Ewneto Admassu, the longtime manager of the Lincoln Plaza Cinemas, confirmed the death to Variety.
“He was like a father to me. It is a huge loss,” Admassu said.
Talbot’s death comes two weeks after it was first reported that the Lincoln Plaza Cinema was at the end of its lease and scheduled to close in January.
The six-screen Lincoln Plaza theater, which opened in 1981, is jointly operated by the building’s owner Milstein Properties and the Talbots. The facility is located in the basement of a residential building on the corner of Broadway and 62nd Street.
Milstein Properties, which has been the Talbots’ co-partners in the theater since its opening in 1981, stated earlier this month that it hoped to reopen the theater
My recent tweet storm about the need to re-think the (overwhelmingly white and male) canon led The Guardian to invite me to elaborate on my thoughts. They’ve used my piece as an introduction for a feature that asks writers, directors, producers, actresses, and other women in the industry to imagine a new, more inclusive canon.
The Guardian sourced contributions from women like Lynne Ramsay, Gurinder Chadha, and Amma Asante, whose respective picks are Claire Denis’ “Beau Travail,” Mira Nair’s “Monsoon Wedding,” and Barbra Steisand’s “Yentl.” This is what the canon looks like when women have a voice.
Head over to The Guardian to check out the feature. I’m really excited about how it turned out, but I’m even more excited by the reaction it’s causing. This was intended to be a conversation-starter, and people are talking. I’m receiving lots of tweets about what the canon could and should look like.
Here are some of the suggestions:
“The Piano” — Directed by Jane Campion
“Pariah” — Directed by Dee Rees
“Born in Flames” — Directed by Lizzie Borden
“Clueless” — Directed by Amy Heckerling
“Girlhood” — Directed by Céline Sciamma
“Eve’s Bayou” — Directed by Kasi Lemmons
“Raw” — Directed by Julia Ducournau
“Middle of Nowhere” — Directed by Ava DuVernay
“Black Girl” — Directed by Ousmane Sembene
“Strange Days” — Directed by Kathryn Bigelow
The Elements trilogy (“Earth,” “Fire,” and “Water”) — Directed by Deepa Mehta
I’d love to hear from more people and to expand this important list. Please tweet me your picks @melsil. As more titles get added we’ll compile them and make a permanent home for this radical new canon, a celebration of the films that have been undervalued for far too long.
Re-Thinking the Canon was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
In honor of the fortieth anniversary of one of the wildest years in recent cinema history, The Film Society of Lincoln Center has programmed their ambitious ’77, a 33-film series surveying the sweeping cinematic landscape of a prolific year in cinema, in the United States and around the world.
Read MoreHow ‘Jaws’ Forever Changed the Modern Day Blockbuster — And What Today’s Examples Could Learn From It
While the debut of George Lucas’ original “Star Wars” is likely the most notable name in a long list of ’77 titles, the year also played home to “Jubilee,” “Eraserhead,” “Hausu,” “Wizard,” and “Smokey and the Bandit.” That startling breadth of film options speaks to the changing times — both
Art-house “trailblazer” Pamela Engel, known for co-founding distributor Artificial Eye and programming London cinemas including the Lumiere, Chelsea Cinema, Camden Plaza and the Renoir, has died aged 82.
A huge figure in the UK’s independent film business, Engel’s death has sparked messages of praise across the distribution and exhibition sectors.
Born Pamela Balfry in 1934, the UK executive started out in the late 1950s as a secretary for then Sight and Sound editor Penelope Houston.
She would go on to work as an assistant to Richard Roud at the London and New York Film Festivals before joining Derek Hill’s art-house venue Essential Cinema in the late 1960s.
Balfry and first husband Andi Engel established distributor Artificial Eye in 1976, thus “beginning an odyssey of distribution and exhibition unlikely ever to be surpassed,” in the words of former London Film Festival director Sheila Whitaker.
The film is based on a true story that its director, Ousmane Sembène, saw in a newspaper while living in France. An unidentified African woman had been found dead of suicide, in the apartment of her employers. Sembène was disturbed by the story for a decade, and eventually he wrote a short story, attempting to tell the tale of this unknown woman.
[Read the whole post on screenanarchy.com...]
Read More: The Criterion Collection Announces December Titles: ‘Heart of a Dog,’ ‘The Exterminating Angel’ and More
“His Girl Friday” (Available January 10)
One of the fastest, funniest, and most quotable films ever made, “His Girl Friday” stars Rosalind Russell as reporter Hildy Johnson, a standout among cinema’s powerful women. Hildy is matched in force only by her conniving but charismatic editor and ex-husband, Walter Burns (played by the peerless Cary Grant), who dangles the chance for her to scoop
You only need to watch 1966’s domestic-maid exposé Black Girl or 2004’s Fgm polemic Moolaadé to see that Ousmane Sembène’s iconoclastic power went undimmed throughout a 40-year directing career. This rather respectful documentary, co-directed and narrated by the director’s amanuensis, Samba Gadjigo – a part, like those earlier two films, of a new national touring programme of the man’s work – majors in the Senegalese’s trailblazing; most notably the fact that he was responsible for the first film shot by a black African. (Black Africans were banned from film-making in French colonies.) It certainly makes an easy enough case for him as directorial griot, fearlessly telling truth to power. But legacy trumps intensive scrutiny. Contradictions – such as how a former Marseille dockworker whose sworn aim was to represent his people
Great to be back for my fourth year at the Trinidad + Tobago Film Festival.
Jamaicans going to watch Jamaican shorts. Photo by actor director Tony Hendricks
My first night, I went with my new favorite delegation, whom I already wrote about in my Tiff It’s a Wrap blog, the group of Jamaican filmmakers to see their five shorts showing here at ttff as part of the Jafta Propella initiative to put money into the production and distribution of shorts (rather than in yet-another film festival). The range of stories and storytelling styles was a tasting menu of hors d’oevres for the festival.
Her time as an interviewer, or at least a companion to interviews, came through when we sat down together at Criterion’s offices in New York last month. Never have I been more directly forced to think about my work than when she turned the tables on me — all of which started with some complementary danishes left for us in the room. It’s a level of engagement that befits one of this year’s greatest films,
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.
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,
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
But there are also a host of older films finally hitting coming out that should expand that picture.
So often black movies are historical, telling the stories of larger-than-life icons we ought to have grown up hearing about. At best they’re biopics that give behemoths like Martin Luther King Jr. or Ray Charles a granular humanity; at worst they’re
That’s the response one has when they revisit (or see for the first time) a film like Ousmane Sembene’s Black Girl. Now 50 years old, Sembene’s first feature length film garnered much acclaim upon its initial release, but thanks to Janus Films Sembene’s greatest and arguably most poignant work looks, sounds and feels like a film that’s truly timeless.
Black Girl introduces us to Diouana, a Senegalese housemaid who travels to France to work for a bourgeois white family. Sembene is best known as a filmmaker but as seen throughout his politically-charged
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