3 items from 2016
Federico Fellini’s best non-narrative feature is an intoxicating meta-travelogue, not just of the Eternal City but the director’s idea of Rome past and present. The masterful images alternate between nostalgic vulgarity and dreamy timelessness. Criterion’s disc is a new restoration.
The Criterion Collection 848
1972 / Color / 1:85 widescreen / 120 min. / available through The Criterion Collection / Street Date December 13, 2016 / 39.95
Cinematography Giuseppe Rotunno
Film Editor Ruggero Mastroianni
Original Music Nino Rota
Produced by Turi Vasile
Directed by Federico Fellini
Reviewed by Glenn Erickson
Federico Fellini stopped making standard narrative pictures after 1960’s La dolce vita; from then on his films skewed toward various forms of experimentation and expressions of his own state of mind. Most did have a story to some degree, »
- Glenn Erickson
In a career fixated on the machinations of filmmaking presented through both a carnal and political eye, Brian De Palma’s fascinations converged idyllically with Blow Out. In his ode to the conceit of Blow Up — Michelangelo Antonioni’s deeply influential English-language debut, released 15 years prior — as well as the aural intrigue of Francis Ford Coppola’s The Conversation, De Palma constructs a conspiracy thriller as euphorically entertaining as it is devastatingly bleak.
In a fake-out opening — shot by Steadicam inventor Garrett Brown — that combines the voyeurism, nudity, and threat of murder that are De Palma’s calling cards, we see Coed Frenzy, the fifth movie in two years that sound technician Jack Terry (John Travolta) has done for the shlock director employing him. By showing the artifice of the B-movie, this film-in-a-film positions Blow Out as a more mature offering from the filmmaker, explicitly foreshadowed during the split-screen opening »
- Jordan Raup
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Jessica Chastain, Juliette Binoche, Freida Pinto, Catherine Hardwicke, Amma Asante, Marielle Heller, Ziyi Zhang, Haifaa Al Mansour, and more women have launched the company We Do It Together to produce films and TV that boost the empowerment of women, Variety reports.
Though The Graduate upholds some of the classic tropes of Hollywood romantic comedy dating back to the 1930s—especially in its climactic deployment of a runaway bride—Benjamin’s paralyzing emotional disconnect from the world around him is what makes his story both fresh and particular to its own time.
- TFS Staff
3 items from 2016
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