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François Ozon on the Playfulness of ‘L’amant double,’ Criticism, and Jury Fights

Ever since making his feature debut with the darkly comical Sitcom, French writer/director François Ozon has been making the world feeling horny and shocked with his films, often at the same time. With a body of work that also includes Water Drops on Burning Rocks, Under the Sand, In the House and the glorious one-two punch of 8 Women and Swimming Pool, you’d think the prolific provocateur might soon be running out of tricks.

Think again. His latest erotic thriller, L’amant double, which premiered in competition at Cannes this year, proved to be the film scandaleux of the festival. Starring Marine Vacth as Chloé, a young woman who one day discovers her psychiatrist partner Paul (Jérémie Renier) might have an evil twin brother and gradually loses herself in a web of deceit and kinks, it’s the kind of dangerously sexy farce at which Ozon excels.

We had
See full article at The Film Stage »

Venice Review: ‘Zama’ is an Elusive, Visually Wondrous Return for Lucrecia Martel

You don’t make La Ciénaga, The Holy Girl, and The Headless Woman in a row without winning accolades and a passionate following the world over. As such, the anticipation level for Argentinian director Lucrecia Martel’s fourth feature and first in nearly a decade is understandably high. When Zama was denied a Cannes slot back in May, people assumed it was a blameless case of conflict of interest, as competition jury president Pedro Almodóvar is also a producer of the film. When the Venice Film Festival subsequently selected the long-awaited picture but put it in the less prestigious out-of-competition section, however, eyebrows were raised with palpable outrage – especially considering the fact that among the 21-title strong competition line-up, only one film comes from a female filmmaker.

Well, now that we’ve seen it, the festival programmers’ reservations seem easier to understand.

A synopsis of the film reads: Based on
See full article at The Film Stage »

Venice Film Review: ‘Zama’

Venice Film Review: ‘Zama’
For a film set expressly in the 18th century, the end of the world feels surprisingly nigh in “Zama” — but if we accept “colonial dystopia” as a viable atmosphere, it’s hard to image any filmmaker conjuring it better than Argentinian master Lucrecia Martel. Insect song swarms and summer colors practically rot on screen in this feverish adaptation of her compatriot Antonio Di Benedetto’s classic 1956 novel, as a Spanish crown officer’s exasperated wait for a royal transfer from his lowly South American posting spirals out into a full-blown tropical malady.

Perplexing and intoxicating in equal measure, “Zama” is undeniably challenging in its adherence to a mannered, densely narrated literary source: As storytelling, it makes Martel’s last feature, the brilliantly opaque “The Headless Woman,” look like Agatha Christie. But it honors Di Benedetto’s work by strictly cinematic means, and to formally mesmerizing effect: The frustrating nine-year wait for new material from Martel has done
See full article at Variety - Film News »

Dark Aspects: Juliana Rojas & Marco Dutra Discuss "Good Manners"

  • MUBI
The Brazilian filmmakers Juliana Rojas and Marco Dutra have been working together for over a decade now. After an award-winning career in short films, their feature debut Hard Labor (2011) world premiered at Cannes Film Festival in the Un Certain Regard section. Following this, the two writer-directors pursued their solo careers, continuing to explore the genre of horror and musical. I interviewed the duo about their long-awaited reunion for their new film Good Manners (2017), which will have its world premiere as part of the International Competition at the 70th Locarno Film Festival.Notebook: The two of you have been working together for over a decade now. How do you understand the development of this long time partnership?We met in film school when we were at the end of our teens. What first brought us together was our common interest in musicals, fantasy and horror films. These are the kinds of
See full article at MUBI »

Olivier Assayas, Juliette Binoche to Reteam on Comedy ‘E-Book’ (Exclusive)

Olivier Assayas, Juliette Binoche to Reteam on Comedy ‘E-Book’ (Exclusive)
Locarno, Switzerland — Following on Kristen Stewart-starrer “Personal Shopper,” Olivier Assayas, president of Locarno’s main International Competition jury, will return to the French language for his next film, tentatively-entitled “E-book,” starring Juliette Binoche, Guillaume Canet, Vincent Macaigne, Christa Theret and Pascal Gregory.

Assayas’ films have been comedic at times, sometimes ironic. But, par for a director whose 17 features range from coming-of-age dramas, such as “Late August, Early September,” to “Demonlover,” set in a world of 3D manga pornography, or “Carlos,” a frenetic true-fact-based political thriller, or “Personal Shopper,” a ghost story, “E-book” once more explores new territory as a more full-blown comedy, here set in a Parisian publishing world. Charles Gilibert, Assayas’ regular producer, produces “E-book” for CG Cinema.

“‘Clouds of Sils Maria’ was a kind of comedy. This is a step further in that direction,” Assayas said at Locarno, ready for jury duty. The film will also be “very much actor and dialogue-driven, part
See full article at Variety - Film News »

7 Filmmakers Deeply Influenced by Luis Buñuel

  • Indiewire
Spanish filmmaker Luis Buñuel died in 1983, but his films continue to inspire many filmmakers today, including Woody Allen and David O. Russell. New York’s Metrograph theater is presenting a series of the surrealist filmmaker’s work from March 30 to April 6 entitled “Buñuel in France” that will feature five of his films. Buñuel directed 35 movies between 1929 and 1977.

Read More: Watch: Was Luis Buñuel a Fetishist? A Video Essay

Here are seven filmmakers who have listed a Buñuel film in their top 10 movies of all time.

Woody Allen

Allen’s favorite Buñuel film is 1972’s “The Discreet Charm of the Bourgeoisie,” the famous comedy about six middle-class people attempting to have a meal together. Allen wore his inspiration on his shirt sleeve in his 2011 fantasty-comedy “Midnight in Paris,” casting the actor Adrien De Van to play Buñuel in a scene also featuring the surrealist painter Salvador Dalí (Adrien Brody) and visual
See full article at Indiewire »

Portuguese Cinema Records Record Presence at 2017 Berlinale

With nine Portuguese films – including five co-productions – selected for the Berlinale, the country will have a record presence at the Berlin Film Festival in 2017.

This comes at a pivotal time for the Portuguese film industry: A new film law is about to be enacted which has provoked controversy and debate amongst Portuguese producers in relation to the main focus of Portuguese film production. Should it be films aimed at the international circuit? Or films targeted primarily at the domestic box office? Or a middle way between the two?

One of the main bones of contention is the process for selecting juries, which until now has been carried out by the Portuguese Film Institute (Ica). The new law proposes it should be made by the Specialized Section for Film and Audiovisual (Seca) of the National Council of Culture.

This issue has divided the country’s film associations. In the lead-up to the 2017 Berlinale,
See full article at Variety - Film News »

The Jio Mami with Star unveils its programming line-up for 2016

  • Bollyspice
The Jio Mami Mumbai Film Festival with Star is less than a month away from offering the city a movie extravaganza unlike any other. In its 18th edition, the festival announced its stellar line-up for the year at its annual press conference held on Thursday, 29th September in Mumbai. The festival is set to kick off on 20th October. The press conference began with the announcement of the festival’s new brand identity.

Jio Mami with Star, Festival Co-Chairperson, Kiran Rao said, “It’s been a very exciting year for the Academy. Firstly, we are now a year around presence. We launched the Mami Film Club in May with a conversation between Sir Ian McKellen and Aamir. We’ve followed that up with India premieres of films such as Brahman Naman and India in a Day. The Academy is committed to bringing you great film content and conversations not just
See full article at Bollyspice »

Embrace of the Serpent; Bad Neighbours 2; Our Kind of Traitor; I Saw the Light; The Measure of a Man and more – review

Ciro Guerra’s trippy exploration of the Amazon is deeply impressive, as is Zac Ephon’s comic shallowness, but Le Carré is poorly served by a gloomy adaptation

Inter-film references can be dangerous things in criticism: you might have seen a lot of films that feed into Embrace of the Serpent (Peccadillo, 12) – Coppola’s Apocalypse Now, Herzog’s Fitzcarraldo, even Miguel Gomes’s Tabu – without ever having seen anything quite like it. Colombian director Ciro Guerra’s Oscar-nominated trip into the Amazon is a singular vision and I use “vision” (and “trip”, for that matter) in the slightly unearthly sense. As two white explorers, 30 years apart, are drawn into the heart of the jungle in pursuit of healing and enlightenment, the ghosts of the region’s colonial past are raised in vivid, disquieting fashion. Shot in lustrous, deep-toned black and white, Guerra’s film functions as a muscular adventure tale
See full article at The Guardian - Film News »

Interview: Miguel Gomes

  • CineVue
Following the widespread acclaim of his monochrome 2012 feature Tabu, Miguel Gomes ups the stakes with six-hour three volume epic Arabian Nights. An extraordinarily ambitious and eclectic work, it combines the mythology of Scheherazade's tales with a critique of the Portuguese government's program of austerity during the financial crisis. Confused? You may will be. But there is something quite brilliant here. Between cigarettes and with glass of red wine in hand, he spoke to CineVue's Matthew Anderson about his latest cinematic creation.
See full article at CineVue »

Mulholland Drive Tops BBC's 100 Best Movies of the 21st Century List

  • MovieWeb
Mulholland Drive Tops BBC's 100 Best Movies of the 21st Century List
The modern movie landscape can make some people feel like the best days of film are behind us. With remakes, reboots and adaptations very abundant, and original movies seemingly not raking it in at the box office, that is an understandable sentiment. But the BBC felt like there are a lot of recent movies worth celebrating, and that is why they set out to make a list of the 100 greatest movies of the 21st century. The list they came up with is nothing if not interesting, and it is definitely a reminder that there are a lot of great movies that have been made in the last 16 years.

BBC published the list on Tuesday morning, after taking months to put it all together. In order to come up with this list, they used nearly 200 critics from both print and online publications, as well as academics and curators. The contributors that were used spanned the globe,
See full article at MovieWeb »

The 100 Greatest Films of the 21st Century: BBC Polls Critics From Around The Globe

  • Indiewire
The 100 Greatest Films of the 21st Century: BBC Polls Critics From Around The Globe
Last year, the BBC polled a bunch of critics to determine the 100 greatest American films of all time and only six films released after 2000 placed at all. This year, the BBC decided to determine the “new classics,” films from the past 16 years that will likely stand the test of time, so they polled critics from around the globe for their picks of the 100 greatest films of the 21st Century so far. David Lynch’s “Mulholland Dr.” tops the list, Wong Kar-Wai’s “In The Mood For Love” places second, and Paul Thomas Anderson and the Coen Brothers both have 2 films in the top 25. See the full results below.

Read More: The Best Movies of the 21st Century, According to IndieWire’s Film Critics

Though the list itself is fascinating, what’s also compelling are the statistics about the actual list. According to the the BBC, they polled 177 film critics from every continent except Antarctica.
See full article at Indiewire »

Mullholland Drive tops critics' list of best 21st century films

Ryan Lambie Aug 23, 2016

A critics' survey puts Mullholland Drive at the top of the list of the best films since 2000. Did yours make the cut?

Movie critics love Linklater, Studio Ghibli, the Coens and the surrealist stylings of David Lynch. At least, that's if a newly-published list of the 100 greatest films of the 21st century is anything to go by.

BBC Culture commissioned the poll, which took in responses from 177 film critics from all over the world. As a result, the top 100 includes an eclectic mix of the mainstream to independent movies, from dramas to sci-fi and off-beat comedies. Feew would be surprised to see things like Paolo Sorrentino's handsome Italian confection The Great Beauty propping up the lower end of the list, or that such acclaimed directors as Wes Anderson or the aforementioned Coens feature heavily.

What is pleasing to see, though, is how much good genre stuff has made the cut,
See full article at Den of Geek »

The 21st Century’s 100 Greatest Films, According to Critics

Although we’re only about 16% into the 21st century thus far, the thousands of films that have been released have provided a worthy selection to reflect on the cinematic offerings as they stand. We’ve chimed in with our favorite animations, comedies, sci-fi films, and have more to come, and now a new critics’ poll that we’ve taken part in has tallied up the 21st century’s 100 greatest films overall.

The BBC has polled 177 critics from around the world, resulting in a variety of selections, led by David Lynch‘s Mulholland Drive. Also in the top 10 was Wong Kar-wai‘s In the Mood For Love and Terrence Malick‘s The Tree of Life, which made my personal ballot (seen at the bottom of the page).

In terms of the years with the most selections, 2012 and 2013 each had 9, while Wes Anderson, Apichatpong Weerasethakul, Christopher Nolan, the Coens, Michael Haneke, and
See full article at The Film Stage »

Day for Night: "Arabian Nights" via "Out 1"

  • MUBI
Out 1The late, great Jacques Rivette’s long-unseen serial Out 1 (1971) begins in a state of febrile convulsion, a seizure or shared hallucination, a frenzied, excruciating, hypnotic baptism of fire that reveals Rivette’s many-headed monster entering into being. Indistinguishable in a mass and huddle of contradicting limbs, this theatre troupe of performers – enchanted, ever-improvising movers and shakers – then pack their bags, tidy up, and leave one Parisian rehearsal space for another. Never too far away from each other in this 20-arrondissement Venn-diagram, and never inseparable, the circumstances of individual characters are slowly knitted together, first those of a character played by Juliet Berto, then one by Jean-Pierre Léaud. Individual narratives become interdependent, and Out 1 becomes a multi-plot film. Just as two theatre troupes use various imaginative, improvisational means to adapt two of Aeschylus’s Greek tragedies, Berto and Léaud’s two outliers approach and endlessly orbit some central conspiracy or secret underground society.
See full article at MUBI »

Embrace of the Serpent Review

  • HeyUGuys
There are shades of Miguel Gomes’ breathtaking Tabu to Ciro Guerra’s third feature film Embrace of the Serpent. Perhaps it’s just because it’s presented in monochrome and is completely spellbinding – or maybe it’s because it’s a tremendously absorbing affair, and though enchanting in parts and visual striking throughout, the colonialist themes provide a […]

The post Embrace of the Serpent Review appeared first on HeyUGuys.
See full article at HeyUGuys »

Across The Croisette: A Brief History of the Directors' Fortnight

  • MUBI
Last year, the three-part, six-hours-and-twenty-two minutes long epic Arabian Nights by Portuguese director Miguel Gomes rejected a slot in the Cannes Film Festival’s second-rung Un Certain Regard section, opting instead to be premiered at the Directors’ Fortnight (Quinzaine des Réalisateurs ), taking place in the same French Riviera city at the same time. Why wasn’t Arabian Nights in Cannes’ official competition? Gomes’ previous film, Tabu, won two prizes at the Berlin International Film Festival, finished 2nd Sight & Sound’s and Cinema Scope’s polls of the best films of 2012, 10th in the Village Voice’s, and 11th in both Film Comment’s and Indiewire’s; he was exactly the kind of rising art-house star who should have been competing in the most prominent part of the official festival. But organizers balked at the idea of offering such a lengthy film a slot in competition where two or three others could be chosen,
See full article at MUBI »

Arabian Nights Vol 1: The Restless One review – resistance through filmic poetry

Miguel Gomes’s docu-fantasy hybrid is an epic, experimental compendium of stories reflecting on austerity politics and Portugal

British audiences now have a chance to sample the exotic and mysterious miscellany in the first of three feature-length movie episodes from Portuguese auteur Miguel Gomes: a docu-fantasy hybrid, epically and experimentally proportioned and very loosely inspired by The Arabian Nights. Volume 1, entitled The Restless One, is an opaque compendium of stories – like the ones Scheherazade told to stave off her own death – all responding in indirect ways to the miseries forced on Portugal by austerity, as if by a social-realist Buñuel with a bit of the novelist José Saramago’s existential musing; the same kind of absurdism and deadly serious political scepticism.

Gomes’s previous movies, Our Beloved Month of August (2008) and Tabu (2012), were eccentric hothouse flowers of cinema, and rather joyful in intent. The Arabian Nights looks darker and sadder and angrier.
See full article at The Guardian - Film News »

Berlinale 2016. In Search of El Dorado

  • MUBI
An Outpost of Progress“Shadow,” said he,“Where can it be –This land of Eldorado?” —Edgar Allan Poe, “Eldorado”, 1849While critics mine film festivals for hidden or sometimes unattainable gems, a parallel quest for an El Dorado can be seen as a thematic undercurrent within the larger focus of the Berlin International Film Festival’s Forum section on migration. This quest is especially apparent in the gold mines of the Peruvian Andes in Salomé Lamas’ Eldorado Xxi and the jade mines of northern Myanmar in Midi Z’s City of Jade. Set in the same war-torn region as the latter film, Wang Bing’s Ta'ang follows people from the eponymous minority group seeking safer shelter across the Chinese border. In An Outpost of Progress and competition film Letters from War, the Portuguese filmmakers Hugo Vieira da Silva and Ivo M. Ferreira deal explicitly with the colonial connotations of the notion of El Dorado.
See full article at MUBI »

[Berlin Review] A Lullaby to the Sorrowful Mystery

  • The Film Stage
Starting with the Spanish conquest of the Philippines in the mid-16th century, the country was under the colonial rule of four different foreign powers for nearly 400 years. Independence gave way to two decades of vicious dictatorship and a democracy severely compromised by corruption and extensive external influence. As a nation that encompasses a staggering number of ethnicities and languages, the Philippines’ centuries-long experience of oppression has engendered an enduring identity crisis. It’s this crisis that has brought forth the films of Lav Diaz. They are dedicated to an excavation of his country’s turbulent past in search of its identity; the simultaneously chimeric and vital nature of this endeavor constitutes the emancipatory dialectic that drives his cinema. Having addressed Ferdinand Marcos’ dictatorship from a variety of angles in several earlier features, Diaz turns his attention to the Philippine Revolution of 1896-97 with A Lullaby to the Sorrowful Mystery,
See full article at The Film Stage »
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