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With Paolo Sorrentino’s latest film The Great Beauty (La grande bellezza) provoking strong reactions, both positive and negative, across the globe, Neal Dhand spoke to the man about his motivations behind making the film.
La dolce vita is a masterpiece, and like all masterpieces, in some way, it alters our way of feeling, our perception of things. It is a movie that has burrowed away inside me for a long time. But La dolce vita is a masterpiece. La grande bellezza is only a movie.
- Neal Dhand
Although there’s no “Pardon Our Dust” sign adorning the Academy of Motion Picture Arts and Sciences’ Wilshire Boulevard headquarters, even the casual observer will have noticed that the Academy has spent the past few years engaged in an extensive and seemingly endless home-improvement project.
And nowhere have Oscar’s renovations been more extensive than in the foreign-language film competition, where both the nominating and voting protocols have been extensively overhauled, with more changes possibly in the offing.
The latest and most significant foreign-language rule change, announced in spring and to be implemented this Oscar cycle, abolishes the longstanding requirement that Academy members have to see all five nominated films in a theatrical setting in order to cast ballots in that category. While that rule theoretically created a level playing field among the nominees (which might include a box office behemoth like “Amelie” alongside the relatively unknown Bosnian import “No »
- Scott Foundas
The latest edition of La Furia Umana is now available in print, with some content online as well, and features a collection of pieces on Joseph Losey and Bertrand Bonello. Esteemed film critic Dave Kehr has been named the MoMA Adjunct Curator for Film. The Rome Film Festival is just a couple weeks away, and the competition (which will be presided over by this year's head of the jury, James Gray) has some exciting titles. I'm especially jealous of those who'll get to see Takashi Miike's brilliantly titled The Mole Song: Undercover Agent Reiji, which had an awesome teaser pop up recently. Out of competition it looks like there's an hour-long film from Miike as well, and Castello Cavalcanti, a new short from Wes Anderson.
- Adam Cook
Catherine Deneuve: 2013 European Film Academy’s Lifetime Achievement Award recipient Catherine Deneuve has been named the recipient of the the European Film Academy’s 2013 Lifetime Achievement Award for her "outstanding body of work." And outstanding it is. Yesterday, I posted an article about Dirk Bogarde (Victim, Death in Venice, Despair), one of the rare performers anywhere on the planet to have consistently worked with world-class international filmmakers. The Paris-born Catherine Deneuve, who turns 70 next October 22, is another one of those lucky actors. (Photo: Catherine Deneuve at the Potiche premiere at the 2010 Venice Film Festival.) Deneuve’s directors have included an eclectic and prestigious list of filmmakers from various countries. Those include Belle de Jour and Tristana‘s Luis Buñuel; Le Sauvage and La Vie de Château‘s Jean-Paul Rappenau; The Hunger‘s Tony Scott; Un Flic‘s Jean-Pierre Melville; The Mississippi Mermaid and The Last Metro‘s François Truffaut »
- Andre Soares
This new column for Sound on Sight will feature Cahiers du Cinema critics-turned-filmmakers. However, it will not cover the infamous New Wave directors, but four other filmmakers who wrote for the journal and subsequently became directors. What follows is a brief history of the journal and its association with the four filmmakers that will be covered in this column.
I. A Brief History of Cahiers du Cinema
Cahiers du Cinema has been a prominent film journal for the last 60 years, famous for introducing the concept of les politiques des auteurs, which became the auteur theory in North America thanks to Andrew Sarris, and more famous for playing a major role in the French New Wave. The journal has gone through many shifts and turns, beginning with Andre Bazin as the editor-in-chief to the current editor-in-chief Stephane Delorme.
The history of the journal can be broken into six periods: »
- Cody Lang
The Cinemateca Portuguesa needs your help: the institution is under threat unless the state steps in. There's a petition online where you can sign and voice your support.
"The Cinemateca Portuguesa in Lisbon runs the risk of closing 'if there is no injection of money' soon by the Secretary of State for Culture, the Cinemateca director, Maria João Seixas, announced today.
'We need to have a decision by the end of the month,' the director warned, stressing that what's at stake is the conservation of the heritage of Portuguese cinema, the archives in Bucelas (Loures), the salaries of 71 workers, the programming, and the other operations of the Museu do Cinema." (translation by David Phelps).
Jumping to the top of our list of most anticipated films is Agnès Varda freshly announced five-part documentary From Here to Now, which will be released via VOD later this year. Here's a brief »
- Adam Cook
The Cinema Guild has picked up the U.S. digital and non-theatrical rights to "Agnes Varda From Here To There," a documentary series directed by Agnes Varda Made up of five 45-minute episodes, the series chronicles Varda's travels around the world as she examines the global art scene, meeting with different artists and filmmakers, including directors Alexander Sokurov and Carlos Reygadas, sculptor Christian Boltanski and his partner, artist Annette Messager. She visits with Chris Marker at his home shortly before he passed away, and dances with Manoel de Oliveira. "Agnes Varda From Here To There" originally aired in Europe on Arte in 2011. The deal was negotiated by Ryan Krivoshey of The Cinema Guild and Cecilia Rose of Cine-Tamaris, and the series will be released across multiple digital platforms later this year.
- Alison Willmore
The Cinema Guild has picked up the U.S. digital and non-theatrical rights to "Agnes Varda From Here To There," a documentary series directed by Agnes Varda Made up of five 45-minute episodes, the series chronicles Varda's travels around the world as she examines the global art scene, meeting with different artists and filmmakers, including directors Alexander Sokurov and Carlos Reygadas, sculptor Christian Boltanski and his partner, artist Annette Messager. She visits with Chris Marker at his home shortly before he passed away, and dances with Manoel de Oliveira. "Agnes Varda From Here To There" originally aired in Europe on Arte in 2011. The deal was negotiated by Ryan Krivoshey of The Cinema Guild and Cecilia Rose of Cine-Tamaris, and the series will be released across multiple digital platforms later this year. »
- Alison Willmore
The Cinema Guild has snapped up stateside VOD rights to Agnes Varda's new five-part documentary "From Here to There," which chronicles the French auteur's world travels as she surveys the global contemporary art scene, meeting with filmmakers and artists from an array of backgrounds. It will be released across multiple digital platforms later this year. Each of the five episodes is 45 minutes in length, totaling 225 minutes of glorious Varda documentary-making. The insatiable and indefatigable filmmaker and new Academy member, now 85, hits locales as diverse as Los Angeles and St. Petersburg, Lisbon and Mexico. She talks with Russian director Alexander Sokurov ("Russian Ark"), eats with sculptor Christian Boltanski and partner artist Annette Messager, and dances with Portuguese filmmaker Manoel de Oliveira ("Eccentricities of a Blonde-haired Girl," "The Strange Case of Angelica"). Last but certainly not least, she visits and films friend and fellow New Wave filmmaker Chris Marker ("La »
- Beth Hanna
Catherine Deneuve: Style, beauty, and talent on TCM tonight A day to rejoice on Turner Classic Movies: Catherine Deneuve, one of the few true Living Film Legends, is TCM’s "Summer Under the Stars" star today, August 12, 2013. Catherine Deneuve is not only one of the most beautiful film actresses ever, she’s also one of the very best. In fact, the more mature her looks, the more fascinating she has become. Though, admittedly, Deneuve has always been great to look at, and she has been a mesmerizing screen presence since at least the early ’80s. ‘The Umbrellas of Cherbourg’: One of the greatest movie musicals ever Right now, TCM is showing one of the greatest movie musicals ever made, Jacques Demy’s Palme d’Or winner The Umbrellas of Cherbourg (1964), in which a very blonde, very young, very pretty, and very dubbed Catherine Deneuve (singing voice by Danielle Licari »
- Andre Soares
“My name is Joaquim, and my life has nothing special.”
This is how the film begins, and the film is what makes (among other things) Joaquim Pinto special.
A notebook, a diary. A tale of pains and joys, of suffering and struggling. Of books and films. Of many places and moves. Of memories and images that come again and again. A tale of bodies, cells, and the making of mankind.
Almost 20 years ago, Joaquim Pinto has been diagnosed with AIDS. After having gone through all available treatments, he has entered an experimental program with a Spanish specialist.
From November 2011 on, Joaquim has been making a film: the notebook of one year of tests and treatment, of limited activity. But also a year of going through one’s memories, a year to study and think, a year to live with Nuno, his life partner and husband, to live with the neighbors and the friends, »
- Marie-Pierre Duhamel
“Living is dying”—such are the words of advice Haewon’s mother offers her beautiful daughter before leaving. They have not seen each other for five years, and now Haewon’s mother is emigrating to Canada, where Haewon’s brother lives. Her father never appears on the screen, yet it is apparent that Haewon is left completely alone—she is nobody’s daughter now.
Hong Sang-soo’s fourteenth feature (his next one Our Sunhi is already finished and coming soon in Locarno competition) is an eponymous film. He rarely uses the names of the characters in his film titles, the only exceptions being Oki's Movie and Virgin Stripped Bare by Her Bachelors (originally titled Oh! Soo-jung). Hong is one of those directors who like to explore human nature, and his pictures offer a lively collection of characters who are awkward, goofy and gawky the way only real people can be. »
- Boris Nelepo
The Montreal World Film Festival announced its full slate of 432 films from around the globe on Tuesday, including 113 world or international feature preems. From the U.S. “The Red Robin” by Michael Z. Wechsler competes in the World section while Adam Rodgers’ “At Middleton” will unspool in the First World competition and Sam Fleischner’s “Stand Clear of the Closing Doors” plays in Focus on World Cinema.
This year’s world competition features 20 features and 11 shorts from 18 different countries. In all there are 113 world premieres, 39 North American preems and 41 Canadian bows.
Twenty helmers will screen their pics in a separate competition for first-time feature filmmakers. Organizers of the sprocket opera attribute the maelstrom of fresh talent to the industry’s digital evolution. Not a single 35 mm print was submitted for competition, and the increasing popularity of digital submissions invited more low-budget productions to toss their hat in the ring.
- Allegra Tepper
The number of films dealing with age is rising as older people take up more of the cinema-going audience
The world's population is ageing. Today, there are about 600 million older people around the world, three times more than 50 years ago – and by 2050 there should be three times more again. The effect of that is already apparent in almost every sector, including culture, which of course includes the cinema. In the early 20th century, the brand-new film industry symbolised glamour and eternal youth before being relegated to a largely teenage audience, and then being caught up by age in the following century: the age of its audience, its creators, its characters and its subject matter.
The cinema has always found ways of dealing with the subject. For many years it simply skirted the issue in two ways. One was by using farce, with truculent old rogues, as in Frank Capra's »
- Jacques Mandelbaum
As with his earlier “Carnage” and “Death and the Maiden,” “Venus in Fur” finds Roman Polanski transferring a New York stage hit to the screen with maximum fidelity and facility, and a minimum of fuss. Primarily a vehicle for Mrs. Polanski, Emmanuelle Seigner, who engulfs the screen with a juicy comic performance that does full justice to a demanding role, this playful and literate rumination on the fine line between passion and perversity, pleasure and pain, life and art should draw the attention of discerning highbrow auds, albeit likely falling short of the starrier, English-language “Carnage’s” $27 million worldwide haul.
Onscreen as onstage, “Venus” is something of an elaborate hall of mirrors issuing forth from Austrian writer Leopold von Sacher-Masoch’s 1870 “Venus in Furs,” itself a mirrored novel-within-a-novel about a man, Severin, who submits himself as a love slave to the woman he adores, Vanda. Ergo, history’s first “masochistic” romance. »
- Scott Foundas
Cannes — Luis Minarro, one of Spain’s best-known arthouse producers, is making his fiction directorial debut with political parable “Shooting Star.”
“Star” turns on the short-lived reign as King of Spain of Italy’s Duke Amadeo of Savoy. Invited to govern Spain in 1870, he suffered Carlist rebellions, mounting republicanism, dissension among his supporters’ ranks and corruption. Unable to put through plans to modernize Spain, he abdicated in 1873, declaring Spain ungovernable.
Amadeo’s eloquent abdication speech to Spain’s parliament, in which he lamented the country’s fratricidal infighting, could well have been written about Spain in 2013.
“Star” was penned by Minarro and Sergi Belbel, one of Spain’s most important dramatists, and toplines Alex Brendemuhl, who stars in Lucia Puenzo’s Un Certain Regard entry “Wakolda.”
- John Hopewell
Los Angeles, April 29: At 82, actor-filmmaker Clint Eastwood, who rose to fame with TV series "Rawhide" and later won the best director Oscar for his movie "Unforgiven", dreams of making films for two more decades.
At the Tribeca Film Festival, he said that he admires the 104-year-old Portugese filmmaker Manoel de Oliveira.
Calling the thought as "the ultimate optimism", he said: "It would be great to be 105 and still making films."
- Anita Agarwal
At 82 years old, Clint Eastwood shows no signs of slowing down. The actor-turned-director's last movie was 2011's J. Edgar Hoover biopic "J. Edgar," starring Leonardo DiCaprio as the former head of the FBI. He then acted in 2012's "Trouble with the Curve," his first role in a movie he didn't direct since an uncredited cameo in 1995's "Casper."
Eastwood joined fellow director Darren Aronofsky for a talk at the Tribeca Film Festival Saturday (April 27). During the discussion, Fox News reports, Eastwood and Aronofsky talked about Portuguese director Manoel de Oliveira. The filmmaker, 104 years old, is currently in pre-production on his next movie, "The Church of the Devil." Eastwood expressed an admiration for de Oliveira, saying, "It would be great to be 105 and still making films."
The two directors talked about a wide-range of film-related topics, including how Eastwood gets studios to pay for the movies he wants to direct, citing »
Washington, Apr 28(Ani): Clint Eastwood, who is already 82 years old has said that he dreams of making films for two more decades.
In an interview at the Tribeca Film Festival, Eastwood said that he admires the 104-year-old Portuguese director Manoel de Oliveira, Fox News reported.
The 'Trouble with the Curve' director added that it would be great to be 105 and still making films.
He laughed and called such a hope 'the ultimate optimism'. »
- Lohit Reddy
New York — Clint Eastwood may be 82 years old, but he dreams of making films for two more decades.
In a wide-ranging conversation Saturday about the art of film directing, Eastwood expressed admiration for the 104-year-old Portuguese director Manoel de Oliveira.
"It would be great to be 105 and still making films," Eastwood said. Chuckling, he called such a hope "the ultimate optimism."
The "Million Dollar Baby" and "Unforgiven" director joined fellow filmmaker Darren Aronofsky for a staged talk at the Tribeca Film Festival following a screening of Richard Schickel's documentary "Eastwood Directs: The Untold Story." Eastwood regaled the Tribeca Performing Arts Center crowd with the accrued, pragmatic wisdom from his late career as an acclaimed filmmaker.
Some of »
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