Happy New Year! We're ushering in the first of January with the first films of some of our favorite filmmakers: a week of debut films!In the Us we're showing Quentin Tarantino's Reservoir Dogs, Todd Haynes' Poison, Stanley Kubrick's Fear and Desire, Alain Robbe-Grillet's L'immortelle, vulgar auteurism mascot Paul W.S. Anderson's Shopping, Wong Kar-wai's As Tears Go By, and Derek Jarman's Sebastiane. In the UK, the lineup features Wes Anderson's Bottle Rocket, Wong's As Tears Go By, Steven Soderbergh's sex, lies and videotape, Michelangelo Antonioni's Story of a Love Affair, Mike Leigh's Bleak Moments, Maurice Pialat's L'enfance nue, and Pedro Costa's O Sangue.
- 1/7/2016
- by Notebook
- MUBI
When asked, if I recall correctly, by an interlocutor from the late, great, Musician magazine, what he hoped to achieve via his bass playing, the magnificent (and still active) musician Charlie Haden responded, "I want to make every note beautiful." And every note Haden plays, sweet or sour, is always beautiful, well-rounded, kind of a staggering individual work in and of itself.
Watching Portuguese director Pedro Costa's first feature, 1989's O Sangue, one imagines that a kind of similar mission moved the filmmaker, who had put himself through a lengthy apprenticeship assisting other filmmakers who did not quite share such an idea.
Every single shot in O Sangue is beautiful, incredibly sharp and well-defined, suffused with ache and sensuality. The multi-leveled cinematic references—to Murnau's Sunrise, to the films of Val Lewton, which Costa will reference even more explicitly in his next feature Casa de Lava, to Antonioni and...
Watching Portuguese director Pedro Costa's first feature, 1989's O Sangue, one imagines that a kind of similar mission moved the filmmaker, who had put himself through a lengthy apprenticeship assisting other filmmakers who did not quite share such an idea.
Every single shot in O Sangue is beautiful, incredibly sharp and well-defined, suffused with ache and sensuality. The multi-leveled cinematic references—to Murnau's Sunrise, to the films of Val Lewton, which Costa will reference even more explicitly in his next feature Casa de Lava, to Antonioni and...
- 10/27/2009
- MUBI
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