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October Horrors 2018 Day 4 – Possession (1981)

Possession, 1981.

Directed by Andrzej Zulawski.

Starring Isabelle Adjani, Sam Neill, Margit Carstensen, Heinz Bennet, and Johanna Hofer.

Synopsis:

Mark, an international spy, returns home from his latest mission to be confronted with a demand for a divorce from his wife Anna after she admits to having an affair. This marital spat, however, is merely the kicking off point an increasingly surreal series of events.

For today’s edition of October Horrors, we’re also taking off our horror nerd caps and donning on our snob hats as we take a trip into the very strange and colourful world of European art-house cinema. That strange area where you find film-makers at their most ponderous (or pretentious) as these artistic souls strive to make films that tackle taboo themes in often excruciating and graphic detail.

One such director was the acclaimed and controversial Polish director Andrzej Zulawski who brings us today’s entry,
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Blu-ray Review: "The Maze" (1954) Starring Richard Carlson; Kino Lorber Special Edition

  • CinemaRetro
By Todd Garbarini

In the days before the home video revolution made its way into my family, the only way to see a movie on television was to either watch it when it was aired or beg my grandmother to ask her brother to record it for me on his $1200 Magnavox video tape recorder. Just before Halloween in 1983, she told me of a movie that she had seen in a local theater in 1954 called The Maze, which starred one of her favorite actors, Richard Carlson. Channel 5 in New York was showing it at 2:30 am and we later viewed it at her brother’s house on VHS. I recall a TV trailer for Andrzej Zulawski’s Possession airing during the commercial break, oblivious that it would become one of my favorite horror movies seven years later.

The Maze, which was released in 3-D in July 1953 and played at the Rko Albee Theater in Brooklyn,
See full article at CinemaRetro »

Interview with Takuya Fukushima: I think my film is not similar to any Japanese film but it is similar to Haruki Murakami’s works

Takuya Fukushima was born on September 19, 1972 and he is a member of Directors Guild of Japan. He has been releasing numerous video works since 1992, when he was studying at the department of literature at Nagoya University. After working under Sogo Ishii (aka: Gakuryu Ishii), he established P-kraft which has been the base of his activities thereafter.

Fukushima directs TV programs, commercials, PVs and he is also highly rated as a film director both in Japan and overseas. His first film “Prism” marked a record high of visitors at the theater where the film was released. “Our Brief Eternity” was officially screened at film festivals around the world, starting with Tokyo International Film Festival, then later being released in theaters throughout Japan. In 2016, a special screening titled Escape From This Fucking World/Takuya Fukushima’s Collection was held to commemorate the release of “Legacy Time”which was highly acclaimed.

He is
See full article at AsianMoviePulse »

Fantasia 2018’s First Wave of Programming Announced, Joe Dante to Receive Lifetime Achievement Award

With the 22nd annual Fantasia International Film Festival kicks off in Montreal this July, the first wave of programming has now been announced, and as per usual, there are many events for genre fans to look forward to, including the world premiere of the horror anthology Nightmare Cinema, screenings of Unfriended: Dark Web and David Robert Mitchell's Under the Silver Lake, and a Lifetime Achievement Award presentation to filmmaker Joe Dante:

Press Release: Montreal, May 2, 2018 - The Fantasia International Film Festival will be celebrating its 22nd Anniversary in Montreal this summer, taking place from July 12-August 1, with its Frontières International Co-Production Market and Industry Rendez-Vous Weekend being held July 19-22.

The festival’s full lineup of over 130 feature films will be announced in early July. In the meantime, Fantasia is excited to reveal a carefully selected first wave of titles, along with several special happenings.

International Premiere Of
See full article at DailyDead »

Cannes kiss sets the mood for Festival by Richard Mowe - 2018-04-11 12:30:25

In the mood for Cannes - star kiss between Jean-Paul Belmondo and Anna Karina from this year’s Cannes Film Festival poster Photo: Festival de Cannes

With just a day to go before the official launch of the full programme in Paris, the organisers of the Cannes Film Festival have unveiled the poster for the 71st edition.

It features a still taken from Jean-Luc Godard’s Pierrot Le Fou (1965), and is said to be inspired by the work of Georges Pierre (1927-2003), stills photographer who worked on the shoots of more than 100 films in a 30-year career that began in 1960 with Jacques Rivette, Alain Resnais and Louis Malle. The image features a passionate embrace between stars Jean-Paul Belmondo and Anna Karina.

Pierre also worked in partnership with Robert Enrico, Yves Robert, Claude Sautet, Bertrand Tavernier, Andrzej Zulawski, Andrzej Wajda, and of course Jean-Luc Godard. Committed to achieving recognition for stills
See full article at eyeforfilm.co.uk »

The 25 Best Movie Moments of 2017, According to IndieWire Critic David Ehrlich

  • Indiewire
The 25 Best Movie Moments of 2017, According to IndieWire Critic David Ehrlich
Over the last 12 months, the world seemed to be changing faster than ever, and not for the better. At a time when every day felt like a week, and every week felt like a year, watching a movie felt like a dangerous proposition; you had no idea what the world was going to look like when you walked out of the theater two hours later. Even the most immersive films couldn’t always keep that anxiety at bay, these dark thoughts seeping into even darker rooms and transforming these sacred spaces into elaborate Rorschach tests that tricked us into seeing whatever was scaring us most at that particular moment, or whatever might be needed to give us hope. It was a heightened stretch unlike any in recent memory, but the best films ultimately did what the best films always do: They brought the world into focus, showed it from a fresh sonspective,
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‘The Untamed (La Region Salvaje)’ Review

Review by Matthew Turner

Stars: Ruth Ramos, Simone Bucio, Jesús Meza, Eden Villavicencio, Andrea Peláez, Oscar Escalante, Bernarda Trueba | Written by Amat Escalante, Gibrán Portela | Directed by Amat Escalante

The fourth film from Mexican writer-director Amat Escalante (Heli) mixes social realism and weird sci-fi eroticism to mesmerising effect.

Co-written by Escalante and Gibrán Portela, The Untamed begins with a shot of a meteorite, drifting through space, before abruptly cutting to a young, naked woman (Simone Bucio as Veronica) being pleasured by a tentacled creature in a shed, somewhere in the Mexican countryside. As if that wasn’t already strange enough, she’s also being observed by an older couple (Oscar Escalante and Bernarda Trueba), who appear to be the creature’s guardians.

When Veronica sustains a nasty injury during her encounter, she attends the local hospital, where she befriends first charming, openly gay nurse Fabian (Eden Villavicencio), and later his
See full article at Blogomatic3000 »

Exclusive: Romy Schneider In Clip From Andrzej Zulawski’s Newly Restored ‘L’Important C’est D’aimer’

The work of Polish filmmaker Andrzej Zulawski may not always be easy to digest, but his films are always fascinating. The director is perhaps best known for his 1981 horror “Possession,” but right before that iconic picture, Zulawski made “L’important c’est d’aimer.” This story of a love triangle still features his distinctive touch, but offers a look at the filmmaker in a slightly different — but no less affecting — register.

Continue reading Exclusive: Romy Schneider In Clip From Andrzej Zulawski’s Newly Restored ‘L’Important C’est D’aimer’ at The Playlist.
See full article at The Playlist »

‘The Untamed’ Trailer: Discover the Summer’s Best Sci-Fi Film

Mexican director Amat Escalante has cultivated for himself a controversial, often shockingly violent niche, and his newest film The Untamed looks to be no exception. Co-winner of the Silver Lion for best director at last year’s Venice Film Festival, the mysterious film has been described in many ways, including a riff on Andrzej Zulawski’s Possession, and deals equally with science-fiction horror and taboo sexuality, a co-existence united by Escalante’s disorienting, visceral style. Strand Releasing has picked up the film for a late-summer release, and has just put out a new trailer.

The Untamed does that very rare thing in cinema in that it blends mystery, horror and pseudo-reality with a kind of dark subconscious arousal,” we said in our review. “In this way it recalls the auteur directors previously mentioned here, but also the eerie ethereal science fiction of H.P. Lovecraft. All this might lead you to
See full article at The Film Stage »

17 Brilliant Horror Films That Debuted at Cannes: Stream all of the Screams

17 Brilliant Horror Films That Debuted at Cannes: Stream all of the Screams
The Cannes Film Festival doesn’t get its due as a platform for horror. But as this year’s festival begins, two of the most anticipated titles — Yorgos Lanthimos’ “The Killing of a Sacred Deer” and David Lynch’s new season of “Twin Peaks” — are artful interpretations of the genre. Several more buzzy entries are expected to be dark and dire, including Lynne Ramsey’s “You Were Never Really Here,” David Robert Mitchell’s “Under the Silver Lake,” and Jane Campion’s series “Top of the Lake: China Girl.”

Cannes’ love of the gothic is nothing new. The festival has long been a melting pot for bold visions, and this includes some of the world’s scariest films. From established risk-takers like Lars von Trier and Nicolas Winding Refn to once-green directors like Gaspar Noé and Sam Raimi, the strength of the talent has left some indelible impressions on the horror scene.
See full article at Indiewire »

The Best Movie Posters of 2016

  • MUBI
1. CosmosAdam Maida’s silent scream for Andrzej Zulawski’s swansong Cosmos is a poster that cries out to be noticed. Channeling the starkest of Polish poster design—think Mieczyslaw Wasilewski or Andrzej Pagowski—Maida’s design is as deceptively crude as it is beautifully executed. I love everything about this poster, down to its hand-lettering, that tiny hanged bird and the even tinier—nice if you can get away with it—billing block. Maida’s witty, diagrammatic work has already graced Criterion covers for Nagisa Oshima’s Death by Hanging, John Frankenheimer’s The Manchurian Candidate, and Costa-Gavras’s The Confession and State of Siege, but it is his eye-catching black-and-white editorial illustration/montages for the New York Times that this most reminds me of. You can see more of his work here.2. The HandmaidenTrees and a hanging also feature heavily in my second favorite poster of the year: an
See full article at MUBI »

Weekly Rushes. Jarmusch & Herzog Videos, Bresson's Notes, Garbo on the Kronor

  • MUBI
NEWSFrom the Busan Film Festival comes word of new projects by Lee Chang-dong (who hasn't made a film since 2010's Poetry and will make "a mystery thriller"), Hirokazu Kore-eda ("a suspense courtroom drama"), and Hou Hsiao-hsien (executive producing a project for Taiwanese TV).As you may know if you read the Notebook, we love the French New Wave's least known filmmaker, Jacques Rivette. News has come that his recently discovered and restored first three short films (which we raved about), as well as a number of his later movies, including Gang of Four and his two-part Jeanne le pucelle masterpiece, have been acquired for North American distribution.Next month, the New York Review of books will release a new edition of Robert Bresson's essential book, Notes on the Cinematograph.Recommended VIEWINGTwo great, lengthy filmmaker dialogues were posted online this week. First, an hour long masterclass with Jim Jarmusch
See full article at MUBI »

Election Season Panic: How Film Festival Films Are Reflecting Fear of Trump’s America

Election Season Panic: How Film Festival Films Are Reflecting Fear of Trump’s America
On Tuesday, Americans go to the voting booth to determine what kind of country they want theirs to be. Months of the most polarized, and polarizing, presidential campaign in recent memory have left many of us with battle fatigue and gnawing pangs of cynicism and nausea. To quote Thomas McGuane, in the opening line of his 1973 novel “92 in the Shade”: “Nobody knows, from sea to shining sea, why we are having all this trouble with our republic.”

Our filmmakers might have a clue. And a little distance brings perspective. The American Film Festival just celebrated its seventh annual survey of new (and mostly) independent cinema made in the U.S.A., as assembled for and viewed by eager European audiences in Wroclaw, Poland. Though not without some escapist and experimental tangents, the selections couldn’t help but offer a provocative composite of work that serves as a kind of state of the union address.
See full article at Indiewire »

Locarno: Here’s What One Young Filmmaker Learned From Hou Hsiao-hsien and Edward Yang

This article was produced as part of the Locarno Critics Academy, a workshop for aspiring journalists at the Locarno Film Festival, a collaboration between the Locarno Film Festival, IndieWire and the Film Society of Lincoln Center with the support of Film Comment and the Swiss Alliance of Film Journalists. The following interview, conducted by a member of the Critics Academy, focuses on a participant in the affiliated Filmmakers Academy program at the festival.

With no prior film education, filmmaker Wei Liang Chiang relocated to Taiwan to participate in the sixth Golden Horse Film Academy under the mentorship of filmmakers Hou Hsiao-hsien and Arvin Chen. Like his cinematic mentors, Chiang’s work, varying from realist portraits to melodramas, captures the intersection of the personal and political with patience and warmth.

His 2015 film, “Anchorage Prohibited,” won the Audi Short Film Award at the 66th Berlin International Film Festival. Comprised of long takes and minimal dialogue,
See full article at Indiewire »

Review: ‘The Lure’ Is The Best Goth Musical About Man-Eating Mermaids Ever Made

Review: ‘The Lure’ Is The Best Goth Musical About Man-Eating Mermaids Ever Made
Imagine if Gaspar Noé and (the late) Andrzej Zulawski collaborated on a remake of “The Little Mermaid” and you’ll have a faint idea of what to expect from Agnieszka Smoczynska’s “The Lure,” a wonderfully demented new musical that bridges the gap between Hans Christian Andersen and Nine Inch Nails.

The fun begins in Communist-era Poland, where a mopey young musician named Mietek (Jakub Gierszal) stands by the waters of Warsaw and strums a folksy lament. If Mietek doesn’t seem all that surprised when two comely sea sirens pop their heads out of the surf and sing a reply (promising not to eat him, natch), perhaps that’s because he’s a little tipsy — given the strange energy that pumps through Smoczynska’s film from start to finish, it won’t be long before you know just how he feels.

Their names are Golden (Michalina Olszanska) and Silver
See full article at Indiewire »

Arthouse Audit: ‘Tickled’ Leads Long List of Modest Openers

It’s only June and it already feels like the dog days of summer. No breakouts. A slew of niche titles, including several documentaries. This week’s standout is Sundance doc hit “Tickled” (Magnolia), which is showing some potential.

This week’s range of titles is wide and diverse. Some boast high festival and/or review pedigrees, and many come from distributors who aren’t reporting numbers (we offer estimates; “Parched,” an Indian indie from Wolfe Releasing and “2016 Sundance Film Festival Short Film Tour” remained elusive).

Meantime, “Love & Friendship” (Roadside Attractions) and “The Lobster” (A24) continue to thrive ahead of other recent releases and “Maggie’s Plan” (Sony Pictures Classics) keeps going, along with doc standout “Weiner” (IFC).

Opening

“Tickled” (Magnolia) – Metacritic: 77; Festivals include: Sundance, San Francisco, Seattle 2016

$24,000 in 2 theaters; PTA (per theater average): $12,000

After its strong reaction contending at Sundance’s World Documentary competition, this expose of the
See full article at Indiewire »

Joshua Reviews Andrzej Zulawski’s Cosmos [Theatrical Review]

Earlier this year, the film world lost one of its truly unsung icons. On February 17, director Andrzej Zulawski passed away, leaving behind not only a filmography of some of cinema’s most singular works but a critically beloved festival darling that had yet to arrive in theaters stateside. Now, beginning this weekend exclusively at The Metrograph in New York City, Zulawski’s last film is finally available to general audiences, and is without a doubt the most delightfully off-kilter picture you’re bound to see all year.

Entitled Cosmos, the picture may sound as though its eyes are set to the heavens, but with a tight runtime of just a pinch under 100 minutes, this is a ground level, if delightfully histrionic melodrama in the vein of Zulawski’s very best films. Standing as a perfect culmination of everything that made the director an auteur of entirely singular vision, Cosmos opens
See full article at CriterionCast »

Watch the trailer for Andrzej Zulawski’s Cosmos

A Us trailer has arrived online for Cosmos, the final film from late director Andrzej Zulawski. Described as a “metaphysical noir thriller”, it stars Jean-François Balmer, Sabine Azéma, Jonathan Genet, Johan Libéreau, Victória Guerra and Clémentine Pons; take a look below after the official synopsis…

The late Andrzej Zulawski’s final film, a literary adaptation suffused with his trademark freneticism, transforms Polish writer Witold Gombrowicz’s novel of the same name into an ominous and manic exploration of desire. Witold who has just failed the bar, and his companion Fuchs, who has recently quit his fashion job, are staying at a guesthouse run by the intermittently paralytic Madame Woytis. Upon discovering a sparrow hanged in the woods near the house, Witold’s reality mutates into a whirlwind of tension, histrionics, foreboding omens, and surrealistic logic as he becomes obsessed with Madame Woytis’s daughter Lena, newly married to Lucien.

Cosmos
See full article at Flickeringmyth »
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