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Weekly Rushes. 2 September 2015

53 minutes ago

Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.Above: The Italian poster for A Nightmare on Elm Street, whose trendsetting director, Wes Craven, died this week.Jafar Panahi, the Iranian filmmaker who most recently won the Golden Bear for Taxi at the Berlinale, has released a video statement supporting the Iran Deal.American indie filmmaker Alex Ross Perry's terrific Queen of Earth is now in theaters (we raved about it from Berlin, and also interviewed him), and for Indiewire the director shares candid facts about his shooting his four features on film.Above: The trailer for Paolo Sorrentino's Youth, the Italian director's follow-up to his Academy Award-winning The Great Beauty."However, the Dardennes are concerned not with abstractions of economic theory but with capturing what neoliberalism feels like on the ground—its emotional narratives, experiences, and after-effects. »

- Notebook

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New Voices: An Interview with Josephine Decker

7 hours ago

Josephine Decker's Butter on the Latch is playing on Mubi in the Us through September 30. Her next film, Thou Wast Mild and Lovely, will be running through October 1. Photo courtesy of josephinedecker.squarespace.com.Josephine Decker’s last two films (Butter on the Latch and Thou Wast Mild and Lovely) were both exciting low budget gems that won over audiences and critical praise at the Berlin International Film Festival in 2014.  Decker is able to command a strong hold of everyday realism, similar to that of contemporary director and collaborator Joe Swanberg, while her main characters lose hold of their own reality, reaching a breaking point before they can pull themselves back together and push forward. Decker’s films can also be humorous and genuinely frightening works, maintaining the low budget mumblecore feel with an added touch of psychological horror.It was a real pleasure getting to talk to Josephine Decker »

- David Grillo

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Locarno 2015. Top Picks & Coverage Roundup

1 September 2015 6:51 AM, PDT

Below you will find our favorite films of the 68th Locarno Film Festival, as well as an index of our coverage.Daniel Kasmantop Picksi. L’Accademia delle Muse, CosmosII. Thithi, Happy Hour, Right Now, Wrong ThenIII. Deux Rémi, deux, 88:88COVERAGEDay 1: James White (Josh Mond), Invasion of the Body Snatchers (Don Siegel)Day 2: Infinitas (Marlen Khutsiev), I Am Twenty (Marlen Khutsiev), The Ballad of Cable Hogue (Sam Peckinpah)Day 3: Cosmos (Andrzej Żuławski), The Wild Bunch (Sam Peckinpah)Day 4: Thithi (Raam Reddy), Te prometo anarquía (Julio Hernández Cordón), Chant d'hiver (Otar Iosseliani), July Rain (Marlen Khutsiev), Year of the Dragon (Michael Cimino)Day 5: L’Accademia delle Muse (José Luis Guerín), Les idoles (Marc'o), Pat Garrett and Billy the Kid (Sam Peckinpah), The Killer Elite (Sam Peckinpah)Day 6: Good Morning, Night (Marco Bellocchio), No Home Movie (Chantal Akerman), Epilogue (Marlen Khutsiev)Day 7: Chevalier (Athina Rachel Tsangari »

- Notebook

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Faces: "L’Accademia delle muse" and José Luis Guerín

1 September 2015 4:31 AM, PDT

The dust has settled on the Locarno Film Festival, and L’Accademia delle muse remains. Seen towards the start of the festival in the Signs of Life parallel sections, José Luis Guerín's latest film has already claimed a top spot in Mubi’s retrospective round-up of Locarno, which would make the task of praising it here redundant were it not for the need to explore in more detail the sheer exhilaration that thinking about the film continues to provoke.Daniel Kasman has already touched upon the intricate game of cat-and-mouse that the film plays with documentary form. Starting out as a chronicle upon a philology workshop exploring the figure of the muse, the film quickly (but discreetly, the move only becoming obvious in retrospect) segues into a fiction exploring the network of desires and resentments underlying the teacher’s romantic involvement with his pupils. Debates surrounding literature and reading »

- Nathan Letoré

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Video Essay: "Shapes of Rage"

31 August 2015 7:25 AM, PDT

The eighth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin.***Cinephilia—in the form in which it can be shared by spectators and filmmakers alike—has two extreme poles, and both of them are associated with fierce, intense drives. There is the cinephilia aligned with love in all its manifestations: romanticism, desire, tenderness, hope. And then there is the cinephilia aligned with aggression, violence, a death-drive. Neither, in an important sense, should be regarded entirely literally: many things on the face of this earth slip under and between love and aggressivity, and these metamorphosing states can stand for, or become attached to, every kind of social, political situation. Samuel Fuller knew the score, in his famous pronouncement for Pierrot le fou (1965): “Film is like a battleground. Love. Hate. Action. Violence. Death. In one word…emotion.” And emotion can be never constrained or »

- Cristina Álvarez López & Adrian Martin

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