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If you haven’t already seen it, chances are you may have heard of Barbet Schroeder’s twisted love story swamped in sadomasochism via online cinematic lists and articles aimed at transgressive cinema.
It’s often placed in the same group as those other 70’s New European works like Salò Or 120 Days Of Sodom and Last Tango In Paris – films which pushed the boundaries with their taboo subject matter and explicit content. Put aside the graphic scenes on display here (which admittedly, isn’t an easy thing to do) and what separates Maîtresse from the others is the oddly touching central relationship which emerges, and the sometimes uncomfortable jet black humour which is inherent in the film’s bizarre milieu.
A pre-grizzled 28-year-old Gérard Depardieu is Olivier, a husky thief who, alongside a criminal associate, break into the lavish flat of a woman they believe to be away. Riffling through her personal belongings, »
- Adam Lowes
© All rights reserved by afifestpublicity / May 24, 2012.
The American Film Institute announced today that internationally acclaimed filmmaker and Academy Award-winning director and screenwriter Bernardo Bertolucci will serve as its Guest Artistic Director at AFI Fest 2012 presented by Audi. Last year.s Guest Artistic Director was Pedro Almodóvar, and David Lynch, an alumnus of the AFI Conservatory, held the role in 2010.
Bernardo Bertolucci began his career as an assistant director to Pier Paolo Pasolini on Accattone and directed his first feature film at the age of 21. His second film, Before The Revolution (1964), was released to great acclaim and he has continued to shape the way the world looks at cinema. His 1970 film The Conformist with Jean-Louis Trintignant and Stefania Sandrelli premiered in Berlin and received Bertolucci.s first Oscar nomination, and his 1972 film Last Tango In Paris with Marlon Brando, Maria Schneider and Jean-Pierre Léaud received another two Oscar nominations. His fame »
- Melissa Thompson
Bernardo Bertolucci is everywhere these days. The Italian master filmmaker ("Little Buddha," "The Last Emperor") will serve as the American Film Institute's Guest Artistic Director at AFI Fest 2012. Others have included last year’s Guest Artistic Director Pedro Almodóvar and David Lynch in 2010. Bertolucci has selected four feature films for his sidebar at the festival: 42Nd Street (Dir Lloyd Bacon), La Regle Du Jeu (Dir Jean Renoir), Sunrise (Dir F.W. Murnau) and Vivre CA Vie (Dir Jean-Luc Godard). In addition, the festival will present Electric Chair, a behind-the-scenes film about the making of Bertolucci’s new movie, Me And You. Bertolucci has written and directed over 25 films, including The Last Emperor, Last Tango In Paris, The Conformist, The Sheltering Sky and Little Buddha. He has been honored with two Academy Awards® for Best Director and Best Writing, Screenplay for The Last »
- Beth Hanna
The European Film Academy has announced that Bernardo Bertolucci will receive the Lifetime Achievement Award at the European Film Awards. The ceremony will take place December 1, 2012 in Malta. Full press release below. In recognition of a unique and dedicated contribution to the world of film the European Film Academy takes great pride in presenting Bernardo Bertolucci with the Lifetime Achievement Award. Bernardo Bertolucci began his career as an assistant director to Pier Paolo Pasolini on Accattone and directed his first feature film at the age of 21. His second film, Before The Revolution (1964), was released to great acclaim and he has never since then stopped to shape the way we look at cinema. His 1970 film The Conformist with Jean-Louis Trintignant and Stefania Sandrelli premiered in Berlin, won the Italian David di Donatello for Best Film and received Bertolucci’s first Oscar nomination and his 1972 film Last Tango In Paris with Marlon Brando, »
- Peter Knegt
David Thomson pens a love letter to cinema while lamenting its fate in our digital age
David Thomson is a metaphysician of the movies – a unique guide to what happens when, like Plato's cave-dwellers, we cluster in the dark to gaze at a light that is refracted, second-hand, the shadow of dancing bodies and dreamily beautiful faces that once burned an impression of themselves on to film. Plato's cavemen looked into an illusory fire, with the sun behind them; we watch brightness projected on to a screen, whose purpose is to conceal reality not reveal it. Are we huddled there in the hope of enlightenment or do we have a devious need for the darkness, which gives us licence to dream with our eyes open and to fantasise about the mayhem and murder acted out for our enjoyment?
In 1967 Thomson's first book, Movie Man, examined the strangeness of what had »
- Peter Conrad
From Palme d’Or winner “Amour” to the latest offerings from some of the biggest names of world cinema such as Alain Resnais, Abbas Kiarostami, Bernando Bertoluci, Manoel de Oliveira , Brillante Mendoza, Ken Loach, Jacques Audiard, 14th Mumbai Film Festival has a lot to offer to the filmbuffs.
The festival offers an exciting lineup of more than two hundred films, spread over about a dozen screen and seven days! To help our readers decide we’ve picked up the most talked about films from festival circuit.
14th Mff runs from October 18th-25th, 2012 at the National Centre for Performing Arts (Ncpa), and Inox, Nariman Point, Liberty Cinemas, Marine Lines as the main festival venues and Cinemax, Andheri and Cinemax Sion as the satellite venues.
To get delegate pass for the festival, you can register here:
1) Beast of the Southern Wild
Dir.: Benh Zeitlin (USA/ 2012 /Col./ 92’)
Section: International Competition for »
From counting f-words to examining hours of graphic gore, the British Board of Film Classification reveals the secrets of a century of rating, cutting and occasionally banning movies
The British Board of Film Classification (BBFC) denies extensive use of protractors. Rumours, fanned by newspaper articles, had long led me to imagine small, dedicated groups of BBFC examiners, in their Soho Square headquarters, pausing sex scenes at the judicious moment, reaching for a mathematical instrument, and assiduously checking "the angle of the dangle". Is the man on screen aroused? Are the examiners looking at a Sid Soft, Maurice Middling, or Harry Hard-on? Does the scene conform to the much-discussed Mull of Kintyre rule – that no male member can be allowed on screen at an elevation more pronounced than the southernmost tip of the Scottish peninsula?
Over lunch with three BBFC staff, I broach the protractor question. David Cooke, director of the board, »
- Kira Cochrane
- Meeta Kabra
Four decades after the pornographic film "Deep Throat," we need not one, but two biopics on the star of the movie, Linda Lovelace. (The first stars Amanda Seyfried. The other which may never happen -- stars Malin Akerman.) These dueling projects are just one measure of how big a deal "Deep Throat" remains 40 years after it went into wide release, on June 30, 1972. Other measures include the multi-billions in profits earned each year by a porn-film production industry that scarcely existed before "Deep Throat," the level of household-name fame the film's title earned amid the Watergate scandal, the countless courtroom challenges over whether porn merits First Amendment protections, and the still-ongoing debate over whether porn is good or bad for women -- a debate embodied by the life story of Lovelace herself, still the most famous/infamous porn star who ever lived. And then there's the snickering or prickly reaction you »
- Gary Susman
By Allen Gardner
Harold And Maude (Criterion) Hal Ashby’s masterpiece of black humor centers on a wealthy young man (Bud Cort) who’s obsessed with death and the septuagenarian (Ruth Gordon) with whom he finds true love. As unabashedly romantic as it is quirky, with Cat Stevens supplying one of the great film scores of all-time. Fine support from Vivian Pickles, Cyril Cusack, Charles Tyner, and Ellen Geer. Fine screenplay by Colin Higgins. Also available on Blu-ray disc. Bonuses: Commentary by Hal Ashby biographer Nick Dawson, producer Charles Mulvehill; Illustrated audio excerpts from seminars by Ashby and Higgins; Interview with Cat Stevens. Widescreen. Dolby 2.0 stereo.
In Darkness (Sony) Agnieszka Holland’s Ww II epic tells the true story of a sewer worker and petty thief in Nazi-occupied Poland who single-handedly helped hide a group of Jews in the city’s labyrinthine sewer system for the duration of the war. »
- The Hollywood Interview.com
10.47am: Good morning and welcome to the latest Cannes liveblog. I'm ripping back the reins from Andrew Pulver as he gets the train down to the south of France, where he'll grab the baton (or, perhaps, just a baguette) from me and I'll fly home.
I'm back in the press room, which is currently humming with slightly inelegant excitement as Brad Pitt is about to walk past, on his journey from the Killing them Softly photocall to the press conference.
10.52am: The film itself is a blood-lust-tastic crime thriller set in 2008 round New Orleans. Directed by Andrew Dominik, with whom Pitt teamed up for The Assassination of Jesse James by Robert Ford the Coward, it's a tale of sweaty crooks and desperate junkies, cracked codes of honour and the primacy of cash. »
- Catherine Shoard
Bernardo Bertolucci shows Cannes he's still a force to be reckoned with via this slight but intimate and charged two-hander
The spirit of the new wave is revived (albeit in apolitical form) by the 72-year-old Bernardo Bertolucci in his new film, a slight but engaging two-hander showing out of competition in Cannes. It's an intimate, disorientating and highly charged encounter between a young man and an older woman, who find themselves having to share a cramped basement flat which they cannot leave for one week. There are resonances with the director's The Dreamers, his adaptation of Gilbert Adair's novel, and perhaps even with Last Tango In Paris.
Lorenzo, played by Jacopo Olmo Antinori, is a disturbed 14-year-old boy who hates school, and whose mother Arianna (Sonia Bergamasco) sends him to a psychotherapist. Mother and son lunch together at restaurants, where Lorenzo speculates, inappropriately, as to whether other people there think they are a couple, »
- Peter Bradshaw
"If all of the people who hate 'Ishtar' had seen it, I would be a rich woman today." So said Elaine May in 2006, two decades after the Warren Beatty-Dustin Hoffman comedy she wrote and directed had become synonymous with "extravagant flop." (The film grossed $14.4 million on a $55 million budget.) Up until May 22, 1987 (the day it opened in theaters, 25 years ago), advance buzz on "Ishtar" was contentious; it was either a brilliant comic masterpiece or a textbook case of overreach on the part of two giant Hollywood egos to whom no one could say, "No." After the film's release... same thing. To this day, the movie is roundly mocked for its alleged awfulness (often by people who've never seen it), while a passionate cult of fans insists it's a lost work of misunderstood genius that never got its proper due from critics or moviegoers. The truth lies somewhere in the middle. »
- Gary Susman
In their first feature film collaboration, Hunger, director Steve McQueen and actor Michael Fassbender explored the discovery of the soul via the obliteration of the body through the tale of Irish republican Bobby Sands, who starved himself to death in the Maze prison in pursuit of an elusive political "truth". The duo return to this theme in Shame (2011, Momentum, 18), a nakedly non-erotic thriller in which Fassbender plays Brandon, a New York bachelor obsessed with self-destructive physical gratification. Starting life as an investigation of sex-addiction, the film once again finds McQueen and cinematographer Sean Bobbitt focusing in on the harsh corporeality of the human form which is sharply contrasted with the fluid possibilities of the transcendent personality.
"We're not bad people," Brandon's increasingly alienated yuppie is told by his equally fractured sister Sissy, played with alarmingly raw intensity by Carey Mulligan. "We »
- Mark Kermode
DVD Playhouse – May 2012
By Allen Gardner
Shame (20th Century Fox) Director Steve McQueen’s harrowing portrait of a Manhattan sex addict (Michael Fassbender, in the year’s most riveting performance) whose psyche goes into overload when his equally-troubled sister (Carey Mulligan) visits unexpectedly. Exquisitely-made on every level, save for the screenplay, which makes its point after about thirty minutes. While it tries hard to be a modern-day Last Tango in Paris, this fatal flaw makes it fall somewhat short. The much- ballyhooed sex scenes and frontal nudity are the least-interesting things about the film, incidentally, which is still a must-see for discriminating adults who seek out challenging material. Also available on Blu-ray disc. Bonuses: Featurettes. Widescreen. Dolby and DTS-hd 5.1 surround.
- The Hollywood Interview.com
Barbie Snitzer has worked in the entertainment industry in the Us and France. The combination of both passions distinguishes her blog Le Movie Snob where she regularly posts on American and French movies. Comments in English and/or French are welcomed.
Le Movie Snob is delighted to recommend the new French movie Elles, opening April 27 and starring France’s greatest actress, Juliette Binoche. (Désolée Mlle Deneuve) Those who like movies with that can tell uncomfortable stories that don.t resort to use shock tactics will be grateful for this cinematic experience.
Binoche plays Anne, a successful international journalist. Her life is enviable, accessorized with a loving, successful husband; two healthy children; a spacious (even by Parisian standards) apartment that looks staged for La Roche Bobois; Jean Lafont eyeglasses; and a Jérôme Dreyfuss Billy bag (the chef d’.vre of handbags). We meet her as she.s working on an article for Elle magazine. »
- Movie Geeks
Many woman are taking the news that "30 Rock" star Alec Baldwin is marrying yoga instructor Hilaria Thomas hard. But it seems at least one woman might have taken it even more personally.
Genevieve Sabourin, a 40-year-old actress, was arrested on Sunday (April 8) night in front of Baldwin's New York City apartment building. Baldwin was not at home at the time, but notified the police when his apartment doorman called him in the Hamptons to say that Ms. Sabourin was looking for him.
She was charged Monday with aggravated harassment and stalking.
According to Sabourin's mother, the actress -- who met Baldwin in 2002 on the set of the Eddie Murphy comedy "The Adventures of Pluto Nash" -- moved from Quebec to New York to find work as a comedian. Since then, police say that she has tried multiple times to contact Baldwin in person at both his NYC and Hamptons homes »
A sprawling three-hour-and-twenty-minute American epic crime film, what can you say about Francis Ford Coppola’s “The Godfather Part II” that hasn’t already been said? Nominated for eleven Academy Awards and winning six, including Best Picture, Best Director and Best Actor in a Supporting Role for Robert De Niro, “The Godfather Part II” was met with tremendous critical acclaim with many proclaiming it had outdone its predecessor. Award-wise, it had. The original had also bagged eleven nominations, but won only three.
This weekend, as we just mentioned in our piece about Coppola’s “The Conversation,” marked the 73rd birthday of the famed director, and yesterday on April 8th, the anniversary of “The Godfather Part II” winning the Academy Award for Best Picture. Curiously enough, while many consider 'Part II' superior, box-office-wise the 3 hour 20 minute running time was audience prohibitive, and the film only grossed $47 million domestically, as opposed to »
- Kevin Jagernauth
By Todd Garbarini
Bernardo Bertolucci's Last Tango in Paris (1972), one of the most controversial films of all-time, will be screened at the Walter Reade Theater in New York City on April 5, 2012 at 6:15 pm. The film was met with anticipation and confusion upon its release in January 1973 following its premiere at the New York Film Festival the previous October, and has been written about, talked about and dissected for nearly forty years. Inspired primarily by the work of artist Francis Bacon (his Portrait of Lucian Freud and Study for Portrait of Isabel Rawsthorne, both from 1964, are featured in the film’s opening credit sequence), the film was famously reviewed by Pauline Kael in The New Yorker Magazine, which was reprinted in a $5,000.00 ad campaign in The New York Times. Audiences flocked to see the film that charged adults the unheard of price of five dollars each for tickets. The »
- email@example.com (Cinema Retro)
Andrzej Żuławski does not like the title of the first retrospective of his work in the Us. Hysterical Excess: Discovering Andrzej Żuławski opens tommorrow and runs through March 20 at New York's BAMcinématek. At the top of his piece for the New York Times, J Hoberman allows the director to explain his objection and then suggests himself that the "word to best describe the Żuławski oeuvre might be 'awful' in its root sense of inspiring dread. Exuding charm and urbanity on the phone, Mr Żuławski is nonetheless an auteur to be approached with trepidation. His movies are seldom more than a step from some flaming abyss, with his actors (and audience) trembling on the edge. Typically shot with a frenzied, often subjective moving camera in saturated colors that have the over-bright feel of a chemically induced hallucination, these can be hard to watch and harder to forget."
Bam's presenting all 12 features »
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