14 items from 2017
The Brazilian filmmakers Juliana Rojas and Marco Dutra have been working together for over a decade now. After an award-winning career in short films, their feature debut Hard Labor (2011) world premiered at Cannes Film Festival in the Un Certain Regard section. Following this, the two writer-directors pursued their solo careers, continuing to explore the genre of horror and musical. I interviewed the duo about their long-awaited reunion for their new film Good Manners (2017), which will have its world premiere as part of the International Competition at the 70th Locarno Film Festival.Notebook: The two of you have been working together for over a decade now. How do you understand the development of this long time partnership?We met in film school when we were at the end of our teens. What first brought us together was our common interest in musicals, fantasy and horror films. These are the kinds of »
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSOver the weekend we lost two greats: Filmmaker George A. Romero, best known for inventing the modern version of all things zombie, and actor Martin Landau. Patton Oswalt has pointed out that a 19-year-old Romero worked as a pageboy on North by Northwest, Landau's second movie.The Academy of Motion Pictures Arts and Sciences has again added more names to its membership, and this latest batch includes even more unexpected additions from the world of international art cinema, including directors Pedro Costa, Lav Diaz, Ann Hui, Alejandro Jodorowsky, Kira Muratova, Johnnie To and Athina Rachel Tsangari.Did you see that the lineup of the Locarno Film Festival has been announced? With a huge retrospective devoted to Cat People director Jacques Tourneur and a competition including new films by Wang Bing, F.J. Ossang, Ben Russell, »
Ryan Lambie Jul 18, 2017
In April 1968, director George A Romero threw some reels of film in the trunk of his car and took a long drive from Pittsburgh to New York. The grainy, black-and-white footage stored on those reels was little short of incendiary: then called Night Of The Flesh Eaters, Romero's film would, in time, change horror cinema forever.
Shot on a budget of just $114,000, Night Of The Living Dead (as it was later renamed) was aggressively lo-fi: its producer, Russell Streiner, also played one of the film's first victims - he gets the immortal line, "They're coming to get you, Barbara" before »
The first time I ever saw “Night of the Living Dead,” the low-budget masterpiece of flesh-eating midnight terror directed by George A. Romero, who died on Sunday, it was in 1974. I was at home on a lonely high-school Saturday night watching TV, and at 11:30 p.m. an oddball black-and-white movie that opened in a cemetery just kind of…appeared.
I knew absolutely nothing about it. At that point, low-budget horror films — even those that became notorious and sold a lot of tickets on the drive-in and grindhouse circuit, as “Night of the Living Dead” had — possessed an up-from-the-underground, not-quite-on-the-radar quality. They weren’t all that easy to find (especially if you were 15). Yet here was “Night of the Living Dead” on TV. As I sat there in the darkened living room, the film’s end-of-the-world atmosphere of rapacious anxiety seemed, at that moment, as if it had been fashioned for the small screen, and »
- Owen Gleiberman
The summer movie season may start winding down by early August, but for cinephiles, that’s when the real fun begins. While the fall season festivals — epitomized by the trio of awards season influencers Telluride, Toronto and New York — are a massive platform for major prestige titles at the end of the year, the Locarno Film Festival has the jump on all of them, and provides the most diverse range of cinema you’ll see anywhere in the world.
The 70th edition, announced this week, provides the latest example. No festival embodies the “something for everyone” philosophy better than Locarno, which complements its cinephile-oriented sections with another one exclusively designed for wider audiences. That would be the Piazza Grande, where 16 features screen outdoors for an audience of 8,000 people. But rather than simply showcasing the same summer blockbusters that have dominated the box office, the Piazza features international efforts well suited to pleasing massive crowds, »
- Eric Kohn
Ben & Joshua Safdie's Good TimeThe lineup for the 2017 festival has been revealed, including new films by Wang Bing, Radu Jude, Raúl Ruiz and others, alongside retrospectives and tributes dedicated to Jean-Marie Straub, Jacques Tourneur and much more.Piazza GRANDEAmori che non sonno stare al mondo (Francesca Comencini, Italy)Atomic Blonde (David Leitch, USA)Chien (Samuel Benchetrit, France/Belgium)Demain et tous les autres jours (Noémie Lvovsky, France)Drei Zinnen (Jan Zabeil, Germany/Italy)Good Time (Ben & Joshua Safdie, USA)Gotthard - One Life, One Soul (Kevin Merz, Switzerland)I Walked with a Zombie (Jacques Tourneur, USA)Iceman (Felix Randau, Germany/Italy/Austria)Laissez bronzer les cadavres (Hélène Cattet & Bruno Forzani, Belgium/France)Lola Pater (Nadir Moknèche, France/Belgium)Sicilia! (Jean-Marie Straub & Danièle Huillet, Italy/France/Germany)Sparring (Samuel Jouy, France)The Big Sick (Michael Showalter, USA)The Song of Scorpions (Anup Singh, Switzerland/France/Singapore)What Happed to Monday (Tommy Wirkola, »
The line-up for the 70th Locarno Festival (Aug 2-12) in Switzerland has been announced.
Scroll down for the full line-up
The 16-strong Piazza Grande strand features 11 world premieres, including opening night film Tomorrow And Every Other Day directed by Noemie Lvovsky and starring Mathieu Amalric, and closing night music doc Gotthard - One Life, One Soul, about the swiss rock band.
Other Piazza Grande films include Atomic Blonde with Charlize Theron, Good Time starring Robert Pattinson, Kumail Nanjiani’s The Big Sick, What Happened to Monday? with Glenn Close and the world premiere of Anup Singh’s The Song of Scorpions, starring Irrfan Khan, who will attend the festival.
- firstname.lastname@example.org (Orlando Parfitt)
Rome – The Locarno Film Festival has unveiled a rich mix of titles spanning many genres for its 70th edition, marked by a strong French presence that will include Isabelle Huppert playing a physics teacher who undergoes a major personality shift in “Madame Hyde” and Fanny Ardant playing a man who has had gender-reassignment surgery in “Lola Pater” (pictured).
Focus Features’ spy pic “Atomic Blonde” with Charlize Theron and Netflix’s sci-fi thriller “What Happened to Monday?” will also screen in Locarno’s open-air, 8,000-seat Piazza Grande, though without talent in tow.
As in past editions, the lineup of the Swiss fest dedicated to indie cinema combines potential discoveries with new works by known festival auteurs such as Noemie Lvovsky, Anup Singh, F.J. Ossang, Wang Bing, Annemarie Jacir, and a posthumous pic by Raul Ruiz. The official competition comprises 14 world premieres, four of which are films by first-time directors.
Lvovsky’s “Tomorrow and Thereafter,” a »
- Nick Vivarelli
Before diving deep into the slums of Fontainhas for his epochal trilogy and its follow-up, Horse Money, Pedro Costa applied his lens in a significantly different way — though no less impressively and, I do not think it’s at all unfair to say, far more accessibly. To my mind, the best display of his early talents is 1994’s Casa de Lava, a mystery of mistaken (or forged) identity — and a reworking of Jacques Tourneur’s classic I Walked with a Zombie — grounded in Portugal’s stunning Cape Verde islands. It’s understandable that something from a filmmaker with Costa’s marginalized status would go so long without a U.S. release, yet still disappointing in sight of the entrancing thing itself.
That will change this fall as Grasshopper Film release Casa de Lava on Blu-ray and DVD, in advance of which there is a brief, appropriately enigmatic teaser that gives »
- Nick Newman
Don’t look to this noir for hardboiled cynicism – for his first feature Nicholas Ray instead gives us a dose of fatalist romance. Transposed from the previous decade, a pair of fugitives takes what happiness they can find, always aware that a grim fate waits ahead. The show is a career-making triumph and a real classic from Rko — which shelved it for more than a year.
The Criterion Collection 880
1948 / B&W / 1:37 flat Academy / 95 min. / available through The Criterion Collection / Street Date June 13, 2017 / 39.95
Cinematography: George E. Diskant
Film Editor: Sherman Todd
Original Music: Leigh Harline
Produced by John Houseman
Directed by Nicholas Ray »
- Glenn Erickson
Frances Dee movies: From 'An American Tragedy' to 'Four Faces West' Frances Dee began her film career at the dawn of the sound era, going from extra to leading lady within a matter of months. Her rapid ascencion came about thanks to Maurice Chevalier, who got her as his romantic interested in Ludwig Berger's 1930 romantic comedy Playboy of Paris. Despite her dark(-haired) good looks and pleasant personality, Dee's Hollywood career never quite progressed to major – or even moderate – stardom. But she was to remain a busy leading lady for about 15 years. Tonight, Turner Classic Movies is showing seven Frances Dee films, ranging from heavy dramas to Westerns. Unfortunately missing is one of Dee's most curious efforts, the raunchy pre-Coder Blood Money, which possibly features her most unusual – and most effective – performance. Having said that, William A. Wellman's Love Is a Racket is a worthwhile subsitute, though the »
- Andre Soares
Me: Yes he did, other Robin. Yes he did.
With fantastic storytelling, great character moments and a really fun cameo, Adam Reed continues to craft a fascinating world in Dreamland.
The storytelling in Archer Season 8 is absolutely stellar. It is so incredibly intricate and precise. Somehow, in five episodes, Archer has managed to keep a number of stories moving, piquing interest and dropping reminders at the perfect times.
The overarching plot of Woodhouse's death is never really far from Archer's mind, so much so that he continues to mention it every now and then. However, he finds himself hopelessly mired in a ridiculous, messy rivalry.
I'm sure that the rivalry between Trexler and Mother/Malory will turn out to be related to Woodhouse's death somehow. In the meantime, though, it manages to be silly and convoluted enough »
- Robin Harry
When Chris Washington and Rose Armitage, his white girlfriend, arrive for a weekend visit with her family in a remote, leafy suburb, Dad tries hard (too hard) to allay any discomfort his guest may be experiencing.
Or to look at it from the other end, Dr. Armitage — he’s a neurosurgeon — is trying to disguise any hint that he and Rose’s mother might themselves be experiencing any discomfort: Chris is their daughter’s first African-American significant other, and Rose hasn’t told them in advance.
Dr. Armitage addresses Chris as “my man” and tells him how much he loved Barack Obama – wished, »
- Tom Gliatto
Looking back on this still-young century makes clear that 2007 was a major time for cinematic happenings — and, on the basis of this retrospective, one we’re not quite through with ten years on. One’s mind might quickly flash to a few big titles that will be represented, but it is the plurality of both festival and theatrical premieres that truly surprises: late works from old masters, debuts from filmmakers who’ve since become some of our most-respected artists, and mid-career turning points that didn’t necessarily announce themselves as such at the time. Join us as an assembled team, many of whom were coming of age that year, takes on their favorites.
For spanning half a century and six films to date, George A. Romero’s Dead series could reasonably be labeled the most ambitious single-auteur franchise in horror. Beginning with Night of the Living Dead’s release in »
- The Film Stage
14 items from 2017
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