Samira Makhmalbaf - News Poster


Preview: Documentary, Iranian Style: The Films of Mehrdad Oskouei

When one mentions Iranian cinema, the names that most often come to mind are such directors as the late Abbas Kiarostami, Jafar Panahi, and Asghar Farhadi. More knowlegedable aficionados may also be able to mention such filmmakers as Mohsen Makhmalbaf, Dariush Mehrjui, Mohammad Rasoulof, and Samira Makhmalbaf (daughter of Mohsen). However, there's another acclaimed filmmaker that well deserves to be in the illustrious company of the directors I've mentioned above, but is undeservedly far less known. His name is Mehrdad Oskouei, a documentarian who's been making films since the late 1980s, and has won numerous awards for his work at home and abroad. His films since the 2000s have incisively interrogated Iran's patriarchy, poverty, and stark class differences, with a fine visual style that matches...

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Tiff 2017 Women Directors: Meet Kamila Andini — “The Seen and Unseen”

“The Seen and Unseen”

Kamila Andini made her feature debut with “The Mirror Never Lies,” which portrays the life of a sea wanderer in the Indonesian ocean. Previous short films include “Following Diana” and “Memoria,” which tell the story of women’s issues both in an urban area of Jakarta and also in a post-conflict area of Timor-Leste.

“The Seen and Unseen” will premiere at the 2017 Toronto International Film Festival on September 12.

W&H: Describe the film for us in your own words.

Ka: A story of the connection of twin siblings on a defining holistic cycle of life. By exploring Balinese belief of “The Seen and Unseen” (Sekala Nishkala), it continually questions realism in our cultural life. It’s poetically disturbing yet magical at the same time.

W&H: What drew you to this story?

Ka: After my first feature, I wanted to find out more about myself — what kind of film I should make and what kind of story I should tell. I wanted to go back to the roots; I wanted to portray what Asian humans, particularly Indonesian, are really constructed of.

In this case, Bali is a place where holism is still strongly felt in daily life. “The Seen and Unseen” is the philosophy they believe in life; life is in harmony with all the seen things, and the unseen as well. This concept well-defines Indonesia in my perspective, that we are shaped from belief, myth, and the holistic universe.

Then I found the story of Tantri, a princess from Balinese myth who tells fables. I also found a myth about “buncing” twin — boy-girl twins — and their mysterious relationship. This is where the story of “The Seen and Unseen” began.

W&H: What do you want people to think about when they are leaving the theater?

Ka: I want the audience to be disturbed, in their own way, because of this film.

W&H: What was the biggest challenge in making the film?

Ka: This film has been produced since 2012. I have experienced many life changes ever since; I’ve developed both technically and substantially. I first wrote this story when I was single and now I’m a mother of two daughters.

The biggest challenge is really figuring out how to maintain the energy and keep the idea on its initial track. I questioned myself many times, asking whether all the effort is worthy and whether the film is able to deliver the idea as I expected.

W&H: How did you get your film funded?Share some insights into how you got the film made.

Ka: Since the beginning, we wanted to celebrate something in this film: independence. Independence with storytelling, expression, and production. Therefore, we try to not be bound by certain financial resource.

Mostly we funded this film independently, i.e. by making profit from commercial works. Crowdfunding also became the fuel to burn the independent spirit within us to have the film done.

Generous support we got for script development and post-production from funders including Hubert Bals Fund, Asia Pacific Screen Awards Children’s Film Fund, and Doha Film Institute Grants gave me independence to envision cinema in my own way.

W&H: What does it mean for you to have your film play at the Toronto International Film Festival?

Ka: My short film “Following Diana” screened during Tiff 2015. So the festival feels like home for me. However, to be selected and competing in the Platform section is a whole new level of excitement.

I’ve been following films in Platform for the last three years and am aware of Platform recognition for filmmakers’ unique voice in storytelling. So being a part of this list of visionary filmmakers is truly an appreciation for my film.

W&H: What’s the best and worst advice you’ve received?

Ka: Best advice: My husband always reminds to have faith and be consistent with what I do.

Worst advice: I shot this film when I was four months pregnant with my second daughter and taking care of my two-year old daughter. We shot in the middle of paddy fields with limited access. I brought my two-week old second daughter to post-production studio. The worst advice was the social pressure trying to make me stop. Thank God I didn’t — I have the biggest, most supportive system around me.

W&H: What advice do you have for other female directors?

Ka: We have to realize that the filmmaking environment is not female-friendly, especially for mothers, i.e. unpredictable working hours, facility, condition, etc.

It’s important to know who you are and what you love; be firm with your identity. That way, you can build a support system to allow you to fulfill your potential without being questioned for your roles as wives and mothers.

W&H: Name your favorite woman-directed film and why.

Ka: “Blackboards” by Samira Makhmalbaf. It’s one of first woman-directed films that I watched during my first introductory period to cinema. I watched the making of the film and was fascinated by her approach. Ever since, I believe nothing is impossible for women directing film.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

This is not only happening in the film industry, but almost in every sector. I think numbers aren’t the only indicator of how we should measure women’s contribution.

Women have more complex roles and priorities that need to be considered on qualifying their contributions.

However, space and opportunity for women directors should always be encouraged and pushed forward. I think the number of women directing film will increase directly proportional with the number of feminist men who give as much space for their daughter, niece, sister, wife to do anything they love to do.

Tiff 2017 Women Directors: Meet Kamila Andini — “The Seen and Unseen” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Venice: Cuba-Set ‘Candelaria’ Wins Top Venice Days Prize

Venice: Cuba-Set ‘Candelaria’ Wins Top Venice Days Prize
Venice, Italy – Colombian new wave producer-director Jhonny Hendrix Hinestroza’s “Candelaria,” a drama about an elderly couple’s travails during Cuba’s deepened economic crisis in the 1990s, has won the Venice Days Award, the top nod in Venice’s independently run section.

The movie’s septuagenarians find their lives changing unexpectedly thanks to a found video camera, which re-ignites their passions. The Venice Days jury described “Candelaria” as “one of those rare films that exudes generosity and warmth to the audience by showing a non-conventional way of rediscovering love between two elderly people who are struggling to survive in Cuba.”

The award comes with a cash prize of 20,000 euros ($24,000), which is split equally between the director and the film’s international distributor, in this case Germany’s Beta Cinema, which must agree to use the sum to promote the winning film internationally. The prize-winner is chosen by a jury of 28 young European movie buffs, overseen
See full article at Variety - Film News »

Venice Days lineup: Kim Nguyen, Ermanno Olmi, Chloe Sevigny

  • ScreenDaily
Venice Days lineup: Kim Nguyen, Ermanno Olmi, Chloe Sevigny
Venice sidebar to screen eleven world premieres; first screening of Ermanno Olmi doc.

The Venice Film Festival’s (Aug 30 - 9) independently run Venice Days section will host 12 competition titles, 11 of which are world premieres, including new films from Kim Nguyen, Chloe Sevigny, Pengfei, and Sara Forestier.

War Witch director Nguyen will show drama Eye On Juliet, starring UK actor Joe Cole, while M marks the directorial debut of Standing Tall actress Forestier.

Pengfei, who was in Venice Days in 2015 with his first film, Underground Fragrance, is returning with followup The Taste of Rice Flower (pictured).

Screening in the special events category will be a never seen before and thought to be lost Ermanno Olmi documentary from the 1960s: Il Tentato Suicidio Nell Adolescenza (Attempted Suicide In Youths).

The documentary follows the pioneering work of the emergency psychiatric branch of the Policlinico di Milano.

Meanwhile, new short films by Sevigny and Us choreographer-director Celia Rowlson-Hall will screen in Venice
See full article at ScreenDaily »

Venice Days lineup: Kim Nguyen, Sara Forestier, Chloe Sevigny

  • ScreenDaily
Venice Days lineup: Kim Nguyen, Sara Forestier, Chloe Sevigny
Venice sidebar to screen eleven world premieres; first screening of Ermanno Olmi doc.

The Venice Film Festival’s (Aug 30 - 9) independently run Venice Days section will host 12 competition titles, 11 of which are world premieres, including new films from Kim Nguyen, Chloe Sevigny, Pengfei, and Sara Forestier.

War Witch director Nguyen will show drama Eye On Juliet, starring UK actor Joe Cole, while M marks the directorial debut of Standing Tall actress Forestier.

Pengfei, who was in Venice Days in 2015 with his first film, Underground Fragrance, is returning with followup The Taste of Rice Flower (pictured).

New short films by Sevigny and Us choreographer-director Celia Rowlson-Hall will screen in Venice Days’ Women’s Tales Project, sponsored by Miu Miu, the women’s fashion brand.

Screening in the special events category will be a never seen before and thought to be lost Ermanno Olmi documentary from the ’60s: Il Tentato Suicidio Nell Adolescenza.

Iranian director
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Venice Days: Works by Chloe Sevigny, Canada’s Kim Nguyen, China’s Pengfei in Lineup

Venice Days: Works by Chloe Sevigny, Canada’s Kim Nguyen, China’s Pengfei in Lineup
Rome – The Venice Film Festival’s independently run Venice Days section, modeled on Cannes Directors’ Fortnight, has unveiled a promising lineup mixing known auteurs and potential discoveries, with 11 of 12 competition titles slated for world premieres.

New works from China’s Pengfei; Canada’s Oscar-nominated Kim Nguyen (“War Witch”); Thai auteur Pen-ek Ratanaruang (“Last Life in the Universe”); U.S.-based Iranian artist and filmmaker Shirin Neshat (“Women Without Men”); and Italy’s Vincenzo Marra (“La Prima Luce”) are among competition highlights.

Pengfei, who was in Venice Days in 2015 with his first film, “Underground Fragrance,” is returning with followup “The Taste of Rice Flower” (pictured), a mother/daughter drama set in a village in China’s Yunnan province.

Venice Days will also play an active role in a “Focus on China” film industry forum being held during the fest this year.

Kim will world premiere “Eyes of Juliet,” a love story seen from the point of view of
See full article at Variety - Film News »

The Nights of Zayandeh-Rood review – Makhmalbaf's essential early film returns

The great auteur’s controversial 1990 critique of Iranian society is a rich meditation on family life, the legacy of violence and lost love

A survivor now living in exile, Mohsen Makhmalbaf (Gabbeh, Kandahar) is one of Iran’s most important living auteurs, both literally and figuratively the father of a new generation of filmmakers, given he’s also the dad of Samira Makhmalbaf, Hana Makhmalbaf and Maysam Makhmalbaf.

This early feature, about an anthropology lecturer (Manuchehr Esmaili) and his daughter (Mojgan Naderi) living through the last years of the Shah, the revolution and its painful aftermath, was made in 1990 and shown publicly only once. However, the state censors objected to Makhmalbaf’s audacious critique of Iranian society, among other things, so they butchered the negative, cutting out 20 minutes of footage now thought to be lost for ever. In 2016, someone managed to salvage the surviving 63 minutes and smuggle it out of
See full article at The Guardian - Film News »

Tribute to Lgbtq Cinema, Jonny Greenwood Talk, Robby Müller Masterclass, and More

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Watch Fandor’s tribute to Lgbtq cinema:

Our friends at Screen Slate, the top resource for NYC repertory screenings, have debuted a slick-looking new website.

Av Club‘s Jesse Hassenger on how Noah Baumbach helped Greta Gerwig become a brilliant soloist:

Baumbach, working with the late cinematographer Harris Savides, shoots Gerwig with a kind of watchful affection, getting in close as she drives around doing work errands, a hazy Los Angeles sun hitting the windows and Steve Miller Band’s “Jet Airliner” playing. “Are you going to let me in?” she asks another driver in talking-to-herself tones. This is one of the first shots of the movie, which follows Florence for a full eight minutes before introducing Stiller’s title character. In retrospect, it seems like Baumbach is tipping his hand about his interest in Gerwig. His instincts are dead-on; putting Gerwig at the front of the movie allows a hesitant character to make a vivid impression before smashing her into Stiller’s prickly garden of hang-ups and neuroses. Their romantic scrabbling, including a profoundly unsexy sort of sex scene, maintains the uncertainty of mumblecore but with a more articulate form of mumbling.

Listen to a one-hour talk with Jonny Greenwood on his Paul Thomas Anderson collaborations and more:

New York Times‘ Nina Siegal on how Robby Müller created the look of indie film classics, plus watch a masterclass from the director:

For Mr. McQueen, Mr. Müller developed a visual language to capture what appear to be men falling to their deaths in slow motion — a reference to the 1651 suicides of Carib Indians who leapt off a cliff rather than submit to their French colonizers on the island of Grenada, where Mr. McQueen’s parents were born. “Caribs’ Leap’’ is included in the exhibition.

The New Yorker‘s Richard Brody lists his 50 favorite foreign language films of the 21st century:

Ultimately, the movies on the list point forward to the future of the art, even if some of that future has already slipped into the past. The Chinese cinema has experienced, in this century, an outpouring of creative energy, thanks to the films of Jia Zhangke and other independent filmmakers there. I hope that the independent Chinese cinema will survive the government’s current wave of censorship and repression. In the Portuguese cinema, the baton has passed from Manoel de Oliveira and João César Monteiro to Pedro Costa and Miguel Gomes; the Iranian filmmaker Abbas Kiarostami, a one-man wave, has been followed by Jafar Panahi and Samira Makhmalbaf. It remains to be seen whether Romania’s one great filmmaker, Corneliu Porumboiu, will be able to coax that country’s rising industry away from its run of script-bound, Euro-generic social realism; whether Hong Sang-soo, currently the subject of a complete retrospective at Museum of the Moving Image, will inspire other filmmakers in South Korea; whether the Mauritanian director Abderrahmane Sissako (who has worked often in Mali as well) and the Chadian director Mahamat-Saleh Haroun will inspire a younger generation of filmmakers in those countries; and whether Germany, which saw its modern tradition broken by the death of Rainer Werner Fassbinder, the emigration of Werner Herzog, and the self-diminution-through-cultural-ambassadorship of Wim Wenders, will again become a spawning ground for daring young filmmakers.

Watch a video featuring BBC’s 100 greatest American films:

See more Dailies.
See full article at The Film Stage »

Cannes: A Look at the Official Selection, by the Numbers

Cannes: A Look at the Official Selection, by the Numbers
The annual unveiling of the Cannes Film Festival’s official selection lineup is always cause for breathless anticipation and excitement — followed, immediately and invariably, by expressions of shock and disappointment, as well as the usual bleats of indignation over which national cinemas haven’t been adequately represented. This morning’s press conference in Paris, led by festival delegate general Thierry Fremaux and festival president Pierre Lescure, proved no exception.

Journalists in attendance were quick to point out the admittedly startling absence of any Italian films in competition, even though Marco Bellocchio’s “Sweet Dreams” had been tipped for a berth for weeks. Others noted the relative dearth of Asian films vying for the Palme d’Or (only two, directed by Park Chan-wook and Brillante Mendoza). And if they haven’t already, those inclined to see the festival as a sort of cinematic pulse-taking of the Middle East will surely devote
See full article at Variety - Film News »

Here Are Some of the Great New Talents of Iranian Cinema

  • Indiewire
Here Are Some of the Great New Talents of Iranian Cinema
Read More: New Book Explores Contemporary Iranian Cinema Having pointed the spotlight on the cinema of Turkey, Sweden, Brazil and India in previous editions, the Zurich Film Festival continued its traditional "New World View" section by focusing on the recent work of Iran's young talent. Iranian cinema conjures many indelible images and notable filmmakers: Abbas Kiarostami's documentary-fiction hybrids, Jafar Panahi's militant neorealist beginnings, Mohsen and Samira Makhmalbaf's rebellious tales of an upset population, Asgar Farhadi's provocative moral conundrums, and the political symbolism of Dariush Mehrjui. In other words, it opens up an incredibly rich history of filmmaking whose constant potency — especially given the country's severe restrictive policies on culture – make it one of the major epicenters of Middle Eastern cinema. Under constant threat of state censorship, Iranian filmmaking has shown little signs of waning, but it continues to battle an oppressive...
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The Whole Town's Talking: Impressions of the 2014 True/False Film Fest

  • MUBI
Above: The Apple

The celebratory attitude at the True/False Film Festival in Columbia, Missouri, speaks to the healthy state of nonfiction filmmaking at present. True to its name, the festival spotlights new films that incorporate elements of both fiction and documentary (and sometimes blur the line between the two), yet even the selections that resemble more traditional investigative reporting uphold a certain standard of artfulness. More impressively, the festival organizers make a point of incorporating the Columbia community into the celebration. Somewhere between 700 and 900 residents of the town and surrounding areas volunteered at the fest this year, and many businesses I encountered seemed happy to get in on the act too. (“Don’t be fooled by False advertising,” read my favorite sandwich board. “Try our True Thai cuisine!”) Roughly half of the screenings took place in locations not usually reserved for movies—a rock venue, a couple of churches,
See full article at MUBI »

Clio Barnard: why I'm drawn to outsiders – interview

Clio Barnard's The Arbor charted the troubled life of working-class playwright Andrea Dunbar. Her new film, The Selfish Giant, about two boys who scavenge to survive on a Bradford estate, has been called 'a Kes for the 21st century'. Here she talks about the appeal of the margins

Back in 2010, when Clio Barnard was shooting her first feature film, The Arbor, on the Buttershaw estate in Bradford, a young local lad caught her eye. "I first saw him when he was just 14, when I went to Buttershaw to do a workshop at a school," she recalls. "There was just something about him that was different from the other lads I met. He was a bit volatile, but enigmatic too and he really made his presence felt. When I went to Brafferton Arbor [the street on which The Arbor is set] for the first time, there he was, wearing his rigger boots and really dirty clothes. It was pure attitude,
See full article at The Guardian - Film News »

Wadjda illustrates how Arab cinema is just beginning to come of age

Haifaa al-Mansour's endearing tale is as much about marketing as it is about Saudi women's rights

Wadjda – one of 2013's best films so far – deserves its success. To get the formalities out of the way, the first feature entirely shot on Saudi Arabian soil and the first by a Saudi female director has struck blows both for the kingdom's film-makers and its women, thanks to Haifaa al-Mansour's massively endearing tale of a 10-year-old girl prepared to do anything for a bicycle of her own.

We should be careful, though, of praising Wadjda just because of its clutch of firsts. Groundbreaking is a showy word; Al-Mansour photographed in her lime-green jeans and Adidas is an exciting notion of future Saudi womanhood. But it's as much about marketing, about feeding western expectations of progress needed to sell the film, as it is about the rights of Saudi women. Rarely mentioned
See full article at The Guardian - Film News »

A World Not Ours wins top Edinburgh prize

  • ScreenDaily
Mahdi Fleifel’s refugee documentary wins Best Film in the International Competition. Experimental doc Leviathan wins Best British Feature.Scroll down for full list of winners

The winners have been announced at the 67th Edinburgh International Film Festival.

The ceremony, held at Edinburgh’s Filmhouse this afternoon, saw the award for Best Film in the International Competition presented to Mahdi Fleifel’s A World Not Ours (Lebanon/UAE/Denmark/UK).

The jury also gave a special mention to Elias Giannakakis’ Joy.

South Korean director Bong Joon-ho chaired the International Feature Film Competition Jury, which also included actress Natalie Dormer and film critic Siobhan Synnot.

The jury citation read: “The International Jury loved this film’s warm regard for the people at the heart of the film. A difficult subject was handled with confidence and humour.”

Fleifel said: “I have lived, studied and worked in the UK for 13 years, but I’ve never managed to screen any of
See full article at ScreenDaily »

Edinburgh gives top award to experimental documentary Leviathan

Documentaries dominate as film festival wraps up, with Piper Alpha film and refugee camp study taking major honours

The experimental documentary Leviathan has won the Michael Powell award for best British feature at the Edinburgh international film festival, which closes on Friday.

Directed by Lucien Castaing-Taylor and Véréna Paravel, Leviathan is an impressionist study of a fishing trawler at work off the coast of Massachusetts, and was described by the jury – headed by Iranian director Samira Makhmalbaf – as "an original and imaginative documentary which observes the brutal routine of deep-sea fishing in a way which completely immerses the watcher in its story".

Castaing-Taylor and Paravel said: "We are totally bowled over by the news of this award. All our films have been rejected by every British film festival to date, so it is all the more moving for us!"

Paul Wright's haunting For Those in Peril, which was selected
See full article at The Guardian - Film News »

Makhmalbaf to chair Eiff jury

  • ScreenDaily
Makhmalbaf to chair Eiff jury
The Iranian director will be joined by Scottish actor Kevin McKidd and film critic Derek Malcom.

Iranian director Samira Makhmalbaf will chair the Michael Powell Best British Feature Film Competition Jury at the upcoming Edinburgh Film Festival, which runs June 19-30.

Makhmalbaf became the youngest director in official selection at the Cannes Film Festival 1988 with her first feature The Apple, for which she won the London Film Festival’s Sutherland Trophy. Her second film The Blackboard and third, At Five in the Afternoon, both received the jury prize at Cannes.

She will be joined on the jury by Scottish actor Kevin McKidd, who starred in last year’s Eiff closing night gala Brave, and chief film critic at the Evening Standard, Derek Malcolm.

British films competing for the Michael Powell Award include Justin Edgar’s We Are The Freaks, Paul Wright’s For Those In Peril, Jamie ChambersBlackbird and John Hardwick’s Svengali.

The jury will
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Ridm 2012: The Sound on Sight Staff Preview

The Montreal International Documentary Festival (Rencontres internationales du documentaire de Montréal – Ridm) starts on Wednesday, November 7th. My Dad worked for the National Film Board for 30 years in Montreal, Ottawa, Fredericton, Halifax and Montreal (again). Growing up as an Nfb brat was to grow up breathing the language of cinema and to believe passionately that the divisions between animation, documentary, short films and features were artificial – like pretending that vanilla ice cream and chocolate ice cream weren’t different flavours, but completely different species of frozen milk-based desserts.

That said, there is no denying that the general public believes in that artificial division and that documentary film suffers from it, so Ridm, Québec’s only documentary film festival is our best local opportunity to show some love to documentaries. I would urge anyone in Montreal to take a chance and check out some of the films that Ridm is programming.
See full article at SoundOnSight »

Filmmaker Partners With Filminute Short Film Contest

Next month, Filmmaker will be partnering with the website Filminute, an annual online short film competition, by hosting five of the 25 one-minute films shortlisted for this year’s contest, which offers both a juried Best Filminute prize and the audience-selected People’s Choice Award. (In previous years, jurors have included District 9 director Neill Blomkamp, writer Michael Ondaatje, Iranian filmmaker Samira Makhmalbaf and Crash director Paul Haggis.)

The site is currently accepting entries for this year’s competition, with the submission deadline on August 20, and the entry criteria are as follows:

Your film must be 60 seconds – no more, no less. Produce your one-minute piece at broadcast quality. Consider your viewing audience – from mobile phones, to broadband to televisions, to theatre screens. Contributors must be the sole author(s) of the entry. You may submit more than one film in accordance with the official Filminute rules and regulations. No unauthorized use of copyrighted material.
See full article at Filmmaker Magazine »

9/11: how did film-makers handle the tragedy?

In the 10 years since the September 11 terrorist attacks, film directors have responded in myriad ways. Peter Bradshaw charts the rise and fall of the 9/11 movie

At the Venice film festival last week, George Clooney unveiled his new backstairs political drama, The Ides of March, about a Democratic presidential candidate getting bogged down in compromise, backstabbing and the dark political arts. Clooney said that he could conceivably have completed the film before now, but President Obama had been doing too well, and therefore the time wasn't right.

Perhaps Clooney was being serious and perhaps he wasn't. But the remark typifies the dwindling of the memory of 9/11 in Hollywood cinema. The Obama presidency, ushered in by the catastrophe of the Bush reign, is now perceived to be in trouble, and this enables a prominent Hollywood liberal to make the kind of savvy, ahistorically pessimistic political movie that could have been produced at
See full article at The Guardian - Film News »

Cinematic revolutions: the ideas that drove movies

From innovative camerawork in the 20s to the Dogme manifesto in the 90s, here are medium-defining moments in film history

There's a great moment in Carol Reed's Odd Man Out: James Mason spills a drink, looks into its bubbles, and sees his troubles in them. Twenty years later, Jean-Luc Godard, who admired Reed, had a similar scene in his movie Two or Three Things I Know About Her. Ten years after that, Martin Scorsese had Travis Bickle in Taxi Driver stare into the bubbles of a drink. Scorsese is a fan of Reed and Godard. To watch such a visual idea pass from film-maker to film-maker is to look into the DNA of the movies.

Cinema has been the autobiography of our times, glammed up like biographies often are. But the hoopla about its box office, the pay packets of movie stars and the production costs of blockbusters
See full article at The Guardian - Film News »
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