6 items from 2015
or, Savant picks The Most Impressive Discs of 2015
This is the actual view from Savant Central, looking due North.
What a year! I was able to take one very nice trip back East too see Washington D.C. for the first time, or at least as much as two days' walking in the hot sun and then cool rain would allow. Back home in Los Angeles, we've had a year of extreme drought -- my lawn is looking patriotically ratty -- and we're expecting something called El Niño, that's supposed to be just shy of Old-Testament build-me-an-ark intensity. We withstood heat waves like those in Day the Earth Caught Fire, and now we'll get the storms part. This has been a wild year for DVD Savant, which is still a little unsettled. DVDtalk has been very patient and generous, and so have Stuart Galbraith & Joe Dante; so far everything »
- Glenn Erickson
Read More: 'By the Sea,' Angelina Jolie and Brad Pitt's European Marital Adventure, Opens AFI Fest "La Notte" (Michelangelo Antonioni, 1961) In the long tradition of art house cinema, including Antonioni's own "L'Avventura" and "L'Eclisse," "La Notte" is an evocative drama built entirely on mood and spiraling feelings. Marcello Mastroianni and Jeanne Moreau play an unfaithful married couple whose relationship deteriorates over the course of a long day filled with temptation from suitors and longing for the connection they once shared. Upon first introduction, the couple seems to have it all; Mastroianni's Giovanni is an acclaimed writer who has recently published his latest novel, while Moreau's Lidia is a sultry beauty. A master of observation, Antonioni fills the picture with long silences and drawn out scenes that expose the ruins of the couple's interior state. As each finds »
- Zack Sharf
Paolo Sorrentino is notoriously coy about discussing projects before they’re out, but at the Rome film festival, the Academy-Award winning director took time out from shooting his eight-part TV series The Young Pope, to discuss why he chose Jude Law to play the youthful yet conservative American pontiff. Sorrentino broke his habit of speaking about his works-in-progress at the festival’s masterclass in cinema, first discussing some of his favorite films, including The Night by Michelangelo Antonioni, The Ice Storm by Ang Lee, The Straight Story by David Lynch, and The Road to Perdition by Sam Mendes - the latter
- Ariston Anderson
To celebrate the release of L’Eclisse, available on Est 21 September 2015 and released on Blu-ray for the first time (as well as on DVD) 28 September 2015, we are giving 3 lucky WhatCulture readers the chance to win one of three copies on Blu-ray.
Filmed in sumptuous black and white, and full of scenes of lush, strange beauty, it tells the story of Vittoria (the beautiful Monica Vitti – L’Avventura, La Notte, Red Desert – Antonioni’s partner at the time), a young woman who leaves her older lover (Francisco Rabal – Viridiana, The Holy Innocents, Goya in Bordeaux), then drifts into a relationship with a confident, ambitious young stockbroker (Alain Delon – Le Samourai, Rocco and his Brothers, Le Cercle Rouge). But this base narrative is the starting point for much, much more, including an analysis of the city as a place of estrangement and alienation and an implicit critique of colonialism.
Using the »
- Laura Holmes
★★★★☆ There are some films that are defined, or at least deeply coloured by the power and poetry of their final scenes. Christian Petzold's Phoenix (2014) is a fine film in its own right, but is elevated by the emotional upper-cut of its conclusion. So too Pablo Larrain's Post Mortem (2010) conjures great effect from its chilling last shot. It may not be a given that Michelangelo Antonioni is emphasising what has come before in the incredible closing minutes of L'Eclisse (1962), but a case can be made that in it he unsettlingly distils his entire trilogy of alienation - begun in L'Avventura (1960) and continued in La Notte (1961) - into one poetic and wordless sequence.
- CineVue UK
The late 1950s were a time of seismic upheaval and innovation in world cinema. In France, Francois Truffaut, Claude Chabrol and Jean-Luc Godard were backing up their boisterous critical rhetoric by placing themselves behind the camera and making movies the way they believed they should be made. English filmmakers were developing the kitchen-sink realism style featuring a lineup of angry young men. Ingmar Bergman brought Scandinavian cinema to global prominence, Italian film boasted the emerging talents of Fellini and Antonioni, and Japan unleashed an exuberant new generation of directors like Suzuki, Kobayashi and others who came out of the agitated rebellion of the Sun Tribe movement. Even India could put forth a prodigious genius like Satyajit Ray to introduce cinephiles from around the world to a culture that was ready to transcend the stereotypes and mystification that its recent colonial past had distorted. Among all the nations that could lay »
- David Blakeslee
6 items from 2015
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