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(1962)

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Breaking Out of Brazil: Co-Production Upsurge Fuels Growth

Brazil’s Directors’ Fortnight entry “Los Silencios” typifies a growing breed of Brazilian films, shot in multiple locations and in co-production with one or more countries. Beatriz Seigner’s cross-border drama about a Colombian family fleeing the armed conflict in their native country was co-produced by Seigner’s Miriade Filmes and Leonardo Mecchi’s Enquadramento Prods. (“The Trial”), along with France’s Cine-Sud Promotion and Colombian shingle Dia-fragma.

“We shot mainly in Colombia so the key crew members were Colombian — and mostly women,” says Cine-Sud’s Thierry Lenouvel, who is co-producing Anita Rocha’s next film, “Medusa,” with Vania Catani’s Bananeira Filmes and is boarding two other Brazilian films in development: Dezenove’s Vietnam-set “The Paths of My Father” by Mauricio Osaki and BossaNovaFilms’ “To Our Children,” by actress-helmer Maria de Medeiros.

Co-producing Argentine helmer Lucrecia Martel’s acclaimed period drama “Zama” “was a lot of work but the rewards were high,
See full article at Variety - Film News »

One Orson Welles Movie Made It to Cannes: Mark Cousins’ Love Letter ‘The Eyes of Orson Welles’

One Orson Welles Movie Made It to Cannes: Mark Cousins’ Love Letter ‘The Eyes of Orson Welles’
Cannes Classics 2018’s opening nighter is Irish filmmaker Mark Cousins’ intimate documentary “The Eyes of Orson Welles,” which was invited to Cannes before Netflix pulled its own two Welles entries, the completed “The Other Side of the Wind” and Morgan Neville’s accompanying Welles documentary “They’ll Love Me When I’m Dead.”

Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.

“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”

He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about
See full article at Thompson on Hollywood »

One Orson Welles Movie Made It to Cannes: Mark Cousins’ Love Letter ‘The Eyes of Orson Welles’

One Orson Welles Movie Made It to Cannes: Mark Cousins’ Love Letter ‘The Eyes of Orson Welles’
Cannes Classics 2018’s opening nighter is Irish filmmaker Mark Cousins’ intimate documentary “The Eyes of Orson Welles,” which was invited to Cannes before Netflix pulled its own two Welles entries, the completed “The Other Side of the Wind” and Morgan Neville’s accompanying Welles documentary “They’ll Love Me When I’m Dead.”

Cousins (“The Story of Film: An Odyssey”) narrates his charming love letter to the late Welles, which is the first original film backed by the Filmstruck and TCM partnership (as well as the BBC and other funders), and is for sale to Cannes buyers.

“I’m interested in a more personal voice,” he said in a phone interview from Scotland, “in what happens when you look someone in the eye, as it were, and address them directly. It’s a more intimate and emotional language.”

He first adopted letter-writing on “Eisenstein and Lawrence,” his 2016 documentary short about
See full article at Indiewire »

Pictures of Perception: Close-Up on Welles’ "Touch of Evil" and "The Trial"

Close-Up is a feature that spotlights films now playing on Mubi. Orson Welles's Touch of Evil (1958) is showing May 6 - June 5, 2018 in many countries around the world; and The Trial (1962) is showing May 6 - June 5, 2018 in the United States.Whether he was operating as an assured-beyond-his-years novice or, later, directing a major Hollywood production—or, as was more often the case, working independently with a sporadic allotment of time and money—Orson Welles was nothing if not consistent when it came to formal ingenuity. While Citizen Kane (1941) is the frequently cited pillar of this expressive impulse, Welles’ Touch of Evil (1958) and The Trial (1962) are perhaps the most representative titles of his visual disposition in the service of psychological reflection. Mirroring character consciousness as much as it inspires viewer acuity, Welles’ elevation of set design, sound, editorial tempo, camera movement and placement all serve the purpose of enriching the respective film,
See full article at MUBI »

Brazil's 'The Trial' wins top prize at Visions du Réel in Nyon

Brazil's 'The Trial' wins top prize at Visions du Réel in Nyon
Maria Augusta Ramos’ documentary political thriller focuses on the impeachment of Brazil’s President Dilma Rousseff.

Maria Augusta Ramos’ documentary The Trial (O Processo) about the impeachment of Brazil’s President Dilma Rousseff was named best feature film of the international competition at this year’s Visions du Réel in Switzerland’s Nyon.

Commenting on the awarding of the Sesterce d’or to Ramos’ film, the documentary festival’s new artistic director Emilie Bujès said: ”The Trial is a politically vital film which analyses with precision and commitment an event that is both historic and contemporary as it happens.”

The
See full article at ScreenDaily »

Los Silencios,’ ‘Luciérnagas’ Top Toulouse’s Films in Progress

Madrid — Two films from women directors – Brazilian writer-director Beatriz Seigner’s “Los Silencios” and Bani Khoshnoudi’s “Luciernagas” – beat out strong competition Friday night at Toulouse’s 33rd Films in Progress to take between them its three top awards.

One of two annual Films in Progress, with San Sebastian’s September event, the Toulouse Cinelatino Fest’s pix-in-post competition often serves as a launchpad for selection at Cannes or other subsequent big fests – the Films in Progress’ 2017 winner, “The Desert Bride,” went on to score a berth at Cannes’ Un Certain Regard.

Held in France’s Toulouse, nestling in the northern lap of the Pyrenees, Films in Progress also highlights key concerns of Latin American arthouse cinema. It is noteworthy, for example, that five of the six films this year turn on some form of dislocation, whether caused by civil conflict, homophobia, poverty, violence or disease.

Seigner’s second feature after 2009’s “Bollywood Dream,
See full article at Variety - Film News »

Berlin Film Review: ‘The Trial’

It was always clear to anyone paying attention that the 2016 impeachment of Brazilian president Dilma Rousseff was a diversionary tactic to cover up rampant corruption from across the aisle. Maddeningly, news outlets outside the country spoke more about whether she was qualified for the job — a blatantly misogynistic aspersion generically cast at female politicians — rather than the fact that a rich white male elite had just circumvented Brazilian democracy and staged a coup. The urgent need to clearly narrate these events is behind Maria Augusta Ramos’ remarkable “The Trial,” a necessary observational documentary that follows the senate’s impeachment hearings to their foregone conclusion.

While the film will be recognized as a crucial record of the travesty that was the impeachment process, it must be stated that the complexities of Brazilian party politics, and the more than two-hour running time, mean “The Trial” will have a difficult time luring a broad audience.
See full article at Variety - Film News »

Maria Ramos on Dilma Rousseff Impeachment Doc ‘The Trial’

Half-Brazilian half-Dutch, director Maria Ramos is no stranger to Brazil’s judicial system, or its complicated political situation. She revisits these themes in her Berlin Film Festival world premiere documentary “The Trial,” selected for Panorama.

Her previous critically acclaimed and award winning series of documentaries: “Justice,” “Behave” and “Hills of Pleasures” are, in the words of Variety’s Jay Weissberg, an “essential trilogy on the Brazilian justice system.” It should come as no surprise then, that the recent impeachment trial of the country’s first female president, Dilma Rousseff, was too irresistible a subject not to chronicle.

Ramos has always been uncompromising in the way she tells her stories, and to that end frequently finds financial backing in familiar partners with hands-off attitudes. In the case of “The Trial,” however, the time between the idea and the start of filming, one week, was too short to pursue traditional means of financing one of her films. The involvement
See full article at Variety - Film News »

Lyon’s Lumiere Festival Honors Classic Film

The 9th Lumière Festival in Lyon, France, is again bringing together some of the biggest names in world cinema, including Guillermo Del Toro, Wong Kar-wai and Michael Mann, while celebrating the history of film with some 400 screenings of international classics.

Launched in 2009 by Bertrand Tavernier and Thierry Frémaux, the respective president and director of the Institut Lumière, the event has become one of the largest international festivals of classic cinema. Last year it hosted 160,500 festivalgoers – up from 2015’s 150,000 admissions – and more than 1,000 industry professionals.

It was in Lyon where brothers Auguste and Louis Lumière invented the cinematograph in 1895, and in keeping with the city’s cinematic tradition, the festival celebrates the history of film by presenting restored works, retrospectives, tributes and master classes.

In 2013, the festival also started what it describes as the first and only classic film market in the world, noting that the heritage cinema sector is currently expanding thanks to advancements in conservation standards
See full article at Variety - Film News »

NYC Weekend Watch: “Gotta Light?,” Jerry Lewis, Nicolas Roeg, ‘The Trial’ & More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Metrograph

“Gotta Light?” celebrates Twin Peaks‘ epochal eighth episode with features and short programs, while A-z continues.

Belle de Jour screens on Sunday, if you’re not watching Twin Peaks, while a Prick Up Your Ears restoration plays.

Museum of the Moving Image

A mini-Spielberg retro kicks off, while two classics by Jerry Lewis are shown.
See full article at The Film Stage »

Rip Jeanne Moreau, Great Lady of French Cinema

French actor and filmmaker Jeanne Moreau, known for films such as Jules and Jim, The Trial, The Bride Wore Black, La Femme Nikita, died today at her home in Paris, at the age of 89, according to her agents. While French actors might have a reputation for perfecting the art of 'cool', it could be said that it was Moreau's work that began this. Daughter of a French restauranteur and an English dancer, she got into acting in the 1950s. Her first big break came when she appeared in Louis Malle's films Lift to the Scaffolding where she took a precarious walk to the sublime music of Miles Davis, and The Lovers (both 1958). But it was in Jules and Jim, about a woman caught...

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

Jeanne Moreau, French New Wave Icon, Dead at 89

Jeanne Moreau, a legend of French cinema and one of the French New Wave's leading actresses with roles in Jules & Jim and Elevator to the Gallows, died this weekend at the age of 89.

French authorities confirmed that the actress died at her Paris home; no cause of death was revealed, the BBC reports.

French president Emmanuel Macron tweeted of Moreau, "A legend of cinema and theater … an actress engaged in the whirlwind of life with an absolute freedom."

Pierre Lescure, president of the Cannes Film Festival, said in a statement,
See full article at Rolling Stone »

Jeanne Moreau, star of Jules et Jim, dies aged 89

The legendary screen actor became synonymous with the French New Wave, appearing in works directed by Louis Malle and François Truffaut

Read more: Jeanne Moreau – a life in pictures

Jeanne Moreau, the actor best known for her performance in French New Wave classic Jules et Jim, has died aged 89 at her home in Paris, her agent has said.

A director, screenwriter and singer as well as a stage and screen actor, Moreau came to prominence with a series of roles in films considered part of the French New Wave, including Lift to the Scaffold and Jules et Jim. She also appeared in a number of Hollywood films, such as The Last Tycoon and Orson Welles’s adaptation of Franz Kafka’s The Trial.

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

Jeanne Moreau, Star of French Film Classics, Dies at 89

Jeanne Moreau, Star of French Film Classics, Dies at 89
Acclaimed French actress Jeanne Moreau, whose films include such masterpieces as “Jules and Jim” and “Diary of a Chambermaid,” has died. She was 89.

The mayor of the Paris district in which Moreau lived confirmed her death.

French President Emmanuel Macron called her “a legend of cinema and theater … an actress engaged in the whirlwind of life with an absolute freedom.” Pierre Lescure, president of the Cannes Film Festival, tweeted: “She was strong and she didn’t like to see people pour their hearts out. Sorry, Jeanne, but this is beyond us. We are crying.”

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Moreau was honored with a 1965 Time magazine cover story, rare for a foreign actress, and was compared to such screen greats as Garbo and Monroe. Since her rise to prominence in the mid-’50s, she epitomized the tenets of the French new wave, boasting a womanly sexuality and a fierce independent spirit. Orson Welles,
See full article at Variety - Film News »

Elsa Martinelli, ‘The Indian Fighter Star,’ Dies at 82

Elsa Martinelli, ‘The Indian Fighter Star,’ Dies at 82
Rome — Italian actress Elsa Martinelli, who starred opposite Kirk Douglas in 1955 western “The Indian Fighter” and went on to gain international recognition working, among others, with directors Mario Monicelli, Roger Vadim, Orson Welles, Howard Hawkes, and Elio Petri died on July 8 in Rome. She was 82.

Born in the Tuscan city of Grosseto, Martinelli moved to Rome in the early 1950’s and started a career as a model, after her beautiful slim physique was noticed by fashion designer Roberto Capucci. She soon appeared in “Vogue” and “Life,” which is where she was noticed by Kirk Douglas’ wife Anne Buydens.

Martinelli in 1954 made her acting debut in Stendhal adaptation “Le Rouge et le Noir,” directed by France’s Claude Autant-Lara.

Her breakout role came the following year in Andre de Toth’s “The Indian Fighter, which Douglas produced.

“Sex in the person of Elsa Martinelli, Italian actress introduced here, and the relationship of her Indian maid character with Douglas
See full article at Variety - Film News »

The Assassin

Writer-director Elio Petri scores big in his first feature, the story of a heel suspected of murder. Is he a killer, or just an average guy trying to get ahead, who uses women to his advantage? Marcello Mastroianni impresses as well in a serious role, with Salvo Randone shining as the police inspector trying to pry a confession from him. Beautifully restored in HD; the show is from a time when Italian film was at its zenith.

The Assassin

Blu-ray + DVD

Arrow Video USA

1961 / B&W / 1:85 widescreen / 97 min. / Street Date April 18, 2017 / L’Assassino / Available from Arrow Video

Starring: Marcello Mastroianni, Micheline Presle, Cristina Gaioni, Salvo Randone, Andrea Checchi, Francesco Grandjacquet, Marco Mariani, Franco Ressel.

Cinematography: Carlo Di Palma

Film Editor: Ruggero Mastroianni

Original Music: Piero Piccione

Written by Tonino (Antonio) Guerra, Elio Petri, Pasquale Fest Campanile, Massimo Franciosa

Produced by Franco Cristaldi

Directed by Elio Petri

Fans of Elio Petri
See full article at Trailers from Hell »

Forbidden Tomes: Laugh, the End is Nigh – Horrific Humor in the Works of Kafka and Kubrick

A woman runs down a long, deserted hallway trying to save her son from her maniacal husband, when she is stopped by a ghastly phantom who proclaims, “Great party, isn’t it?” A man wakes in bed to discover that he has transformed into a giant insect, and worries that he might miss his morning train. Another is charged of a crime with no name, and hopes that his co-workers won’t hear about it. A cigar-chewing general sends a misinformed order, which leads a patriotic cowboy to start the nuclear apocalypse. These scenarios are infamous examples of the absurd, the comedic and the horrific, expressed in chaotic unison through fiction. All of them were created by artists who are often taken far too seriously: Franz Kafka and Stanley Kubrick.

Most Americans have read Kafka in a high school or college lit class, the most oft-taught examples being his novella
See full article at DailyDead »

Ophélia

New Wave director Claude Chabrol goes off in an odd direction with this Francophone adaptation of Hamlet. Convinced that his father was murdered, the heir to an estate behaves like a madman as he sets out to unmask the killers. The ‘castle’ is a country manse guarded by thugs as a precaution against the signeur’s striking union workers. Special added attraction: the stars to see are Alida Valli and Juliette Mayniel of Eyes without a Face.

Ophélia

Blu-ray

Olive Films

1963 / B&W / 1:66 widescreen / 104 min. / Street Date April 25, 2017 / available through the Olive Films website / 29.95

Starring: Alida Valli, Juliette Mayniel, Claude Cerval, André Jocelyn, Robert Burnier, Jean-Louis Maury, Sacha Briquet, Liliane Dreyfus (David), Pierre Vernier.

Cinematography: Jacques Rabier, Jean Rabier

Film Editor: Jacques Gaillard

Original Music: Pierre Jansen

Written by Claude Chabrol, Paul Gégauff, Martial Matthieu from a play by William Shakespeare

Produced and Directed by Claude Chabrol

I suppose
See full article at Trailers from Hell »

Trials and Tribulations: The Art of Adapting Kafka

Should all adaptations of classic works be faithful?

In an interview with the BBC’s Hew Wheldon, Orson Welles set out his philosophy concerning adaptation, more specifically, his willingness to interpret and alter source material:

Wheldon: Do you have any compunction about changing a masterpiece?Welles: Not at all, because film is quite a different medium. Film should not be a fully illustrated, all-talking, all-moving version of a printed work, but should be itself, a thing of itself. In that way it uses a novel in the same way a playwright might use a novel — as a jumping off point from which he will create a complete new work. So no, I have no compunction about changing a book. If you take a serious view of filmmaking, you have to consider that films are not an illustration or an interpretation of a work, but quite as worthwhile as the original.

The
See full article at FilmSchoolRejects »

Going for Gold at Royal Mint

Gold comes to cinemas nationwide today, so in association with its release, Flickering Myth went to The Royal Mint in pursuit of gold…

See Also: Read our review of Gold here

On a dreary winter’s day, an industrial town in Wales doesn’t sound like the ideal destination. However, much like Kenny Wells (Matthew McConaughey in Gold), sometimes you can strike gold in the most unassuming of places.

Royal Mint is the largest mint in western Europe, every single British coin in circulation is made here – that’s right, all of those coins tunefully jangling in your pockets. The Royal Mint produces roughly 90 million coins each week, averaging a cool 5 billion per year.

The Royal Mint Experience, a purpose built exhibition and visitor centre, opened its doors for the first time on the 18th May 2016. This provides visitors with the chance to explore the rich history of Royal Mint,
See full article at Flickeringmyth »
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