Manuela De Laborde's short film As Without So Within, which has played at the Toronto International Film Festival, won the Grand Prix at Zagreb's 25 Fps Festival, competed for the Tiger at Rotterdam, and will next screen at New Directors/New Films, is an utterly remarkably, vividly calm work that blends sculpture and filmmaking into a cosmic exploration of physical material transformed by the flatness of the cinema screen. Using ingenious objects made by De Laborde that variously resemble moon rocks, bones, and additional unidentifiable shapes, and by filming them against black backgrounds, awash in precise colored lighting and at different scales, these strange pieces loom or are dwarfed, come into or go out of focus and perceptibility. Sometimes the film feels like a kind of astronomic research report, tactile and scientific in its observation, even seemingly scanning or plunging deep the molecular makeup of these evocatively recognizable, yet alien shapes.
- 3/18/2017
- MUBI
Below you will find our favorite films of the 45th International Film Festival Rotterdam, as well as an index of our coverage.Daniel Kasmantop Picksi. Lejos de los árboles, Le Moulin, Female Student Guerilla, Noche de vino tintoII. Juke: Passages from Films of Spencer Williams, Warsaw Bridge, MotherIII. Night and Fog in the ZonaIV. Where the Chocolate Mountains, ElliV. Operation Avalanche, Sixty Six, Fata Morgana, Cada vez que..., Oleg y las raras artes, ActeonCOVERAGEFirst Steps: Ear, Nose and Throat (Kevin Jerome Everson), Lejos de los árboles (Jacinto Esteva Grewe)Acting Out: General Report II: The New Abduction of Europe (Pere Portabella), Esquizo (Ricardo Bofill), Actor Martinez (Mike Ott, Nathan Silver)Japan's Cinematic Revolutionary: Sex Game (Masao Adachi), Female Student Guerilla (Masao Adachi), Artist of Fasting (Masao Adachi)The Streets, the Mountains, the Snow, and the Ocean: Noche de vino tinto (José María Nunes), Where the Chocolate Mountains (Pat O'Neill), Cinéma...
- 2/7/2016
- by Notebook
- MUBI
Even as Reverse Shot carries on working its way through the Spielberg oeuvre for the second time — the latest entry comes from Eric Hynes: "His cinema telescopes and microscopes, making big what's small, and near what's far, and always making you feel — both physically and emotionally — the ingenious contraption at work. Rarely has his marriage of form and feeling worked as fluidly and guilelessly as it did in Close Encounters of the Third Kind, a film of colossal ambition that plays as intimate, of heart-thumping sensations that register as cosmic, of wondrous spectacle that in the end just sings" — the new Film Quarterly features Jonathan Rosenbaum on what more than a few believe to be Spielberg's best work: "A.I. is a film about having been programmed emotionally — something that the cinema does to us all, and a subject that my first book, Moving Places, attempted to explore. This is one reason why,...
- 3/27/2012
- MUBI
"[A]lmost as long as there's been a Hollywood in Los Angeles, there has been an off-Hollywood too, the provenance of those toiling at the edge and far outside the mainstream," writes Manohla Dargis in a historical overview for the New York Times. "It's possible to follow one thread in the off-Hollywood story, its histories, productions and personalities in Alternative Projections: Experimental Film in Los Angeles 1945-1980, a six-month series coordinated by Filmforum, the longest-running avant-garde film organization in Los Angeles, and one of several moving-image programs in Pacific Standard Time. (Another, La Rebellion: Creating a New Black Cinema, was coordinated by the UCLA Film & Television Archive, where it runs until Dec 17.) An initiative of the Getty Institute, Pacific Standard Time is a sprawling collaboration of more than 60 Southern California cultural institutions that aims, as a Getty news release puts it, 'to tell the birth of the Los Angeles art scene...
- 11/5/2011
- MUBI
"Oh yeah, Tony Scott—he's good," says even Lav Diaz, currently residing in Vienna's Ferronian headquarters, and further proof rushes into cinemas with Unstoppable (and to home systems with the highly recommended BFI unearthing of his 1970 medium-length feature Loving Memory on DVD/Blu-Ray). Intriguingly, after the delirious triple whammy of Man on Fire, Domino and Déjà vu, Unstoppaple now forms a diptych with its minor, but still underrated predecessor The Taking of Pelham 1 2 3 of almost straightforward suspense filmmaking: But while the remake of Joseph Sargeant's still-splendid 1974 New York crime picture The Taking of Pelham One Two Three (together they make a for a great, entertaining double feature lesson about changes of a city and the corresponding zeitgeist mentality) was centered around a train standing still, Unstoppable is predicated on a constant increase of speed. As such, it is both an expertly pared-down exercise in pure orchestration of...
- 11/15/2010
- MUBI
The Academy of Motion Picture Arts and Sciences will present a program devoted to animator and visual effects artist Adam Beckett entitled "Infinite Animation: The Work of Adam Beckett," on Aug. 17 at the Linwood Dunn Theater in Hollywood.
The evening will include a screening of "Life in the Atom," a short film that Beckett left unfinished when he died at the age of 29.
The evening will be presented by the Academy's Science and Technology Council and hosted by visual effects artist Richard Winn Taylor and Beckett biographer Pamela Turner. It also will feature screenings of six more of Beckett's films and an onstage panel discussion with his colleagues and friends.
Scheduled guests include visual effects artists David Berry and Richard Edlund, animator Chris Cassady, and filmmakers Beth Block, Roberta Friedman and Pat O'Neill.
The films to be screened are "Dear Janice" (1972), "Heavy-Light" (1973), "Evolution of the Red Star" (1973), "Flesh Flows" (1974), "Sausage...
The evening will include a screening of "Life in the Atom," a short film that Beckett left unfinished when he died at the age of 29.
The evening will be presented by the Academy's Science and Technology Council and hosted by visual effects artist Richard Winn Taylor and Beckett biographer Pamela Turner. It also will feature screenings of six more of Beckett's films and an onstage panel discussion with his colleagues and friends.
Scheduled guests include visual effects artists David Berry and Richard Edlund, animator Chris Cassady, and filmmakers Beth Block, Roberta Friedman and Pat O'Neill.
The films to be screened are "Dear Janice" (1972), "Heavy-Light" (1973), "Evolution of the Red Star" (1973), "Flesh Flows" (1974), "Sausage...
- 7/30/2009
- The Hollywood Reporter - Movie News
Arnold Schwarzenegger has earned a spot in the halls of Washington, but not because of his political career.
Instead, the former actor's turn as a robot from the future was enshrined in the Library of Congress as the National Film Registry announced Tuesday that "The Terminator" is among the 25 films that have been selected for preservation in the Registry in 2008.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the Registry that are "culturally, historically or aesthetically" significant. The choices aren't necessarily considered the best American films; they are chosen by Librarian of Congress James H. Billington on the advice of the Film Preservation Board and the library's motion picture staff because the selections possess "enduring significance to American culture."
James Cameron's 1984 "Terminator," in which the future governor of California's cyborg utters the classic line, "I'll be back," was cited for "blending an ingenious,...
Instead, the former actor's turn as a robot from the future was enshrined in the Library of Congress as the National Film Registry announced Tuesday that "The Terminator" is among the 25 films that have been selected for preservation in the Registry in 2008.
Under the terms of the National Film Preservation Act, each year the Librarian of Congress names 25 films to the Registry that are "culturally, historically or aesthetically" significant. The choices aren't necessarily considered the best American films; they are chosen by Librarian of Congress James H. Billington on the advice of the Film Preservation Board and the library's motion picture staff because the selections possess "enduring significance to American culture."
James Cameron's 1984 "Terminator," in which the future governor of California's cyborg utters the classic line, "I'll be back," was cited for "blending an ingenious,...
- 12/30/2008
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
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