5 items from 2017
The Film Society Of Lincoln Centre has announced the line-up for the Revivals section of the New York Film Festival showcasing digitally remastered, restored, and preserved works by celebrated filmmakers.
Two filmmakers from the festival’s Main Slate line-up will also have works in the Revivals section. Agnes Varda, whose Faces Places will screen in this year’s main selection, gets a slot with her feminist musical One Sings, the Other Doesn’t that opened the 15th festival in 1977.
Philippe Garrel’s Lover For A Day will appear in the festival’s Main Slate and he has two films in Revivals: Le Revelateur from 1968 and L’Enfant Secret from 1979.
Hou Hsiao-hsien’s Daughter Of The Nile screened at the 26th New York Film Festival 30 years ago and returns in Revivals, alongside Andrei Tarkovsky’s The Sacrifice (NYFF24, pictured) and Adolfas Mekas’ Hallelujah the Hills from the first »
It’s a given that their Main Slate — the fresh, the recently buzzed-about, the mysterious, the anticipated — will be the New York Film Festival’s primary point of attraction for both media coverage and ticket sales. But while a rather fine lineup is, to these eyes, deserving of such treatment, the festival’s latest Revivals section — i.e. “important works from renowned filmmakers that have been digitally remastered, restored, and preserved with the assistance of generous partners,” per their press release — is in a whole other class, one titanic name after another granted a representation that these particular works have so long lacked.
The list speaks for itself, even (or especially) if you’re more likely to recognize a director than title. Included therein are films by Andrei Tarkovsky (The Sacrifice), Hou Hsiao-hsien (Daughter of the Nile, a personal favorite), Pedro Costa (Casa de Lava; trailer here), Jean-Luc Godard (the rarely seen, »
- Nick Newman
Andrei Tarkovsky’s bizarre philosophical science fiction epic may be his most successful picture overall — every image and word makes its precise desired effect. Three daring men defy the law to penetrate ‘the Zone’ and learn the truth behind the notion that a place called The Room exists where all wishes are granted. Plenty of art films promise profound ideas, but this one delivers.
The Criterion Collection 888
1979 / Color / 1:37 flat full frame / 161 min. / available through The Criterion Collection / Street Date July 18, 2017 / 39.95
Starring: Aleksandr Kaidanovsky, Anatoly Solonitsyn, Nikolai Grinko, Alisa Freindlikh, Natasha Abramova.
Cinematography: Alexander Knyazhinsky
Film Editor: Lyudmila Feyginova
Original Music: Eduard Artemyev
Produced by Aleksandra Demidova
If the definition of film artist is ‘one who goes his own way,’ Andrei Tarkovsky qualifies mightily. Reportedly cursed with a halting career »
- Glenn Erickson
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: Apropos of absolutely nothing (and definitely not in response to a certain world leader taking disastrous steps towards dooming the environment of the only inhabitable planet we have), what is the best film about the end of the world?
Erin Whitney (@Cinemabite), ScreenCrush
It’s a hard tie between “Melancholia” and “Take Shelter.” One is a devastating meditation on depression, isolation and death, and the other is a dramatic masterpiece that evokes the dread and anxiety of a looming end. They’re very different films (and coincidentally opened within months of each other), but both end on final shots that left me breathless. »
- David Ehrlich
Close-Up is a column that spotlights films now playing on Mubi. Teresa Villaverde's Trance (2006) is showing from February 22 - March 24, 2017 in most countries around the world.I’d call the beginning of Trance (Teresa Villaverde, 2006) poetic, but in a way that has little to do with the overpowering, declamatory voice of an individual character, and even less to do with the transposition of such a voice into images. Rather, the poetic quality of this opening is to be found in the associative chains of ideas built up over the unpredictable progression of shots, in the rhythms and echoes performed by a polyphony of voices, and in the sudden slippages, enjambments, and halts of the sound/image relations. Villaverde’s mise en scène and montage put in crisis the very idea of a scene or sequence, by conspiring against the unity and cohesion these terms presuppose. In Trance’s beginning, »
5 items from 2017
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