14 items from 2016
Frank Ocean: musician, visual-album releaser, list-making cinephile. Following on the heels of his latest album finally being made available to the eager public, Ocean has revealed his 100 favorite films. Originally posted on Genius, which has a breakdown of how movies like “The Little Mermaid” and “Eyes Wide Shut” made their way into his lyrics (“I’m feeling like Stanley Kubrick, this is some visionary shit/Been tryna film pleasure with my eyes wide shut but it keeps on moving”), the list contains a mix of familiar favorites (“Annie Hall,” “The Royal Tenenbaums”) and comparatively obscure arthouse fare (“Woyzeck,” “Sonatine”). Avail yourself of all 100 below.
“The Last Laugh”
- Michael Nordine
After a few delays, Frank Ocean‘s Channel Orange follow-up, Blond, has now arrived and, with it, not only an additional visual album, but Boys Don’t Cry, a magazine that only a select few were able to get their hands on. (Although, if you believe the artist’s mom, we can expect a wider release soon.) In between a personal statement about his new work and a Kanye West poem about McDonalds, Ocean also listed his favorite films of all-time and we have the full list today.
Clocking at 207.23 hours, as Ocean notes, his list includes classics from Andrei Tarkovsky, David Lynch, Ingmar Bergman, Stanley Kubrick, Martin Scorsese, Orson Welles, Rainer Werner Fassbinder, Jean Cocteau, Alfred Hitchcock, Francis Ford Coppola, Fritz Lang, Werner Herzog, Akira Kurosawa, Ridley Scott, Bernardo Bertolucci, Sergei Eisenstein, F. W. Murnau, Luis Buñuel, and more.
As for some more recent titles, it looks like The Royal Tenenbaums »
- Jordan Raup
Since any New York 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.
Throw on your suede and pastels and prepare for the music-filled, light-streaked “Dim All the Lights: Disco and the Movies.”
Nicolas Roeg‘s Roald Dahl adaptation, The Witches, plays on Saturday morning; a print of Abel Ferrara‘s King of New York screens throughout the weekend; Oscar Micheaux‘s Ten Minutes to Live shows this Sunday. »
- Nick Newman
Prohibition’s legacy will always be a period of nearly unprecedented crime. What began as an experiment meant to cure the social and moral ills of a beleaguered nation turned into a reason for the worst of human nature to run wild in the streets. Deception, corruption, violence, and vice ruled the day. As with any such moment in history, certain figures became elevated to the level of myth, and totems from the time became cultural touchstones that would endure for ages. Al Capone. Elliot Ness. Tommy guns. Fedoras. Each of these brings up a specific idea in the mind of the populace and can, by itself, set the imagination on fire.
Who better, then, to create the definitive modern tale of the Prohibition Era than the director who has turned so many other people and items into pop culture totems? Brian De Palma has spun gold out of the »
- Brian Roan
Paul Greengrass has spent the past twenty-plus years crafting lean, energetic action films such as his Bourne entries — a franchise he returns to this Friday with Jason Bourne — and equally taut docudramas such as Captain Philips and United 93. His staging and editing of action has become a seminal staple of modern cinema, though it has proven hard to properly imitate as the coherence he often achieves is lost on his imitators. His films explore national paranoia and wounded heroes (often Matt Damon), while his style focuses on kinetic, intimate, and spur-of-the-moment action and storytelling.
Thanks to BFI‘s most recent Sight & Sound poll, Greengrass has compiled a list of his ten favorite films, many of which globe trot outside of the U.S. to everywhere from France (Godard), to Japan (Kurosawa), and Russia (Eisenstein), among others. There’s a clear connective thread between the French New Wave style of »
- Mike Mazzanti
In Hollywood’s alternate history of World War II, Tom Cruise tried and failed to assassinate Adolf Hitler in the loosely fact-based “Valkyrie,” as did Walter Pidgeon in Fritz Lang’s thoroughly fictional “Man Hunt,” before Brad Pitt finally managed to get the job done with the help of his fellow “Inglourious Basterds.” Now, in the most historically accurate of these big-screen resistance feats, “Fifty Shades of Grey” heartthrob Jamie Dornan takes aim at one of Hitler’s top lieutenants, SS-Obergruppenführer Reinhard Heydrich, who oversaw both the Reich’s claim on Bohemia and Moravia (now the Czech Republic) and the Final Solution.
“Anthropoid,” which derives its sci-fi-sounding title from the Czechoslovak army-in-exile’s real-life operation to assassinate Heydrich, capitalizes on the facts of this little-known act of heroism, casting two dreamy stars (Dornan and Cillian Murphy) as expat soldiers Jan Kubiš and Josef Gabčík, who parachute back into their Nazi-occupied »
- Peter Debruge
Chicago – Two months ago, producer/director/cinematographer/editor Gordon Quinn received the Baadasssss Award from the 2016 Cimm Fest, for his longtime contributions to the cinema scene in Chicago through Kartemquin Films. The famous production house, known for their documentaries, is celebrating their 50th anniversary.
Kartemquin began in 1966 when three newly minted University of Chicago grads partnered to create socially conscious films, and took part of their names – Stan KARter, Jerry TEManer and Gordon QUINn – to form Kartemquin Films. Towards the end of the 1960s, Karter and Temaner had moved on, and the late Jerry Blumenthal stepped in to become the de facto fourth founder. It is Gordon Quinn that remains after 50 years, and he is the standard bearer for a film company that seeks to be a home for independent filmmakers who develop documentaries that deepen our understanding of society through everyday human drama – focusing on people whose lives are »
- email@example.com (Adam Fendelman)
Exclusive: Portmanteau film will feature segments from young Russian directors.
A portmanteau movie is being planned to mark the centenary of the 1917 Russian Revolution, involving some of the most talented young directors in Russia.
The film, produced by the New People Film Company, is also set to include contributions from established international filmmakers. Four stories are initially being prepared.
The Fuel by Mikhail Arkhipov is the story of a self-taught blacksmith trying to save his village from starvation in 1918.
The Georgian by Nika Barabash and Andreas Konstandakes will tell the story of a petty thief (who looks remarkably like a young Stalin) who prospers in the storm of revolution.
Lenin by Denish Shibaev is set in Donbass in the present day and follows some eccentrics whose passion is restoring old Soviet »
- firstname.lastname@example.org (Geoffrey Macnab)
Filmmaker and self-pronounced cinephile Jacob T. Swinney has a new video essay called 100 Years/100 Shots. The title’s pretty self-explanatory. It’s about the history of Tequila in the 21st century.
Swinney has chosen his most memorable shot from each year in the last 100 and placed them next to each other in chronological sequence. Not only does it fascinatingly chart the evolution of the medium, it also reaffirms why we devote so much of our spare time to the movies. See beneath the video embed below for the full list (in order) used.
100 Years/100 Shots from Jacob T. Swinney on Vimeo.
Birth of a Nation
A Dog’s Life
The Passion of Joan of Arc
- Oli Davis
Peter GreenawayThe 1928 silent dramatization of the Russian revolution wasn’t easily swallowed upon its domestic release. Sergei Eisenstein had been commissioned to make the epic after his 1925 epic Battleship Potemkin caused a sensation, often cited as virtually inventing what we now call “montage” editing. But his resulting film, October: Ten Days that Shook the World (1928), attracted the ire of fierce Soviet powers. Where he had earlier excelled with a lush, sweeping visionary narrative far beyond his years, the director’s experimental style was now seen as unintelligible to mainstream audiences and vaguely pretentious. Like many great and underappreciated talents after him, Eisenstein was forced into a series of edits, but he was always destined for trouble under Stalin’s rule. He was a genius of his craft, and certainly no mere propagandist. So how in blazing history did a Russian auteur find himself in bed with another man in Mexico, »
- Ben Rylan
★★★☆☆ Striking, controversial pieces of avant-garde filmmaking often contain one scene where the line in the sand of mainstream cinema is well and truly obliterated. The Odessa steps sequence of Sergei Eisenstein's Battleship Potemkin stands as an unparalleled and much-studied example. After a number of early warning shots in Peter Greenaway's Eisenstein in Guanajuato - close-up full frontal nudity and graphic vomiting - the tipping point pushes the opening delirium over the edge. The director's latest meditation on sex, death and the nature of being, more a homage to the great Russian's groundbreaking technique than a biopic, achieves an uncomfortable early climax - if you'll excuse the pun.
- CineVue UK
Paris — The Cannes Film Festival is replacing stars with stairs on the official poster for its 69th edition.
In recent years, the event has selected iconic shots of classic film actors — Marilyn Monroe, Paul Newman, Marcello Mastroianni, Ingrid Bergman — to grace its posters. This year, however, it is a film still, selected from Jean-Luc Godard’s 1963 “Contempt,” that will set the tone for this year’s festival.
Tinted a radiant yellow-gold, the image depicts a man climbing the side of the Casa Malaparte — a modernist mansion overlooking the sea on the far east side of the Isle of Capri, accessible only to dreamers and cinemagoers.
Though we cannot make out the man’s face, the staircase itself draws the eye — and should look especially striking blown up to enormous dimensions and suspended over the red carpet entry to the Palais des Festivals, as in 1997, when a trompe l’oeil banner extended the entry staircase heavenward. »
- Peter Debruge
“The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings,” Martin Scorsese has said.
If you’re not well-versed in the foundation of cinema, consider this an introductory course. While an estimated 70% of silent films are sadly gone forever, today’s technology has made it easier than ever to preserve the ones we still have today, thanks to the vital work of those tracking down prints and restoring them all over the globe. To help see just how much an influence these classics have had on today’s cinema, we have a great video from Moon Film.
With side-by-side comparisons, they offer up 20 examples, »
- Jordan Raup
At the height of his notoriety, the great Russian director came to Britain for a whistlestop tour of everything from Bloomsbury to Windsor and Hampton Court. As a new exhibition opens up his dazzling sketchbooks, we reveal a different side of Eisenstein
Sergei Eisenstein was the most notorious filmmaker in the world in 1929, when he made a six-week visit to Britain. Three years earlier, his Battleship Potemkin had created a sensation in Germany and was banned outright in most countries outside Soviet Russia, for fear its impact would incite mutiny and revolution. But it was also admired by all who managed see it, from a young David Selznick starting his career in Hollywood to the British documentary impresario John Grierson, who used a private screening for MPs to extract funding for films to counteract such dangerous propaganda.
Potemkin received its long-delayed British premiere at a glittering private Film Society screening, »
- Ian Christie
14 items from 2016
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