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The festival stretches its arms today and breaths a big sigh of relief: the Cannes Marché is ending, the business types fleeing the Palais des Festivals, the Croisette and Cannes, far away from any such shuddered utterances as "Apichatpong," "Hou," or "Porumboiu." God forbid! The festival thus empties out a bit, making queues shorter, the time one can sleep in the morning precious minutes longer. The suits are replaced by regular tourists, from cruises or from the country, and the town loses a bit of its charged, schizophrenic character with this exchange, because, let's admit, the commotion money brings with it is usually a spectacle to behold. And without the money, what is Cannes?Romanian New Wave director Corneliu Porumbiou asks something related in The Treasure, one of the festival's best and a real pleasure in these last dwindling days. As slim, funny and diagrammed as a Hong Sang-soo comedy »
- Daniel Kasman
Manoel de Oliveira, who passed away last month, made Visita ou Memórias e Confissões in 1982 but insisted that it not be screened until after his death. Cannes will show it as part of its Classics program and, last night, the film saw its premiere the Portuguese filmmaker's hometown, Porto. And Vitor Pinto was there for Cineuropa. Also in today's roundup: Essays and videos marking the 50th anniversary of Jean-Luc Godard's Alphaville, an appreciation of Michelangelo Antonioni's L’Avventura and an interview with Enrique Buchichio. Plus, HBO has picked up David Fincher's Living on Video for a ten-episode first-season run, Louis C.K. will write, direct and star in I'm a Cop—and more. » - David Hudson »
The 68th Locarno Film Festival will honor international cinema nonpareil Bulle Ogier, 75, with a Pardo alla carriera, the Swiss festival's annual lifetime achievement prize. A selection of films and a conversation with the audience will accompany the tribute. With this award the festival looks back at the legacy of the Nouvelle Vague and its most iconic figures, including past recipients Anna Karina and Jean-Pierre Léaud. A stage actress before moving to film, Bulle Ogier (née Marie-France Thielland) broke out in Jacques Rivette's "L'amour fou" (1969). This sparked a collaboration on six more films including "Celine and Julie Go Boating," "Pont du Nord" and "Gang of Four." Major European directors continued to cast her in films, from Luis Bunuel, Rw Fassbinder and Manoel de Oliveira to Claude Chabrol and Claude Lelouch, as well as her husband Barbet Schroeder. Alain Tanner's 1971 Swiss drama »
- Ryan Lattanzio
The Locarno Film Festival will pay tribute with a career Golden Leopard to French actress Bulle Ogier, known for appearing in almost all of Jacques Rivette’s films after starring in his 1968 classic “L’Amour Fou.”
The choice of Ogier — who has also worked with other major European directors including Claude Lelouch, Louis Bunuel, Rainer Werner Fassbinder, Claude Chabrol, Daniel Schmid, and Manoel de Oliveira, as well as her husband Barbet Schroeder — represents a continuation of the Swiss fest’s revisitation of the legacy of the French Nouvelle Vague.
Locarno’s tribute to Bulle Ogier will be accompanied by a selection of films she has appeared in and also by an onstage “In Conversation »
- Nick Vivarelli
This year's Cannes Classics -- the section of the Cannes Film Festival dedicated to heritage films -- will pay tribute to filmmaker Costa-Garvas, winner of the 1982 Palme d'or for "Missing," who served on the Jury in 1976. The festival will also celebrate Ingrid Bergman and Orson Welles, as well as feature a tribute to Manoel de Oliveira and an evening with Barbet Schroeder. Along with these tributes, documentaries about cinema and restorations from around the world will also be featured. The festival will also feature new films by Barbet Schroeder ("Amnesia") and Eric Hannezo ("Rabid Dogs"). Read More: Cannes Wish List: 20 Films We Hope to See at the 2015 Festival Below is the Cannes Classics lineup, courtesy of the festival: Documentaries about cinema"Hitchcock/Truffaut" by Kent Jones (2015)"Depardieu Grandeur Nature" by Richard Melloul (2014)"Steve McQueen: The Man & Le Mans" by Gabriel Clarke and John McKenna »
- Jena Keahon
Costa-Gavras has been named guest of honour at this year’s Cannes Classics section of the Cannes Film Festival (May 13-24).
The Greek-French film director and producer won the Palme d’or with Missing in 1982, was member of the jury in 1976 that crowned Taxi Driver and picked up the award for best director with Section spéciale in 1975.
The filmmaker will be present for a screening of Z, which won the jury prize in 1969, and has had the original negative scanned in 4k and restored frame by frame in 2K, supervised by Costa-Gavras.
Marking 100 years since the birth of Orson Welles, Cannes will screen restorations of films from the legendary Us actor, director, writer and producer, who died in 1985.
The titles include his staggering debut Citizen Kane (1941), which has received a 4k restoration completed »
- firstname.lastname@example.org (Michael Rosser)
Paris– Critically-acclaimed Franco-Greek helmer Costa-Gavras will be feted as guest of honor at Cannes Classics, the selection dedicated to heritage films.
A Cannes vet, Costa-Gavras won the Palme d’or with “Missing” in 1982, served on the Jury in 1976 and won the Jury Prize with “Z” in 1969. “Z,” which won both an Oscar and a Golden Globe, will play at Cannes Classics in its restored version.
As part of Orson Welles’ Centennial celebration, Cannes will play his cult film “Citizen Kane” (restored by Warner Brothers Motion, pictured above) , Carol Reed’s “The Third Man” (restored by Studiocanal) and Wells’ “Lady from Shanghai” (restored by Sony Pictures), as well as two documentaries, Elisabeth Kapnist’s “Orson Welles, Autopsie d’une légende” and Clara and Julia Kuperberg’s “This Is Orson Welles.”
Cannes Classics will also pay tribute to late Portuguese master Manoel de Oliveira and will unspool his posthumous film “Visita ou Memórias e Confissões. »
- Elsa Keslassy
The Cannes Classics 2015 lineup this year features Costa-Gavras, tributes to Ingrid Bergman and Orson Welles, plus Manoel de Oliveira's Visita ou Memórias e Confissões, Kent Jones's new documentary, Hitchcock/Truffaut, and restorations of Luchino Visconti's Rocco and His Brothers, Louis Malle's Elevator to the Gallows, Ousmane Sembène's Black Girl, Lino Brocka's Insiang, Fernando Solanas's Sur, Kenji Mizoguchi's The Story of the Last Chrysanthemum, Kinji Fukasaku's Battles without Honor and Humanity, Miklós Jancsó's The Round-Up, King Hu's A Touch of Zen, Marcel Pagnol's Marius and more. » - David Hudson »
This year's Cannes Classics Guest of Honor will be legendary Greek director Costa-Gavras, who won the Palme in 1982 for "Missing" and will participate in a screening of 1969 Jury Prize winner "Z." Meanwhile Cannes Classics will also celebrate centennials of Ingrid Bergman and Orson Welles. In partnership with Warner Bros., Cannes will screen three 4K Welles restorations, including "Citizen Kane" and "The Lady From Shanghai." Two new Welles docs will also bow, as will Kent Jones' highly anticipated documentary "Hitchcock/Truffaut." Other highlights include a tribute to the late Manoel de Oliveira, whose previously unseen 1982 film "Visita ou Memórias e Confissões" will play, a tribute to the Lumière brothers, as well as an evening with Barbet Schroeder and his films "More" (1969) and "Amnesia" (2015) and, as always, plenty of open-air screenings. Restored prints, »
- Ryan Lattanzio
We are saddened to hear of the passing of Time's inimitable critic, Richard Corliss (1944 - 2015), pictured above. Visit David Hudson's roundup at Keyframe Daily for coverage. In the past week there's been more additions to the Cannes Film Festival lineup, including new movies by Apichatpong Weerasethakul, Naomi Kawase and Gaspar Noé.When Manoel de Oliveira died earlier this month, word spread that he had made a film that would be released only upon his death, Memories and Confessions. Now word has come that its premiere screening will be on the 4th of May in Porto.Above: We're on the fence whether we should be excited for this, but the trailer for M. Night Shyamalan's The Visit certainly has us intrigued.New York's essential film listing site Screen Slate has turned to Kickstarter to help fund its project. Speaking of New York, this May the Museum of the Moving »
David Simon, creator of The Wire, has spent the night engaged in an online conversation about Baltimore. Also in today's roundup: Tilda Swinton and Chuck Close in conversation, Jonathan Rosenbaum on Mark Rappaport, David Bordwell on David Koepp, Harun Farocki on Michael Klier, interviews with Lech Majewski, Roy Andersson, Daniel Clowes and Ennio Morricone, essays on Georges Franju's Eyes Without a Face, Laura Mulvey, Orson Welles and Citizen Kane and John Schlesinger’s Darling, remembering cinematographer Andrew Lesnie, plus news of an unseen film by Manoel de Oliveira and more. » - David Hudson »
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… »
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