10 items from 2016
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
Watch Fandor’s tribute to Lgbtq cinema:
Our friends at Screen Slate, the top resource for NYC repertory screenings, have debuted a slick-looking new website.
Baumbach, working with the late cinematographer Harris Savides, shoots Gerwig with a kind of watchful affection, getting in close as she drives around doing work errands, a hazy Los Angeles sun hitting the windows and Steve Miller Band’s “Jet Airliner” playing. “Are you going to let me in?” she asks another driver in talking-to-herself tones. This is one of the first shots of the movie, which follows Florence for a full eight minutes before introducing Stiller’s title character. In retrospect, it seems like Baumbach is tipping his hand about his interest in Gerwig. His instincts are dead-on; putting Gerwig at the front of the movie allows a hesitant character to make a vivid impression before smashing her into Stiller’s prickly garden of hang-ups and neuroses. Their romantic scrabbling, including a profoundly unsexy sort of sex scene, maintains the uncertainty of mumblecore but with a more articulate form of mumbling.
New York Times‘ Nina Siegal on how Robby Müller created the look of indie film classics, plus watch a masterclass from the director:
For Mr. McQueen, Mr. Müller developed a visual language to capture what appear to be men falling to their deaths in slow motion — a reference to the 1651 suicides of Carib Indians who leapt off a cliff rather than submit to their French colonizers on the island of Grenada, where Mr. McQueen’s parents were born. “Caribs’ Leap’’ is included in the exhibition.
The New Yorker‘s Richard Brody lists his 50 favorite foreign language films of the 21st century:
Ultimately, the movies on the list point forward to the future of the art, even if some of that future has already slipped into the past. The Chinese cinema has experienced, in this century, an outpouring of creative energy, thanks to the films of Jia Zhangke and other independent filmmakers there. I hope that the independent Chinese cinema will survive the government’s current wave of censorship and repression. In the Portuguese cinema, the baton has passed from Manoel de Oliveira and João César Monteiro to Pedro Costa and Miguel Gomes; the Iranian filmmaker Abbas Kiarostami, a one-man wave, has been followed by Jafar Panahi and Samira Makhmalbaf. It remains to be seen whether Romania’s one great filmmaker, Corneliu Porumboiu, will be able to coax that country’s rising industry away from its run of script-bound, Euro-generic social realism; whether Hong Sang-soo, currently the subject of a complete retrospective at Museum of the Moving Image, will inspire other filmmakers in South Korea; whether the Mauritanian director Abderrahmane Sissako (who has worked often in Mali as well) and the Chadian director Mahamat-Saleh Haroun will inspire a younger generation of filmmakers in those countries; and whether Germany, which saw its modern tradition broken by the death of Rainer Werner Fassbinder, the emigration of Werner Herzog, and the self-diminution-through-cultural-ambassadorship of Wim Wenders, will again become a spawning ground for daring young filmmakers.
Watch a video featuring BBC’s 100 greatest American films:
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- The Film Stage
French actor and New Wave icon Jean-Pierre Léaud, who started his career in François Truffaut’s The 400 Blows (Les 400 Coups) will receive an honorary Palme d’or at the closing ceremony of the Festival’s 69th edition on Sunday 22 May.
Léaud made his first appearance on the Croisette in 1959 as the young and rebellious hero Antoine Doinel, a character who continued through Antoine Et Colette (1962), Baisers Volés (Stolen Kisses) (1968), Domicile Conjugal (Bed And Board) (1970) and L'Amour En Suite (Love On The Run) (1979).
Leaud stars as King Louis Xiv in Spanish director »
- Richard Mowe
The 400 Blows star Jean-Pierre Léaud made his first appearance on the Croisette at age 14 in François Truffaut‘s 1959 debut. Now, 57 years later, he will be the recipient of the Cannes Film Festival’s honorary Palme d’Or. Léaud joins such previous recipients as Agnès Varda, Clint Eastwood, Manoel de Oliveira, Woody Allen and Bernardo Bertolucci. The award will go to Léaud at the Closing Ceremony on May 22. Prior to that, a Special Screening of Albert Serra’s The Death Of L… »
A symbol of the French New Wave, Léaud, who’s had a long relationship with Cannes, was discovered at 14 by François Truffaut with “The 400 Blows.” Leaud also starred in “Antoine and Colette,” “Stolen Kisses,””Bed and Board” and “Love on the Run.” He later starred in Bernardo Bertolucci’s Last Tango in Paris,” Jacques Rivette’s “Out 1,” Jean Eustache’s “The Mother and the Whore. which received the Cannes’s Special Grand Prize.
- Elsa Keslassy
Today sees the publication of not one but two tenth issues. The new Alphaville Journal features Fiona Handyside on Sofia Coppola and Mia Hansen-Løve, Frances Smith on Amy Heckerling, Fiona Clancy on Lucrecia Martel, Ciara Barrett on Joanna Hogg and more. In desistfilm, you'll find pieces on Jonathan Demme and The Silence of the Lambs, Bernardo Bertolucci, Benjamin Nuel's Hotel and more. Also in today's roundup: Greta Gerwig on the cover of Brooklyn Magazine, ten essential films by Douglas Sirk, Rachel Kushner and James Benning in Chicago, Karel Zeman in Los Angeles, a new doc on Manoel de Oliveira, the latest on a film about Morrissey and on another featuring Elliott Gould, Jemaine Clement, Ingrid Michaelson, Bebe Neuwirth and Annie Potts. » - David Hudson »
Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSVoyage of TimeWell, the Academy Awards, of course! Here's the list of winners. Who made us smile most for his win of the golden statue? Ennio Morricone and his gracious speech for his ace score to The Hateful Eight. Biggest gaff beyond the central controversy? Setsuko Hara, Manoel de Oliveira, and Jacques Rivette not included in the "In Memoriam."And yet another filmmaker has left us this year. The New York Times reports that Syrian director Nabil Maleh has died at the age of 79.With Terrence Malick's dividing film Knight of Cups about to be released in cinemas in the Us this week, images have come in (including one above) of the filmmaker's mysterious documentary we keep hearing about, Voyage of Time.In New York, the big news this »
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
A “Tetratology of Frustrated Love” from the great Manoel de Oliveira, all 35mm, comes to Lincoln Center this weekend. His four-hour Doomed Love will show on Friday and Saturday. Benilde, the Virgin Mother and Past and Present screen this Saturday and Sunday; Francisca shows on the latter day.
- Nick Newman
Regardless of what I’m about to say (which is basically that I loved Benilde but the other films in this series not so much), Lincoln Center’s four-day mini-series on Manoel de Oliveira is a major and welcome event. de Oliveira has long been feted by arthouse fiends as one of cinema’s untouchable masters and most rigorous thinkers, but seeing his work is not easy. The prints Lincoln Center is showing are impeccable and gorgeous; if you’re going to dive in, this is the way to do it. I don’t know who coined the phrase “tetralogy of frustrated love,” but the movies — 1972’s Past […] »
- Vadim Rizov
We begin today's roundup of goings on around the world in New York with notes on revivals of Todd Solondz's Welcome to the Dollhouse, Claire Denis's Trouble Every Day, Donald Cammell's White of the Eye, Freddie Francis's Dracula Has Risen from the Grave, Quentin Tarantino's Jackie Brown, John Ford's How Green was My Valley and Jean Eustache's The Mother and the Whore. Plus: Raya Martin and Mark Peranson's La última película and works by Sharon Lockhart, Manoel de Oliveira and Lewis Klahr in Los Angeles, Michael Haneke in London, fresh filmmakers in Switzerland and Hong Kong—and more. » - David Hudson »
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2015?Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2015—in theatres or at a festival—and creatively pair it with an old film they also saw in 2015 to create a unique double feature.All the contributors were given the option to write some text explaining their 2015 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch »
10 items from 2016
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