1-20 of 68 items from 2014 « Prev | Next »
It started with an infographic. Then more infographics. And some think pieces. And some brief TwitterRage. Over the last year and a half, women’s role in cinema, specifically Hollywood cinema, has become a lightning rod for discussion and debate, and more so than any time in the past, people are approaching film a little more critically in regards to how women are portrayed. The statistics are mind-numbingly bleak, with women representing a fraction of the work force behind the camera, from director to CEO to the best boy. Women in front of the camera rarely fair much better, with roles such as “beautiful and always understanding girlfriend/wife to the hilarious schlub” and “girl with cleavage that shoots guns in tight clothes”.
Last week I happened across a piece about the Best Actress race for the upcoming Academy Award Ceremony and the author talked about how the Actress race »
- Jae K. Renfrow
Where to begin? This past few days saw an influx of "Best of" lists, which will probably continue until and beyond year's end. Let's kick it off with Cahiers du Cinéma's Top Ten:
1. Li'l Quinquin (Bruno Dumont)
5. The Wind Rises (Hayao Miyazaki)
6. Nymphomaniac (Lars Von Trier)
10. Our Sunhi (Hong Sangsoo)
6. The Grand Budapest Hotel (Wes Anderson)
7. Winter Sleep (Nuri Bilge Ceylan)
8. The Tribe (Myroslav Slaboshpytskiy)
See the rest here. »
The new issue of cléo features interviews with Sally Potter and Julie Taymor, a profile of Sylvia Schedelbauer and articles on Alexander Payne’s Election, Jonathan Lynn's Clue, Mia Hansen-Løve's Eden, John Fawcett’s Ginger Snaps and Jon Hall's Beach Girls and the Monster. Necsus has rolled out its autumn issue with and essay by the late Harun Farocki. In the new journal Kinetophone, we can read about Dario Argento's Opera, Jean-Jacques Beineix's Diva, Werner Herzog's Fitzcarraldo and Federico Fellini's E la nave va. The new Cineaste is out and Fireflies is preparing its second issue on Abbas Kiarostami and Béla Tarr. » - David Hudson »
Before I met my wife, my longest relationship lasted a span of only three months. I wasn’t afraid of commitment; I was too committed too early. I fell fast and hard. Every time. But that doesn’t mean I never went through the typical relationship bumps in the road. I fought with plenty of exes about normal things – jealousy, dishonesty, etc. And now my wife and I fight about plenty of the same things, but we handle it, just like every other successful couple. In the spirit of tumultuous relationships, this list looks at the definitive relationship dramas. These are films that focus on one or more romantic relationships. These aren’t just “falling in love” movies. These are movies that dissect some side of a relationship that helps to drive the plot. So, without further ado, let’s join hands on this journey together.
50. Wild at Heart (1990)
- Joshua Gaul
Our 2014 Honorary Oscar tribute series continues with a two-part look at the long fascinating career of Jean-Claude Carrière. Here's Amir with Part One.
Here at The Film Experience, we are normally opposed to the idea of past winners receiving honorary Oscars. This, after all, is an honor bestowed on a recipient whose career not only merits the attention, but also lacks it. When there are so many giants of the medium that the Academy hasn't recognized, why double dip with already rewarded names? But there is something incredibly satisfying about seeing three time nominee and one time winner, Jean-Claude Carrière, receive an honorary Oscar this year. His is one of the most fascinating careers in film history, and one that has lasted six decades and spanned several countries and languages.
Carrière started as a novelist, his first work published in 1957, five years prior to winning an Oscar in the best »
- Amir S.
Orson Welles's legendary uncompleted final film, The Other Side of the Wind, featuring John Huston, Susan Strasberg, Lilli Palmer, Dennis Hopper and Peter Bogdanovich, will finally see the light of a projector, reports the New York Times. Also in today's roundup of news and views: Jonathan Rosenbaum on Jacques Tati and Abbas Kiarostami and Reverse Shot and The Believer on Martin Scorsese. Plus: Werner Herzog, Wim Wenders, Volker Schlöndorff, Margarethe von Trotta, Michael Haneke, Tom Tykwer, Nina Hoss and Christoph Waltz are among the more than 60 filmmakers and actors who have signed an open letter to Chancellor Angela Merkel protesting proposed cuts to the German Federal Film Fund. » - David Hudson »
In today's roundup of news and views: Gary Giddins on Federico Fellini, Glenn Kenny on Walerian Borowczyk and Aliza Ma on Martin Scorsese; interviews with Juliette Binoche and Cherien Dabis; early word on the next projects from Abbas Kiarostami and Stephen Frears; podcasts on Raquel Welch and Slava Tsukerman; Thessaloniki's lineup and a first wave of programming for SXSW; classic horror indies in New York; and Griffin Dunne's preparing a documentary on his aunt, Joan Didion. » - David Hudson »
Turkish artist/auteur Kutlug Ataman’s “The Lamb,” a drama infused with humor set in poverty-stricken Anatolia, took the top prize at the 51st Antalya Golden Orange Film Festival which wrapped on Saturday with a high-caliber closing night gala that also saw Iranian maestro Abbas Kiarostami and Jean-Claude Van Damme take the stage of Turkey’s oldest film event.
“The Lamb” (pictured), an amusingly told tale of a rural family struggling to come up with cash to throw a banquet to celebrate their son’s circumcision, won the Golden Orange for best pic, which comes with roughy $155,000 in cash. Kiarostami, winner of the fest’s lifetime achievement award this year, handed Ataman the top statuette. Van Damme was feted with the fest’s Honorary Award.
Three female thesps in “The Lamb,” also scored acting honors, including the best actress nod, which went to Nesrin Cavadzade.
“The Lamb,” which bowed in Berlin earlier this year, »
- Nick Vivarelli
Busan — After hosting short-term teaching sessions for ten years, the Busan Film Commission is to give a permanent home to the Asian Film Academy.
Oh Seok-geun, director of the Busan Film Commission, told Variety that the city will set up the Asian Film Academy at the end of 2015 in the Suyeong Yachting Center, which previously housed the Busan International Film Festival’s opening and closing ceremonies.
“It will be open to Asian film talent and will have state-of-the-art facilities,” said Oh. Discussions with the Korean Film Council (Kofic) about exactly how it should be set up are still ongoing.
Concerns, however, are being raised that the Afa will become a rival to Kofic’s Korean Academy of Film Arts (Kafa), which is located in Seoul, »
- Nemo Kim
Iranian filmmaker Abbas Kiarostami has been considered one of the most unique and respected voices in international cinema for more than four decades. The average American filmgoer may not be very familiar with his work, but the vast majority of scholars and critics are infatuated with his elegant, conversational, often documentary-style narratives about life. One of these films, The Wind Will Carry Us (1999), has now been re-released on Blu-ray by Cohen Media Group to commemorate its 15th anniversary. It epitomizes many of Kiarostami’s qualities as an auteur, and walks the fine tightrope between fascinating and dull that so many art house films seem wrapped so tightly around.
- Lee Jutton
Busan’s initiative to nurture new film talent, the Asian Film Academy (Afa), is celebrating its 10th anniversary this year with homecoming alumni and special screenings and events.
In addition to its usual filmmaking workshops, the academy is holding reunion-like meetings called Afa Pipeline, where current fellows meet former ones, discuss current projects and share their Afa experiences.
The academy is also holding special screenings of two alumni films with their directors in attendance: Afa 2005 graduate Edwin’s Indonesian film Postcards From The Zoo, which was in Berlinale Competition in 2012, and Afa 2010 graduate Abu Shahed Emon’s Bangladeshi film Jalal’s Story, which is in the New Currents competition this year.
Edwin says Afa for him “was an eye opener to know more about the future of cinema. Asian Film Academy was a great experience for me, the tutors as well as the peers. It meant so much for a young filmmaker to enjoy the discourse that was »
- email@example.com (Jean Noh)
With the deadline looming for Tehran to reach a nuclear agreement with world powers, six top Iranian film directors have launched an Internet campaign with the tagline “there is no deal that is worse than no deal,” marking the strongest public statement on the subject to come from the country’s creative community.
The dedicated website no2nodeal.com significantly is in English and clearly directed at the international community. It features pictures of the six prominent helmers – including 2011 foreign Oscar winner Asghar Farhadi (“A Separation”) (pictured), revered auteur Abbas Kiarostami, and Rakhshan Bani-Etemad, considered Iran’s premier female helmer, whose multi-stranded “Tales” recently won the best screenplay award at the Venice Film Festival.
Iran and six world powers have given themselves a deadline of November 24 for either reaching a deal or giving up negotiations. The six world powers are the United States, Russia, China, Britain, France, and Germany.
- Nick Vivarelli
As Abbas Kiarostami's 2008 Shirin begins, viewers hear a gate open or close, followed by dripping water and slow, deliberate footsteps. One might imagine a dark and musty dungeon with the faint shadow of an unseen figure sweeping across the stone wall. But the scene is a mystery and this would only be speculation. A close-up shot reveals a woman in a room so dark her hair and hijab almost disappear. She stares forward with a look of tempered curiosity as she pops a snack into her mouth. The footsteps continue and it’s immediately clear that the woman is in a theater watching the film to which the sounds belong.
The next scene is similar, with a different woman who appears to be patiently anticipating plot development. »
- Matthew Harrison Tedford
brouillard passage #14
Many of the features you have told me about I have subsequently seen and very much like: Ferrara's tender, banal Pasolini (with a fantastic lead performance by Willem Dafoe, and, as you so justly pointed out, a truly moving homage with Ninetto Davoli), and the eccentric structural romantic comedy from Johnnie To, Don't Go Breaking My Heart 2. Two of the best films at Toronto, so far. Maybe I will return to these films later in the festival to tell you more of what I thought, but first somethings you may not have seen.
The much-anticipated shorts programs of the Wavelengths section wrapped up two nights ago and was presided over as always by indomitable programmer Andréa Picard—practically a cult figure in the festival world these days—who year after year has made it the most distinctive, the most personal, and the most engaged and engaging section at Tiff. »
- Daniel Kasman
Style-Over-Substance in a Fancy Baroque Package
French “artiste” Eugène Green’s latest work is further evidence that his overriding career trajectory of indulgent reminiscence, has a deliberately staged, minimalist, ultimately alienating style that reflects only the most superficial aspects of the values and artistic sensibilities it emulates. La Sapienza is a testament to the male ego—a vanity piece—that idealizes the past and eschews the present to justify a projected ideology that purports the value of chasing dreams and attempting to recreate the past as a way of coping with the fear of death and ideas of legacy.
The premise is simple. Alexandre Schmid (Fabrizio Borromini), an aging architect aiding urban sprawl by designing box city housing complexes that serve commerce over culture, decides to embark on a research expedition to Tinico, Switzerland, the birthplace of Francesco Borromini, a renowned 17th Century architect. His quest, as defined by the »
- Robert Bell
This might sound like an elaborate piece of James Franco-brand performance art, but it’s a real thing: The actor, director, and writer will receive the Jaeger-LeCoultre Glory to the Filmmaker Award at the Venice Film Festival this year. Franco will also debut his latest directorial effort, an adaption of Faulkner’s The Sound and the Fury, this year.
The Glory to the Filmmaker Award honors “a personality who has made an original contribution to innovation in contemporary cinema.” Last year, the award went to Italian filmmaker and Fellini-collaborator Ettore Scola. Previous recipients include Spike Lee, Sylvester Stallone, Al Pacino, »
- Jackson McHenry
The Venice Film Festival will honor James Franco with its Jaeger-Le Coultre Glory to the Filmmaker award dedicated to a personality who has made an original contribution to innovation in contemporary cinema.
Franco will pick up his nod on September 5 when he comes to the Lido for the world bow of his new film “The Sound and the Fury,” based on the William Faulkner novel, which will screen at Venice out of competition. Franco directed and also stars in the adaptation of the great American classic.
Venice topper Alberto Barbera in a statement praised him as “one of the most versatile and multi-talented auteurs on the current American scene,” noting that Franco is a film and theatre actor, a director, screenwriter, producer, soap-opera star, video-artist “and much more – indeed, a relentless ‘manufacturer’ of cultural imagery.”
- Nick Vivarelli
Written and directed by Abbas Kiarostami
To say that Abbas Kiarostami’s The Wind Will Carry Us is an unhurried film would be quite the understatement. This deliberately crafted and contemplative work, one of the great Iranian director’s finest films, moves at the pace of life. Not life as in the hustle and bustle or stolid banality of one’s everyday experiences, but life as in the gradual evolution of humankind’s basic existence. Reflecting the lives of those who inhabit the rural Kurdish village that serves as the film’s setting, The Wind Will Carry Us unfolds slowly and episodically, with its drama, or lack thereof, coming and going at a capricious moment’s notice.
Kiarostami begins the film as we follow a car driven by disembodied voices that bicker about directions and banter about the countryside. They drive and drive, along winding roads, »
- Jeremy Carr
As reported over at The Dissolve, highly respected British film magazine Sight & Sound is famous for its list of the greatest films off all time released once every decade. Since 1952, Citizen Kane held the number one spot until Alfred Hitchcock’s Vertigo dethroned it in the 2012 poll. Now for the first time Sight & Sound has released a list of the 50 greatest documentary films of all time. The list was compiled after polling from over 200 critics and curators and 100 filmmakers, including “John Akomfrah, Michael Apted, Clio Barnard, James Benning, Sophie Fiennes, Amos Gitai, Paul Greengrass, Jose Guerin, Isaac Julien, Asif Kapadia, Sergei Loznitsa, Kevin Macdonald, James Marsh, Joshua Oppenheimer, Anand Patwardhan, Pawel Pawlikowski, Nicolas Philibert, Walter Salles, and James Toback”.
The top 10 are:
Man With A Movie Camera, (Dziga Vertov, 1929) Shoah (Claude Lanzmann, 1985) Sans Soleil, (Chris Marker, 1982) Night And Fog (Alain Resnais, 1955) The Thin Blue Line (Errol Morris, 1989) Chronicle Of A Summer (Jean Rouch & Edgar Morin, »
- Max Molinaro
Above: Pedro Costa's Horse Money
The Locarno Film Festival has announced their lineup for the 67th edition, taking place this August between the 6th and 16th. It speaks for itself, but, um, wow...
"Every film festival, be it small or large, claims to offer, if not an account of the state of things, then an updated map of the art form and the world it seeks to represent. This cartography should show both the major routes and the byways, along with essential places to visit and those that are more unusual. The Festival del film Locarno is no exception to the rule, and I think that looking through the program you will be able to distinguish the route map for this edition." — Carlo Chatrian, Artistic Director
Above: Matías Piñeiro's The Princess of France
Concorso Internazionale (Official Competition)
Alive (Jungbum Park, South Korea)
Horse Money (Pedro Costa, »
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