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Do you ever hear ideas that make you go “yes, yes, yes, Yes!”? Like, it’s such a perfect concept, and it seems like there’s no way it could fail. Basically that applies to anything Alejandro Iñárritu and Emmanuel Lubezki do together, and boy howdy is their next project a doozy. Variety has reported that the Oscar-winning duo (winning back-to-back... Read More »
- Matt Rooney
Novelty or the next step in storytelling? That seems to be the question surrounding the future of virtual reality. There are some who think the technology will be best applied in video games, while others think it’s only a matter of time until moviemakers embrace the format. Well, the only way for directors to tell will be to get their feet wet, and that’s just what Alejandro G. Iñárritu is doing.
Teaming up with his old pal and frequent collaborator, cinematographer Emmanuel Lubezki (“Birdman,” “The Revenant“), Iñárritu will be directing a virtual reality short film that will explore the intense and excruciating experience of a group of immigrants and refugees crossing the border between Mexico and the United States.
- Kevin Jagernauth
Oscar winners Iñárritu and his frequent cinematographer Emmanuel Lubezki are diving into the virtual reality medium with a piece about a group of immigrants and refugees crossing the Mexico-us border.
Iñárritu and Legendary Entertainment announced on Wednesday that they are commencing work on the experimental film after four years of secret development.
Legendary Entertainment and Fondazione Prada are financing the project and Lucasfilm’s recently established immersive entertainment division ILMxLAB will build the virtual world and characters.
The subject matter of the short film is described as “intense and excruciating” – little surprise to fans of Iñárritu’s work.
The Mexican double Oscar-winning best director most recently collaborated with Lubezki, himself a three-time Academy Award-winning cinematographer, on global smash The Revenant.
The body worked with Iñárritu on the film festival Flesh, Mind And Spirit that toured Seoul and Milan. »
- firstname.lastname@example.org (Jeremy Kay)
After four years of development, Alejandro G. Iñárritu is commencing work on an experimental virtual reality short film to be produced and financed by Legendary Entertainment and Fondazione Prada. ILMxLAB, Lucasfilm’s recently established Immersive Entertainment division, will build the virtual world and characters.
Iñárritu and frequent collaborator cinematographer Emmanuel Lubezki will experiment for their first time within a space narrative in this new visual medium. The film will mark Legendary’s largest step in the Vr world.
The immersive virtual reality piece will explore the intense and excruciating experience of a group of immigrants and refugees crossing the border between Mexico and the United States.
Inarritu is coming off back-to-back best director Oscar wins for his work on New Regency’s “Birdman” and 20th Century Fox’s “The Revenant,” both of which were shot by Lubezki.
- Justin Kroll
Whenever Alejandro G. Iñárritu and Emmanuel Lubezki team up, it’s hard to envision anything short of visionary. Their ambitious efforts like “Birdman” and “The Revenant” have racked up major acclaim and a bevy of Oscars in recent years, and it seems like there’s really no limit on how boldly they can push the filmmaking medium. It turns out that notion is going to be tested again sooner and more ambitious than we expected, as Legendary has confirmed the duo is now beginning work on an experimental virtual reality short film.
Not much about the project is known, though Legendary has released an early plot description. The untitled Vr experience will “explore the intense and excruciating experience of a group of immigrants and refugees crossing the border between Mexico and the United States.” It will »
- Zack Sharf
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Blood Simple (Joel and Ethan Coen)
For as accomplished as Joel and Ethan Coen’s debut Blood Simple comes across as to a viewer, like any director, they can’t help but recognize their flaws. That’s not to say their newly restored debut, now available on The Criterion Collection, doesn’t look and sound gorgeous — every bead of sweat dripping down M. Emmet Walsh’s face and every »
- The Film Stage
Whether we’re living in an era when we know more about the methods of film production or a greater appreciation of the medium (or both), cinematographers are becoming household names. And two of the finest practitioners of the art are lining up some exciting projects.
Read More: Young Han Solo ‘Star Wars’ Spinoff Now Casting Lando Calrissian
- Kevin Jagernauth
On the heels of yesterday’s news that Robert Elswit will be reteaming with Dan Gilroy after Nightcrawler for the Denzel Washington-led drama Inner City — presumably counting him out of Paul Thomas Anderson‘s next feature, shooting around the same time — we have more enticing cinematography-related updates, and we’ll start with the most expected first.
After working on all of his films except for Harry Potter and the Prisoner of Azkaban, three-time Oscar winner Emmanuel Lubezki will reteam with Alfonso Cuarón for his next project. It was revealed earlier this month that the Children of Men and Gravity director would be heading back to his roots for a drama that chronicles a year in the life of a middle-class family in Mexico City in the early 1970s. With shooting to kick off this fall, an Instagram post (seen below) informs us that Lubezki is already underway with camera tests for the film. »
- Jordan Raup
The Hollywood gender divide isn’t exclusive to acting or directing; there is a serious gap in the world of cinematography, notwithstanding some of the boundless, triumphant work that has been created by women in the past decade (and then some). For every Roger Deakins or Emmanuel Lubezki there’s a Reed Morano or a Maryse Alberti, women who have shot some of the most notoriously beautiful and breathtaking films, yet you, and even this author alike, perhaps didn’t know about all of them.
Continue reading Video Essay Highlights The Extraordinary Vision Of 12 Essential Female Cinematographers at The Playlist. »
- Samantha Vacca
“The Vessel” reunites Martin Sheen and Terrence Malick (here in an executive producer capacity), although their first collaboration in 43 years is, tonally and thematically, less “Badlands” than the filmmaker’s subsequent “The Tree of Life.” A spiritual fable about a man compelled to shoulder the burden of his community’s grief and hope, Cuban-American writer-director Julio Quintana’s feature debut has an understated formal loveliness that helps offset its more heavy-handed allegorical inclinations. Shot in both English and Spanish-language versions (which, despite a one-minute runtime difference, are otherwise identical), this muted, moving small-scale tale of sorrow and faith will strike a chord with both the churchgoing crowd and aficionados of Malick’s contemplative, theologically predisposed cinema.
In an unidentified Puerto Rican coastal village, residents continue to mourn the deaths of 46 children who, 10 years prior, were swept out to sea when a giant wave crashed into their schoolhouse. In response to this tragedy, »
- Nick Schager
It’s been announced that Alfonso Cuarón will be partnering with Participant Media for his first project in Mexico since his 2001 sexually-fueled friendship drama, “Y Tu Mamá También.” Currently untitled, Cuarón’s new film is set in early ’70s Mexico City and will depict a year in the life of a middle-class family. No announcements have been made as to whether there is a cast attached to the project.
Read More: The Films of Alfonso Cuarón, Ranked From Worst to Best
“This film is close to my heart,” said Cuarón in a press statement, “I am thrilled to be making it with the Participant team.” Participant is responsible for notable recent releases such as “Spotlight” and “He Named Me Malala,” and have four films at this year’s Toronto Film Festival.
“Alfonso is a master story-teller,” said Participant CEO David Linde, “We are elated to be joining him…” The film will be produced by Cuarón, »
- Annakeara Stinson
Ewan McGregor stars as both Jesus and the devil in Rodrigo Garcia’s seventh narrative feature, Last Days in the Desert, which premiered at the 2015 Sundance Film Festival and received a limited theatrical released in May of 2016 from BroadGreen Pictures (shortly after the distributor released another phenomenal title lensed by Emmanuel Lubezki, Terrence Malick’s Knight of Cups).
Continue reading »
- Nicholas Bell
Last Days in the Desert follows Jesus (Ewan McGregor) in an imagined chapter from his forty days of fasting and praying in the desert. On his way out of the wilderness, he struggles with the Devil, also played by McGregor, over the fate of an ordinary family in crisis, setting for himself a dramatic test with distinctly human conflicts.
The critics love Last Days In The Desert:
“A warm, generous, and unexpected story” — Christianity Today
“ … inviting, beautiful, frustrating, amusing, affecting, and challenging” – Cinemayward
“… forces us to consider the humanity of Jesus” – PluggedIn.com
“Mesmerizing cinematography of Emmanuel Lubezki” – Spirituality & Practice
“Last Days in the Desert achieves greatness” – Crave Online
“Gorgeous and mysterious” – Village Voice
“… most intelligent, engaging film about Jesus since The Last Temptation of Christ.” – NPR
Now you can win the DVD of Last Days In The Desert. »
- Tom Stockman
“Beauty, Love, Mother... And America”
Filmmaker Terrence Malick has perhaps out-mystique’d the great Stanley Kubrick in terms of his public perception. Famously reclusive, Malick never allows photographs of himself to be used, and he never appears in “making of” documentaries about his films. A Rhodes Scholar and a Harvard graduate, he is obviously a brilliant man. Once he got into the film business, he worked as a script doctor until he made his first feature, Badlands (1973). It was critically acclaimed and established Malick as a hot addition to the “New Hollywood” movement. Next came Days of Heaven in 1978, also critically lauded.
And then... he disappeared. For twenty years.
In 1998, he appeared on the scene again, and Hollywood was more than ready to open checkbooks and fund his third feature film, The Thin Red Line.
It takes a lot of mystique for that scenario to happen.
Malick’s fourth picture, »
- email@example.com (Cinema Retro)
Leave it to Terrence Malick to always keep us guessing when his next film will drop. Recently we got word that his long-rumored documentary Voyage of Time would finally be dropping this fall and on massive IMAX screens to boot - before the star filled Weightless that he shot back-to-back with this year's Knight of Cups. Like his movies, I guess the release schedules and post-production meander as well.
But even without Weightless's star power, Voyage will pack wattage of its own. Ennio Morricone will be scoring the film, reuniting him with the director after almost forty years since they collaborated on Days of Heaven. And there may not be recognizable faces on screen among the eyepopping visuals, but Brad Pitt narrates (Cate Blanchett is set to narrate the extended, non-imax version that is also rumored).
If you have your doubts about another Mallick meditation on existance, consider that »
- Chris Feil
Year after year film releases from January through June get the short end of the stick during the Oscar season, when latter-year entries — many of them fresh off exposure-boosting festival circuits — drown everything out.
There are exceptions, of course, but mostly, without the help of critical kudos and other precursor awards that deign to have long memories, quality work is frequently left in the also-ran pile. In an effort to keep the spotlight trained on deserving contenders, here is a long list of players we’d like to see remembered by the Academy later this year.
[Note: This list only includes films theatrically released to the public through the year’s midway point. Not all festival entries are eligible.]
Best Picture: “Weiner”
Rather than save it for the documentary feature category, why not just call one of the year’s best movies exactly what it is? This Sundance hit is somehow the perfect movie for now: Flawed heroes, media obsession with titillation yielding obfuscation of substance — it’s brilliantly in tune with the zeitgeist. »
- Kristopher Tapley and Jenelle Riley
Lately, lauded cinematography has been full of nature-porn wide shots (looking at you, “The Revenant“) and catchy camera movement (ok, maybe just you, Emmanuel Lubezki). For a film to be recognized and receive accolades for its camerawork, the effects need to be stellar (pun intended), or full of inventive shots that focus and refocus your attention […]
- Samantha Vacca
After highlighting a recent video series featuring extensive breakdowns of specific films, today we have a set of video essays that focus on styles of some of the greatest cinematographers, both working today and others that have passed on and left an inedible mark. Featuring Vittorio Storaro, Robert Elswit, Roger Deakins, Sven Nykvist, Emmanuel Lubezki, Gordon Willis, and more, wolfcrow’s informative videos briefly highlight their career beginnings and notable work before going into composition, lighting, aspect ratio, clarity, shot length, and much more.
Storaro, who convinced Woody Allen to go digital for Cafe Society, has also recently chimed in on a problem with today’s crop of cinematographers. “People want to work faster or show that they can use less light, but they don’t look for the proper light the scene needs. That isn’t cinematography, that’s recording an image. … I was never happy in any set to just see available light, »
- Leonard Pearce
There is a moment in Sean Penn’s new film — for some reason screening this week in competition in Cannes — when, having navigated the safe passage of a group of refugees from Liberia to Sierra Leone, Charlize Theron’s aid worker asks herself, “In this place of so much war, had I found peace?” It’s a paradoxical query in which basically everything right and terribly wrong about The Last Face can be found. Indeed, cakes are being had and eaten by all involved.
Penn — an active humanitarian who enjoys commendably passing bags of rice out of the backs of trucks — would like nothing more than to educate his audience on the daily horrors of this sort of work on the front line. Good for him. However, while perched upon that high horse, he chooses to also use those horrors as a backdrop and catalyst for a romance between two »
- Rory O'Connor
Sparse and austere, Rodrigo Garcia’s “Last Days In The Desert” is a meditative and moody look at fathers and sons through the eyes of Jesus as he vision quests through the desert seeking guidance from his own savior. While quiet and gorgeous to look at thanks to the stunning photography of Emmanuel Lubezki (“Birdman,” “The […]
- Rodrigo Perez
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