The Formal Life of Thom Andersen opens tonight at the Northwest Film Forum in Seattle and runs through Tuesday. Andersen will be on hand for every screening and will speak after the closing film, Get Out of the Car. E Steven Fried talks with him about Los Angeles and the movies for Parallax View.
Michael Joshua Rowin for the La Weekly: "Still the foremost name in 'cosmic,' 'expanded' or, simply put, 'triply' cinema, 85-year-old Jordan Belson will be deservedly celebrated by Lacma on Saturday with a program presented by the Center for Visual Music, surveying six decades of the filmmaker's mind-altering visual palette."
More goings on in Los Angeles: Long Live Our Love: New Works by Laida Lertxundi, Michael Robinson, and Ben Russell happens tomorrow evening, followed on Monday with Victory over the Sun: Films and Videos by Michael Robinson at Redcat. Genevieve Yue for Artforum: "Robinson mines artifacts...
Michael Joshua Rowin for the La Weekly: "Still the foremost name in 'cosmic,' 'expanded' or, simply put, 'triply' cinema, 85-year-old Jordan Belson will be deservedly celebrated by Lacma on Saturday with a program presented by the Center for Visual Music, surveying six decades of the filmmaker's mind-altering visual palette."
More goings on in Los Angeles: Long Live Our Love: New Works by Laida Lertxundi, Michael Robinson, and Ben Russell happens tomorrow evening, followed on Monday with Victory over the Sun: Films and Videos by Michael Robinson at Redcat. Genevieve Yue for Artforum: "Robinson mines artifacts...
- 3/26/2011
- MUBI
Updated through 3/7.
"There are few contemporary filmmakers who grasp narrative as an expressive instrument in itself, and even among them Apichatpong Weerasethakul seems special," begins Max Goldberg in the San Francisco Bay Guardian. "Like other influential artists from the provinces — he grew up in the rural northeast of Thailand — Apichatpong has developed a sui generis style by rethinking the shape of the container. When the transitional cinema of 2000-10 is recalled, his shorts, gallery installations, and five primary features (let us now praise them: 2000's Mysterious Object at Noon, 2002's Blissfully Yours, 2004's Tropical Malady, 2007's Syndromes and a Century, and now 2010's Uncle Boonmee Who Can Recall His Past Lives) will appear uniquely evolved."...
"There are few contemporary filmmakers who grasp narrative as an expressive instrument in itself, and even among them Apichatpong Weerasethakul seems special," begins Max Goldberg in the San Francisco Bay Guardian. "Like other influential artists from the provinces — he grew up in the rural northeast of Thailand — Apichatpong has developed a sui generis style by rethinking the shape of the container. When the transitional cinema of 2000-10 is recalled, his shorts, gallery installations, and five primary features (let us now praise them: 2000's Mysterious Object at Noon, 2002's Blissfully Yours, 2004's Tropical Malady, 2007's Syndromes and a Century, and now 2010's Uncle Boonmee Who Can Recall His Past Lives) will appear uniquely evolved."...
- 3/7/2011
- MUBI
With 2010 only a week over, it already feels like best-of and top-ten lists have been pouring in for months, and we’re already tired of them: the ranking, the exclusions (and inclusions), the rules and the qualifiers. Some people got to see films at festivals, others only catch movies on video; and the ability for us, or any publication, to come up with a system to fairly determine who saw what when and what they thought was the best seems an impossible feat. That doesn’t stop most people from doing it, but we liked the fantasy double features we did last year and for our 3rd Writers Poll we thought we'd do it again.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
I asked our contributors to pick a single new film they saw in 2010—in theaters or at a festival—and creatively pair it with an old film they saw in 2010 to create a unique double feature.
- 1/10/2011
- MUBI
David Cairns
The Forgotten: "And darkness was on the face of the deep."
The Forgotten: Open-Plan Dovecot Required
The Forgotten: Retour a la vie
The Forgotten: Street of Dreams
Adrian Curry
Movie Poster Trend of the Week: "Morning Glory"
Movie Poster of the Week: "White Material"
Movie Poster of the Week "Music from the Big House"
Movie Poster of the Week: "The Bride of Frankenstein"
The Ferroni Brigade
The Golden Donkey Locarno 2010: The Shorts Shine Bright
You Can't Be Neutral on a Moving Train: Tony Scott's "Unstoppable"
The Golden Donkey Venice 2010
Max Goldberg
Tuesday Foreign Region Blu-ray disc Report: "Le cercle rouge" (Jean-Pierre Melville, 1970)
Daniel Kasman
Today, on the Secret Online Film Sharing Networks #1
Today, on the Secret Online Film Sharing Networks #2
Image of the day. Balancing Act
Vancouver Thought Processes
Image of the day. Errant Pleasures of Watching Film on Digital Video
Image of the day. Anna Karina,...
The Forgotten: "And darkness was on the face of the deep."
The Forgotten: Open-Plan Dovecot Required
The Forgotten: Retour a la vie
The Forgotten: Street of Dreams
Adrian Curry
Movie Poster Trend of the Week: "Morning Glory"
Movie Poster of the Week: "White Material"
Movie Poster of the Week "Music from the Big House"
Movie Poster of the Week: "The Bride of Frankenstein"
The Ferroni Brigade
The Golden Donkey Locarno 2010: The Shorts Shine Bright
You Can't Be Neutral on a Moving Train: Tony Scott's "Unstoppable"
The Golden Donkey Venice 2010
Max Goldberg
Tuesday Foreign Region Blu-ray disc Report: "Le cercle rouge" (Jean-Pierre Melville, 1970)
Daniel Kasman
Today, on the Secret Online Film Sharing Networks #1
Today, on the Secret Online Film Sharing Networks #2
Image of the day. Balancing Act
Vancouver Thought Processes
Image of the day. Errant Pleasures of Watching Film on Digital Video
Image of the day. Anna Karina,...
- 12/3/2010
- MUBI
Updated through 10/1.
Max Goldberg, writing for the San Francisco Bay Guardian, has seen Paul Clipson "project films on a billowing screen under the stars; in the squat confines of the Café Du Nord for the On Land music festival, where his work expanded several performances; and on the sides of a dome structure atop Yerba Buena Center for the Arts. There have been more traditional screenings as well, though Clipson's eclectic live projections are drawing attention — he's fresh back from a brief European tour and will be featured in New York's Views from the Avant-Garde this weekend. Before then, he'll present a ranging survey of his recent efforts at Sfmoma, where he works as head projectionist." Paul Clipson Presents the Elements happens tonight and Sfmoma's Brecht Andersch hollers: "Expect complete synesthetic-cinécstasy!"...
Max Goldberg, writing for the San Francisco Bay Guardian, has seen Paul Clipson "project films on a billowing screen under the stars; in the squat confines of the Café Du Nord for the On Land music festival, where his work expanded several performances; and on the sides of a dome structure atop Yerba Buena Center for the Arts. There have been more traditional screenings as well, though Clipson's eclectic live projections are drawing attention — he's fresh back from a brief European tour and will be featured in New York's Views from the Avant-Garde this weekend. Before then, he'll present a ranging survey of his recent efforts at Sfmoma, where he works as head projectionist." Paul Clipson Presents the Elements happens tonight and Sfmoma's Brecht Andersch hollers: "Expect complete synesthetic-cinécstasy!"...
- 10/1/2010
- MUBI
Max Goldberg in the San Francisco Bay Guardian: "Looking at a map of Paris, the city's rings resemble those of the giant Sequoia cross-section in Vertigo (1958), the one Kim Novak points to saying, 'Somewhere in here I was born ... and here I died.' It's a touchstone scene for Chris Marker, one he recasts in both La Jetée (1962) and Sans Soleil (1983), though the Paris metaphor is prompted by his lesser known essay film, Le joli mai ('May the beautiful,' filmed with the venerable cinematographer Pierre Lhomme)." Poetry Meets Politics: The Essay — Chris Marker's Le joli mai: Tomorrow evening at 7 at the San Francisco Museum of Modern Art. Related: Acquarello's review from 2006.
- 3/31/2010
- MUBI
"It's not every day, or year, that you encounter a retrospective like Sf Cinematheque and the Pacific Film Archive's co-presentation of [Robert] Beavers's 18-film cycle, made between 1967 and 2002, My Hand Outstretched to the Winged Distance and Sightless Measure," writes Max Goldberg in the San Francisco Bay Guardian. More on the filmmaker from "off in the hinterlands of the avant-garde" from Chrissie Iles in Artforum; and Michael Guillén's not only got extensive notes on Tuesday evening's conversation between Beavers and P Adams Sitney but also an "Online Reader." Through Tuesday.
- 10/15/2009
- MUBI
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