The Round-Up (1966) - News Poster



Miklós Jancsó and the Wages of War: Close-Up on "The Red and the White"

  • MUBI
Close-Up is a column that spotlights films now playing on Mubi. Miklós Jancsó's The Red and the White (1967) will be showing January 21 - February 20, 2017 in the United States.The opening shot of The Red and the White shows armed riders on horseback rushing gallantly toward the camera in slow motion. It is the type of heroic imagery one associates with a valiant depiction of soldiers heading off to battle, to fight the good fight for a lofty cause. But in this outstanding 1967 film from Miklós Jancsó, one of the great anti-war testaments, such iconic and potentially promotional action is never to be seen again. In its place are the callous and violent vagaries of cold barbarity, overzealously arbitrary authority, and the unremitting movement of people, sometimes strategically, sometimes on an apparently random whim. Made during a politically pivotal and formally transitory period in Jancsó’s career, The Red and the White
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Toronto unveils Docs, Midnight Madness, Vanguard

  • ScreenDaily
Organisers unleashed their latest volley of programming, an embarrassment of riches featuring new non-fiction work about education activist Malala Yousafzai, Russia’s Bolshoi Theatre, the immediate aftermath of the Charlie Hebdo attacks and the iconic tango pairing of María Nieves and Juan Carlos Copes.

Midnight Madness brings a Turkish glimpse of hell, new work from the directors of Almost Human and The Loved Ones, a cyborg Pov story and Jeremy Saulnier’s Green Room, which premiered in Cannes and backer Broad Green Pictures recently made available for Us distribution after electing not to self-release.

Vanguard entries include Gaspar Noé’s Love, Alex de la Iglesia’s My Big Night and Ryoo Seung-wan’s South Korean cop thriller Veteran.

The Masters Of Cinema programme features Jafar Panahi’s Taxi, Alexander Sokurov’s Francofonia and Hirokazu Kore-eda’s Our Little Sister, while the Tiff Cinematheque selection of restored classics includes Luchino Viconti’s Rocco And His Brothers and Marcel Ophüls
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Cannes Classics line-up revealed; Costa-Gavras guest of honour

  • ScreenDaily
Cannes Classics line-up revealed; Costa-Gavras guest of honour
Section to also include celebrations of Ingrid Bergman and Orson Welles as well as screenings of The Terminator and Jurassic Park 3D.

Costa-Gavras has been named guest of honour at this year’s Cannes Classics section of the Cannes Film Festival (May 13-24).

The Greek-French film director and producer won the Palme d’or with Missing in 1982, was member of the jury in 1976 that crowned Taxi Driver and picked up the award for best director with Section spéciale in 1975.

The filmmaker will be present for a screening of Z, which won the jury prize in 1969, and has had the original negative scanned in 4k and restored frame by frame in 2K, supervised by Costa-Gavras.

Orson Welles

Marking 100 years since the birth of Orson Welles, Cannes will screen restorations of films from the legendary Us actor, director, writer and producer, who died in 1985.

The titles include his staggering debut Citizen Kane (1941), which has received a 4k restoration completed
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Daily | Cannes Classics 2015 Lineup

The Cannes Classics 2015 lineup this year features Costa-Gavras, tributes to Ingrid Bergman and Orson Welles, plus Manoel de Oliveira's Visita ou Memórias e Confissões, Kent Jones's new documentary, Hitchcock/Truffaut, and restorations of Luchino Visconti's Rocco and His Brothers, Louis Malle's Elevator to the Gallows, Ousmane Sembène's Black Girl, Lino Brocka's Insiang, Fernando Solanas's Sur, Kenji Mizoguchi's The Story of the Last Chrysanthemum, Kinji Fukasaku's Battles without Honor and Humanity, Miklós Jancsó's The Round-Up, King Hu's A Touch of Zen, Marcel Pagnol's Marius and more. » - David Hudson
See full article at Keyframe »

Miklós Jancsó obituary

Film director who used powerful symbolism to depict the fight for Hungarian socialism and independence

At the 1966 Cannes film festival, a movie whose title sounded like a western – but was actually Hungarian – caused a sensation and launched its director into the international cinematic scene, where he was to remain for a decade. The film of hypnotic beauty and daring technique was The Round-Up (Szegénylegények, literally translated as The Outlaws) and the director was Miklós Jancsó, who has died aged 92.

Jancsó's highly personal style had blossomed in this, his fifth feature. The Round-Up is set on a bleak Hungarian plain in 1868, when Austro‑Hungarian troops tried to break the unity of the Hungarian partisans by torture, interrogations and killings. There is little dialogue as horsemen drive the people to and fro, with power continually changing hands. Jancsó's ritualistic style manages to make the particular Hungarian situation into a universal parable of evil,
See full article at The Guardian - Film News »

Cannes-winner and long take master Miklos Jancso dies at 92

Cannes-winner and long take master Miklos Jancso dies at 92
Hungarian filmmaker Miklós Jancsó, winner of the best director award at the 1972 Cannes Film Festival, died Friday. He was 92.

Jancsó’s death after a long illness was announced by the Association of Hungarian Film Artists.

Known for his long takes and for depicting the passage of time in his historical epics merely by changes of costume, Jancsó won his Cannes award for Red Psalm, about a 19th-century peasant revolt.

In the 1960s, critics ranked Jancso alongside great directors such as Michelangelo Antonioni and Ingmar Bergman. However, it was his use of scantily clad women, symbolizing defencelessness, which drew big audiences in prudish communist Hungary.
See full article at - Inside Movies »

Miklós Jancsó dies at 92

Hungarian director Miklós Jancsó Hungarian film director Miklós Jancsó has died at the age of 92 after a long illness.

Jancsó's films included My Way Home (Így jöttem, 1964), The Round-Up (Szegénylegények, 1965), The Red And The White (Csillagosok, katonák, 1967), Silence and Cry (Csend és kiáltás, 1968) The Confrontation (Fényes szelek, 1968) and Red Psalm (Még kér a nép, 1971) - for which was awarded the Best Director prize at Cannes in 1972. He was at the forefront of the revival of Hungarian cinema and was known the starkness of his themes and a distinctive visual style that influenced filmmakers as diverse as Sergio Leone and Béla Tarr.

He received lifetime achievement awards in Cannes in 1979, Venice in 1990 and Budapest in 1994.

Fellow Hungarian director István Szabó said: “Jancsó occupies a unique place in Hungarian culture. If he hadn't made such films as The Round-Up, My Way Home,...
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Béla Tarr retires … very, very slowly

Master of the long take bows out to found a film school. Here's hoping it turns out graduates as singular as him

Call me a size-queen if you like, but I'm horribly partial to movies that pour on the long takes and frog-march the viewer without a cut through enormous oceanic expanses of screen-time. Pulling off movies entirely composed of shots lasting 10 or more minutes is a difficult undertaking, but when directors succeed, it's so satisfying that one almost mourns the impending arrival of a cut.

So I'm disappointed that Béla Tarr, today's supreme master of the serpentine take, as exemplified by his latest movie, The Turin Horse, has decided to retire from making movies in order to found his own film school in Split, Croatia. My fondest hope is that he will create a fanatical, cult-like environment wherein he can hothouse a generation of film-makers as grouchy, misanthropic and visionary as himself,
See full article at The Guardian - Film News »

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