This week’s Absolute Must Read is J. J. Murphy’s Best Indie Films of 2011 list and commentary. In general, I rarely read movie reviews, but I find Murphy’s reviews to always be so insightful, educational and entertaining, that I savor every word of them — and you should, too! I’m also 100% with him when he discusses the issues of writing about over-looked and under-appreciated movies. It can be absolutely heartbreaking work, but we do it because we love it. And the other thing about Murphy’s reviews is that they always make me want to run right out and see
Which brings us to our first set of DVDs. A Forum topic on Artificial Eye's release of its Theo Angelopoulos Collection has been rumbling along for half a year now and, with the third volume coming out next month, David Jenkins has a good long
Houston – Now in its third year, Cinema Arts Festival Houston, which runs from November 9 to 13, 2011 will bring an ambitious program of films by and about artists to the vibrant Texas city known internationally for its dynamic art scene. From painting and dance to classical music and multimedia work, this edition will also include appearances by directors, actors, musicians, and special tributes to Ethan Hawke and documentary master Patricio Guzman.
Opening the festival is Fernando Meirelles’ 360, written by Peter Morgan, and starring Sir Anthony Hopkins, Jude Law and Rachel Weisz. Weisz is also the star of Terence Davies’ closing night film, The Deep Blue Sea, alongside a cast which includes Simon Russell Beale and Tom Hiddleston.
We already know that Fernando Meirelles’ latest 360 will open proceedings on the 12th and fifteen days later Terence Davies’ The Deep Blue Sea will bring the festival to a close but there are many more great films to come and see in London this October.
There was a familiar feeling creeping across the audience this morning that a lot of the films had, like last year, already played elsewhere but this is only a small consideration when you consider the scope of the festival’s remit. To bring a vital, fresh and horizon-expanding series of features, shorts and documentaries is no easy task, and while the more well known films have played
This morning’s launch event was introduced by BFI Chief Executve Amanda Nevill and Artistic Director Sandra Hebron, who actually bows out of the role after this year. Following the introductions the capacity auditorium, made up of fellow journalists, actors, actresses, filmmakers and other industry folk, we were treated to a 30 minute reel showcasing 36 of the 300 films and short films playing at the festival, which is once again sponsored primarily by American Express. We already
We are already knew Fernando Meirelles’ adaptation of Arthur Schnitzler’s erotic drama play 360 written by Peter Morgan and starring Anthony Hopkins, Jude Law and Rachel Weisz would open the festival and that The Deep Blue Sea, which incidentally is another adaptation of a play (Terence Rattigan’s) and also stars Rachel Weisz, will close it. Of Time and City’s Terrence Davies directed that movie which also stars Tom Hiddleston and Simon Russell Beale.
Now we know the in-between stuff from the Gala & Special Screenings and there’s a wide selection of extremely interesting films;
George Clooney is bringing his political thriller The Ides of March that
Breer's father, an automobile designer, rigged a Bolex so that he could shoot home movies in 3D. In the early 50s, Breer lived in Paris, where he made large abstract paintings, and in the 60s, he made "float" sculptures that wander the gallery. An exhibition of several of these paintings and sculptures is currently on view at Baltic's Level 4 Gallery in Gateshead through September 25.
Yoel Meranda, who, a few years ago, worked at the Film-makers' Cooperative in New York, which Breer co-founded in the 70s, has a moving remembrance. Here's how it begins: "When I first saw on Fred Camper's Senses of Cinema top tens
The fun kicks off with the Opening Night film, the demented superhero comedy Super, written and directed by former Troma go-to screenwriter James Gunn (Tromeo & Juliet); then ends with the Closing Night wallowing in Sydney’s seedy underbelly, X, by homegrown filmmaker Jon Hewitt.
Crammed between these two excursions into violence and depravity is a lineup filled with perverse visions, scandalous public figures, sickening horror, experimental pop culture remixes and more.
For Bad Lit: The Journal of Underground Film, the highlight of the fest is Usama Alshaibi‘s Profane, a complex psychological, psychosexual, spiritual morality play about a Muslim sex worker who endures a “reverse
In the U.S., it’s understandable why the underground never truly exploited the VHS format, despite it’s relative cheapness and pervasiveness. The chain store distribution market was nigh impossible to penetrate and producing the bulky tapes would become a major storage issue if they had nowhere to go quickly. (Perhaps the only company that’s ever been fully committed to releasing underground films on VHS was — and is — France’s Re:voir, run by Pip Chodorov.)
While many modern underground filmmakers still wait for their films to be released on DVD by professional distributors, other filmmakers use the multitude of workable self-distribution methods that are
This year, the Fnc Lab is showcasing two retrospectives; plus, a short film program of strictly 16mm films, films from the Korean Jeonju Digital Project, four feature-length projects and several special one-of-a-kind performances.
The retrospectives are of two key American women experimental filmmakers. First, in conjunction with the Double Negative Collective, the fest presents a career overview of Chick Strand, the eminent ethnographic filmmaker who sadly passed away last year at the age of 77.
Then, there’s also a retrospective of playful avant-garde filmmaker Marie Losier, who is well known for her collaborations with and film portraits of key underground figures like George Kuchar, Tony Conrad and Genesis P-Orridge.
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