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The Venice International Film Festival is in the process announcing the lineup for its 71st edition. Here's what we know so far:
A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson)
99 Homes (Ramin Bahrani)
Tales (Rakhshan Bani E'temad)
La rancon de la gloire (Xavier Beauvois)
Le dernier coup de marteau (Alix Delaporte)
Three Hearts (Benoît Jacquot)
Sivas (Kaan Mujdeci)
Anime Nere (Francesco Munzi)
Loin des hommes (David Oelhoffen)
The Look of Silence (Joshua Oppenheimer)
Nobi (Shinya Tsukamoto)
Red Amnesia (Wang Xiaoshuai)
Out Of Competition
Joe Date. Photo by Evan Dickson.
The 71st Venice Film Festival announced its lineup this morning, highlighted by films from American directors, including David Gordon Green, Barry Levinson, Peter Bogdanovich, Lisa Cholodenko, Andrew Niccol, and James Franco. As had been previously announced, Alejandro González Iñárritu’s Birdman, starring Michael Keaton and many others, will be the opening film when the festival begins on Aug. 27.
Click below for the entire list of 55 films playing in Venice.
A Pigeon Sat On A Branch Reflecting On Existence, directed by Roy Andersson
Starring Holger Andersson, »
- Jeff Labrecque
Whiles the likes of Terrence Malick, Todd Haynes, Alexander Sokurov, Giorgos Lanthimos and J.C. Chandor no where to be found in the fall fest season map (with concerns to Malick — Telluride and Tiff might still have those surprises up their sleeves) the 71st edition of the Venice Film Festival is still a lean and mean (American-French-Italian heavy) comp with the now “confirmed” presence of Fatih Akin (the cross continent The Cut - see pic above), Ramin Bahrani (Michael Shannon starrer 99 Homes), Abel Ferrara (a Thin Blue Line truth revealer Pasolini), David Gordon Green (Pacino comeback vehicle Manglehorn), Roy Andersson (the long awaited A Pigeon Sat On A Branch Reflecting On Existence) and Joshua Oppenheimer (public Indonesian isolation accompaniment film The Look Of Silence). The U.S. presence is equally as heavy in the Out of Comp section with the likes of Peter Bogdanovich, Joe Dante, Barry Levinson, Lisa Cholodenko and James Franco making a stop, »
- Eric Lavallee
The line-up for the 71st Venice Film Festival (Aug 27-Sept 6) has been revealed this morning by Biennale president Paolo Baratta and film festival director Alberto Barbera at Rome’s St. Regis Grand Hotel.
Early standouts include Abel Ferrara’s Pasolini, which centres on the final days of the Italian filmmaker and his death in 1975; David Gordon Green’s Manglehorn, starring Al Pacino as a locksmith in a small town who never got over the love of his life; and The Look Of Silence, Joshua Oppenheimer’s highly anticipated follow-up to his award-winning documentary, The Act of Killing.
As previously announced, Alejandro Gonzalez Iñárritu’s Birdman or The Unexpected Virtue of Ignorance, starring Michael Keaton, will open the festival on August 27 and is among the 20-strong competition titles, of which all »
- firstname.lastname@example.org (Michael Rosser)
New films by Manoel de Oliveira, Hong Sang-soo, Ulrich Seidl, Roy Andersson, Joe Dante, Josh and Ben Safdie, Fatih Akin, David Gordon Green, Joshua Oppenheimer, Benoît Jacquot, Peter Bogdanovich, Lisa Cholodenko, Duane Hopkins, Amos Gitai, Barry Levinson and more have been lined up for this year's Venice Film Festival. Alejandro González Iñárritu's Birdman will open the festival on August 27 and Ann Hui's The Golden Era will close it on September 6. We've got the full lineup. » - David Hudson »
Rome – Venice topper Alberto Barbera has unveiled a promising lineup of fresh fare from around the world set to unspool at the 71st Venice Film Festival, with a rigorous focus on quality, discovery and diversity, likely to reveal some under-the-radar awards-season contenders and also bolster the Lido’s status as a global launching pad for prime auteur pics.
The robust U.S. contingent, largely from the indies, comprises new works from David Gordon Green, Andrew Niccol, Peter Bogdanovich, Lisa Cholodenko, Joe Dante, James Franco, Barry Levinson, Michael Almereyda, and Ami Canaan Mann.
As is customary at Venice, new works from name global auteurs, including Fatih Akin, Xavier Beauvois, Abel Ferrara, Andrei Konchalovsky, Shinya Tsukamoto, Amos Gitai, and Moshen Makhmalbaf, will play alongside pics by lesser-known helmers.
At a packed presser at Rome’s Hotel St.Regis Venice topper Alberto Barbera noted that “our job is more complex, more painful, because »
- Nick Vivarelli
Films by David Gordon Green, Andrew Niccol and Abel Ferrara will bring world premieres to the Lido di Venezia this year, as the Venice Film Festival has announced its selections for the 71st edition of the oldest such event in the world. Green's "Manglehorn" with Al Pacino, Niccol's "Good Kill" with Ethan Hawke and Ferrara's "Pasolini" with Willem Dafoe promise to bring a fair share of star power to the event, while actors such as Viggo Mortensen, Andrew Garfield and Adam Driver feature in films sprinkled throughout the Competition. "The Act of Killing" director Joshua Oppenheimer will also continue his look at the Indonesian genocide with a new documentary, "The Look of Silence." Playing out of competition are films by Barry Levinson ("The Humbling," also starring Pacino), James Franco ("The Sound and the Fury") and Lisa Cholodenko ("Olive Kitteridge"), while Focus Features will bring the new Laika film, "The Boxtrolls, »
- Kristopher Tapley
Richard Linklater's Boyhood has landed on the covers of both Sight & Sound and Film Comment, just in time for the film's opening in New York and Los Angeles before it begins rolling out across the country all summer long. Also in today's roundup of news and views: Francis Ford Coppola, Agnés Varda, Wim Wenders, Volker Schlöndorff, Jean-Paul Rappeneau, Kiyoshi Kurosawa, Manoel de Oliveira, Costa-Gavras, Stephen Frears, William Friedkin, Bernardo Bertolucci and Souleymane Cissé pay tribute to Henri Langlois. » - David Hudson »
In spirit of the final days of streaming service SundanceNow Doc Club's online Agnes Varda retrospective, hand-curated by film programmer Thom Powers, Toh! has the exclusive on a new video essay that takes a peek at the irreverent French auteur's career. Watch below. Through July, you can watch "From Here to There" on SundanceNow Doc Club. It's a fascinating five-part documentary series that follows Varda as she wends her way through the international art scene, encountering friends and fellow filmmakers including the late Chris Marker, Manoel de Oliveira, Jacques Demy and more. Thanks to Doc Club, you can also watch Varda classics "The Gleaners and I," "The Beaches of Agnes," "Daguerreotypes" and "Cinevardaphoto." Varda will be featured until July 1, but Doc Club members can still access the films via the Sundance archives. »
- Ryan Lattanzio
Oldest person in movies? (Photo: Manoel de Oliveira) Following the recent passing of 1931 Dracula actress Carla Laemmle at age 104, there is one less movie centenarian still around. So, in mid-June 2014, who is the oldest person in movies? Manoel de Oliveira Portuguese filmmaker Manoel de Oliveira will turn 106 next December 11; he’s surely the oldest person — at least the oldest well-known person — in movies today. De Oliveira’s film credits include the autobiographical docudrama Memories and Confessions / Visita ou Memórias e Confissões (1982), with de Oliveira as himself, and reportedly to be screened publicly only after his death; The Cannibals / Os Canibais (1988); The Convent / O Convento (1995); Porto of My Childhood / Porto da Minha Infância (2001); The Fifth Empire / O Quinto Império - Ontem Como Hoje (2004); and, currently in production, O Velho do Restelo ("The Old Man of Restelo"). Among the international stars who have been directed by de Oliveira are Catherine Deneuve, Pilar López de Ayala, »
- Andre Soares
It all begins with a freeze frame of a dirt road somewhere in Yorkshire county, lined with trees whose lush foliage converges above in an arch. What could it be if not a portal? The movie itself, meanwhile, has not even started as we watch the opening credits, encased in large old-fashioned frames, slowly fade away—a device consistently favored by Alain Resnais who opened each of his 19 features likewise, holding off the films themselves until the screen no longer contained any visual surplus. The freeze frame comes to life as the camera pans farther down the road; then we find ourselves in a theatrical set.
We have been here before, of course. Resnais' Smoking/No Smoking, also based on a play by British playwright Sir Alan Ayckbourn, is set in Yorkshire as well. Life of Riley (Aimer, boire et chanter) borrows from the five-hour diptych its theatrical setting, one »
- Boris Nelepo
We're very excited that the debut issue of Fireflies, a new print film zine (see above for beautiful Apichatpong-inspired artwork from the mag by Leith Maguire) established in Berlin and Melbourne that we've been eagerly waiting for, is set for release just around the corner—but first, the dedicated cinephiles behind the project could use some assistance with funding. Check out their Indiegogo campaign here. We're also proud to be partnering up with Fireflies in some exciting ways, so keep your eyes pealed! Tickets are now on sale for the Human Rights Watch Film Festival in New York, which will be running from June 12th-22nd. Over at The Talkhouse, filmmaker Sean Baker shares some thoughts on William Friedkin's Sorcerer:
"Cream always rises to the top. A cliché term yes.. but one that I love because eventual victory is assured for those who deserve it. It’s bittersweet »
- Adam Cook
Gebo and the Shadow is a film about concrete, hard, and material things, as well as one about illusions. Its dramatic elements are simple. The 105-year-old filmmaker Manoel de Oliveira's adaptation of Raul Brandão's 1923 play unfolds almost entirely over one night in a modest home's living room, around whose table a small group of friends and family members gather by candlelight to share food, drinks, and everyday concerns. The presentation is simple as well. Shots are held on static frames within which actors sometimes converse for more than 10 minutes, directly facing the camera as though inviting us to share their company.
In keeping with Brandão, the plot of the Portuguese Oliveira's 31st feature film is clear and straightforward. It concerns Gebo (Mi »
Its selection enhances the Australian profile at the festival with David Michôd.s The Rover getting a midnight screening out of competition and Rolf de Heer.s Charlie.s Country showing in the Un Certain Regard sidebar.
.I think it.s every director.s dream to have their work screen in Cannes. This is a huge achievement for everyone who worked on the film,. Hilditch told If on Tuesday night.
In a joint statement with his producer Liz Kearney, he continued, .We are feeling so excited and proud to have our debut feature film selected for Directors' Fortnight. We are really looking forward to sharing These Final Hours with an international audience for the first time and could not ask for a better platform to premiere the film internationally in. »
- Don Groves
Above: a production still from the set of Manoel de Oliveira’s new production O velho do restelo, via our new Mubi Tumblr! Sight & Sound is poised to unveil a Best Documentaries of All Time list and Richard Brody has unveiled his ballot in advance, with annotations:
"...The history of documentary filmmaking isn’t the fact of capturing events on the wing but the idea of doing so, not the invention of investigative recording but its reinvention. That’s why, for this list, I selected movies that open new vistas for documentary filmmaking, which imply vectors of activity and thought that are still being realized today by the era’s best documentarists—and why, in mentioning these films, each of them implies many others that they have inspired. "
Above: Nathan Silver is turning to Kickstarter to fund his next project, Stinking Heaven. Keep your eyes out for his brilliant film, »
- Adam Cook
The Cannes Film Festival unveiled this year's poster today in Paris. Conceived by Hervé Chigioni and graphic designer Gilles Frappier of the Lagency creative studio, the poster features Marcello Mastroianni based on a photogram taken from Federico Fellini's 8 1/2, which starred Mastroianni and was presented in the festival's Official Selection in 1963. The Oscar-nominated Italian actor, who passed away in 1996, was cast in many of Fellini's film, including La Dolce Vita. He was the perfect actor to play the director's complex, tortured leading men. His final film, Manoel de Oliveira's Voyage to the Beginning of the World, was released in 1997. Hit the jump for more. "The way he looks at us above his black glasses draws us right into a promise of global cinematographic happiness," Chigioni told French cable news channel Bfmtv. "The happiness of experiencing the Cannes Film Festival together." Actress Chiara Mastroianni, whose mother is Catherine Deneuve, »
- Talia Soghomonian
Mon oncle d’Amérique
Written by Jean Gruault and Henri Laborit
Directed by Alain Resnais
To wax in a state of eulogy about Alain Resnais is to have reviewed his last few features at the times they premiered. With Wild Grass, You Ain’t Seen Nothin’ Yet, and the incredibly recent Life of Riley, reviewers understandably noted his age. Resnais was in his late eighties and early nineties, still producing films containing a youthful charm, his resolution on the festival circuit as firm as ever. Perhaps then, it still came as a surprise that at the age of 91, Resnais had passed, leaving a remarkable six decades of major work behind, rivaled at this point only by 105-year-old arthouse compatriot Manoel de Oliveira. Surprising, yes, thanks to his experimental shock to the film world in Last Year at Marienbad and Hiroshima, mon amour being equaled by his recent output, a promising second wind. »
- Zach Lewis
Above: Trás-os-Montes (1976)
The origins of "Harvard at the Gulbenkian - Dialogues About Portuguese Film and World Cinema" lie in a series of influential programs and events organized by the Harvard Film Archive that together introduced Us audiences to the incredible richness of Portuguese cinema. Of special importance among these was "The School of Reis," a 2012 Harvard Film Archive program which explored the legacy of the late António Reis by grouping major works by Reis' students and collaborators together with the pioneering films that he directed, both alone and together with Margarida Cordeiro. "The School of Reis" was critically acclaimed not only in the Us, but also in Portugal where it was appreciated as an alternate way of historicizing the radical approaches to narrative cinema embraced by so many of the greatest Portuguese filmmakers.
Seeking a different approach to the work of those Portuguese filmmakers considered earlier by "The School of Reis, »
- Cinema Dialogues: Harvard at the Gulbenkian
When I awoke this morning to the unhappy news that Alain Resnais, the French director of "Last Year at Marienbad," "Hiroshima, Mon Amour" and "Night and Fog" among many, many others, had passed away at the age of 92, my first thought was how different the moment felt to most other announcements of veteran artists' departures -- more sorely immediate than the usual solemn, remove-your-hat mourning. Most nonagenarian directors who die do so with their life's work complete; Resnais's certainly wasn't lacking, but the man wasn't finished either. Only three weeks ago, Resnais premiered his 19th feature, "Life of Riley," in Competition at the Berlin Film Festival to warm applause and even a couple of trophies. The jury awarded him the Alfred Bauer Prize for "a film that opens new perspectives on cinematic art" -- an award that, at first blush, seems an odd fit for one as comfortingly seasoned and familiar as Resnais, »
- Guy Lodge
There is no need for you to leave the house. Stay at your table and listen. Don't even listen, just wait. Don't even wait, be completely quiet and alone. The world will offer itself to you to be unmasked; it can't do otherwise; in raptures it will writhe before you."
—Franz Kafka, "Reflections on Sin, Suffering, Hope, and the True Way."
Above: Director Vítor Gonçalves
Behold the Palace Square in Lisbon—or rather, Praça do Comércio, where the Royal Ribeira Palace stood for nearly two hundred years. In the 18th century, the palace was destroyed by the Great Lisbon Earthquake, never to be restored (instead was built a new one, though, not for the King to live) hence the new name—The Square of Commerce. Here, in the seat of Fascist power, tens of thousands people would gather to listen to Salazar's orations (see Brandos Costumes by Alberto Seixas Santos); then came the Carnation Revolution. »
- Boris Nelepo
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