3 items from 2012
The Rome Film Festival has come to a close and the awards have been handed out. David Hudson has the details at Keyframe. The big winner? Larry Clark's Marfa Girl, which as of today has been independently released online. The Berlin Film Festival has announced its retrospective for February, and it's a particularly inspired choice: "The Weimar Touch," which is "devoted to how cinema from the Weimar Republic influenced international filmmaking after 1933. It will focus on continuities, mutual effects and transformations in the films of German-speaking emigrants up into the 1950s." A welcome surprise in casting news: Viggo Mortensen has signed up for Lisandro Alonso's next feature, on which he will also serve as producer.
- Adam Cook
While adored by the French and the Cahiers Du Cinema coterie that went on to become the rebellious French New Wave -- which spawned the oft-quoted Jean-Luc Godard phrase "cinema is Nicholas Ray" -- the American filmmaker never really received his due outside of the one film of his that most moviegoers have seen (and even then, they’re possibly unaware that he directed it): “Rebel Without A Cause.” And while that iconic 1950s film, with its audacious, expressionistic colors, its passionate angst and anguish, its mix of quiet machismo and vulnerability, is perhaps the cornerstone of many of Nicholas Ray’s films -- vibrant melodrama on the surface, percolating emotional agony within -- it’s certainly just the tip of iceberg when it comes to the director’s career.
Starting out as a would-be actor, Ray moved to moved to New York where he appeared in the great Elia Kazan's theater debut. »
- The Playlist Staff
I used to believe, like Wenders or Godard, in the death of cinema. I accepted it as fact but never believed in it. The movies, that’s what I believed in—a dark room, shadows on a surface, a bunch of lonely people sitting down, looking up.
At first I thought Abel Ferrara’s films were badly acted; I soon realized Ferrara would take bad acting with truth in it over a masterpiece of falsehoods. (Later I found out that Ferrara would, in Dangerous Game and New Rose Hotel, use one to create the other.)
I thought his films were too commercial. “Already captivated by cinema, I didn’t need to be seduced as well,” as Serge Daney put it. Hollywood in the 21st century is a highly sophisticated marketing ploy. »
3 items from 2012
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