13 items from 2013
Italy/West Germany, 1968
In Nick Pinkerton’s signing off for his review of The Chronicle of Anna Magdalena Bach in Reverse Shot, he wishes “…[it] long may continue to send Matrix-weaned mouth-breathers screaming from film classes, wondering what they’ve gotten themselves into.” It’s the mental image many hardcore cineastes latch onto — of minimalist auteur vision as temporal torture to the modern viewer. The upper echelon is dominated by the sessions of marathoning explorations into time, beginning with many of Warhol’s experiments (Sleep, Empire) and culminating in such recent works as Tarr’s Sátángtangó, Wang Bing’s Tie Xi Qu: West of the Tracks, and most of Lav Diaz’s oeuvre: films that also serve as medals of experience to the cinephiles who grip their seats tightly enough to earn their bragging rights, if »
- Zach Lewis
Selection includes competition titles, a focus on Southeast Asia and a ‘Top 10’ compiled by director Rithy Panh.
The selection for the 26th Idfa (International Documentary Film Festival Amsterdam) has been unveiled and includes 288 titles – selected from more than 3,000 submissions – of which 100 will receive their world premiere during the festival (Nov 20 – Dec 1).
There will be a strand dedicated to documentaries from Southeast Asia titled Emerging Voices from Southeast Asia.
This year’s Idfa Top 10 is compiled by Cambodian director Rithy Panh, and a retrospective of his work will be screening at the festival.
Panh, whose doc The Missing Picture won the Un Certain Regard strand at Cannes in May, has selected:
Wang Bing (Hong Kong/France, 2012)Don’t Look Back
Georges Rouquier (France, 1946)The Football Incident
Mikheil Kalatozishvili (Cuba/Russia, 1964)In Vanda’s Room
Pedro Costa (Portugal, 2000)A Man Vanishes »
- email@example.com (Michael Rosser)
Legendary enfant maudit Jean-Luc Godard, Portugal’s national treasure Pedro Costa (Ne Change Rien) and the new generation of female auteurs in Ursula Meier and Aida Begic (Snow) will be a part of the fourteen filmmakers who’ll contribute short docus, essay and fiction films as part of Sarajevo-themed omnibus called Les Ponts de Sarajevo. Meier, the director behind Critics’ Week selected Home, and Sisters starring Lea Seydoux (read our review) told Screen Daily that she’ll be shooting with Bosnian actors in Sarajevo in two weeks’ time at the end of the Sarajevo Film Festival.
Gist: The project which will will be part of a week-long event from June 21-28, 2014, titled “Sarajevo: Coeur de L’Europe”, will mark next year’s centenary of the First World War.
Worth Noting: Details are non-existent, but Pedro Costa’s next film (set for release in 2014) is called Horse Money.
Do We Care? »
- Eric Lavallee
Speaking exclusively to ScreenDaily in Locarno, Meier - who has become known to international festival and cinema audiences through her last two features Home and Sister - confirmed that she and 83-year-old Godard will be making short films for the omnibus project Les Ponts de Sarajevo.
The omnibus will be coordinated by Paris-based production house Cinétévé.
The film will be part of a week-long event from June 21-28, 2014, titled “Sarajevo: Coeur de L’Europe”, organised in collaboration with the City of Sarajevo, the Sarajevo Film Festival, Jazzfest Sarajevo, Centre André Malraux, Goethe-Institut and the British Council.
“Most of the contributions will be documentary or essay-type films, but I am one of a couple of film-makers who will be making a fiction film,” Meier explained »
- firstname.lastname@example.org (Martin Blaney)
As reported yesterday, the Toronto International Film Festival has begun unveiling its 2013 lineup, beginning with Gala and Special Presentations. An exciting heads-up and major opportunity for young filmmakers: Tribeca Film Festival is collaborating with the Imagination Series: Film Competition for a filmmaking contest in which screenwriters and directors pitch their conceptual take on a short script by Geoffrey Fletcher (Precious). Five ideas will be produced, and the resulting films will be shown at the 2014 Tribeca Film Festival. With a chance to write and direct an instant-entry at Tribeca, the contest catch phrase makes it sound almost too easy: "No experience required. Just imagination." Lumière is soon to be releasing their 6th issue in print (check the Table of Contents here). Online you can find a piece on Gregory J. Markopoulos by our own David Phelps, as well as a conversation with Nathaniel Dorsky conducted by Francisco Algarín Navarro and »
- Adam Cook
Film Forum's 2012 William Wellman retrospective brought new and much-needed critical attention to a director best remembered today for a small handful of the 80 or so films he made between 1920 and 1958, including Wings (1927), The Public Enemy (1931), A Star is Born (1937), Beau Geste (1939), and The Ox-Bow Incident (1943). Despite the relatively strong reputations of those films, Wellman has often been overlooked in critical discussions of Hollywood auteurs. In fact, a collection of essays that grew out of the retrospective, William A. Wellman: A Dossier, edited by Gina Telaroli and David Phelps, is the closest thing to a book-length study of Wellman currently available. After reading through much of the Dossier, I was encouraged to give Wellman a serious look myself, and this formal analysis is a small effort to continue the momentum of Telaroli's and Phelps's work.
Made just a few months apart and packaged conveniently on the same disc of TCM’s Forbidden Hollywood Collection, »
- Darren Hughes
The northern Portugal town of Guimarães might not seem as fitting a subject for a portmanteau film tribute as its more metropolitan brethren (Paris, je t'aime; New York, I Love You; Tokyo!), but what better way to showcase last year's European Capital of Culture than with a rich, artful quartet of shorts mirroring the diverse idiosyncrasies of four significant auteurs. Predictably deadpan, Finland's Aki Kaurismäki offers a witty, wordless day in the life of a lowly "Tavern Man," starring Ilkka Koivula as a big dreamer with little café-biz savvy. Aggressively formal and likely to alienate anyone without sufficient knowledge of the country's 1974 revolution, Pedro Costa's "Sweet Exorcism" is a sociopolitical ghost story, of sorts, as »
★★★☆☆ The critical success last year of Miguel Gomes' Tabu (2012) and fresh appreciation for the works of Pedro Costa and Raoul Ruiz has seen Portuguese cinema quietly re-introducing itself on the festival circuit. Continuing this trend, João Pedro Rodrigues and João Rui Guerra da Mata's The Last Time I Saw Macao (2012) opens with a magnificent dance routine set in front of caged tigers, before venturing down a rather more ambiguous course. The last Chinese outpost to be handed back to its owners, Macao was previously a Portuguese administrative region. Once a gateway to the East, it's now a monument to the West.
Our window into this world is Guerra da Mata, a former resident who's returning to his homeland in response to a letter of distress he receives from an old friend, Candy - who may have been involved in a murder. Drenched in memories and past regrets, his »
- CineVue UK
Peter Debruge: Even without Lars von Trier’s “Nymphomaniac” in competition, it was a pervy, provocative year for Cannes, which awarded its top prize to Abdellatif Kechiche’s “Blue is the Warmest Color” — a blue movie, in the old-fashioned sense, and one of two films in this year’s fest (the other being Steven Soderbergh’s Liberace biopic, “Behind the Candelabra”) where underage gay characters are seduced and abandoned by more seasoned same-sex lovers.
It’s a long, literal-minded coming-of-age/coming-out tale whose extended unsimulated sex scenes seem to have delighted straight film critics, vocally gaga just a few days earlier over Francois Ozon’s teen-hooker romp “Young & Beautiful.” Sexual provocation seems too easy these days, and watching Kechiche’s all-in-closeup character portrait, I was left craving the laser insight of Asghar Farhadi’s “The Past,” which strips its characters on an emotional level instead.
Scott Foundas: I was glad »
- Scott Foundas, Justin Chang and Peter Debruge
Portuguese maestro Pedro Costa came to the UK at the beginning of October, 2012. He initially arrived in Cambridge University for a screening of the sublime In Vanda's Room, then he traveled down to the capital to take part in a pair of Q&As following presentations of the newly remastered Second Run DVD release of Casa De Lava and a 35mm print of Ne change rien. As Ne change rien played, I sat and waited with Costa in the bar of London's Ica cinema and, with a tape rolling on the table, we started to talk.
David Jenkins: How does the projection look?
Pedro Costa: It's great. It must be the projectionist. The sound and the image are perfectly balanced. The other day I got hold of the first Dcp of Historic Centre and the girl who screened our test was the popcorn girl. Which is okay, but. »
- David Jenkins
Below you will find our total coverage of the 2012 International Film Festival Rotterdam by Daniel Kasman.
Above: Jean-Claude Brisseau's La fille de nulle part.
Two as One as Many
Of Cinema, Pixels and Chinese Warfare
On Mary Helena Clark's Orpheus (Outtakes), Makino Takashi's 2012, and Johnnie To's Drug War
Graf Attack!: or The Possibility Space (The Cinema of Dominik Graf)
On Dominik Graf, including Die Katze (1988), Spieler (1990), Der Fahnder: Nachtwache (1990/1993], Die Sieger (1994), Denk ich an Deutschland - Das Wispern im Berg der Dinge (1997), München - Geheimnisse einer Stadt (2002), Der Felsen (2002), Die Freunde der Freunde (2002), Hotte im Paradies »
By my first afternoon in Rotterdam I had found an image that positively vibrated out of the screen at me. A dark doorway, seen obliquely in an empty frame, contained by stolid, lifeless rural architecture, cloaked in a miasma conjured from a combination of haze, a fogged lens, old film stock, and blown out whites from an open aperture. It is from Letter, a short work, not so much a documentary but a fragment drawn carefully and gently into immanence by Sergei Loznitsa, conjured from footage he shot, the program notes tell me, over ten years ago “at a psychiatric institution in a forgotten corner of Russia.” But even with no text or voice over to place and set this artifact resurrected (or projected), and a soundtrack achingly follied and sneakily dubbed, the sense of lostness, malady and asynchronicity is prevalent. Some persons, mostly old and bumbling, pursue the frame »
- Daniel Kasman
La Furia Umana's first print issue (their 15th online) is now shipping all over the world. Much of the content is available online (excluded are 24 "love letters" from filmmakers to their favorite artists), but we're excited to get our hands on this nearly 300-page tome. Among the table of contents: a handful of pieces on Roberto Rossellini including one by Toshi Fujiwara on Voyage to Italy, Celluloid Liberation Front provides one article among several on Joseph H. Lewis, Emmanuel Herbulot on the intersection between Michelangelo Antonioni and Edward Ruscha, a selection of reviews (which I'm proud to be a part of), and far too much more to mention here. More from Berlin: news of their "Forum Expanded" section, which includes various exhibits by visiting artists, including one by Verena Paravel & Lucien Castaing-Taylor, which leads into our next piece of news... Cinema Scope unveiled their top ten of 2012, topped by Paravel and Castaing-Taylor's Leviathan. »
- Adam Cook
13 items from 2013
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