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Cinema in a Minor Key
21 hours ago
5. Cinema in a Minor Key Weekend 5 - Feb.14-16th“minor key noun 1: a musical key or tonality in the minor mode; 2: a mood of melancholy or pathos; 3: a restrained manner: a small or limited scale.” in Merriam-Webster DictionaryThe fifth Harvard-Gulbenkian program focuses upon a trio of artists- Manuel Mozos, Argentine filmmaker Martín Rejtman and Quebec-based Canadian director Denis Côté - who similarly embrace a refreshingly alternate idea(l) of cinema - a deliberately "minor" mode of cinema grounded in the specificity of the resolutely local places explored by their films and in the delicate balance achieved by their greatest work between melancholy and wry humor, realism and fantasy. Offering nuanced, muted and minor reinventions of traditional genres, the deadpan screwball comedy of Rejtman’s Silvia Prieto and the minimalist melodramas of Mozos’ Xavier and Côté’s Curling are charged with profound political nuance and a lasting »
- Cinema Dialogues: Harvard at the Gulbenkian
An Imperial Romance: Max Ophüls's "From Mayerling to Sarajevo"
26 March 2015 4:49 AM, PDT
The title invokes tragedies already over and done: "From Mayerling to Sarajevo," a range of time spanning from the suicide of Crown Prince Rudolf of Austria in Mayerling, a death that eventually made Archduke Franz Ferdinand the next heir to the Austrian-Hungarian Empire, to the assassination of the Archduke in the Bosnian capital, precipitating the First World War.The title invokes a range of cities spanning countries. The director of From Mayerling to Sarajevo, a 1940 picture revived in a new print by The Film Desk and opening at New York’s Film Forum on March 27, is Max Ophüls, himself a roving vagabond auteur, born in Germany and making films not only there but in the Netherlands, Italy, Hollywood, and France, where this film was made on the precipice of the Second World War and the beginning of a new kind of German-speaking empire.The films of Max Ophüls survive beautiful and aphoristic, »
- Daniel Kasman
The Noteworthy: 25 March 2015
25 March 2015 5:29 AM, PDT
Above: Adam Nayman interviews Jauja director Lisandro Alonso for Reverse Shot. If like us you're excited to see James Wan's Furious 7, we recommend this piece by Orlando Whitfield from The White Review which surveys the franchise up to now. Filmmaker Robert Greene is not pleased with the HBO documentary series The Jinx: The Life and Deaths of Robert Durst. For AnOther, Mark Cousins has created a video tribute to Pier Paolo Pasolini. Above: Filmmaker Gina Telaroli has a new exhibition opening Friday March 27th (and runs until April 25th) at the 308 at 156 Project Artspace. It features an installation with her new film Silk Tatters and Johann Lurf's Twelve Tales Told, as well as video pieces that appropriate the work of Michael Mann, Tony Scott, John Carpenter. At Toronto Film Review, David Davidson takes a look at Cahiers du Cinéma's writing on Martin Scorsese during the eighties. New »
The New Moral Order: Abel Ferrara's "Welcome to New York"
24 March 2015 7:50 AM, PDT
“If women didn’t exist, all the money in the world would have no meaning.” —Aristotele OnassisFor over forty years now Abel Ferrara’s cinema has spewed out from the gangrenous wounds of our civilization of images. Never mind how ugly it was, it was always in your face. And unapologetically so. The damnation of life, as low as it could possibly get, and the existential dirt polite society and cinema sweep under the carpet have been Ferrara’s carnal muses. If crime and the underworld were often his preferred milieu, it never was out of teen-aged fascination for the dark side of society but because there he senses and lenses the bio-illogical matrix of our lives: the law of the jungle rationalized into the language of the Bible. Redemption in his cinema is never a concrete possibility, it functioned as a sort of moral mirage for lost souls—the »
- Celluloid Liberation Front
One on One: Gina Prince-Bythewood’s “Love & Basketball” and “Beyond the Lights”
23 March 2015 5:33 PM, PDT
Beyond the Lights“Cupid draw back your bow…And let your arrow go…Straight to my lover’s heart…for me…nobody but me…”Love is easily definable when refracted through the lens of Hollywood cinema or a great pop song like Sam Cooke’s “Cupid.” A couple meet-cute, their attraction grows, heartache eventually rears its ugly head, then epiphany strikes and one person does everything they can to get the other back. It’s a rigged game of sorts; togetherness is almost always guaranteed once things fades to black. The studios are so good at reducing complex emotional experiences into easily digestible packages that one tends to forget the messiness of romance, the time it takes to develop, and the confusion it brings to a person’s life. “Happily ever after” tends to earn more at the box office than “it’s complicated.”Instead of reinforcing this mainstream narrative, »
- Glenn Heath Jr.