11 items from 2017
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This July will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master »
- Ryan Gallagher
The 2017 Cannes Film Festival has announced the lineup for Cannes Classics, a selection of vintage films and masterpieces from the history of cinema. This year’s program is dedicated primarily to the history of the festival, and includes one short film and five new documentaries.
Read More: Cannes Adds Roman Polanski Film to Lineup
Highlights from the lineup include “Belle du Jour” (1967), Luis Bunuel’s classic about a housewife who dabbles in prostitution, and “All That Jazz ” (1979) Bob Fosse’s story of a womanizing, drug-using dancer played by Roy Scheider. There is also the documentary “Filmworker,” which tells the story of Leon Vitali, an actor who abandoned his career after “Barry Lyndon” to become Stanley Kubrick’s right hand man and creative collaborator behind the scenes.
Rights holders to the films decide whether to screen them in 2K or 4K, or use an original print. Jean Vigo’s “L’Atalante, »
- Graham Winfrey
Strand will focus on the history of Cannes for the festival’s 70th anniversary.
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.
Presented by Ina. »
- Jordan Raup
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This April will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Monday, April 3 The Chaos of Cool: A Tribute to Seijun Suzuki
In February, cinema lost an icon of excess, Seijun Suzuki, the Japanese master who took the art of the B movie to sublime new heights with his deliriously inventive approach to narrative and visual style. This series showcases seven of the New Wave renegade’s works from his career breakthrough in the sixties: Take Aim at the Police Van (1960), an off-kilter whodunit; Youth of the Beast (1963), an explosive yakuza thriller; Gate of Flesh (1964), a pulpy social critique; Story of a Prostitute (1965), a tragic romance; Tokyo Drifter »
- Ryan Gallagher
An experimental film by an Irish playwright, shot in New York with a silent comedian at the twilight of his career? Samuel Beckett’s inquiry into the nature of movies (and existence?) befuddled viewers not versed in film theory; Ross Lipman’s retrospective documentary about its making asks all the questions and gets some good answers.
First there’s the film itself, called just Film from 1965. By that year our high school textbooks had already enshrined Samuel Beckett’s Waiting for Godot as a key item for introducing kids to modern theater, existentialism, etc. … the California school system was pretty progressive in those days. But Beckett had a yen to say something in the film medium, and his publisher Barney Rosset helped him put a movie together. The Milestone Cinematheque presents the UCLA Film & Television Archive’s restoration of Film on its own disc, accompanied by a videotaped TV production »
- Glenn Erickson
Christophe Honoré's vividly mischievous Sophie’s Misfortunes, based on the Comtesse de Ségur's books, Les Malheurs De Sophie and Les Petites Filles Modèles, has a score by Alex Beaupain and David Sztanke, influenced by music the director himself liked as a child. Golshifteh Farahani (Madame de Réan), Anaïs Demoustier (Madame de Fleurville) and Muriel Robin (Madame Fichini) play the mothers in Sophie's (Caroline Grant) world. She and her playmates, Camille (Céleste Carrale), Madeleine (Justine Morin) and Paul (Tristan Farge) show us that the dawn belongs to children.
Madeleine, Camille, Sophie, and Paul in Sophie’s Misfortunes
Christophe explains a reference to me from Jean Vigo's Zéro De Conduite, says Sophie’s Misfortunes isn't John Lasseter's Toy Story, and happily notes that doing a film for children helped him "clean up" his cinema by »
- Anne-Katrin Titze
We Are The Flesh (Tenemos la carne)
2017 / Color / 1:85 widescreen – though the aspect ratio changes at the director’s whim/110 min. / Street Date February 28, 2017
Cinematography: Yollótl Alvarado
Written by Emiliano Rocha Minter
Directed by Emiliano Rocha Minter
Teetering on that thin edge between the ludicrous and the even more ludicrous, Emiliano Rocha Minter’s We Are The Flesh is a spittle-flecked, willfully deranged vision of life in a post-apocalyptic Mexico. Since its release in 2016, Minter’s movie, adrift in bodily fluids and overwrought speechifying, has been turning both heads and stomachs at film festivals across Europe.
An unconvincing mix of Living Theatre provocations and Eraserhead-like tableaus of bursting placentas and the drip, drip, drip of menstrual blood, Minter’s movie announces itself with the »
- Charlie Largent
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series starts this Friday, March 10th. — The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
All films are screened at Webster University’s Moore Auditorium (470 East Lockwood).
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, »
- Tom Stockman
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Museum of the Moving Image
Anthology Film Archives
Jean Vigo’s masterpiece L’Atalante has showings. »
- Nick Newman
The Ninth Annual Robert Classic French Film Festival — co-presented by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the mid-1990s, offering a revealing overview of French cinema.
The fest is annually highlighted by significant restorations, which this year includes films by two New Wave masters: Jacques Rivette’s first feature, “Paris Belongs to Us,” and François Truffaut’s cinephilic love letter, “Day for Night.” The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with both Alain Resnais’ “Last Year at Marienbad” and Robert Bresson’s “Au hasard Balthazar” screening from 35mm prints. Even more traditional, we also offer a silent film with live music, and audiences are sure to delight in the Poor People of Paris »
- Tom Stockman
11 items from 2017
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