News

Sergei Eisenstein: The Complex Man Portrayed in Today’s Google Doodle Was So Much More Than the Master of Montage

Today’s Google Doodle shines a light on one of the seminal figures in film history: Sergei Eisenstein, whose career is most commonly boiled down in World Cinema 101 classes as being the pioneer behind the Soviet Union’s use of montage in propaganda movies following the October Revolution. Eisenstein, who would have turned 120 years old today, was a true believer in the Bolshevik Revolution — and only 20 years old when he left his architecture and engineering studies to join Vladimir Lenin’s Red Army. Just seven years later he would become the genius young filmmaker and theorist behind Soviet montage, creating historical propaganda films that promoted the tenets of Communism and celebrate the Revolution in films like “Strike,” “October,” and, most famously, “Battleship Potemkin.”

From the beginning of film history, there had been exploration of how the new medium’s unique ability to cut through space with the edit could be
See full article at Indiewire »

Pins of Frida, the Famous Mexican Rescue-Dog That Saved 52 People After Mexico's Earthquake, are Being Sold for Charity

Brought to you by the editors of People en Español.

By now, everybody knows who Frida the rescue dog is: the famous yellow lab helped save the lives of 52 people following Mexico’s 7.1 magnitude earthquake last week. Pictures of Frida wearing her Marine vest, protection boots, and goggles, quickly went viral, shooting her to stardom. Now, the brand Twnpns is using her image to help fundraise for the quake’s victims.

Inspired by how quickly Mexican citizens organized to help their compatriots, Twnpns founders, Ster Aguirre and Ivan Mayorquin stepped up in the best way they knew how – making quirky pins.
See full article at PEOPLE.com »

Everything Texas Actors Need to Do This Week, 5/2-5/8

Happy Cinco de Mayo, everyone! Here are some activities across the state you can really “cinco” your teeth into. Go avant-garde.The Dallas Museum of Art’s latest new exhibit is the stunning “Mexico 1900–1950: Diego Rivera, Frida Kahlo, Jose Clemente Orozco and the Avant-Garde.” On Thursday, May 4, the Dma’s new executive director, Agustin Arteaga, will discuss this work during a special exhibition talk, starting at 7 p.m. (Tickets: $5) Running round in Dark Circle in my mind.The Dark Circle Contemporary Dance troupe has only been around for a few years, but its creativity has already garnered some national attention. From May 5–7, the company debuts Bleachers, its spring series featuring three world premieres, at Erma Lowe Hall in Fort Worth. (Tickets start at $25) Shakespeare would approve.Galveston’s 2017 Food and Wine Festival puts the word “food” first, but with more than 20 vineyards participating this year on May 5 and 6, “wine
See full article at Backstage »

StreamFix: Movie classics on Netflix written by women over 40

  • Hitfix
StreamFix: Movie classics on Netflix written by women over 40
Meryl Streep, who is officially a genius angel sent from a better dimension, is funding a screenwriting lab for women over 40. The initiative aims to create opportunities for that contingent, and it'll be run by New York Women in Film and Television and Iris, a collective of women filmmakers. Because this idea is so brilliant, we'll toast a bunch of 40+-year-old female screenwriters whose works are available on Netflix now. The Kids are All Right (Lisa Cholodenko) Aside from the fact that "The Kids are All Right" feels like a prime James L. Brooks feature, the 2010 family drama gives you a myriad of irresistible moments and performances. Annette Bening is biting and funny as an alcoholic lesbian mother; Julianne Moore is harried and loving as her conflicted wife. Mark Ruffalo, Mia Wasikowska, and Josh Hutcherson add perfectly pitched dramedy with their sincere roles. You want to hug this movie, but
See full article at Hitfix »

‘Art and Craft’ Could Join These Ten Art-Related Docs to Garner Oscar Noms

By Anjelica Oswald

Managing Editor

For almost 30 years, Mark Landis forged artwork and passed it off as his own to various museums around the country. It wasn’t until Matthew Leininger, a registrar at the Oklahoma City Museum of Art, investigated the pieces in 2008 that the forgery was exposed. Leininger dedicated his time to investigating Landis further, and the scale of forgeries was revealed in 2012. Both men are featured in Art and Craft, a documentary about Landis, directed by Jennifer Grausman and Sam Cullman and co-directed by Mark Becker. Because Landis never sold his work to the museums, only donated the works in what he calls acts of “philanthropy”, he was never prosecuted.

The Hollywood Reporter’s John DeFore said, “The film will appeal to art lovers, but some viewers who can hardly tell their Cezannes from Chagalls will find the story fascinating as well.”

The film was picked by
See full article at Scott Feinberg »

Beyonce Dresses as Painter Frida Kahlo For Second Halloween Look: Picture

Beyonce is known for her artistry, but on Halloween, she took it to the next level, dressing up as famed Mexican painter Frida Kahlo at a party at Charlie Bird in NYC.  Though she didn't give herself a unibrow, the "Flawless" singer, 33, did match one of Kahlo's most iconic looks perfectly in a blue printed dress with a colorful flower crown.  Kahlo, the wife of fellow painter Diego Rivera, was best known for her slightly surreal self portraits. She died at age 47 in 1954, but endured [...]
See full article at Us Weekly »

Indie News Bits: Gravedigger, From Above, Escaping the Dead, Jersey Devil, and More!

  • Cinelinx
The past few days hase seen my inbox fill up with all sorts of Indie Beat stories and that's a great thing! So today, I've rounded them all up into one convenient spot for you to enjoy. So come inside to check out some movie trailers, posters, release dates, and more from the world of independent film!

Here at Cinelinx we like to talk about all aspects of filmmaking and movie news. To that end, we have Indie Beat where we highlight some of the latest news, trailers, and PR releases from the indie filmmaker scene. So if you're an independent filmmaker and want some coverage on our site, be sure to drop us a line at jordan@cinelinx.com .

* The first official trailer for the Danish zombie apocalypse movie, Escaping the Dead, has been released.

The film has its starting point in a typical day for the lead character,
See full article at Cinelinx »

Greenaway's Eisenstein casts up

  • ScreenDaily
Greenaway's Eisenstein casts up
Exclusive: South African actor Stelio Savante has joined the cast of Peter Greenaway’s Eisenstein In Guanajuato.

Filming is scheduled to commence early this year with Finnish actor Elmer Back attached to star as the pioneering Russian filmmaker.

The focus of the film will be Eisenstein’s short-lived yet passionate affair with his guide in Mexico during a momentous 10-day trip.

Savante (pictured) will portray Hunter S Kimbrough, one of the financiers and producers of Eisenstein’s original venture that procured meetings with Frida Kahlo and Diego Rivera.

Bruno Felix and Femke Wolting are producing Eisenstein In Guanajuato through Amsterdam-based producer-distributor Submarine.

Savante just wrapped the sex trade thriller Selling Isobel for Rudolf Buitendach in which he stars opposite Matthew Marsden, Amber Benson and Alyson Stoner.
See full article at ScreenDaily »

Oscar Nominee Zachary Heinzerling on Why 'Cutie and the Boxer' Was the Right First Feature to Make

Oscar Nominee Zachary Heinzerling on Why 'Cutie and the Boxer' Was the Right First Feature to Make
Behind every tortured artist is someone who has to do the housekeeping. Zachary Heinzerling's documentary about 80-year-old Japanese action painter Ushio Shinohara, "Cutie and the Boxer," centers on that very someone. In the case of Shinohara, it's his scrappy wife Noriko, an artist in her own right who forsook her own dreams to support her unruly husband. Rather than create a biography of Shinohara as he originally intended, Heinzerling explores this codependent couple's stormy relationship and fraught history of regret and disappointment. He lovingly paints Ushio and Noriko as two individuals overflowing with personality, at once enmeshed in the New York art scene and also holed up in their Brooklyn loft, toiling to make ends meet. There are plenty of tempestuous artist couples in history -- Jackson Pollock and Lee Krasner, Frida Kahlo and Diego Rivera, Ulay and Marina Abramovic -- but Ushio and Noriko never achieved that kind
See full article at Thompson on Hollywood »

Chavela Vargas obituary

Hard-drinking, pistol-packing, taboo-breaking singer of Mexican rancheras, revolutionary ballads and tangos

Gut-wrenching renditions of Mexican popular classics combined with a taboo-breaking personality and an iron liver ensured that Chavela Vargas, who has died aged 93, lived her own legend to the full. Vargas's raw, rasping voice and intimate arrangements stripped down well-known rancheras, boleros, revolutionary ballads and tangos to leave them as haunting laments, punctuated by waves of tenderness and bitter irony.

In the 1990s, the Spanish film-maker Pedro Almodóvar, whom Vargas described as her "soulmate", included her music in his films and championed her work, thus ensuring that she will be remembered not only as a tequila-soaked cantina singer from Latin America, but also an international artist who could sell out the most formal venues. "Chavela Vargas turned abandon and desolation into a cathedral within which we all fit," Almodóvar wrote after her death. "She emerged reconciled with the errors
See full article at The Guardian - Film News »

Blu-ray Review: ‘The Piano,’ ‘Frida’ Showcase Unforgettable Female Performances

Chicago – Jane Campion and Julie Taymor are two of the most fascinating directors in modern cinema. They are unafraid to take major gambles, and their audacity has occasionally caused their projects to derail. But on a good day, they are capable of achieving artistic transcendence on a grand scale, as evidenced in Campion’s 1993 masterwork, “The Piano,” and Taymor’s 2002 gem, “Frida.”

Both pictures are bold in their depiction of sexuality and adamant in their refusal to portray their central female characters as victims. Though these women are damaged physically and emotionally by tragic occurrences, their lives are triumphant studies in survival against the odds. What’s particularly interesting is the way in which both women are drawn into unlikely romances with men whose less-than-photogenic features are overshadowed by their magnetism and fierce appreciation for beauty.

Blu-ray Rating: 4.0/5.0

The love story that blooms between a mute pianist, Ada (Holly Hunter
See full article at HollywoodChicago.com »

On Letterman, Neil Patrick Harris Proves There Is Little Cuter Than A Baby With A Unibrow

Neil Patrick Harris knows very well that the only thing that can possibly make baby twins even cuter is dressing them up in various holiday-themed costumes. The new dad showed David Letterman several pictures of his twins, Gideon and Harper, dressed up for St. Patrick's Day, Easter and Cinco de Mayo. Yes, sure, two of those holidays might be overwhelmingly associated with becoming blackout drunk and, yes, Frida Kahlo and Diego Rivera very likely never ever celebrated Cinco de Mayo, but still: Awwww! Babies!
See full article at Mediaite - TV »

Frida: raises an eyebrow | Reel History

There's a lot of painting by numbers in Julie Taymor's 2002 biopic of the radical Mexican Frida Kahlo, starring Salma Hayek. But when the facts are this colourful, why take artistic licence?

Director: Julie Taymor

Entertainment grade: B

History grade: C

nm1085710 autoFrida Kahlo[/link] was one of Mexico's best-known 20th-century artists. Her painting reflected her tumultuous personal life, including her two high-profile marriages to fellow artist and communist Diego Rivera.

Childhood

Young Frida (Salma Hayek) is on a bus to Coyoacán, fighting with her boyfriend about Marx and Hegel. The bus crashes into a tram. Frida is crushed and knocked unconscious, covered in blood and gold dust spraying out from a cone carried by another passenger. It's an arresting setpiece, and, though it looks like a heavy-handed piece of artistic licence, it's accurate. Frida did indeed get covered in gold dust during this crash, and was very nearly killed. Afterwards,
See full article at The Guardian - Film News »

Marika Rivera obituary

Actor and dancer abandoned by her father, Diego Rivera

The actor and dancer Marika Rivera, who has died aged 90, shared with her father, the muralist Diego Rivera, an imposing physique and determined character. However, it was to her mother, Marie Vorobieff Stebelska – better known as Marevna and generally regarded as the world's first female cubist painter – to whom she displayed unfailing loyalty after Rivera abandoned them both to return to his native Mexico when his first daughter was less than two years old.

Born in Paris, near her mother's studio in Montparnasse, Marika grew up in the heart of La Ruche – the artists' residence known as "the beehive". The narrow streets nearby buzzed with talent and she remembered meeting Picasso – "He loved my mother, and I heard he teased my father, saying I was his daughter" – Modigliani and the shy artist Chaim Soutine. Much later, Soutine would move in with
See full article at The Guardian - Film News »

Check in at the Chelsea Hotel

Check the Chelsea Hotel's 125-year-old ledger: The signatures therein constitue a constellation of singular talents.  There's Jasper Johns, Patti Smith, Willem de Kooning, the Beats' marquee members (Kerouac, Ginsberg, Burroughs), Stanley Kubrick, Bob Dylan, Frida Kahlo and her main hombre, Diego Rivera, and, of course, Warhol Superstars like Edie Sedgwick and Paul America. In more infamous matters, the 23rd Street institution houses the Welsh lush Dylan Thomas' deathbed (1953) as well as Nancy Spungen's (of Sid Vicious legend) unsolved chalk outline (1978).

Nowadays, the once-implacable flow of legends (and, more importantly, lodgers) has ebbed. With the contentious ouster of long-time manager Stanley Bard two years ago, the future of the iconic establishment is more precarious than ever before. In response, the Anthology Film Archives has programmed a four-day series to stress the institution's artistic, historic, and architectonic presence as a long-standing bastion for unbarred creativity.
See full article at Interview Magazine »

Frida

The lives of great artists are notorious for their resistance to the biopic treatment. The iconic Mexican painter Frida Kahlo proves no exception.

While this film dutifully chronicles her suffering, obsessions and battles with her own body, it stands in pale contrast to Kahlo's real biography, which is her amazing paintings.

In development for nearly a decade, battling rival projects and studio skittishness, "Frida" emerges as a fairly convention biopic rather than the artistic statement one might anticipate given director Julie Taymor's theatrical background and actress-producer Salma Hayek's passion for the role.

The film hues closely to the facts of Kahlo's life and her tempestuous relationship with world-famous muralist Diego Rivera, her mentor and husband. Taymor puts Frida's vivid and often disturbing art to sagacious use, slipping the famous images into scenes to reflect or comment on dramatic developments. But the film somehow misses the mark, having made rather tidy a messy and brutally painful life.

As more than 100 published books concern Kahlo and Rivera, one should never underestimate the public appetite for this story. With a stellar cast -- Alfred Molina as Rivera, Geoffrey Rush as Leon Trotsky, Edward Norton as Nelson Rockefeller, Antonio Banderas as muralist David Siqueiros and Ashley Judd as photographer Tina Modotti -- along with a careful rollout and Miramax's marketing muscle, "Frida" does have potential as an art house hit. The outlook overseas and in ancillary markets is even more positive.

The movie begins on the day of Frida's one and only exhibit in Mexico, in the spring of 1953. Her health has deteriorated so greatly, the doctor forbids her to leave her bed. So she has her bed carted to the gallery. On the ride over, the movie goes into a flashback. Frida, a high-school tomboy, loves to get into mischief with a gang of boys. She sneaks into a school auditorium where the great Rivera is painting.

The movie quickly moves to the trauma that shapes her life: A trolley accident in 1925 leaves her impaled on a metal rod. So devastated is her body that it's a miracle she even lives, much less that she walks again. Lying in bed for months, bored and in pain, she takes up painting. Her parents (Roger Rees and Patricia Reyes Spindola) give her a special easel and canopied bed with a mirror above her so she can be her own model. A life of self-portraiture, of painting the inner and outer Frida Kahlo, thus begins.

The story of her event-filled life understandably moves swiftly. Yet the consequence is that the movie gives short shrift to Frida's recovery and the enormous will power she developed to tolerate pain and fatigue. Clearly, the drinking, smoking and drug use that come later help her to dull that pain.

The bond between Diego and Frida is handled with empathy. Molina captures Diego's bearish personality, his huge body, his embrace of sensual pleasures and his fierce commitment to leftist political principles. In one of the film's welcome flights of surreal fancy, Rivera is fittingly depicted, in cutout images, as King Kong atop the Empire State Building, batting at airplanes as he would his critics. Molina gets the essential goodness of the man, his firm belief in loyalty and a set of principles that sometimes gets overshadowed by his many adulterous affairs, the worst being with Frida's own sister (Mia Maestro).

Hayek learned how to paint and how to effect the outer Frida -- including her wearing of traditional Mexican clothing. Other than Frida's trademark thick, connecting eyebrows, though, she has not allowed the makeup artist to de-glamorize her. More problematic is the fact Hayek doesn't inhabit her character as Molina does his. She is playing a role while Molina is Diego.

The film neither makes too much nor too little of its protagonists' wild side -- their open marriage, where they even shared lovers, or Frida's bisexuality and her affair with Trotsky, which may have cost him his life. The only sugar-coating comes near the end: It's quite possible Frida took her own life but the film never hints of this.

Rodrigo Preito's colorful and appealing cinematography, designer Felipe Fernandez's period re-creations and Elliot Goldenthal's guitar-flavored music, picking up Mexican themes, make a tight budget go a long way.

FRIDA

Miramax Films

Miramax presents in association with Margaret Rose Perenchio

A Ventanarosa Production in association with Lions Gate Films

Credits:

Director: Julie Taymor

Writers: Clancy Sigel, Diane Lake, Gregory Nava, Anna Thomas

Based on the book by: Hayden Herrera

Producers: Sarah Green, Salma Hayek, Jay Polstein, Nancy Hardin, Lindsay Flickinger, Roberto Sneiders

Executive producer: Mark Amin, Brian Gibson, Mark Gill, Jill Sobel Messick, Amy Slotnick

Director of photography: Rodrigo Prieto

Production designer: Felipe Fernandez

Music: Elliot Goldenthal

Costume designer: Julie Weiss

Editor: Francoise Bonnot

Cast:

Frida Kahlo: Salma Hayek

Diego Rivera: Alfred Molina

Leon Trotsky: Geoffrey Rush

Nelson Rockefeller: Edward Norton

David Siqueiros: Antonio Banderas

Cristina Kahlo: Mia Maestro

Tina Modotti: Ashley Judd

Guillermo Kahlo: Roger Rees

Lupe Marin: Valeria Golino

Matilde Kahlo: Patricia Reyes Spindola

Alejandro: Diego Luna

Running time -- 119 minutes

MPAA rating: R

See also

Credited With | External Sites