11 items from 2017
John Cameron Mitchell is a more-than-talented writer-director whose first three features (Hedwig and the Angry Inch, Shortbus, and Rabbit Hole) have all contributed to making him a distinct voice in American cinema. Perhaps it can be attributed to a slimming movie market, or maybe that there just wasn’t anything developing creatively for him, but he hasn’t directed a feature in seven years. If How to Talk to Girls at Parties is what he perceived as a comeback vehicle, Mitchell made an ill-suited choice, as his latest film offers a thinly-sketched culture clash that misses the romanticism of its source material.
Based on the 2006 short story by novelist Neil Gaiman, How to Talk to Girls at Parties is both an ode to punk rock and to 1970s sci-fi, especially 1976’s The Man Who Fell to Earth. The film tells the story of Enn (Alex Sharp), a punk enthusiast who »
- The Film Stage
At the Quad Cinema - Jim Jarmusch's Stranger Than Paradise; Nicolas Roeg's The Man Who Fell To Earth; Mitchell Leisen's Hold Back The Dawn; Elia Kazan's America, America; Werner Herzog's Stroszek; Sergio Leone's Once Upon A Time In America, Slava Tsukerman's Liquid Sky with Anne Carlisle become Immigrant Songs. Retrospectives for Goldie Hawn, Frank Perry & Eleanor Perry, Bertrand Tavernier and Ryuichi Sakamoto; a Rainer Werner Fassbinder Lola First Encounter with Sandra Bernhard, Jean-Luc Godard's King Lear and a drop of Nathan Silver's Thirst Street come up in my conversation with Director of Programming C Mason Wells.
- Anne-Katrin Titze
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
“Il Bello Marcello” highlights Italy’s greatest actor and, in turn, its greatest filmmakers.
Stalker continues its run.
Museum of the Moving Image
The Caan Film Festival is underway! Films from Michael Mann, Coppola, Hawks, and more kick it off.
The Cabinet of Dr. Caligari plays on Sunday.
- Nick Newman
Editor’s Note: This article is presented in partnership with FilmStruck. The exclusive streaming home for The Criterion Collection, FilmStruck features the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage. Learn more here.
Todd Haynes is one of the most distinct voices working in film today. He’s also a cinematic chameleon. For every period film Haynes makes, he and his team of craftsman adapt not only the look of the movies or photography of that era, but the visual language as well.
For example, both “Carol” and “Far from Heaven” are Haynes films set in ’50s-era America, but they are worlds apart. While “Carol” got its color palette and sense of composition from the photographers like Saul Leiter who documented the period, “Far From Heaven” recreated the manufactured studio look of Douglas Sirk’s melodramas of that era. »
- Chris O'Falt
A video essay examines our most private moments.
Strap on your thinking caps for this one, film fans, because it’s a doozy.
According to director Nicolas Roeg (The Man Who Fell to Earth, Don’t Look Now, The Witches), mirrors are cinema in all its glory and in fact the essence of the medium. See, mirrors are the only time we truly look at ourselves; photographs of us are from other perspectives, for other people or posterity, and as such we don’t show our real faces in them, we show projections of who we think we should be or how we think we should feel in a certain situation. But the mirror isn’t public, it’s private, it is us alone with ourselves and thus the way we look into mirrors, into ourselves, is different from every other face we show the world.
The mirror is an eye, Roeg »
- H. Perry Horton
This tale of interplanetary young love falls apart upon take-off with a storyline that offers no surprises and fetishises its protagonist’s debilitating illness
Here is a love story that quickly turns into an insufferable display of sucrose interplanetary Ya ickiness with the most guessable final twist of all time. It features a near-future space travel plot with an awful lot of corporate promotional branding from Nasa – like Ridley Scott’s The Martian but without that movie’s occasional sense of humour. There’s a persistent emo-fetishisation of illness, in the person of a teen visitor from Mars and his romantic infirmity. But it’s not so much The Man Who Fell to Earth as The Fault in Our Stars. Asa Butterfield steps up to his first adult lead as Gardner, whose astronaut mom died giving birth to him 16 years ago, en route to Mars. Since then, he’s been »
- Peter Bradshaw
“Television. The strange thing about television is that it – doesn’t *tell* you everything. It *shows* you everything about life on Earth, but the true mysteries remain. Perhaps it’s in the nature of television. Just waves in space.”
Relive the imaginative cult classic, The Man Who Fell To Earth, starring international icon David Bowie, when the Limited Collector’s Edition arrives on Blu-ray Combo Pack (plus Digital HD) January 24 from Lionsgate Home Entertainment.
Relive the imaginative and compelling cult classic, The Man Who Fell to Earth, when the Limited Collector’s Edition arrives on Blu-ray Combo Pack (plus Digital HD) January 24 from Lionsgate. International icon David Bowie stars in his unforgettable debut role as an alien who has ventured to Earth on a mission to save his planet from a catastrophic drought. In honor of David Bowie’s legacy, the limited collector’s edition Blu-ray Combo Pack includes never-before-seen interviews, »
- Tom Stockman
David Bowie had a rarely-equalled streak of musically innovative output in the 1970s, though he continued to make music right up until his death on Jan. 10, 2016. A posthumous Ep was released this week for the one-year anniversary of his death, including the song “Lazarus” which also appears on his final album “Blackstar,” in addition to his final recordings “No Plan,” “Killing a Little Time” and “When I Met You.”
Born David Jones, he started his career in the early 1960s playing acoustic guitar and appearing in theater and mime productions while crafting the wildly imaginative image that became his trademark. These photos from Britain’s Rex agency, some of them rarely published, show Bowie at his most glamorous, fashionable, thoughtful »
- Pat Saperstein
From “Labyrinth” to “The Prestige,” David Bowie’s onscreen roles added another dimension to a legendary career. “The Man Who Fell to Earth” Bowie’s first leading role was in 1976’s “The Man Who Fell to Earth” as an alien who comes to Earth to bring water back to his home planet. Bowie later admitted he was abusing cocaine while filming the movie. “The Hunger” Starring alongside Catherine Deneuve and Susan Sarandon, Bowie played a vampire in the 1983 cult classic “The Hunger.” “Merry Christmas Mr. Lawrence” An adaptation of the Laurens van der Post novel “The Seed and the Sower, »
- Reid Nakamura
Happy birthday to a music legend.
David Bowie‘s final recordings were released as a surprise Ep called No Plan on Sunday, what would have been the musician’s 70th birthday. A music video for the track “No Plan” also debuted.
The video, directed by Tom Hingston, shows rows of televisions with static screens in the display of a store called Newton Electrical – a nod to Bowie’s character in the 1976 film The Man Who Fell to Earth and Lazarus, the Bowie-penned musical based on the movie. The TVs display the lyrics to the song as well as images such »
- Stephanie Petit
David Bowie’s final album “Blackstar” may not have been the singer-songwriter’s so-called death record. Jonah Renck, the director of the music video for Bowie’s single “Lazurus,” told the Guardian that the concept of the video was conceived before Bowie knew his cancer was terminal, and that it was his idea — not Bowie’s — to have the singer lie in a hospital bed for the video.
“I immediately said ‘the song is called Lazarus, you should be in the bed’,” Renck told the Guardian. “To me it had to do with the biblical aspect of it … it had nothing to do with him being ill.”
The shooting of the video took place around the time Bowie received his final diagnosis, roughly three months before his death last January.
Later this month, »
- Graham Winfrey
11 items from 2017
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