On Saturday night the red carpet was rolled out for Enrique Castro Rios’ “Diciembres,” (“Decembers,” formerly “Sultan”), about the 1989 U.S. invasion of Panama and its aftermath, which screened in the fest’s 2016 “Primera Mirada” pix-in-post sidebar, and won a $5,000 grant for post-production.
The film is set in December, 1989, during the U.S. invasion, and 10 years later, in December, 1999 when the ghost of a photo-journalist, who died during the invasion, returns to try to heal rifts in his own family.
“Diciembres” blends together archive footage and fictional scenes – using a poetic style that viscerally recreates moments from the invasion. The audience at the world premiere, including several people who experienced the invasion first hand, were visibly moved by the film. Some had tears in their eyes when the lights came up.
Frye programmed the first screening on May 12, 1998 at the Collective Unconscious theater space. The screening included the feature-length documentary Underground by Emile de Antonio about the left-wing militant group the Weather Underground, and a kinoscope of Richard M. Nixon’s infamous “Checker’s Speech.” At the screening, fellow media artist Bradley Eros introduced himself to Frye and the pair co-programmed the Rbmc together for several years.
The goal of the screenings was to present work that typically wouldn’t be projected anywhere else, such as small gauge film formats and expanded cinema performances. The Rbmc would also host filmmakers in town for larger shows elsewhere in the city and asked them to screen their older,
Taking place over five days, Human Affairs follows surrogate mother Genevieve (Julie Sokolowski), a young French woman living on a farm in Vermont, as she arrives in New York City to stay with
Another more public post-holiday event marking the closing of the Lincoln Plaza Cinemas is scheduled on January 28 in New York. The last few weeks have seen Talbot’s legacy celebrated with reaction to the unexpected announcement that the six-screen Upper West Side theater would close at the end of January, at the expiration of its lease. Milstein Properties, who have been the Talbots’ co-partners in the theater since
Artfully assembled and often entertaining, the diverse whole nonetheless doesn’t quite gel, with the film finally coming off as somewhat pretentious and heavy-handed. Still, its scattered critical plaudits on the festival circuit will help draw curious viewers to Cinema Guild’s limited theatrical release.
“It ain’t never been a rat problem in Baltimore; it’s always been a people problem” says Harold Edmond, a garrulous, personable government
Formed in 1983, the Experimental Film Coalition started holding regular monthly screenings starting in 1984. The screenings brought to Chicago the work of independent, experimental filmmakers across the country, as well as screening local work.
Screenings were held at the Randolph Street Gallery, an alternative performance and exhibition space located at 756 N. Milwaukee Ave. The Gallery eventually closed down in 1998 and donated their archives to the School of the Art Institute of Chicago; which exhibits some of the Coalition’s flyers on their website.
Below is a sample of screening information culled from those archives, listed in chronological order:
2 Razor Blades, dir. Paul Sharits
Make Me Psychic, dir. Sally Cruikshank
Unsere Afrikareise, dir. Peter Kubelka
Roslyn Romance, dir. Bruce Baillie
Musical Poster #1, dir. Len Lye
For you cult cinema fans out there, I hope your wallets are ready for some serious damage, as there are a ton of great offerings coming home on November 14th, including the gorgeous limited edition Hellraiser Steelbook, The Paul Naschy Collection II, J.D.’s Revenge, and Arrow’s stunning Blu-ray set honoring one of horror’s true greats—George A. Romero—that features HD releases of Season of the Witch, There’s Always Vanilla, and The Crazies.
It’s a lesson worth remembering when thinking about contemporary cinema, in which pop entertainment earns instant praise, while the work most likely to endure a century from now a century from now goes relatively unrecognized in its time. French director Agnès Varda is the kind of filmmaker whose oeuvre is sure to stand the test of time — because it already has, holding up brilliantly since her 1955 feature debut, “La Pointe Courte,” about which Variety condescendingly wrote, “Main aspect of this film is that it was made for $20,000 by a 25-year-old girl.”
With her tiny seaside romance,
Like many filmmakers, Cattet and Forzani honed the aesthetic they’d use in their later films through their early shorts. Unlike all filmmakers,
HBO Nordic, which operates in Sweden, Norway, Finland and Denmark, has launched Turner’s brand-new children and family Ott service Toonix. Created by Turner Emea, Toonix is targeted at 3-12-year-olds and their families. The service will offer a mix of kids’ series and movies, including popular content from Turner’s Cartoon Network Studios and Warner Bros. Animation. Among its key shows are “The Amazing World of Gumball,” “Lego Ninjago,” “Looney Tunes” and “The Powerpuff Girls,” all of which are fully localized, with offerings in Swedish, Danish, Norwegian and Finnish. Toonix will be available for consumers on www.hbonordic.
Directed by Theo Anthony, and featuring a score by electronic music wizard Dan Deacon, the film — “working in the spirit of Chris Marker, Agnès Varda, and Werner Herzog” — takes a look at the complex relationship between rats and the city of Baltimore.
Continue reading Exclusive ‘Rat Film’ Trailer: Baltimore’s History Runs With Rodents at The Playlist.
Name: Jaime Grijalba Gómez
Twitter handle: @jaimegrijalba
Home: Santiago de Chile, Chile.
Cinematic area of expertise: Chilean cinema, film festivals, horror cinema
Best movie you’ve seen in 2017: El mar la mar
Favorite book (or piece of writing) about film: Bresson’s “Notes on the Cinematographer”
I’m taking part in the Locarno Critics Academy because… I want to think that criticism today still has a role that goes beyond those interested in film or in making them. It has a role in society, and I want to find it.
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