La terra trema
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La Terra Trema (1948) More at IMDbPro »La terra trema (original title)


2014 | 2013 | 2012 | 2011

6 items from 2014


Jean Grémillon: Realism and Tragedy (Part 2)

11 December 2014 5:10 AM, PST | MUBI | See recent MUBI news »

Translators introduction: This article by Mireille Latil Le Dantec, the second of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.

Passion »

- Ted Fendt

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Jean Grémillon: Realism and Tragedy

30 November 2014 9:23 AM, PST | MUBI | See recent MUBI news »

Translators introduction: This article by Mireille Latil Le Dantec, the first of two parts, was originally published in issue 40 of Cinématographe, September 1978. The previous issue of the magazine had included a dossier on "La qualité française" and a book of a never-shot script by Jean Grémillon (Le Printemps de la Liberté or The Spring of Freedom) had recently been published. The time was ripe for a re-evaluation of Grémillon's films and a resuscitation of his undervalued career. As this re-evaluation appears to still be happening nearly 40 years later—Grémillon's films have only recently seen DVD releases and a 35mm retrospective begins this week at Museum of the Moving Image in Queens—this article and its follow-up gives us an important view of a French perspective on Grémillon's work by a very perceptive critic doing the initial heavy-lifting in bringing the proper attention to the filmmaker's work.

Filmmaker maudit? »

- Ted Fendt

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Viennale 2014. Revolutions in 16mm

3 November 2014 4:49 AM, PST | MUBI | See recent MUBI news »

In a festival whose dedication to celluloid is readily apparent, why not declare it directly? And so one of the Vienna International Film Festival's Special Programs this year is a bastion of that most wonderful format, 16mm film. Programmed by Katja Wiederspahn and Haden Guest with an admirably variegated range, the programs were gathered around collective films, war films, sex films, expanded cinema, and more. Key to the section's expanse, which begins in the 1920s and touches every decade between here and there, is also in highlighting new work done in this increasingly outmoded, "out of date," and unprojectionable format. Included amongst these are films every bit as exciting as the history and canon "Revolution in 16mm" touches on: Jodie Mack's Razzle Dazzle (written about here), Richard Touhy's masterpiece of color Ginza Strip, and, most excitingly, a quartet of new films by Nathaniel Dorsky, the film poet who makes »

- Daniel Kasman

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The Past, Present, and Future of Real-Time Films Part One

17 October 2014 8:00 PM, PDT | SoundOnSight | See recent SoundOnSight news »

What do film directors Alfred Hitchcock, Stanley Kubrick, Agnès Varda, Robert Wise, Fred Zinnemann, Luis Buñuel, Alain Resnais, Roman Polanski, Sidney Lumet, Robert Altman, Louis Malle, Richard Linklater, Tom Tykwer, Alexander Sokurov, Paul Greengrass, Song Il-Gon, Alfonso Cuarón, and Alejandro Iñárritu have in common? More specifically, what type of film have they directed, setting them apart from fewer than 50 of their filmmaking peers? Sorry, “comedy” or “drama” isn’t right. If you’ve looked at this article’s headline, you’ve probably already guessed that the answer is that they’ve all made “real-time” films, or films that seemed to take about as long as their running time.

The real-time film has long been a sub-genre without much critical attention, but the time of the real-time film has come. Cuarón’s Gravity (2013), which was shot and edited so as to seem like a real-time film, floated away with the most 2014 Oscars, »

- Daniel Smith-Rowsey

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Interview: Basil Da Cunha

25 April 2014 7:22 AM, PDT | Pure Movies | See recent Pure Movies news »

Dr. Garth Twa talks to Basil Da Cunha about After the Night.

Basil Da Cunha’s first feature, After The Night, is a unique hybrid in the bestiary of film.  Set in the creole ghettos of Lisbon, it has the documentary grunge of social realism, like La Terra Trema (1948), Luchino Visconti’s glamorously grimy Italian neo-realist classic; or Life of Jesus (1997), Bruno Dumont’s unflinching excursion in youthful destruction; or last year’s The Selfish Giant (2013) by Clio Barnard with its traditional British surfeit of absence of hope.  It’s like these films, only without the glitz.  But After the Night is also a genre film, a favela noir, with a hapless, hopeless doomed anti-hero, Sombra, always on the hurt end of a beating, with bad debts and bad loans, his sass with woman turning into meek groveling, always in the wrong place. »

- Dr. Garth Twa

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‘Brides’ Review: A Promising Debut From Georgia With a Killer Lead Performance

16 April 2014 5:30 PM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

On the outskirts of Tbilisi there is a enormous prison. It hovers over those who come to visit and the first images of Tinatin Kajrishvili‘s Brides are of this approach. Women stand on below, looking up at this aging monolith while they wait to be allowed inside. It is an eternal sight that echoes the women of Aci Trezza watching the sea for the return of their sons and husbands in the Neorealist classic La Terra Trema, though here cinematographer Goga Devadiani uses a more intimate framing. Grandeur can be found in the building itself, an imposition of state power. Its walls are so oppressive and its hallways so drab that a viewer unfamiliar with the nation of Georgia might mistake much of this film to be a Soviet-era period piece rather than a contemporary narrative. But back to those women. One of them is Nutsa (Mari Kitia), a young mother whose long-time partner is being »

- Daniel Walber

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2014 | 2013 | 2012 | 2011

6 items from 2014


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