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Werner Herzog: A Guide For The Perplexed

Of the Big Three new wavers of German cinema—Rainer Werner Fassbinder, Werner Herzog and Wim Wenders-- who “came of age” as it were in the ‘70s, when I was in college and my own stake in the movies was budding into something more learned and substantial than what it was when I first discovered my love for them, Herzog has emerged as the director who most speaks to me now as an adult. I think that’s true at least in part because when his movies do speak to me it never feels like a one-sided conversation. I feel like I’m in there engaging in a push-pull with Herzog’s ability to seduce me (disarm me?) with his simplicity of approach, an ability which rarely seems satisfied to consider subjects from the less-perverse of two perspectives, and his tendency to rhapsodize and harangue and sidestep visual motifs
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Movie Poster of the Week: “Elena” and the Top Ten Favorite Posters of Designer Sam Smith

Ever since I first wrote about the work of Sam Smith, back in 2009, I have been wanting to work with him in my capacity (in my other life) as the design director for Zeitgeist Films. In the two and a half years since then, Sam Smith has become one of the most sought-after designers on the independent film circuit with his refreshingly simple, witty and indelibly striking hand-drawn designs (it doesn’t hurt that he also has a great knowledge of both film history and the history of movie poster design). A few months ago I finally got the chance when we decided that we wanted something out of the ordinary to promote our new release of Andrey Zvyagintsev's Elena.

Zvyagintsev’s dark and beautiful film premiered at Cannes last year where it won the Special Jury Prize. For our release this May (it opens next week in the U.
See full article at MUBI »

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