Un chien andalou (1929) - News Poster


Jean Rollin’s Erotic Horror Films Are Celebrated in Excerpt From ‘Lost Girls’ — Exclusive

  • Indiewire
Jean Rollin’s Erotic Horror Films Are Celebrated in Excerpt From ‘Lost Girls’ — Exclusive
Editor’s note: The following is an exclusive excerpt from “’Castles of Subversion’ Continued: From the Roman Noir and Surrealism to Jean Rollin” by Virginie Sélavy. This essay is featured in “Lost Girls: The Phantasmagorical Cinema of Jean Rollins,” which is available now. To celebrate the book’s release, curator and editor Samm Deighan will be on hand to introduce a special screening of Rollin’s 1971 film “The Shiver of the Vampires” at the Brooklyn Horror Festival on October 14.

Usually deserted or abandoned, often in ruins or in a state of decay, sometimes captured just before demolition, always bearing the melancholy traces of human presence, locations are key to Jean Rollin’s cinema and often were the starting points for his films. Three in particular recur throughout his work: the famous Dieppe beach (specifically Pourville-sur-Mer), the cemetery, and the castle. The latter two are typical Gothic locations and an
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OtherLife review – virtual reality goes bad in ambitious Australian sci-fi thriller

Ben C Lucas’s innovative rumination on the pitfalls of technology has Hollywood appeal and features a darkly charismatic performance from Jessica De Gouw

It is not uncommon for films about drug users to contain closeup shots of pupils dilating. This is hardly surprising given closeups of eyes have long been fashionable in cinema; the famous opening of Luis Buñuel’s 1929 classic Un Chien Andalou comes to mind. And after a hit of the good stuff, eyeballs look fabulous on screen, as films like Requiem for a Dream remind us.

Australian writer/director Ben C Lucas’s sophomore feature, OtherLife, joins the crazy-eyed canon in its opening moments, peppered with near full-screen vision of a narcotic-infused peeper.

Continue reading...
See full article at The Guardian - Film News »

Meaning and Madness: Close-Up on Luis Buñuel's "Viridiana" and "The Exterminating Angel"

Close-Up is a column that spotlights films now playing on Mubi. Luis Buñuel's Viridiana (1961) is showing June 17 - July 17 and The Exterminating Angel (1962) is showing June 18 - July 18, 2017 in the United Kingdom.ViridianaIt’s impossible to avoid describing the films of Spanish director Luis Buñuel as “surreal,” and yet to do so is woefully insufficient. This is for two reasons. In the first place, Buñuel never made one kind of film. In the second place, even his strangest films deal with social reality.Early in his career Buñuel did associate himself with the Surrealist art movement. Among his first productions were the infamous Un chien Andalou (1929) and L'âge d'or (1930), experimental narratives co-written by Salvador Dali in which bizarre and violent psychosexual incidents connect via absurd dream logic. It’s worth bearing in mind that the Surrealists never meant “surreal” to act as a mere label for the uniquely strange.
See full article at MUBI »

Martin Scorsese’s World Cinema Project No. 2

After four years Martin Scorsese is back with another six filmic gems from all corners of the Earth. Love struggles in the slums of Thailand and the economic boom town of Taipei; underdog heroes undertake troubled missions in Turkey and Kazakhstan, a Malay storyteller plays cinematic games with basic narrative, and a vintage Brazilian art film is pure visual poetry. They’ve all been rescued by the World Cinema Project.

Martin Scorsese’s World Cinema Project No. 2

Blu-ray + DVD

The Criterion Collection 873-879

1931 – 2000 / Color + B&W / available through The Criterion Collection / Street Date May 30, 2017 / 124.95

Directed by Lino Brocka, Apichatpong Weerasethakul, Ermek Shinarbaev, Mário Peixoto, Lütfi Ö. Akad, Edward Yang

I readily confess that in my patchy history of film festival attendance, I gravitated not toward the really obscure foreign films, unless they promise to be as entertaining as things I’m more familiar with. Based on the results, one of
See full article at Trailers from Hell »

From Hell It Came

You Axed for it, as Forry would say: the grade Z horror movie that launched a thousand bad puns is also an unbeatable party favorite. Idiotic island natives clash with condescending Anglo scientists, when a death curse initiates the hell- spawning of a horrifying, vengeance-seeking pagan demon-monster. Sounds great — but what we get is Tabonga, a walking rubber tree stump with knotholes for eyes and a permanent scowl on its teakwood face. The excellent, flawless scan allows us to appreciate the mighty Tabonga for what it is — absurd, lovable, awful.

From Hell it Came


Warner Archive Collection

1957 / B&W / 1:78 widescreen / 71 min. / Street Date April 25, 2017 / available through the WBshop / 21.99

Starring: Tod Andrews, Tina Carver, Linda Watkins, John McNamara, Gregg Palmer, Suzanne Ridgeway.

Cinematography: Brydon Baker

Film Editor: Jack Milner

Original Music: Darrell Calker

Written by Richard Bernstein, Dan Milner

Produced by Jack Milner

Directed by Dan Milner

“You say Tomayto,
See full article at Trailers from Hell »

7 Filmmakers Deeply Influenced by Luis Buñuel

Spanish filmmaker Luis Buñuel died in 1983, but his films continue to inspire many filmmakers today, including Woody Allen and David O. Russell. New York’s Metrograph theater is presenting a series of the surrealist filmmaker’s work from March 30 to April 6 entitled “Buñuel in France” that will feature five of his films. Buñuel directed 35 movies between 1929 and 1977.

Read More: Watch: Was Luis Buñuel a Fetishist? A Video Essay

Here are seven filmmakers who have listed a Buñuel film in their top 10 movies of all time.

Woody Allen

Allen’s favorite Buñuel film is 1972’s “The Discreet Charm of the Bourgeoisie,” the famous comedy about six middle-class people attempting to have a meal together. Allen wore his inspiration on his shirt sleeve in his 2011 fantasty-comedy “Midnight in Paris,” casting the actor Adrien De Van to play Buñuel in a scene also featuring the surrealist painter Salvador Dalí (Adrien Brody) and visual
See full article at Indiewire »

Film / Notfilm

An experimental film by an Irish playwright, shot in New York with a silent comedian at the twilight of his career? Samuel Beckett’s inquiry into the nature of movies (and existence?) befuddled viewers not versed in film theory; Ross Lipman’s retrospective documentary about its making asks all the questions and gets some good answers.

First there’s the film itself, called just Film from 1965. By that year our high school textbooks had already enshrined Samuel Beckett’s Waiting for Godot as a key item for introducing kids to modern theater, existentialism, etc. … the California school system was pretty progressive in those days. But Beckett had a yen to say something in the film medium, and his publisher Barney Rosset helped him put a movie together. The Milestone Cinematheque presents the UCLA Film & Television Archive’s restoration of Film on its own disc, accompanied by a videotaped TV production
See full article at Trailers from Hell »

Review: Going in Both Directions—Julia Ducournau’s “Raw”

  • MUBI
France has a rich history of horror. There’s the sadomasochistic novels of the Marquis de Sade as well as the blood and guts of Grand Guignol theatre. In cinema, the horror lineage runs deep. There’s Georges Méliès’ shorts and trick films (The Haunted Castle [1896], The Four Troublesome Heads [1898]); the eye-slicing of Salvador Dalí and Luis Buñuel’s Un chien andalou (1929); Georges Franju’s nauseating documentary on slaughterhouses, Blood of the Beasts (1949), as well as his clinical and poetic Eyes Without a Face (1960); there’s Henri-Georges Clouzot’s nasty Diabolique (1955); and the rotting poetry of Jean Rollin’s collective work. Flash forward a few decades, to the mid-1990s and 2000s, where we find the intense and brutal "New French Extremity" films by Philippe Grandrieux, Bruno Dumont, Gaspar Noé, Marina de Van, and others. And there are the genre filmmakers creating work around the same time as the more
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We are the Flesh: the very best of Mexican surrealist cinema

  • HeyUGuys
Author: Sean Wilson

Arriving on Blu-Ray and DVD on 13th February, provocative and gruesome horror We Are the Flesh is the latest movie from director Emiliano Rocha Minter. Engulfing viewers in a nightmarish and surreal world, whereby two siblings find themselves manipulated by a terrifying stranger, it’s controversial Mexican cinema in every sense of the word.

It also follows a proud tradition of rich, boundary-pushing cinema to have emerged from the country. To honour the film’s release, here are some of Mexico’s finest.

Un Chien Andalou (1929)

Few images are seared onto viewers’ minds as vividly as the eyeball being sliced in Luis Bunuel’s groundbreaking surrealist classic (in reality it was a cow’s eye, not a human’s). But in truth the Spanish filmmaker’s trendsetting collaboration with Salvador Dali is filled to the brim with all other manner of striking imagery that left a lasting
See full article at HeyUGuys »

10+ Years Later: Beyond Audition's Infamy

Audition (Takashi Miike, 1999) is a film whose memory has been all but condensed into a single image: a young Asian woman, soft-featured but wearing an unmistakably sinister side-long glance, holding up a syringe. This image was used for the film's promotional materials—posters, DVDs—and accompanied nearly every review and article written about the movie. Like the eyeball being prepped for slicing has for Un Chien Andalou, the image's ubiquity and the implications of the infamous scene have overshadowed the film itself. I gave real thought to using a different still for this article, but ultimately nothing else felt right. And would anyone even recognize it from another shot? For this edition of 10+ Years Later, I wanted to see if I could separate the film...

[Read the whole post on screenanarchy.com...]
See full article at Screen Anarchy »

Film Review: ‘Rings’

Film Review: ‘Rings’
Rings,” the latest franchise horror sequel that has no organic reason to exist, opens on an airplane, where a dude asks the young woman seated next to him, “Did you ever hear about the videotape that kills you after you watch it?” By now, the most appropriate response to that question would be, “What’s a videotape?” Instead, she listens politely as he jabbers on about the tape and the phone call you get after you watch it, the one that says you have only seven days to live. He then explains that he’s five minutes away from powering through those seven days. Uh-oh! Moments later, his nose is bleeding, insects are buzzing, the black sludge is oozing from the bottom of the bathroom door, and — oh, yes! — the plane is crashing. (All that’s missing is a gremlin on the wing of the plane.) This is how you die in “Rings”: Decisively,
See full article at Variety - Film News »

The Exterminating Angel

Will somebody explain the sheep and the bear? Luis Buñuel really knows how to disturb people. This, his most characteristic surreal drama proposes an impossible, irrational situation – which isn’t all that different from the reality we know. Petty social rules, jealousies and bitterness make life hell for group of dinner guests stuck with each other, caught in an existential trap.

The Exterminating Angel


The Criterion Collection 459

1962 / B&W / 1:33 flat full frame / 93 min. / available through The Criterion Collection / Street Date December 6, 2016 / 39.95

Starring Silvia Pinal, Jacqueline Andere, Augusto Benedicio, José Baviera, Antonio Bravo, Claudio Brook, Rosa Elena Durgel, Lucy Gallardo, Tito Junco .

Cinematography Gabriel Figueroa

Film Editor Carlos Savage

Original Music Raúl Lavista

Based on a story by Luis Alcoriza, Luis Buñuel

Produced by Gustavo Alatriste

Written and Directed by Luis Buñuel

Reviewed by Glenn Erickson

That intransigent rebel imp Luis Buñuel never mellowed — after ten or so
See full article at Trailers from Hell »

What Is the Best Horror Movie Of The 21st Century? — IndieWire Critics Survey

What Is the Best Horror Movie Of The 21st Century? — IndieWire Critics Survey
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday morning. (The answer to the second, “What is the best film in theaters right now?” can be found at the end of this post.)

This week’s question: What is the best horror film of the 21st century?

Charles Bramesco (@intothecrevasse), Freelancer for Rolling Stone, The Verge, Vulture

Everyone knows that the greatest Halloween film of all time is the 1962 nudie-cutie “House on Bare Mountain,” and my slavish devotion to giallo means that personal favorite horror movie of the new century is “Berberian Sound Studio”, but those are both answers to questions nobody asked. The finest horror film of the new millennium is “Cabin in the Woods”, both a dissertation on the history of the American scary movie and a chilling piece of work in its own right. With a fiendishly clever narrative hook,
See full article at Indiewire »

The Art of the Effective Match Cut

Movie magic” is a perhaps over-used term bandied about for all types of filmmaking techniques, but there’s some genuinely special about a specific type of edit: the match cut. In the span of a split second, an editor can make a leap across space and time, and when done seamlessly, its effect is like few others in cinema. In a new video homage from Celia Gómez, she walks through a mix of some of the most memorable and perhaps lesser-known examples.

There’s, of course, the most iconic in films such as 2001: A Space Odyssey, The Graduate, Psycho, and Un Chien Andalou. She also brings in a few examples from Park Chan-wook‘s Stoker, as well as three of Steven Spielberg‘s films, and more to show the wide-ranging uses (although we would have loved the inclusion of a few from Tarsem‘s The Fall). Check it out below,
See full article at The Film Stage »

Great Job, Internet!: Behold the matchless grace of these perfect movie match cuts

A match cut, occurring when the end of one scene is perfectly visually coordinated with the beginning of the next, is a filmmaking technique that can yield serious dividends when executed properly. At its best, this kind of transition can help take an audience from one place and time to another in less than a second, without a jarring disruption of continuity. Video essayist Celia Gómez now pays tribute to this trick of the trade in her latest compilation, “Match Cut: The Art Of Cinematic Technique.” Here are some of the most clever, elegant, poignant, and surprising match cuts in the history of movies. It’s a legacy that Gómez traces back to Luis Buñuel’s 1929 surrealist film Un Chien Andalou. In the infamous first scene from that movie, a man slices a woman’s eye open with a straight razor. Just as he’s about to commit this ...
See full article at The AV Club »

Criterion Close-Up – Episode 50 – French 1930s 1: Silent to Sound, Jacques Feyder, Jean Vigo

Mark, Aaron and Scott Nye kick off the first of a seven episode series about French cinema in the 1930s. We give an overview of the decade and some historical context, and discuss the French silent tradition and how that it transitioned to sound. We also get into detail about two important filmmakers, Jacques Feyder and Jean Vigo. Feyder was an important filmmaker in his time, but his works are not as prominent today, whereas Vigo was nearly forgotten in the 1930s and discovered after the war.

Episode Links & Notes

Special Guest: Scott Nye from CriterionCast and Battleship Pretension. You can follow him on Twitter.

3:15 – Dedication and Thanks

9:35 – Intro to French Film Series

28:15 – From Silent to Sound

46:30 – Jacques Feyder

1:13:30 – Jean Vigo

Criterion Collection: Poetic Realism Flicker Alley: The House of Mystery French Masterworks: Russian Émigrés in Paris 1923-1929 Flicker Alley: L’Inhumaine Flicker Alley
See full article at CriterionCast »

Frank Ocean’s 100 Favorite Films: ‘Blue Velvet,’ ‘Solaris,’ ‘Annie Hall’ and 97 More

  • Indiewire
Frank Ocean’s 100 Favorite Films: ‘Blue Velvet,’ ‘Solaris,’ ‘Annie Hall’ and 97 More
Frank Ocean: musician, visual-album releaser, list-making cinephile. Following on the heels of his latest album finally being made available to the eager public, Ocean has revealed his 100 favorite films. Originally posted on Genius, which has a breakdown of how movies like “The Little Mermaid” and “Eyes Wide Shut” made their way into his lyrics (“I’m feeling like Stanley Kubrick, this is some visionary shit/Been tryna film pleasure with my eyes wide shut but it keeps on moving”), the list contains a mix of familiar favorites (“Annie Hall,” “The Royal Tenenbaums”) and comparatively obscure arthouse fare (“Woyzeck,” “Sonatine”). Avail yourself of all 100 below.


Un Chien Andalou

Blue Velvet

Barry Lyndon

Battleship Potemkin


Chungking Express

Raging Bull

“The Conformist”

Bicycle Thieves

“Taxi Driver”

A Clockwork Orange

Mean Streets

Gods of the Plague


Mulholland Drive

Happy Together

Fallen Angels

Apocalypse Now

“The Last Laugh”


Full Metal Jacket
See full article at Indiewire »

Frank Ocean Shares His Favorite Films, Including Tarkovsky, PTA, Kurosawa, Lynch, Kubrick & More

After a few delays, Frank Ocean‘s Channel Orange follow-up, Blond, has now arrived and, with it, not only an additional visual album, but Boys Don’t Cry, a magazine that only a select few were able to get their hands on. (Although, if you believe the artist’s mom, we can expect a wider release soon.) In between a personal statement about his new work and a Kanye West poem about McDonalds, Ocean also listed his favorite films of all-time and we have the full list today.

Clocking at 207.23 hours, as Ocean notes, his list includes classics from Andrei Tarkovsky, David Lynch, Ingmar Bergman, Stanley Kubrick, Martin Scorsese, Orson Welles, Rainer Werner Fassbinder, Jean Cocteau, Alfred Hitchcock, Francis Ford Coppola, Fritz Lang, Werner Herzog, Akira Kurosawa, Ridley Scott, Bernardo Bertolucci, Sergei Eisenstein, F. W. Murnau, Luis Buñuel, and more.

As for some more recent titles, it looks like The Royal Tenenbaums
See full article at The Film Stage »

What Is The Best Short Film Ever Made? — Critics Survey

What Is The Best Short Film Ever Made? — Critics Survey
Every week, the CriticWire Survey asks a select handful of film and TV critics two questions and publishes the results on Monday morning. (The answer to the second, “What is the best film in theaters right now?” can be found at the end of this post.)

This week’s question: This past weekend saw the release of “Lights Out,” which is based on a horrifying short film. Shorts can have tremendous value, though even the best of them tend to fly under the radar. What is your favorite short film, and why?

Miriam Bale (@mimbale), freelance

I count this Resnais film about plastics, “La chant de la styrene,” and an industrial film by Les Blank about factory farm chickens, “Chicken Real,” among the best films, and certainly best docs, I’ve seen. And the Safdies’ short “John’s Gone” is probably my favorite of their movies, if not their best.
See full article at Indiewire »

Watch: 100 Shots From 100 Years of Cinema

This is one of those weird videos that doesn't really qualify as a supercut, and doesn't really qualify as a video essay either. But regardless of categorization, editor Jacob T. Swinney's selection of 100 shots — one from each of the past 100 years of cinema history — is very cool to watch. Added bonus: it played at this year's Tribeca Film Festival. Hans Zimmer's masterful "Time," from the Inception soundtrack, does a lot of the heavy lifting, but Swinney makes some excellent choices here and this is well worth a few minutes of your time. Find a full list of the movies used below:

A journey through the past 100 years of cinema--the most memorable shot from each year (in my opinion). While many of these shots are the most recognizable in film history, others are equally iconic in their own right. For example, some shots pioneered a style or defined a genre,
See full article at GeekTyrant »
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