1-20 of 79 items from 2014 « Prev | Next »
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. »
This week on Sordid Cinema, we review John Wick, a violent, stylish B-movie that serves as a satisfying return to action for Keanu Reeves. For those who crave no-holds barred action, this may be what you are looking for. Also on the agenda is Pedro Costa’s Horse Money, Gregg Araki’s White Bird in a Blizzard and the critically acclaimed Image comic from writer Scott Snyder, Wytches. Joining us is guest Kate Rennebohm.
“Think” – Kaleida
“Break Science” – Brain Reaction (feat. Redman and Lettuce)
Please give us a rating on Itunes. It would be very much appreciated!
Listen on iTunes
Like us on Facebook
Follow Ricky on Twitter
Follow Simon on Twitter
Follow us on Tumblr
Subscribe to our RSS Feed
Hear the show on Stitcher Smart Radio
You can now hear our podcast on Stitcher Smart Radio.
Stitcher allows you to listen to your favorite shows directly from your iPhone, »
- Sordid Cinema Podcast
For the second time this year, my festival coverage is interrupted by an uncomfortable abscess on my tail-bone. It is not a particularly serious condition but it is very painful, in particular when I sit down. The only position that is remotely comfortable is lying on my stomach, which is not very conducive to the festival experience. I was speaking with my friend about it, and they told me “when the body is sick, sometimes it’s trying to communicate something to you”. I guess that means my body would rather I be the subject of a David Cronenberg body horror than watch one. Luckily people have been helpful and supportive and I still have access to a number of films, I’m just a little more sluggish than normal. Instead of fitting in my writing between screenings and after late nights of partying, I’m writing between doctor’s visits and periods of recovery. »
- Justine Smith
Cph:dox has announced its 2014 programme including more than 200 documentaries from around the world.
Laura Poitras will serve as guest curator, working on the surveillance-themed programme Astro Noise, who will also screen (in competition) her new film Citizenfour about Nsa whistleblower Edward Snowden.
There are four world premieres in the main Dox:award competition (full list at end of story).
An art film programme will include a special focus on Keren Cytter.
This year the festival launches a new festival format called Megatrends, which includes the surveillance programme as well as focuses on technology, the economy, inequality, and Africa.
The festival’s new ambitions this year also include screenings in the whole capital region, with Dox:on:tour. As previously reported, the festival’s opening film 1989 by Anders Østergaard will not only be screened in the Dr Concert Hall in Copenhagen, but also simultaneously in theatres across the country, and in more than ten different countries in Europe.
The investigative »
- email@example.com (Wendy Mitchell)
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
Horse Money is astonishingly beautiful in its visual poetry! Pedro Costa, who wanted to capture the life in Lisbon's ghetto area called Fontainhas in the late 90s, made a beautiful film called Bones (Ossos). During the shoot, he saw much beauty in the place and got to know its poor, working class, immigrant inhabitants. He decided to immerse himself in their lives, abandoning his huge 35mm film equipment, elaborate lighting setups and a big crew and started documenting their lives with small video camera. The experience bore him two more extraordinary films, In Vanda's Room and Colossal Youth, starring the inhabitants of the slum, which are remarkably immersive fictional films bordering on documentary territory. The three films became later known as The Fontainhas Trilogy. Fontainhas has since...
[Read the whole post on twitchfilm.com...]
There is a special place in cinema heaven for the likes of Locarno programmer Mark Peranson, Tiff programmer Andréa Picard and The Cinema Guild’s Ryan Krivoshey. With their acerbic tastes in slow auteur cinema and form-bending non-fiction, after having been showcased in the Wavelengths section (joining the ranks of previously picked up Lisandro Alonso’s Jauja and Matias Pineiro’s The Princess of France), The Cinema Guild have completed the trifecta in acquiring their third Tiff-nyff item in Pedro Costa’s Horse Money. The Locarno Film Fest winner for Best Director will open theatrically in 2015.
Gist: While the young captains lead the revolution in the streets, the people of Fontainhas search for Ventura, lost in the woods.
Worth Noting: Costa has his share of supporters: Criterion packaged “Ossos” (1997), “In Vanda’s Room” (2000) and a seminal film in the decade of the naughts in 2006′s Colossal Youth. Cinema Guild landed »
- Eric Lavallee
Horse Money (pictured) premiered in Locarno where it won the best director prize after screening in Toronto.
Costa’s story follows the lives of Cape Verdean immigrants in a grim Lisbon neighbourhood haunted by a dark past.
Ryan Krivoshey of Cinema Guild brokered the deal with Costa on behalf of Sociedade Optica Tecnica Optec Lda.
Horse Money will open theatrically in 2015.
RADiUS has acquired Us rights to Heaven Knows What ahead of its screening at the New York Film Festival on October 2. Josh and Benny Safdie’s film received its world premiere in Venice and follows a heroin addict in love in the streets on New York. Arielle Holmes stars and the film is based on her upcoming memoir. Caleb Landry-Jones also stars. RADiUS negotiated »
- firstname.lastname@example.org (Jeremy Kay)
London — The St. Petersburg Intl. Media Forum launched Wednesday with a lineup of screenings spread across 10 programs, each curated by a leading Russian film critic.
Catherine Mtsitouridze, Spimf’s concept creator and general producer, said that the curators of programs had enjoyed complete freedom during the selection process.
“For the film selection for the Media Forum, it was essential to ensure 100% freedom of expression for the curators, our friends and like-minded fellows. Trust is the key success factor in our work,” she said.
The Mamentum section features four films by French directors that appeared at Cannes: Olivier Assayas’ “Clouds of Sils Maria,” Francois Ozon’s “The New Girlfriend,” Bertrand Bonello’s “Saint Laurent” and Benoit Jacquot’s “Three Hearts.”
The section’s curator, Alexander Mamontov, commented: “Our »
- Leo Barraclough
From Tiff's Wavelengths: It happened that Jordan spotlighted three features (Horse Money by Pedro Costa; From What Is Before by Lav Diaz; and Episode of the Sea by Lonnie van Brummelen and Siebren de Haan ) while I picked three shorts (The Innocents by Jean-Paul Kelly; Detour de Force by Rebecca Baron; and Sea of Vapors by Sylvia Schedelbauer). While many of these films, particularly the shorts, have slim prospects for playing theatrically in most locations, it is well worth keeping track to see if they may pop up in a repertory theater, microcinema or film festival near you. >> - Kevin B. Lee »
Written and directed by Pedro Costa
Horse Money is an elusive entity, a picture of eerie dreamscapes and squalid urban degradation devoid of earthly logic. Our unknowing guide is a retired brick layer named Ventura, acting as a cipher for the displaced souls of the Cape Verdean immigrants, consorting us through a saprogenic world. Director Pedro Costa crafts a hallucinatory, soul-searching labyrinth out of the squalor and grime of the Lisbon slums, known to locals as Fontainhas. It’s almost soporific in its unending calmness, but it (mostly) avoids pretensions. Ventura drifts in a solipsistic daze through various scenes of displaced landscape and artifice. He does various non-activities with unvarying detachment: he meets his estranged ex-wife, and tries to make a call on a broken phone, and uses a urinal in a derelict bathroom, and visits a doctor. Each event is visually striking, yet completely uneventful (though »
- Greg Cwik
The New York Film Festival kicks off this evening, though not with Mike Leigh’s Mr. Turner (that comes next weekend), even though I couldn’t resist leading off this year’s round-up with this glorious sunburst of a poster for that film’s German release.
Keyart doesn’t seem to have been created yet for some of the newest films like Paul Thomas Anderson’s Inherent Vice, Mia Hansen-Løve’s Eden, the Safdies’ Heaven Knows What, Pedro Costa’s Horse Money, Eugene Green’s La Sapienza, Nick Broomfield’s Tales of the Grim Sleeper, and Oren Moverman’s Time Out of Mind, but I have managed to find posters for the other 23 films in the Main Slate of the Festival. Some are repeats from my Cannes Competition round-up earlier this year, though I have tried to find newer designs if possible (like that striking Saint Laurent). Posters are presented »
- Adrian Curry
1-20 of 79 items from 2014 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners