10 items from 2016
The Criterion Collection has announced its slate for January, 2017, with offerings from Howard Hawks (“His Girl Friday”), Rainer Werner Fassbender (“Fox and His Friends”), Jack Garfein (“Something Wild”), and Ousmane Sembène (“Black Girl”). Check out the covers for the films below as well as synopses provided by the Criterion Collection. For more information on the special features and technical specs of each of these films, visit the Criterion Collection website.
“His Girl Friday” (Available January 10)
One of the fastest, funniest, and most quotable films ever made, “His Girl Friday” stars Rosalind Russell as reporter Hildy Johnson, a standout among cinema’s powerful women. Hildy is matched in force only by her conniving but charismatic editor and ex-husband, Walter Burns (played by the peerless Cary Grant), who dangles the chance for her to scoop »
- Vikram Murthi
Marlen KhutsievI discovered the name Marlen Khutsiev two summers ago at the Locarno Film Festival, where Russian critic and programmer Boris Nelepo introduced an increasingly awestruck audience to the small but overwhelming filmography of this Russian filmmaker. Thankfully for American audiences, the Museum of Modern Art has picked up and continued this essential retrospective, which starts October 5 in New York, expanding it in the process, and so here I will gather my thoughts upon encountering this truly stunning work for the first time.My experience began incongruously with Khutsiev’s last completed feature, 1992's Infinitas, an unexpected choice considering that the film's 206 minute wanderings of a middle-aged man through his life and memories was even to this uninformed viewer clearly autobiographical. After next viewing Khutsiev's 1965 masterpiece variably known as Fortress Il'ichi, Ilych's Gate and I Am Twenty, it was clear that Infinitas is also a continuation or sequel to that semi-autobiographical film, »
This time on the Newsstand, Ryan is joined by Aaron West and Keith Enright to discuss the December 2016 line-up announcement from the Criterion Collection, the forthcoming theatrical tour of Cameraperson from Janus Films, and a few other news items.
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The December Line-up Heart of a Dog The Exterminating Angel Roma The Asphalt Jungle Peter Becker Essay News items Newsletter clue – Before Trilogy Tree of Wooden Clogs, 2/14/17 release date. David Lynch: The Art Life coming to Criterion. Bill Hader was at Criterion. Charles Burnett Ozu’s A Straightforward Boy (1929) found. Kirsten Johnson’s Cameraperson trailer, playing theatrically.
One-Eyed Jacks cover change:
Episode Credits Ryan Gallagher (Twitter / Website) Aaron West (Twitter / Website) Keith Enright (Twitter / Website)
Music for the show is from Fatboy Roberts’ Geek Remixed project.Donate via PayPal »
- Ryan Gallagher
What do cinephiles dream about during the holiday season? According to the Criteiron Collection, it's all about classic films, such as John Huston's galvanic The Asphalt Jungle and Luis Buñuel's eye-raising comedy The Exterminating Angel. And contemporary titles, like Heart of a Dog, the first feature by Laurie Anderson in some 30 years. Plus, Fellini's Roma! Read on for all the details, provided by the fine folks at Criterion. The Exterminating Angel A group of high-society friends are invited to a mansion for dinner and inexplicably find themselves unable to leave in The Exterminating Angel (El ángel exterminador), a daring masterpiece from Luis Buñuel (Belle de jour, The Discreet Charm of the Bourgeoisie). Made just one year after his international sensationViridiana, this film, full of...
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The Criterion Collection has announced its offerings for the last month of the year, with one contemporary title (“Heart of a Dog”) mixed in with the classic (“Roma,” “The Asphalt Jungle,” “The Exterminating Angel”) fare. Check out the covers for the new additions below, as well as synopses for each carefully chosen film.
Read More: Kieslowski, ‘Cat People,’ and the Coen Brothers Lead The Criterion Collection’s September Line-Up
A group of high-society friends are invited to a mansion for dinner and inexplicably find themselves unable to leave in “The Exterminating Angel” (“El ángel exterminador”), a daring masterpiece from Luis Buñuel (“Belle de jour,” “The Discreet Charm of the Bourgeoisie”). Made just one year after his international sensation “Viridiana,” this film, full of eerie, comic absurdity, furthers Buñuel’s wicked takedown of the rituals and dependencies of the frivolous upper classes.
- Michael Nordine
The Film Society of Lincoln Center announces Ava DuVernay’s documentary The 13th as the Opening Night selection of the 54th New York Film Festival (September 30 – October 16), making its world premiere at Alice Tully Hall. The 13th is the first-ever nonfiction work to open the festival, and will debut on Netflix and open in a limited theatrical run on October 7.
Chronicling the history of racial inequality in the United States, The 13th examines how our country has produced the highest rate of incarceration in the world, with the majority of those imprisoned being African-American. The title of DuVernay’s extraordinary and galvanizing film refers to the 13th Amendment to the Constitution—“Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States . . . ” The progression from that second qualifying clause to the horrors of mass incarceration and »
- Kellvin Chavez
If the languid summer tentpole season has you down, fear not, as the promising fall slate is around the corner and today brings the first news of what we’ll see at the 2016 New York Film Festival. For the first time ever, a non-fiction film will open The Film Society of Lincoln Center’s festival: Ava DuVernay‘s The 13th. Her timely follow-up to Selma chronicles the history of racial inequality in the United States and will arrive on Netflix and in limited theaters shortly after its premiere at Nyff, on October 7.
“It is a true honor for me and my collaborators to premiere The 13th as the opening night selection of the New York Film Festival,” Ava DuVernay says. “This film was made as an answer to my own questions about how and why we have become the most incarcerated nation in the world, how and why we regard »
- Jordan Raup
The Cannes Film Festival has opened with another Woody Allen film—his 1930s Hollywood comedy, Café Society—but the first film officially in competition in front of our eyes was something far more audacious. Two directors whose names are synonymous with the mid-2000s re-emergence of their country’s cinema, now generally called the Romanian New Wave, are competing this year. Yet to screen is the latest from Palme d’Or winner Cristian Mungiu (4 Months, 3 Weeks and 2 Days), but it is unlikely to be as forceful as Sieranevada, from his compatriot Cristi Puiu.Best known for his grueling plunge into the labyrinthine nightmare that is the Romanian health care system in The Death of Mr. Lazarescu—a tragic, fatal pilgrimage through offices, hospital hallways, ambulances and clinics told with an absurd, pitch black humor—Sieranevada’s subject is much simpler: an extended, inter-generational apartment gathering at the 40-day memorial of a family member. »
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
Mubi is exclusively showing two new, brilliant and unconventional films from Spain: Luis López Carrasco's El Futuro (April 11 - May 10) and Ion de Sosa's Androids Dream (April 12 - May 11). We asked the two filmmakers—friends and collaborators—a few questions about their work. For an in-depth exploration of the two films, we recommend Michael Pattison's article, Back to the Future: Androids Dream and El Futuro.Spanish directors Ion de Sosa (front left) and Luis López Carrasco (back right).Notebook: How did you each manage to bring your projects to life?Luis LÓPEZ Carrasco: After living in Berlin for a few months through a scholarship program, I came back to Spain in 2010 fully energized with the aim to set up a production company, finance my own projects and support friends whose work I deeply admire. The international success of Los Hijos Collective led me to believe »
10 items from 2016
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