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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008

5 items from 2017


Review: Going in Both Directions—Julia Ducournau’s “Raw”

10 March 2017 11:10 AM, PST | MUBI | See recent MUBI news »

France has a rich history of horror. There’s the sadomasochistic novels of the Marquis de Sade as well as the blood and guts of Grand Guignol theatre. In cinema, the horror lineage runs deep. There’s Georges Méliès’ shorts and trick films (The Haunted Castle [1896], The Four Troublesome Heads [1898]); the eye-slicing of Salvador Dalí and Luis Buñuel’s Un chien andalou (1929); Georges Franju’s nauseating documentary on slaughterhouses, Blood of the Beasts (1949), as well as his clinical and poetic Eyes Without a Face (1960); there’s Henri-Georges Clouzot’s nasty Diabolique (1955); and the rotting poetry of Jean Rollin’s collective work. Flash forward a few decades, to the mid-1990s and 2000s, where we find the intense and brutal "New French Extremity" films by Philippe Grandrieux, Bruno Dumont, Gaspar Noé, Marina de Van, and others. And there are the genre filmmakers creating work around the same time as the more »

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Meet the First Woman Filmmaker Most People Have Never Even Heard Of — Watch

10 March 2017 10:57 AM, PST | Indiewire | See recent Indiewire news »

If you ask most people familiar with the history of film to name some of the early trailblazers, you’re bound to hear Georges Méliès and the Lumière Brothers quite a few times. As for Alice Guy-Blaché? Well, even if she is mentioned, her name will reoccur far less than her male contemporaries, despite the fact that she is just as influential, if not more so.

Read More: 18 Films Made by Women, Starring Women, That We Absolutely Love

An informative new video essay from Catherine Stratton has been released via Fandor to celebrate Women’s History Month, and it walks viewers through the history of Alice Guy-Blaché’s essential contributions to film. Her 1896 film “The Cabbage Fairy” is largely credited as one of the first narrative features ever made, produced and shot at a time when filmmakers like the Lumière Brothers were simply capturing scenes of every day life.

Between 1896 and 1920, Guy-Blaché wrote, »

- Zack Sharf

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Berlinale 2017. A Cosmogony of Political Cinema

6 March 2017 11:04 AM, PST | MUBI | See recent MUBI news »

“Nothing in the world is irreversible, not even capitalism.”—Fidel CastroTen years in the making, almost forty in clandestine obscurity, Fernando Birri's Org (1967-1978) had almost disappeared after its premiere at the Venice Film Festival and resurfaced for the first time, in its legitimate and restored form, at this year's Berlinale where it was screened in Forum. A hallucinatory deluge of colors, sounds and syncopated reveries, Org is an onomatopoeic film where the aesthetic and political tensions of a decade coalesce into an unresolved crucible of psychedelic militancy. The cinema of Dziga Vertov and Guy Debord is projected through the canvases of Roy Lichtenstein, social realism is supplanted by a third worldly modernism. Of the many semiotic victims strewn along the film's path is the convulsive plot which remains illegible throughout and yet alludes to an archetypal structure that is undermined at its very basis.  The festival helpfully described »

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Psycho Pompous: Impressionist Horror of France and Italy, Part I

1 February 2017 10:00 PM, PST | Screen Anarchy | See recent Screen Anarchy news »

Adaptation and evolution are essential tools needed for any art to survive through time. Though, during its infantile existence from 1895-1915, innovators had been highly ambitious in the technical quality of filmmaking (i.e. Dw Griffith, Edwin Porter), their expression of fantasy (i.e. Georges Méliès) and the investigation into the psychological realism of the human condition (i.e. Yevgeni Bauer, Yakov Protazanov). Though there already had been many major movements in art from antiquity till the present, film was still a young process where much exploration hadn't yet occured. It was only relatively recently that photography was no longer just a tool to produce the sharpest images, but as an expression of artistic merit. Peter Emerson published Naturalistic Photography for Students of the Art in 1890, which served...

[Read the whole post on screenanarchy.com...] »

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Psycho Pompous: Early Imperial Russian and Soviet Influences

27 January 2017 12:00 PM, PST | Screen Anarchy | See recent Screen Anarchy news »

Georges Méliès’ Le Manoir Du Diable signified the dawn of the horror film. A lost film, Esmeralda (1905), the first adaptation of Victor Hugo's The Hunchback of Notre-Dame, is the offical second installment in the genre. It was created by founding French director Alice Guy-Blaché at the dawn of the 20th Century, who would aid in revolutionizing the art as Gaumont's leading director, and one of the first experimenters with color and special effects in the medium. Her work was succeeded by another adaptation of Hugo's novel in 1911, with an ambitious version by Albert Capellani, another lost film. Though such powerful filmmakers were behind the first explorations into the horror genre on screen (followed by J. Searle Dawley's Frankenstein), it would not be until the early 1920s that horror would even...

[Read the whole post on screenanarchy.com...] »

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5 items from 2017


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