[Read the whole post on screenanarchy.com...]
You only need to watch 1966’s domestic-maid exposé Black Girl or 2004’s Fgm polemic Moolaadé to see that Ousmane Sembène’s iconoclastic power went undimmed throughout a 40-year directing career. This rather respectful documentary, co-directed and narrated by the director’s amanuensis, Samba Gadjigo – a part, like those earlier two films, of a new national touring programme of the man’s work – majors in the Senegalese’s trailblazing; most notably the fact that he was responsible for the first film shot by a black African. (Black Africans were banned from film-making in French colonies.) It certainly makes an easy enough case for him as directorial griot, fearlessly telling truth to power. But legacy trumps intensive scrutiny. Contradictions – such as how a former Marseille dockworker whose sworn aim was to represent his people
Read More: The Best Movies of the 21st Century, According to IndieWire’s Film Critics
Though the list itself is fascinating, what’s also compelling are the statistics about the actual list. According to the the BBC, they polled 177 film critics from every continent except Antarctica.
A critics' survey puts Mullholland Drive at the top of the list of the best films since 2000. Did yours make the cut?
Movie critics love Linklater, Studio Ghibli, the Coens and the surrealist stylings of David Lynch. At least, that's if a newly-published list of the 100 greatest films of the 21st century is anything to go by.
BBC Culture commissioned the poll, which took in responses from 177 film critics from all over the world. As a result, the top 100 includes an eclectic mix of the mainstream to independent movies, from dramas to sci-fi and off-beat comedies. Feew would be surprised to see things like Paolo Sorrentino's handsome Italian confection The Great Beauty propping up the lower end of the list, or that such acclaimed directors as Wes Anderson or the aforementioned Coens feature heavily.
What is pleasing to see, though, is how much good genre stuff has made the cut,
The BBC has polled 177 critics from around the world, resulting in a variety of selections, led by David Lynch‘s Mulholland Drive. Also in the top 10 was Wong Kar-wai‘s In the Mood For Love and Terrence Malick‘s The Tree of Life, which made my personal ballot (seen at the bottom of the page).
In terms of the years with the most selections, 2012 and 2013 each had 9, while Wes Anderson, Apichatpong Weerasethakul, Christopher Nolan, the Coens, Michael Haneke, and
The New York State Writers Institute presents “The Films of Ousmane Sembène,” a mini-festival focusing on the work of one of African cinema’s “founding fathers,” on September 24 and on October 1, 2010.
Expected titles: Moolaadé (2004), La Noire de… (Black Girl) (1966), L’Heroisme au Quotidien (Daily Heroism) (1999), and The Making of Moolaadé (2005), directed by Sembène biographer Samba Gadjigo, who will also be present to discuss Sembène and his work.
This is a Free event, and open to the public. It all takes place on the Suny Albany, NY campus.
For additional information on the series, Click Here for the full program, dates and times, or contact the Writers Institute at 518-442-5620.
If you live in the area and haven’t seen any of Sembène’s films, and aren’t familiar with him, do yourself a favor and pencil in the event on your calendar. It’ll
Although the excerpt below was taken from an episode featuring Cary Fukunaga, director of the socio-political thriller Sin Nombre, the first part of the show has an interview with actor/producer Danny Glover, highlighting his political activism, from the documentary Soundtrack For A Revolution, which I’ve written about here before, and including his support for Hugo Chavez – who later went on to pledge funding for Glover to make a film about 18th century Haitian revolutionary Toussaint L’Overture – and the role of music and film in shaping fights for freedom. He also speaks about his
The seminal will behind everything that matters about sub-Saharan African cinema, and at the same time the world's most guileless filmmaker, Ousmane Sembene was virtually a one-man continental film culture for 40 years, establishing the cinematic syntax and priorities for an entire section of mankind, and its relationship with movies. From the first mini-feature, "Borom Sarret" (1964) to the last, vibrant, polemical film "Moolaadé" (2004), Sembene's work aches with sociopolitical austerity . as an artist, he's virtually style-free, almost unprofessional, but possessed of a voice as clear and uncomplicated as sunlight. Primal, unsophisticated experiences, the films are simple but never simplistic, lowbrow but unsensational, fastidiously realistic and yet unconcerned with sustaining illusion. His filmography is more or less divided between cool, undramatic autopsies on post-colonial norms and folly (1966's "Black Girl," 1968's "Mandabi," 1974's "Xala") and demi-epics of colonial horror (1971's Emitai, 1977's "Ceddo," 1987's "Camp de Thiaroye"). The slow burn,
Best Picture: Million Dollar Baby
Best Actor: Jamie Foxx (Ray)
Best Actress (tie): Imelda Staunton (Vera Drake), Hilary Swank (Million Dollar Baby)
Best Supporting Actor: Thomas Haden Church (Sideways)
Best Supporting Actress: Virginia Madsen (Sideways)
Best Director: Zhang Yimou (House of Flying Daggers and Hero)
Best Screenplay: Alexander Payne & Jim Taylor (Sideways)
Best Foreign Language Movie: Moolaade
Best Non-Fiction Film: Tarnation
Best Cinematography: House of Flying Daggers
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