6 items from 2015
'Fanny and Alexander' movie: Ingmar Bergman classic with Bertil Guve as Alexander Ekdahl 'Fanny and Alexander' movie review: Last Ingmar Bergman 'filmic film' Why Ingmar Bergman's Fanny and Alexander / Fanny och Alexander bears its appellation is a mystery – one of many in the director's final 'filmic film' – since the first titular character, Fanny (Pernilla Allwin) is at best a third- or fourth-level supporting character. In fact, in the three-hour theatrical version she is not even mentioned by name for nearly an hour into the film. Fanny and Alexander should have been called "Alexander and Fanny," or simply "Alexander," since it most closely follows two years – from 1907 to 1909 – in the life of young, handsome, brown-haired Alexander Ekdahl (Bertil Guve), the original "boy who sees dead people." Better yet, it should have been called "The Ekdahls," for that whole family is central to the film, especially Fanny and Alexander's beautiful blonde mother Emilie, »
- Dan Schneider
The festival program unveiled today includes 33 world premieres (including 22 shorts) and 135 Australian premieres (with 18 shorts) among 251 titles from 68 countries.
Among the other premieres will be Daina Reid.s The Secret River, Ruby Entertainment's. ABC-tv miniseries starring Oliver Jackson Cohen and Sarah Snook, and three Oz docs, Marc Eberle.s The Cambodian Space Project — Not Easy Rock .n. Roll, Steve Thomas. Freedom Stories and Lisa Nicol.s Wide Open Sky.
Festival director Nashen Moodley boasted. this year.s event will be far larger than 2014's when 183 films from 47 countries were screened, including 15 world premieres. The expansion is possible in part due to the addition of two new screening venues in Newtown and Liverpool.
As previously announced, Brendan Cowell »
- Don Groves
We spend years viewing the world through the eyes of a child before abandoning it. Not the world, that is—but we grow into players in the game of Life, rub our heavy eyelids, and take to ever-trippy existence from a heightened perspective in which our formative fears and fantasies are filtered through a scope less blurry, unadulterated. And then in doing so we leave a little something behind. For a grown-up to be considered “childish” comes with more negative connotations than posi, but to retain one’s inner child is a paramount strength. So what is the difference?Theodore Geisel, also known under the pseudonym Dr. Seuss, authored the most celebrated children’s literature of his time. He presented generations upon generations whimsical visions which, in proper auteur style, require just a single glance to recognize as work of his. Geisel’s simply-worded fables were praised for encouraging youth »
- Oliver Skinner
Ingmar Bergman leaves his mark the way a nightmare leaves a scar. His films haunt you, they're hard. You confront the difficulty, it mends, and you're stronger for it. He maintained a strict intimacy in his work environment. His cast and crew rarely succeeded more than 30 closely knit members, and even fewer remained while shooting. With this light ensemble he produced classics in surplus that explored grand ideas with minimal means. But when I say classic, I don't mean the way people consider Forrest Gump one. I mean a hard classic, the kind that filmmakers pay their inspirational dues, and critics and historian's sob over with glee.
They're what you'd consider a "Capital-g Great Film", which means the experience can prove grueling for those lacking the trained appetite. And for those initiated, prepared to combat the attrition, there's that hard-earned reward to bask in later. What distinguished films like Persona, »
- email@example.com (Aaron Hunt)
By winning the Best Cinematography Oscar for a second year in a row, "Birdman" director of photography Emmanuel Lubezki has joined a truly elite club whose ranks haven't been breached in nearly two decades. Only four other cinematographers have won the prize in two consecutive years. The last time it happened was in 1994 and 1995, when John Toll won for Edward Zwick's "Legends of the Fall" and Mel Gibson's "Braveheart" respectively. Before that you have to go all the way back to the late '40s, when Winton Hoch won in 1948 (Victor Fleming's "Joan of Arc" with Ingrid Bergman) and 1949 (John Ford's western "She Wore a Yellow Ribbon"). Both victories came in the color category, as the Academy awarded prizes separately for black-and-white and color photography from 1939 to 1956. Leon Shamroy also won back-to-back color cinematography Oscars, for Henry King's 1944 Woodrow Wilson biopic "Wilson" and John M. Stahl »
- Kristopher Tapley
Stockholm — Last year, Roy Andersson’s “A Pigeon Sat On A Branch Reflecting on Existence” became the first Swedish film to win Venice’s Golden Lion. But on home turf, at Monday’s Swedish Film Gala, it no chance against Ruben Ostlund’s “Force Majeure” one of the most critically acclaimed pics of 2014.
Ostlund individually picked up three of them, best directing, script and editing (together with Jacob Secher Schulsinger) at the awards, which took place at Stockholm Cirkus.
At one of his winning speeches, Ostlund paid homage to his competitor and one of his key sources of inspiration. “Without Roy Andersson and »
- Jon Asp
6 items from 2015
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