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Above: The music video for "Suit & Tie".
Justin Timberlake's "Suit & Tie" video—which premiered online way back in February—is part retro menswear fantasy, part razzle-dazzle tech demo. Directed by David Fincher and photographed by Matthew Libatique, "Suit & Tie" was the first widely-seen work to have been shot on Red's Epic Monochrome, a sensor that only images in black & white.
The Monochrome isn't the first dedicated black & white sensor. Sweden's Ikonoskop introduced one—called, no joke, the A-Cam dll Panchromatic Carl Th. Dreyer Edition—last year. The Monochrome does, however, have the distinction of being 5K—about as high-end as you can get. It represents the cutting edge of anachronism.
Last year, the Academy Award for Best Picture went to a black & white film—The Artist. Additionally, at least five major 2012 arthouse releases were in black & white: Hong Sang-soo's The Day He Arrives, Guy Maddin’s Keyhole, Béla Tarr's The Turin Horse, »
- Ignatiy Vishnevetsky
Toying with narrative form seems to be director Miguel Gomes’s forte. Our Beloved Month Of August turned the documentation of a musically inclined rural village into a humorous deconstruction the filmmaking process, never revealing what might or might not be real. With his latest, Tabu (double 2012 Berlin Film Festival winner: Alfred Bauer Award and a Fipresci award), the boundaries of reality are never breached, but the gear shifting narrative is no less inventive and quite a bit more emotionally engaging than his last go round. This time he takes us into the life of a Lisbon dwelling gambling addict retiree who’s implicit previous life in the African foot hills regarding Mount Tabu holds memories of her peak of passion and regret, but this tail, at first caustically withholding and later spryly romantic, is full of rich misdirection that deftly plays with the ideas of loyalty and repression with surprising verve. »
- Jordan M. Smith
Among other things, Tiff is a place for getting rid of aesthetic prejudices. I often drag my feet going to experimental projects—you know, from our conversations, that I’m far more of a narrative guy—and yet I always marvel at the beauties I find in them. Imagery and rhythm are self-sufficient pleasures, and the three-part Wavelengths program we saw showcased plenty of these elements. Following Un conte de Michel de Montaigne, João Pedro Rodrigues’ The King’s Body also uses a statue as a recurring image—not the smilingly contemplative Montaigne of Jean-Marie Straub’s splendid recitation, but the armored-for-battle Afonso Henriques, Portugal’s first conquering monarch. There their similarities end, however: whereas Straub gets his mysterious effects from sun-dappled tableaux punctured by darkness, the rustling of leaves and Barbara Ulrich’s reading of the text, Rodrigues envisions a different form of performance through a parade of sinewy beefcake. »
- Fernando F. Croce
Exclusive: Tabu director’s short film will be screened at Toronto this week.
The Cologne-based sales company has previously worked with Gomes, handling his 2012 Berlin winner Tabu.
Redemption combines archive footage and uses voice overs, the epistolary monologues (in Portuguese, Italian, French and German) of four different personalities who recall important stages in their lives which had an impact on who they became.
It was made by O Som E A Fúria in co-production with Le Fresnoy - Studio National des Arts Contemporains, Komplizenfilm, Okta Film, HFilms and Zdf/arte. »
- email@example.com (Michael Rosser)
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect »
- Michael Sicinski
★★★☆☆ The critical success last year of Miguel Gomes' Tabu (2012) and fresh appreciation for the works of Pedro Costa and Raoul Ruiz has seen Portuguese cinema quietly re-introducing itself on the festival circuit. Continuing this trend, João Pedro Rodrigues and João Rui Guerra da Mata's The Last Time I Saw Macao (2012) opens with a magnificent dance routine set in front of caged tigers, before venturing down a rather more ambiguous course. The last Chinese outpost to be handed back to its owners, Macao was previously a Portuguese administrative region. Once a gateway to the East, it's now a monument to the West.
Our window into this world is Guerra da Mata, a former resident who's returning to his homeland in response to a letter of distress he receives from an old friend, Candy - who may have been involved in a murder. Drenched in memories and past regrets, his »
- CineVue UK
The past two years has seen an unprecedented resurgence in black-and-white movies, from Oscar-winning silent film The Artist to Ben Wheatley's forthcoming A Field in England. So what's the sudden appeal for directors?
When Ben Wheatley was preparing to make A Field in England, his mind-altering foray into the English civil war, released 5 July , he took a lot of test shots to help him determine how the film should look. Some of the shots were in colour, others were in black and white, and Wheatley recalls being struck by the disparity between the two. With the colour shots, he says, "it was all about the colour of a character's clothes and the grass and the sky. It was really distracting. Whereas in black and white, it was all about his face and his hair and the lace and the texture of the grass. That's what drew us to it. »
- Killian Fox
★★★★☆ Produced towards the end of the silent era, F.W. Murnau's Tabu: A Story of the South Seas (1931) was to be the legendary German director final film. A lyrical tragedy that imbues elements of factual and narrative filmmaking, Murnau's exotic adventure is a poetic Polynesian love story that effortless articulates its tale like an affectionately composed photo album. A tale of prohibited love across the south seas, Murnau's story concerns a young girl, Reri (Anne Chevalier), who's selected to be her tribe's sacred maiden and consecrated to the gods - making it 'taboo' for her to marry or for any man to lay eyes upon her.
This comes as devastating news to Matahi, Reri's young sweetheart, who must sit and watch as his beloved is whisked away to a neighbouring island. Fuelled by his intense emotions, he sails under the veiled glare of the moon to kidnap her. His »
- CineVue UK
★★★★☆ Awarded the Best International Film prize at last year's Edinburgh International Film Festival over Dan Sallitt's The Unspeakable Act and Miguel Gomes' marvellous Tabu, Chinese director's Mao Mao's Here, Then (2012) finally gets a UK release this month thanks to world cinema distributor Second Run. An almost impenetrable study of the disenfranchisement of youth, Here, Then is a film which rewards patience and an analytical appreciation of cinema. In a remote Chinese village lies an entire lost generation of youngsters, each patiently waiting for their fate to roll around the corner and send them in the right direction.
However, with each day as monotonous as the last, their lives appear to amount to little more than simply prevailing against the weariness of this secluded lifestyle. The existence of these seemingly unrelated lost souls all become interconnected through a series of chance encounters, fuelled by sexual desire, boredom and »
- CineVue UK
Annecy — For Brazil, the 37th Annecy Animation Film Festival, which opens today, marks multiple significant firsts, all underscoring the mounting muscle of the toon industries in emerging markets.
For the first time, a Brazilian movie, “Rio 2096: A Story of Love and Fury,” screens in competition at Annecy.
A pioneering toonpic targeting adult audiences, produced by Sao Paulo’s Gullane (“Tabu,” “Amazonia”) and helmed by first-time director Luis Bolognesi, who wrote “Brainstorm” and “Birdwatchers,” “Rio 2096,” is sold internationally by Wilson Feitosa’s Sao Paulo-based Europa Filmes.
Europa Filmes’ international sales division reps the first move by a big Brazilian movie distributor-producer to leverage its escalating local market clout into an international sales push. It will also be attending Annecy for the first time.
“There are a lot of quality Brazilian films being released and to be released that lack international representation,” Feitosa told Variety.
Arguing that Brazilian films sometimes get »
- John Hopewell
Ticket sales at Australian cinemas this year are running at about 7 per cent below the same period in 2012 despite strong trading in January and April, weighed down by relatively soft results in February and March.
Takings for the May 16-19 frame totalled just under $9.5 million, down 22 per cent on the prior weekend, as Star Trek Into Darkness and Iron Man 3 dominated the business. .The market is rather shallow with no robust depth below the top two titles,. observed one distributor.
- Don Groves
The 52nd Cannes International Critics' Week has unveiled its full lineup. Among the 11 features screening in the sidebar is David Lowery's acclaimed Sundance drama "Ain't Them Bodies Saints," screening out of competition. Katell Quillevere, whose debut feature "Love Like Poison" played in the 2010 Directors' Fortnight, will be back this year to open the sidebar with "Suzanne," starring Sara Forestier. Other highlights include Yann Gonzalez's sex comedy "Encounters After Midnight," Quebec filmmaker Sebastien Pilote's rural family drama "The Dismantling," and Agustin Toscano and Ezequiel Radusky's social comedy "The Owners." Read More: Soderbergh, Payne, Polanski and the Coens Lead 2013 Cannes Film Festival Lineup "Tabu" writer-director (and former film critic) Miguel Gomes heads the Cannes Critics's Week jury this year. The jury, comprised of four film journalists, will vote for one of the seven films playing in the competition. The 52nd International Critics' Week runs May »
- Nigel M Smith
Paris -- The 52nd Cannes’ International Critics’ Week unveiled its lineup Monday afternoon during a webcast released from its Paris headquarters. Among the 11 features screening in the sidebar, which showcases first and second films, are writer-director David Lowery’s Sundance hit Ain’t Them Bodies Saints, playing out of competition, and opening night French film Suzanne, starring Sara Forestier (The Names of Love) and directed by Katell Quillevere, whose debut feature Love Like Poison premiered in the 2010 Directors’ Fortnight. The seven-film competition will be presided over by jury president Miguel Gomes (Tabu) and will include five first-time features spanning
- Jordan Mintzer
Slightly over a year ago, after Michel Hazanavicius’s The Artist came home with a Best Picture win and accomplished the unlikely feat of becoming a $100+ million worldwide hit, observations hit the web (ranging from hopeful to snarky) speculating whether or not the critical and financial success of this film would bring about a trend of new silent filmmaking. That the film’s gimmick seemed anathema to any marketing department’s formula for success stood as a provocation to an ever recycling Hollywood, declaring: if you revisit winning formulas, why not this one? Of course, few genuinely expected such a trend to actually come to fruition. In February 2012, David Denby wrote: “We should be happy that The Artist exists at all, of course. Even after being nominated for ten Oscars and winning numerous awards from critics’ groups and the guilds, the film still seems arbitrary—one of those freaks of idealism which sometimes occur in the movies »
- Landon Palmer
A pair of Portuguese-language films quietly examine the standoff between old Europe and modern multiculturalism
As immigration from former empires continues to change the west, a polite silence has settled in modern cinema regarding colonialism. With Pankaj Mishra and Niall Ferguson just two of the figures from other fields currently toiling to rewrite the book of the European powers' past (mis-)adventures, film seems content to sit and wait for clear instructions on how to proceed.
There's not been much colonially set cinema from the west in the past decade – because of what you might call point-of-view difficulties. These stories originally existed to bolster a sense of national identity. But even relatively balanced accounts taking in the conquerors' perspective, such as Zulu, are problematic – and commercially unviable – now that some of the descendants of the natives are probably British citizens.
So how does colonialism fit in terms of the European story today? »
- Phil Hoad
"Tabu" writer-director (and former film critic) Miguel Gomes will head the Cannes Critics's Week jury this year, it was announced by the festival today. The jury, comprised of four film journalists, will vote for one of the seven films playing in the competition. Making a name for himself in the industry with only three feature films ("The Face You Deserve," "This Dear Month of August" and "Tabu"), "Miguel Gomes perfectly embodies the mission of the Week: to discover new auteurs through a first or second work and be on the international scene," Cannes said. Gomes' latest, "Tabu," won both the Fipresci Prize and Alfred Bauer Award at the 2012 Berlin International Film Festival. He's currently preparing his next feature. Cannes runs May 16-24. »
- Nigel M. Smith
Leos Carax's "Holy Motors" led the 10th Annual International Cinephile Society Awards, taking prizes for best film, best director, best actor (Denis Lavant) and best film not in the English language. Other major winners included "Amour," which won best actress for Emmanuelle Riva, and "The Master," which won best supporting actor and best supporting actress for Philip Seymour Hoffman and Amy Adams, respectively. Full list of winners below. Picture 01. Holy Motors 02. Tabu 03. Amour 04. Zero Dark Thirty 05. The Master 06. Moonrise Kingdom 07. Once Upon a Time in Anatolia 08. Django Unchained 09. Lincoln 10. Cloud Atlas Director Leos Carax – Holy Motors runner-up: Miguel Gomes – Tabu Film Not In The English Language 01. Holy Motors 02. Tabu 03. Amour 04. Once »
- Peter Knegt
The 63rd Berlin International Film Festival kicks off tomorrow, offering dozens (and dozens) of world premieres across mutliple sections. By the time the festival's Golden and Silver Bears are handed out next weekend, we'll have a good idea as to some of the best world cinema coming to theaters near you (eventually, that is -- some of last year's program is just coming out Stateside now). In the past few years, the festival has proven itself -- perhaps more than it has in some time -- as an excellent platform for emerging and proven talent in world cinema to debut their work. The past two years have collectively offered the likes of Miguel Gomes' "Tabu," Asghar Farhadi's "A Separation," Wim Wenders' "Pina," Christian Petzold's "Barbara," Paolo & Vittorio Taviani's "Caesar Must Die," Michael R. Roskham's "Bullhead," Benoit Jacquot's "Farewell My Queen," Bela »
- Peter Knegt and Eric Kohn
Following on from 2008's Our Beloved Month of August, Portuguese director Miguel Gomes returned victoriously last year with monochrome marvel and Berlin Film Festival hit Tabu (2012), an engaging, provocative and poetic drama set both in Portugal and in an unnamed African location. To celebrate Tabu's home entertainment release on 14 January, we've kindly been provided with Three Blu-ray copies of the film to give away to our loyal readers, courtesy of our good friends at New Wave Films. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
Read more » »
- CineVue UK
Just as Sundance gets underway, another snow-covered city across the ocean is gearing up for a huge celebration of auteur-driven international film. Featuring the best international cinema from across the world, including Portugal, China and Russia, and bringing in many noted filmmakers to speak, including Carlos Suares (Post Tenebre Lux) and Miguel Gomes (Tabu), Black Movie Festival in Geneva promises to keep the focus on cinema, and only cinema, from January 18 - 27. I'll be there starting in the middle of next week posting dispatches and reviews, in between building snowmen, of course. Stay tuned!Check out their website for more information. Here's the full lineup:El muerto y ser feliz (The Dead Man and Being Happy) - Javier RebolloSofia's last ambulance - Ilian MetevEspoir voyage -...
[Read the whole post on twitchfilm.com...]
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