14 items from 2015
Above: the 2015 Crossroads Film Festival kicks off on Friday, April 10th, and features Paul Clipson's Hypnosis Display with a live soundtrack by Grouper. Check out the rest of the amazing lineup here. Like everyone, we're devastated that David Lynch will not be directing the Twin Peaks revival season after all. Above: the latest issue of La Furia Umana is online now and includes an intriguing survey of "What's (Not) Cinema Becoming?"From the new issue of The Brooklyn Rail: pieces on Tsai Ming-liang's Rebels of the Neon God, J.P. Sniadecki's The Iron Ministry, and an interview with Xin Zhou.For Cinema Scope, Jordan Cronk writes on this year's True/False Film Festival. There are two incredible websites for you to browse from La Cinématheque Francaise: one on Pier Paolo Pasolini, and one on Michelangelo Antonioni. For his blog Following Film, Christoph Huber writes on "The Siodmak Variations": »
Beginning April 10, i.e. this weekend, Agnès Varda will accompany a three-night film series at the Egyptian Theatre, hosted by the American Cinematheque. She will give a talk with her son, actor Mathieu Demy, on Friday between screenings of "From Here to There" — her docu-series that features fellow filmmakers including the late Chris Marker, Manoel de Oliveira and Jacques Demy (who was her husband) — and her 1988 "Jane B. for Agnès V." The Varda series also brings "Kung-Fu Master!," starring a young Charlotte Gainsbourg and Demy, on Saturday, April 11 and the inimitable "Cleo From 5 to 7" to the Egyptian on Sunday, April 12. (More info here.) Already underway is Also Like Life, a major retrospective of Hou Hsiao-Hsien. On April 18, check out the Taiwanese auteur's 1989 "The Puppetmaster" at UCLA. The series continues, in collaboration with the UCLA Film and Television Archive., at downtown La's Redcat »
- Ryan Lattanzio
The unresolvable tension between logic and feeling animates Eugene Green’s “La Sapienza,” an exquisite rumination on life, love and art that tickles the heart and mind in equal measure. The fifth feature by the American-born, Paris-based Green, “La Sapienza” compromises none of the filmmaker’s willful esoterica as it charts the intersecting fates of four present-day characters transformed by the work of two 17th century artistic giants — the Swiss-Italian architect Francesco Borromini and the French playwright Moliere. But with its surplus of sun-drenched Italian vistas and soul-stirring architectural wonders, Green’s latest also offers a marketable art-house hook — which helps to explain why it has been the most widely seen movie of his career on the festival circuit, and the first to garner a commercial American release (via Kino Lorber). Audiences queuing up will discover one of the most original voices in French cinema in full, beguiling bloom.
The 67-year-old Green, »
- Scott Foundas
In this week's episode, Kohn and Thompson debate the merits (or lack thereof) in "Fast 7," which leads to a broader discussion of studio movies and the tendency for Hollywood to hire young indie directors. They also speculate about the upcoming Cannes Film Festival lineup. Further reading on topics from this week's episode: Disney Goes Indie with Alex Ross Perry Take on Live-Action 'Winnie the Pooh' Why Manoel de Oliveira Was More than Just the World's Oldest Filmmaker 5 Ways for Cannes to Improve Its Old-Fashioned Lineup, Plus Top Contender Lists Screen Talk is available on iTunes. You can subscribe here or via RSS. Share your feedback with Thompson and Kohn on Twitter or sound off in the comments. Browse previous installments here, review the show on iTunes and be sure to let us know if you'd like to hear the hosts address specific issues in upcoming editions of Screen Talk. »
Manoel de Oliveira, the oldest living director, died Thursday at the age of 106. The Portuguese filmmaker spanned the history of cinema, as he began in the silent era as an actor in the 1920s and crafted such documentary shorts as “Douro, Working River” (1931) before moving into feature filmmaking in the 1940s. Twice the Venice Film Festival awarded him Special Golden Lions (1985 and 2004) for his subversive films whose satires and re-workings of literary classics including "Madame Bovary" and "Faust" subjected him to harsh censorship. He came into his own in his 60s after the 1970 fall of the repressive regime in Portugal. He became a regular on the film festival circuit, screening 11 films at Cannes starting in 1981, five in Competition, and won the Jury prize for "A Carta" in 1999. In 2008 he accepted the Cannes Palme d'Or for his body of work. The filmmaker was notorious for his plain, unadorned, simple style, dominated by long, »
- Anne Thompson and Ryan Lattanzio
Manoel de Oliveira, Portugal director, dead at 106. Rip Proud to be Portuguese . Director Manoel de Oliveira was born on December 11, 1908 in Oporto, Portugal, as Manoel Candido Pinto de Oliveira. He was a director and writer, known for To Each His Own Cinema (2007), Eccentricities of a Blonde-haired Girl (2009) and I’m Going Home (2001). He was married to Maria Isabel Brandão de Meneses de Almeida Carvalhais. He died on April 2, 2015 in Oporto. »
Peter Bradshaw salutes the Portuguese film-maker whose death at 106 robs cinema of an auteur who never stopped pursuing ideas
The first time I laid eyes on Manoel de Oliveira would have been way back in 1999; he was just 90 years old. It was at the Cannes film festival, where he was presenting his film, The Letter, in competition. The great man was announced by name as he entered the Grand Théâtre Lumière with his équipe for the official black-tie gala — part of the festival’s auteurist tradition. I craned my neck to get a glimpse of this near-legendary director. Would he be a tiny, wizened figure, dwarfed by the tanned Eurotrashy demi-monde that always seems to collect at Cannes occasions like these? Would he walk with a stick? In a wheelchair? Prostrate on a gurney with a nurse in tow?
Not a bit of it. De Oliveira was bald, tanned, vigorous-looking »
- Peter Bradshaw
Manoel de Oliveira's film career took off when most filmmakers start winding down. The Portuguese filmmaker, who died this week at 106 — several years after he was widely deemed the world's oldest living director — had only two features to his name when he was 55, but completed nearly 30 by the time he made his Cannes premiere at the age of 102. Read More: R.I.P. Manoel de Oliveira (1908-2015) Despite his late start, however, Oliveira embodied cinematic progress with a breadth that matched his age, acting in silent films in the early thirties and enduring censorship laws that prohibited his filmmaking career from making much progress until the end of Antonio de Oliveira Salazar's dictatorship. In the '70s, Oliveira made a string of well-received adaptations, focusing on the work of several Portuguese authors. His ambition increased during the eighties with a seven-hour adaptation of Paul Claudel's play "The Satin Slipper, »
- Eric Kohn
Manoel De Oliveira, the Portugese filmmaker who for so many years appeared to defy the laws of gravity and physics, has died at the age of. At 106 he was, by some measure, the world’s oldest active filmmaker, working up until last year when his final film, The Old Man Of Belem, premiered at the Venice Film Festival. Born in 1908, De Oliveira’s productivity — he directed 29 films in all — is remarkable given he had only made two films by the time he was 55. The latter half… »
The Satin Slipper Film director Manoel de Oliveira has died at the age of 106.
Manoel de Oliveira with his Berlinale Camera award in 2009 Photo: Volkmar Otto/Courtesy of Berlinale The Portugese filmmaker directed his first film - a silent documentary - Labour On The Douro River back in 1931 and went on to make more than 50 movies during his 84-year career. He is unusual in that the freqeuncy of his work increased markedly once he reached his 70s - largely because he faced censorship and a lack of funding during the dictatorship of Antonio Salazar for 30 years. He continued to work until last year, directing at least three films after he notched up his century.
He vied for the Palme d'Or at Cannes five times and was awarded an honorary Palme in 2008 for "blending aesthetic contemplation and technological innovations". Oliveira, who was a strong French speaker and made several films in French, »
- Amber Wilkinson
"There is no secret – it is work! It is doing something, it is a natural impulsion," Manoel de Oliveira once answered when asked about what keeps him going. "You see, nature has given man hunger and this forces him to work, otherwise he wouldn’t do anything. We all get hungry, no matter what age you are. Therefore the elderly are not distinguished from the young because they are both hungry. Standing still is to die; that is the point. The worst thing would be to do nothing, to be scared of acting. It would be a mistake to stand still, to not try something.” And while the director sadly passed away today at the age of 106 years-old, he never for a moment stopped doing what he loved. The Portuguese director had spent over eight decades making films, starting with documentaries before moving into features. Some of his early works weren't well received, »
- Kevin Jagernauth
Manoel de Oliveira, the oldest living active filmmaker, with a career that spanned nine decades from the silent era to the present, has died. He was 106. News of Oliveira’s death was confirmed on the website for the city of Porto, Portugal, where the director was born in 1908.
As impressive as his longevity was, Oliveira is most highly regarded as the dean of Portuguese cinema and the filmmaker most responsible for heightening the prestige of his country’s film culture on the world stage.
His work drew considerable accolades — he received no fewer than 12 career achievement prizes from major film festivals, including a career Venice Golden Lion and a special jury prize (for 1991’s “The Divine Comedy”) as well as a Cannes jury prize for his 1999 film “The Letter” — but distribution of Oliveira’s films, especially in the U.S., was relatively limited given his well-honed practice of adapting highly literary texts, »
- Robert Koehler
Manoel de Oliveira, a celebrated Portuguese movie director believed to be the world's oldest filmmaker, has died, authorities said. He was 106. The city council of Porto, where Oliveira was born and lived, announced his death Thursday on its website. It did not provide further details. Portuguese Prime Minister Pedro Passos Coelho said in a statement that Oliveira "was a central figure in the international projection of Portuguese cinema and, through films, of Portuguese culture and its vitality." President Anibal Cavaco Silva said in a televised address that "Portugal has lost one of the greatest figures of its contemporary
- Deborah Young, The Associated Press
"Portuguese film director Manoel de Oliveira died on Thursday at the age of 106, producer Luis Urbano said, quoting family sources," reports the Afp. "The filmmaker made more than 50 films, including features and documentaries, over the course of a career that began in 1931." Jonathan Rosenbaum, in his tribute written on the eve of Oliveira's 100th birthday, called him a "master" and cited in particular Voyage to the Beginning of the World, A Talking Picture and I’m Going Home. Other recent favorites include The Strange Case of Angelica and Eccentricities of a Blonde-Haired Girl. » - David Hudson »
14 items from 2015
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