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Close-Up is a feature that spotlights films now playing on Mubi. Eric Rohmer's The Romance of Astrea and Celadon (2007) is playing August 12 - September 11, 2017 on Mubi in the United KingdomThe Romance of Astrea and Celadon was the final feature Rohmer completed before his death, and his 5th period piece (following The Marquis of O, Perceval, The Lady and the Duke and Triple Agent). It is constructed around a handful of aesthetic principles: its action is confined to a handful of locations, mostly pastoral exteriors; the camera is either static or moving along a brief lateral pan; dialogues are captured in wide masters, cushioned by a border of negative space; alternate angles and reverse shots are rare; non-diegetic sound is avoided in favor of foregrounding the ambient sounds of the natural environment—the rustling of leaves, water running in a stream, distant birdsong (and this birdsong was the only element of the audio added in post-production, »
Here are a bunch of little bites to satisfy your hunger for movie culture: Alternative Universe Movie of the Day: Here's a recut trailer for Wonder Woman to make it look like it was made by To the Wonder and Tree of Life director Terrence Malick: Movie Science of the Day: Kyle Hill scientifically discusses how Mary Poppins explains the power of Yondu's arrow in the Guardians of the Galaxy movies: Mashup of the Day: Speaking of Yondu and Mary Poppins, ya'll, here's another mashup of them from BossLogic parodying the latest Entertainment Weekly cover: Had to do it Xd @Guardians @JamesGunn pic.twitter.com/q6UKE6t9sr — BossLogic (@Bosslogic) June 7...
- Christopher Campbell
Look, you don’t need us to tell you that Wonder Woman is a good movie (though we have, a few times, actually). Just look at its Rotten Tomatoes score, which sits at an admirable 93 percent. You know who might be jealous? Terrence Malick, whose last three (non-documentary) feature films—Song To Song, Knight Of Cups, and To The Wonder—average out at a tepid 45-percent approval rating.
So, should Malick maybe lend his inimitable style the superhero world? Hey, it’s not so far-fetched. Video artist Nelson Carvajal proves it with To The Wonder Woman, an impressive trailer that pairs the audio from To The Wonder with visuals from Wonder Woman:
By emphasizing Wonder Woman’s love story and scenic tableau over its action, the footage dovetails intriguingly with Javier Bardem’s solemn, starry-eyed monologue and Hanan Townshend’s stirring orchestral score.
Mostly, though, it serves as a ...
- Randall Colburn
Following “The Town,” Ben Affleck gave himself the Terrence Malick experience with “To The Wonder,” and teamed up with David Fincher for the razor sharp thriller “Gone Girl.” But sandwiched between those films was the forgettable “Runner Runner.” While the actor might’ve relished chewing the scenery (and boy, did he ever), the low grade B-movie failed to be elevated by its stars which included Justin Timberlake and Gemma Arterton.
- Kevin Jagernauth
Legendary director Terrence Malick has commented about returning to his old style of filmmaking, and a move back to a definite script for his upcoming movies.
The mercurial director, who would once take great leaps of time between his movies, was known for his thematically compelling and visually beautiful films such as Days of Heaven, Badlands, and The Thin Red Line.
In more recent times, he has moved away from the restricting confines of a traditional plot, shooting his movies with barely any preparation and without a clear script.
But with his latest efforts To the Wonder, Knight of Cups, and Song to Song not being received as well as he would have liked, it looks like Malick will be returning to the methods that made him the icon that he is.
Malick talked specifically about his upcoming WWII film Radegund — which will be showing at Cannes this May — at Washington D. »
- Samuel Brace
Earlier this month, after Terrence Malick’s “Song to Song” debuted to very low numbers during its opening weekend, IndieWire asked film critics if audiences had finally lost their patience with the auteur director. It’s an understandable question given how polarizing Malick’s style has become in the years after “The Tree of Life.” His fragmented, wandering vision in “Song to Song” even forced some of his biggest advocates to question the direction of his career.
Read More: Have People Lost Patience With Terrence Malick? — IndieWire Critics Survey
While Malick will never just abandon all of his trademark flourishes, it appears he’s finally going back to more structured storytelling with his next film. Rumor had it that “Radegund,” a WWII drama about conscientious objector Franz Jägerstätter, would be Malick’s most narrative-minded film in years, and the director outright confirmed it during a chat at Washington D.C. »
- Zack Sharf
The Fate of the Furious, Free Fire, Phoenix Forgotten and more movies you need to see this April The Fate of the Furious, Free Fire, Phoenix Forgotten and more movies you need to see this April Adriana Floridia4/6/2017 9:26:00 Am
It's April now, which means it's rainy, gloomy, and you may want a cozy place to escape to. Lucky for us, there are a bunch of great movies opening at Cineplex this month that you'll definitely want to see.
There's a grand variety of films to choose from--including monster movies, dystopian thrillers, family dramas, and found footage horror films. Check out our list of the eleven movies you need to watch this April!
Release Date: April 7th
See it with: Family
- Adriana Floridia
From “To The Wonder” to the recently released “Song To Song,” Terrence Malick‘s increasingly freeform style has seen him fall out of favor with many critics. The director’s approach of late has been focused on trying to capture spontaneous, one of a kind of moments, which has meant giving his actors pages on the day of the shoot, and leaving every narrative possibility open to be explored.
Continue reading Terrence Malick Says He’s “Backing Away” From Making Films Without Scripts at The Playlist. »
- Kevin Jagernauth
People have been talking about Avatar 2 (and 3, and 4, and 5…) since before James Cameron’s first installment was even released way back in 2009, but in the eight-year interval all we’ve really heard about the project are excuses and other stalling tactics. Things seemed to get a little more definitive about a year or so ago when Av2 was given a Christmas Day 2018 release date, but only a few months ago word came that the film likely wouldn’t make that date, as it hasn’t even started filming yet.
But now, according to Sigourney Weaver, one of the actors in the film, Cameron and crew are finally ready to start cameras rolling … in a few more months … probably.
At a recent screening Weaver was asked about the film and said the following:
We’re starting! We’re starting training, and we’re starting … hmm, I »
- H. Perry Horton
Review by Stephen Tronicek
Terrence Malick makes films that are almost all ambient which means they are almost all mood, and as mood pieces they are masterpieces. Starting with 2012’s To The Wonder, (The Tree Of Life still being firmly rooted by a script and still containing a semblance of pre-planned structure) Malick has started to move away from the more focused narrative efforts that defined his early career and find himself in a more ambient experimental territory. Both Knight Of Cups and Song To Song find themselves deeply nestled in a lack of cohesion, but this lack of cohesion allows both films to present the emotions of their characters with striking clarity. Whether or not you’d like to experience those is up to you.
Song To Song is a frustrating film, that is intentionally so to give its audience emotional clarity. The film focusses on the relationships of four individuals in the Austin, »
- Movie Geeks
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: Terrence Malick is back in action and badder than ever, as “Song to Song” is now in theaters, where it’s playing to small crowds and predictably polarized results. Now, as the idiosyncratic auteur appears to be closing the book on one chapter of his career and moving on to another (the producers of “Radegund,” his next film, swear they have a script!), we asked our panel of critics if they’ve lost patience with the legendary filmmaker, and also where they’re hoping to see him go from here.
Joshua Rothkopf (@joshrothkopf), Time Out New York
Terrence Malick wasn’t always polarizing. »
- David Ehrlich
Once upon a time, Terrence Malick was a filmmaker who took a legendarily long amount of time between projects. He has since shrunk his turnaround time significantly, becoming, at least by his standards, rather prolific. Sadly, that’s also led to diminishing returns, at least in this writer’s humble opinion. This week, Malick unleashes another film in Song to Song, one that’s spiritually similar to his last few flicks. It’s not the outright misfire that the last two were, but it’s nowhere near the quality that he was previously known for. It’s a shame, but this might be the new normal for him. Alas. The movie is a romantic drama set against the music scene in Austin, Texas. Plot and dialogue are essentially non-existent, but there’s a love triangle of sorts between musician Bv (Ryan Gosling), aspiring musician Faye (Rooney Mara), and producer Cook »
- Joey Magidson
In a way it’s brave, Terrence Malick’s recent decision to make himself less scarce. For nearly four decades, Malick films were rare and elusive events that only appeared on the horizon after five, eight, or even 20 years of waiting. But starting with his masterful The Tree Of Life (2011), Malick has increased his filmography by roughly 100 percent over the course of just six years. This requires a different sort of patience from his audience—a willingness to indulge repeated, rather than occasional, trips to his seemingly infinite well of straight-faced spiritual mopes.
With Song To Song, Malick completes a trilogy of experimental B-sides to Life’s daunting A-side—that is, unless he makes six or seven more of these things in the years to come. As with To The Wonder and Knight Of Cups, that possibility sounds almost enticing in the intoxicating opening moments, reintroducing his ...
- Jesse Hassenger
The music scene in Austin, Texas, is alive with talent and energy – and you hope that energy would inspire Terrence Malick, who lives there, to bust out of the filmmaking funk of his recent work (Knight of Cups, To the Wonder). No such luck. Despite a few glimpses of Iggy Pop, Flea, Lykke Li and Big Freedia in live performance, Song to Song has no music in its DNA, not to mention its soul. Instead, Malick indulges in his usual visual tropes, having characters wander around aimlessly while muttering their mock-profound thoughts in voiceover. »
If you know what happened to Adrien Brody on “The Thin Red Line,” you know that filming scenes for a Terrence Malick movie doesn’t guarantee actually being in a Terrence Malick movie. Brody, who was originally positioned as the film’s lead, didn’t know until its premiere that his role had been drastically reduced; Christopher Plummer had a similar experience on “The New World.”
In the grand scheme of things, they’re lucky ones: More than a few actors have had their parts excised entirely, including one of the would-be stars of “Song to Song.” With that Austin-set romantic drama opening this week, it seemed like a good time to remind ourselves of what could have been.
Read More: Terrence Malick Makes a Rare Appearance at SXSW 2017 and Digs Deep On His Process
In some ways, Thornton represents a version of »
- Michael Nordine
Terrence Malick’s “Song to Song” opened the 2017 SXSW Film Festival, and as usual, the reclusive filmmaker was nowhere to be seen. But the next morning, Malick joined “Song to Song” star Michael Fassbender to discuss the film. A Malick sighting is a big deal in itself: The filmmaker has a well-earned reputation for being press-shy, and hasn’t done interviews in decades.
On Saturday, however, Malick offered a surprisingly deep dive into his process, guided along by director, moderator, longtime friend, and evident super-fan Richard Linklater.
“You can’t live in Austin and escape the music,” said Malick about making his new film set against the city’smusic scene.
The director, who often sets his movies in the past, admitted he was concerned about setting a film in the modern day.
“I remember feeling timid about it because it’s hard to project yourself into the present,” he said. »
- Chris O'Falt
Song To Song couldn’t be more Terrence Malick’s brand, since most Malick “narratives” connect closer to musical composition than cinematic structure. Characters mimic instruments, so distinct and defined in their specific usage. Scenes play with a constant through-line, while solos let certain players shine in their own spotlights. Malick’s vision is lyrical, flowing with a composer’s ear more than a rigid eye for beginnings and ends. It seems fitting then to follow his latest characters through their own musical journey, as they navigate Austin’s artistic circles. More internal conflicts, more wandering cameras, and certainly more interactions where participants refuse to stand still. You know – signature Malick.
It beings with a love-triangle. Music producer Cook (Michael Fassbender) carries out a torrid relationship with “receptionist” Faye (Rooney Mara), then Bv (Ryan Gosling) befriends them both. Cook becomes Bv’s “brother,” the man who wants to make Gosling a star, »
- Matt Donato
Terrence Malick is the world’s preeminent Benjamin Button filmmaker, his career defined by a few early masterpieces and a string of late-period efforts that play like increasingly unfocused versions of the earlier achievements. Mileage varies on whether that’s a bad thing, but it isn’t conjecture. His newer work reduces the elegant, layered storytelling of “Badlands” and “Days of Heaven” to simpler variations, as if they’re comprised of the beautiful residuals from those grander accomplishments.
There are reasons to delight in the autonomy of Malick’s poetic approach, particularly the way he treasures the lyricism of the natural world over narrative coherence, but that vision can only go so far. His cosmic IMAX documentary “The Voyage of Time” had a logical reason for throwing plot to the wind, but other recent efforts “Knight of Cups” and “To the Wonder” reduce the magisterial approach of “Tree of Life” to undercooked fragments. »
- Eric Kohn
In just a few hours, Terrence Malick’s latest directorial effort, Song to Song, will have its world premiere at the South by Southwest Festival; while festival attendees will get to see the film a week before general audiences, two clips have been released for the masses to enjoy. The first clip (via TrailerTown) centers around the partnership between Ryan Gosling’s Bv and Michael Fassbender’s Cook, while the latter clip (via One Big Soul) shows Bv romantically pursuing Rooney Mara’s Faye. Check out both below…
Neither clip is short on “Malick-isms,” between the voiceovers from several characters’ perspectives, floating camera and overall quiet and meditative tone. Song to Song certainly won’t be for everyone, as exactly zero of Malick’s movies are, but it looks like it should please his fans.
Malick’s three previous films, To the Wonder, Knights of Cups and Voyage of Time, »
- Justin Cook
If you’ve ever found yourself thinking that Terrence Malick’s lyrical approach to filmmaking would be conducive to, say, a perfume commercial, your time has come. The director has helmed a commercial for Guerlain’s fragrance Mon Guerlain, with Angelina Jolie in the lead. Watch below, with thanks to the Film Stage.
Set to Andy Quin’s “Awakening,” which was also featured in the trailer for “To the Wonder,” the one-minute spot is exactly what you’d expect of a perfume commercial directed by the man responsible for “Days of Heaven,” “The Thin Red Line” and “The Tree of Life.” Balletic movements and cutaways to nature abound; if you include the female voice speaking “Mon Guerlain” at the end, there’s even narration.
- Michael Nordine
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