early trading, Ivan Granovsky’s Kommander Distribution has picked up Argentine rights, while Nitrato Filmes has closed for Portugal. Given “August Winds” Licorne d’Or best film win at France’s Amiens Fest last weekend, which comes with prize money for French distribution, France could well be the next territory to close, Figa Films partner Sandro Fiorin said at Mar del Plata, where he is a Work in Progress jury member.
Produced and co-written by Rachel Ellis at Recife-based Desvia Films, and set on Brazil’s North East coast, “August Winds” marks the narrative feature debut of Gabriel Moscaro, a distinguished documentary filmmaker best known for “Housemaids, »
- John Hopewell
Some things don’t change. Graced by Viggo Mortensen and Paul Schrader, the International Competition jury prexy, Argentina’s 29th Mar del Plata Festival will bow Nov. 22 with Abel Ferrara’s “Pasolini.”
Its choice as Mar del Plata’s opening night movie is pretty well a declaration of principles that Latin America’s only “A” grade festival will go on through thick and thin – and, with only 29 editions in 60 years, there’s been much of both – to forefront latest titles from and here even about heavyweight auteurs.
That is not necessary If Variety’s reviewers are to go by, 2014 in general has caught some of the great auteurs in world cinema at the top of their game. If Cannes Festival sales had any narrative this year, it was how fast its big art film winners sold – think “Leviathan,” “Winter Sleep” – compared to bigger budget U.S. indie projects.
Adding cache »
- John Hopewell
Winners also include E-Team and Olmo & The Seagull.
The winners were announced at Cph:dox tonight in Copenhagen’s lavish Hotel D’Angleterre hotel, followed by a party at the Royal Academy of Fine Arts.
They said in a statement: “This film is an act of research, digging into recent but clouded history, a philosophical meditation on memory and crime. We honor this work of art that, above all else, manages to break the silence.”
The other prizes were:
Special Mention to: In the country by Anders Jedenfors
- firstname.lastname@example.org (Wendy Mitchell)
This year's poster for the Vienna International Film Festival is of a flame, and while around the world in other cinema-loving cities and at other cinema-loving festivals one might that that as a cue for a celluloid immolation and a move forever to digital, here in Austria cinema and film as film aren't burning up but rather are burning brightly.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new. »
- Daniel Kasman
We've gathered a second round of reviews of Pedro Costa's Cavalo Dinheiro (Horse Money). "This film feels like a formidable work—but it resists immediate 'assimilation' and 'critical processing,'" writes Girish Shambu. "Every image here is majestic, unhurried, stone-like: with a silent weight… In the next ten films I see after I’ve seen a Costa film, I think I am unconsciously more sensitive to the sculptural possibilities of cinema, the way light occupies, models, shows and hides a given space—and it was true here too." » - David Hudson »
‘The Hospital Suite’ – John Porcellino Seeks the Cure to What Ails Him
John Porcellino is an alternative comics artist who has been drawing his signature series, King-Cat Comics & Stories for 74 issues across four decades and several Us states. Since the late 1980s, Porcellino has performed in several bands, run a record label and produced numerous comics and zines. In addition to running his Spit & a Half Distribution company, comics have proven to be his one enduring passion. Porcellino, who recently took a nationwide victory lap to celebrate the 25th Anniversary of King-Cat, has also seen the publication of several collected works, (King-Cat Classix, Map of my Heart, Diary of a Mosquito Abatement Man, to name a few)… click here to read the full article.
’21 Years: Richard Linklater’ is more entertaining than must-see
Most filmgoers don’t know Richard Linklater’s name but his effect »
Pedro Costa’s new film, Horse Money, represents a return to familiar ground for the portuguese filmmaker. Between arthouse and documentary filmmaking, Pedro Costa is celebrated everywhere around the world but in his own country . His peculiar and unconventional style of filmmaking is focused on phantasmagoric characters embedded in beautiful framed compositions of light, perspective and form. Each frame could easily be turned into a painting full of visual contrast, warmth and textures.
In our conversation with Costa he talked about the stagnation and cloistering Portugal as a society without any sense of sociological reality since the coming of the 20th century. That since the 1900s the country has closed itself off and isolated itself from foreign realities: the consequences have crippled the nation. Costa discusses the sad state of European cinema, defined by a few choice auteurs and ultimately threatened due to austerity measures and unfavorable political landscapes. He is referring, »
- Francisco Peres
In today's roundup of news and views: Michael McGriff and J.M. Tyree discuss their new book, Our Secret Life in the Movies; Geoffrey O’Brien on Jean-Luc Godard and Adieu au langage; Richard Linklater interviews Wes Anderson; Twitch interviews Pedro Costa and Variety talks with Nuri Bilge Ceylan; Steve Erickson on John Cassavetes; Thomas Beard on Derek Jarman; rare films by Andy Warhol are screening in New York; Matthew McConaughey turns 45; and Darren Aronofsky will preside over the Berlinale Jury in February. » - David Hudson »
It was a very special occasion for me to talk to Portuguese filmmaker Pedro Costa. He is one of the last rock stars in directing today, a maverick in the tradition of a craft orientated directing style but like with the great filmmakers of former times his films are still full of poetry and personality. His latest film Horse Money was screened at the Viennale and it is a beautiful work of tense tenderness and vibrating observations. As a young cinephile I could not help to imagine an interview with one of my big idols (though I only had 30 minutes before the next one came in) as my personal Peter Bogdanovich meets John Ford, François Truffaut meets Alfred Hitchcock or Olivier Assayas meets Ingmar...
[Read the whole post on twitchfilm.com...]
Boardwalk Empire, Ep. 5.08: “Eldorado” leaves only the dust and ash of regret
That it seemed obvious for the series’ finale to send Nucky out was a bit of a given, considering the telegraphed nature of the flashback conceit which had been building for the entirety of this season. There were glimpses of hope, and chances for atonement but the clock had already run out by the time Nucky took his final stroll down the boardwalk…. click here to read the article.
‘Neverending Nightmares’ is truly neverending
Based on designer Matt Gilgenbach’s battle with obsessive-compulsive disorder and depression, Neverending Nightmares is a psychological horror game that amplifies feelings of unease through repetition in a minimalist setting. Personally, this was the most difficult game for me to finish because of the content. There were several moments when I just had to stop and seriously question whether or not I could feasibly finish the game. »
1-20 of 90 items from 2014 « Prev | Next »
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