13 items from 2016
NEWSFilm scholar V.F. Perkins, author of the essential book Film As Film (1972), has died at the age of 80.The BFI in London has announced Black Star, the UK's largest celebration of black screen actors, to run October 17 - December 31, 2016.Consummate Hollywood director Garry Marshall, best known for Pretty Woman, Runaway Bride and such television productions as Happy Days and Mork & Mindy, has died at 81.Filmmaker and Mubi team member Kurt Walker and filmmaker Isaac Goes are launching online film exhibition space Kinet, "catered to the dissemination of new and boundary pushing avant-garde cinema." Kinet's first program, which begins next week, includes Masha Tupitsyn's epic Love Sounds.Recommended VIEWINGThe feature debut of Canadian director Isiah Medina, 88:88, which received its global online premiere on Mubi last spring, is now streaming for free.An English-subtitled, behind-the-scenes documentary on the making of Johnnie To's excellent thriller, Three.The teaser trailer for »
Out 1The late, great Jacques Rivette’s long-unseen serial Out 1 (1971) begins in a state of febrile convulsion, a seizure or shared hallucination, a frenzied, excruciating, hypnotic baptism of fire that reveals Rivette’s many-headed monster entering into being. Indistinguishable in a mass and huddle of contradicting limbs, this theatre troupe of performers – enchanted, ever-improvising movers and shakers – then pack their bags, tidy up, and leave one Parisian rehearsal space for another. Never too far away from each other in this 20-arrondissement Venn-diagram, and never inseparable, the circumstances of individual characters are slowly knitted together, first those of a character played by Juliet Berto, then one by Jean-Pierre Léaud. Individual narratives become interdependent, and Out 1 becomes a multi-plot film. Just as two theatre troupes use various imaginative, improvisational means to adapt two of Aeschylus’s Greek tragedies, Berto and Léaud’s two outliers approach and endlessly orbit some central conspiracy or secret underground society. »
Of the 40 or so film appearances by Giorgio Albertazzi, the Italian actor-manager, who has died aged 92, the best known was his unsettling role as X in Alain Resnais’s L’Année Dernière à Marienbad (Last Year in Marienbad, 1961). In the surreal film, set in a dreamlike hotel, Albertazzi plays a man who claims to have had a relationship with a woman, A, and who has come to take her away from her husband, M (Sacha Pitoëff), 12 months later, as she asked him to. But A (Delphine Seyrig) appears to have no recollection of this.
The film won the Golden Lion at Venice that year, after which Albertazzi also appeared in two Joseph Losey films: Eva (1962) and The Assassination of Trotsky (1972). His first hit on TV had been in 1959 in The Idiot and he was »
- John Francis Lane
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
It’s too bad Last Year at Marienbad was the most fashionable art-house movie of 1961-’62, because as a result it’s been maligned and misunderstood ever since. The chic allure of »
- The Film Stage
Reel-Important People is a monthly column that highlights those individuals in or related to the movies that have left us in recent weeks. Below you'll find names big and small and from all areas of the industry, though each was significant to the movies in his or her own way. Giorgio Albertazzi (1923-2016) - Italian Actor. His film credits include Last Year at Marienbad, Le Notti Bianchi and the Italian dub of Zeffirelli's Romeo and Juliet. He died on May 28. (THR) Moidele Bickel (1937-2016) - Costume Designer. She earned an Oscar nomination for her work on Queen Margot. She also did the costumes for The White Ribbon and was a wardrobe supervisor on Valmont. She died on May 16. (DiePresse) Joe Fleishaker (1954-2016...
- Christopher Campbell
Rome — Giorgio Albertazzi, the lionlike actor and director who was a leading light of the Italian stage for more than six decades but is best known to global French film lovers for playing the seducer with an Italian accent simply called X in Alain Resnais’ 1961 now classic “Last Year at Marienbad,” died Saturday in his native Tuscany.
He was 92.
The son of a bricklayer, Albertazzi was born in Fiesole, near Florence, where he studied acting and made his stage debut in 1949 with a small part in Shakespeare’s “The Tragedy of Troilus and Cressida,” directed by Luchino Visconti. He broke out on the international theatre scene in 1964 playing the lead in “Hamlet” at London’s The Old Vic Theatre directed by Franco Zeffirelli, one of his many Shakespearean roles over the years.
More recently Albertazzi toured internationally playing the emperor in the stage adaptation of Marguerite Yourcenar’s “Memories of Hadrian, »
- Nick Vivarelli
If beauty is in the eye of the beholder, then there will never be a definitive list of the greatest cinematography, but for our money, one of the finest polls has been recently conducted on the matter. Our friend Scout Tafoya polled over 60 critics on Fandor, including some of us here, and the results can be found in a fantastic video essay below. Rather than the various wordless supercuts that crowd Vimeo, Tafoya wrestles with his thoughts on cinematography as we see the beautiful images overlaid from the top 12 choices.
“I’ve been thinking of the world cinematographically since high school,” Scout says. “Sometime around tenth grade I started looking out windows, at crowds of my peers, at the girls I had crushes on, and imagining the best way to film them. Lowlight, mini-dv or 35mm? Curious and washed out like the way Emmanuel Lubezki shot Y Tu Mamá También, »
- Jordan Raup
There’s something claustrophobic about a film set entirely in a single location, an unsettling feeling of being cornered in a confined environment, cut off from the rest of the world. Stories such as these require nuanced characters and thoughtful attention to narrative detail, many of which employ a theatrical feel, while others were literally sprung from a playwright’s pen. Their action sequences are merely verbal, characters revealing shocking truths and saying the unthinkable, while the setting forces them together until an often brutal conclusion. When people are trapped like rats, it’s no surprise they sometimes eat each other.
A new entry in this sub-genre, Green Room, a violent thriller from Blue Ruin director Jeremy Saulnier expands this weekend. In the film, after a punk band witnesses a vicious murder, they find themselves trapped in the club’s green room, forced to fight their way out to freedom. »
- Tony Hinds
Every film creates a world, and every filmmaker a universe. Some prove uninhabitable. Given the rarity of Kiju Yoshida’s films, the grandeur with which Arrow Films is presenting them, and the way they were talked about – three films “united by their radical politics and an even more radical shooting style”; “bleak but dreamlike” – I dove into this set quite curious and excited. I found Yoshida’s universe to be one of the most tumultuous I’ve yet encountered. Even oblique films tend to carry with them a bit of poetry and emotional momentum. I think especially of films like Last Year at Marienbad, The Mirror, Goodbye to Language, or Flowers of Shanghai, all of which are so exciting and riveting despite my not initially knowing what they were really about at all.
At least two of the films in this three-film set gave me no such pleasures; Coup d »
- Scott Nye
Now here’s a premise for a movie – a beautiful woman shows up to a party; a man recognizes her, but she denies his claim as to who she is. The woman, Alice, is played by Rachel Weisz. The man, Tom, by Michael Shannon. Really, honestly now…how could you lose?
She’s a research scientist; he’s a business advisor. He’s married, but his wife wants to move across the country to attend an exclusive academic program; he’s less convinced this is the right move for both of them. She just happened to meet his business partner at lunch, who invited her to Tom’s birthday party. Is it really all such a coincidence that she should secure such an invitation when he is so sure he recognizes her? And if her recognizes her and feels the need to call her out, just how close must they have been? »
- Scott Nye
★★★★★ The opening shot of Alain Resnais' Hiroshima Mon Amour observes the entwined limbs of two lovers as ash settles on their skin before the image dissolves into those same bodies beaded with sweat. The ash, of course, suggests the nuclear fallout of the atomic bombing of the titular city in August of 1945 eliding time as it falls onto Emmanuelle Riva and Eiji Okada some fourteen years later. Resnais had a preoccupation with time throughout his career - his next feature Last Year at Marienbad would step outside of it almost almost entirely - and Hiroshima Mon Amour drifts backwards and forwards through it to groundbreaking expressive effect. When challenged that such non-linear narrative techniques had been employed before, as in Citizen Kane, Resnais argued "yes, but in my film time is shattered."
- CineVue UK
Following initiatives in tandem with the Tribeca and Venice film festivals, Prada is stepping up its commitment to the movie world by launching a non-conventional film school in Venice.
The Italian fashion house announced its new film-related project during a high-profile screening series currently underway at the Prada Foundation in Milan titled “Flesh, Mind and Spirit,” co-curated by Alejandro Gonzalez Inarritu and U.S. critic and film scholar Elvis Mitchell (pictured at the opening).
Called “Belligerent Eyes,” the Prada film school will experiment with new ways of teaching and delving into film and related fields, according to a statement. It will run between May and September 2016 in the Prada Foundation’s Venetian venue at Ca’ Corner della Regina.
The program is recruiting international academics, professionals and a select group of students in various fields that besides film include architecture, journalism, and digital communication.
The purpose of the school is “to »
- Nick Vivarelli
Les Soviets plus l’électricitéFrance’s central place within film culture may have its ups and downs when it comes to adventurous film-making, but its reputation as a hub of international film viewing holds strong. Yet beyond the central role of Cannes in the yearly festival rigmarole, and references to the riches of the Paris film-going scene and to vaguely understood state subsidies, little attention is actually paid to the wider infrastructures of a film-going culture which, after all, provided more ticket sales for Uncle Boonmee than the rest of the world combined. To say this is not to trumpet French exceptionalism far and wide: Olaf Möller has spoken lovingly of the key role of film programming on West German television in the 1970s, and Italian critics would no doubt be able to provide similar insight into the workings of Rai 3 or the myriad smaller festivals which continue to »
- Nathan Letoré
13 items from 2016
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