Two years after he leapt to the forefront of the New Hollywood with The Godfather, and just months before he picked up the threads of that operatic crime saga with the magnificent sequel/prequel The Godfather Part II, Francis Ford Coppola released a quiet movie, one in which sound itself — and, more specifically, its surreptitious recording — is the narrative engine. Arriving during a particularly fertile era for American film, The Conversation was not a hit, but it is one of the period’s most subtle and shattering features. Half a century later, it resounds as hauntingly as ever, not merely as a cautionary tale but as a searing portrait of where we are now.
The movie took its New York bow on Coppola’s 35th birthday, April 7, 1974, a few weeks before its Palme d’Or triumph in Cannes. Today the octogenarian writer-director is again preparing to compete on the Croisette,...
The movie took its New York bow on Coppola’s 35th birthday, April 7, 1974, a few weeks before its Palme d’Or triumph in Cannes. Today the octogenarian writer-director is again preparing to compete on the Croisette,...
- 4/17/2024
- by Sheri Linden
- The Hollywood Reporter - Movie News
José Donoso’s The Obscene Bird of Night is a monument of vulgarity and erudition, perfused by an eerie air of alluring, unsettling ambiguity. An intensely oneiric work, it was originally published in 1970 and is now being released in a new unabridged translation by Megan McDowell for New Directions that constitutes a major literary event.
Donoso’s novel attempts to give decisive language to the ineffable. It’s the progeny of Borges, its language as technically adroit and stunning as Gabriel García Márquez’s. But instead of lovely, tragic lyricism, Donoso spins wicked sentences, suggesting a corruption of Marquez’s romanticism.
The Obscene Bird of Night is defined by its unexpected swoops into surrealism and litany of exciting developments and imagery. The ridiculous isn’t rendered believable, as Donoso’s prose is governed by the logic of a realm that exists only in the mind of our ever-ruminating, ever-rambling, and quite unreliable narrator,...
Donoso’s novel attempts to give decisive language to the ineffable. It’s the progeny of Borges, its language as technically adroit and stunning as Gabriel García Márquez’s. But instead of lovely, tragic lyricism, Donoso spins wicked sentences, suggesting a corruption of Marquez’s romanticism.
The Obscene Bird of Night is defined by its unexpected swoops into surrealism and litany of exciting developments and imagery. The ridiculous isn’t rendered believable, as Donoso’s prose is governed by the logic of a realm that exists only in the mind of our ever-ruminating, ever-rambling, and quite unreliable narrator,...
- 4/10/2024
- by Greg Cwik
- Slant Magazine
Taking a cue from the genre-melding impulse of the music at its heart, They Shot the Piano Player initially gives every appearance of being pure fiction. The plot of this animated film by Spanish directors Javier Mariscal and Fernando Trueba follows Jeff Harris (voiced by Jeff Goldblum), a journalist from New York City who’s been commissioned to write a book on bossa nova. Immersing himself in the music in preparation for a trip to Rio de Janeiro, he hears a solo by Brazilian jazz pianist Francisco Tenorio Jr. and gets sidetracked. The innovator of samba jazz, it turns out, disappeared under suspicious circumstances in Buenos Aires just before the 1976 military coup, and Jeff decides to fill in the blanks.
The setup, then, has all the trappings of a detective story, with an amateur sleuth in obsessive pursuit of an unsolved mystery. In Rio, Jeff’s friend João (Tony Ramos...
The setup, then, has all the trappings of a detective story, with an amateur sleuth in obsessive pursuit of an unsolved mystery. In Rio, Jeff’s friend João (Tony Ramos...
- 11/20/2023
- by William Repass
- Slant Magazine
There are movies that grab you by the throat and refuse to let go until the story ends. And there are others that playfully take your hand, guiding you into stories that blossom and fold in on themselves several times over, leading to endings that are more like beginnings.
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
For the past five years, a crop of films from Argentina has been specializing in the latter type, telling long, winding, labyrinthine stories inspired by the French Nouvelle Vague — especially Jacques Rivette’s Celine and Julie Go Boating and his serial epic, Out 1 — as well as Latin American postmodernists like Jorge Luis Borges, Julio Cortázar and Roberto Bolaño.
With mammoth running times and multiple characters, Mariano Llinás’ six-part, 13-hour La Flor (2018) and Laura Citarella’s two-part, six-hour Trenque Lauquen (2022), are the best-known examples of the genre. Enigmatic and absorbing, they have found a fanbase at festivals and on specialty streaming sites,...
- 5/18/2023
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Chinese director Zhang Hanyi takes an unexpected turn with his latest feature film effort, “The Walking Bird,” which makes its appearance as an in-development project at the Hong Kong – Asia Film Financing Forum (Haf), which takes place alongside the FilMart rights market.
His previous film, 2017’s “Dragonfly Eyes,” was one of the most unusual and stylish films of the year from anywhere in the world. It told a disturbing (fictional) narrative through extraordinary found-footage obtained from hundreds of real-world CCTV cameras, and won the Fipresci and Ecumenical Jury prizes at the Locarno Festival that year.
While playing in a different register, “The Walking Bird” may be no less sinister.
“The story focuses on a 28-year-old woman who has difficulty handling the changes in her life. She returns to her hometown, faces up to her past and to her family and learns that her grandmother had used a special method to commit a murder.
His previous film, 2017’s “Dragonfly Eyes,” was one of the most unusual and stylish films of the year from anywhere in the world. It told a disturbing (fictional) narrative through extraordinary found-footage obtained from hundreds of real-world CCTV cameras, and won the Fipresci and Ecumenical Jury prizes at the Locarno Festival that year.
While playing in a different register, “The Walking Bird” may be no less sinister.
“The story focuses on a 28-year-old woman who has difficulty handling the changes in her life. She returns to her hometown, faces up to her past and to her family and learns that her grandmother had used a special method to commit a murder.
- 3/13/2023
- by Patrick Frater
- Variety Film + TV
This interview with Alejandro G. Iñárritu first ran in two different parts in the Race Begins and International issues of TheWrap’s awards magazine.
Alejandro G. Iñárritu would like to get this straight from the start: “Bardo, False Chronicle of a Handful of Truths” is not an autobiography. Its lead character, played by Daniel Giménez Cacho, is Silverio Gama, a movie director who looks like Iñárritu and who moved from Mexico to Los Angeles early in his career, just like Iñárritu; he also has a family like Iñárritu’s and he and his wife lost a child, like Iñárritu. But “Bardo” is a fantasia, a dreamscape and, insisted the writer-director, anything but a factual accounting of his life.
“It has taken me a long time to make myself clear that this is not an autobiography,” he said. “For me, every autobiography is a lie. Autobiography pretends it owns the truth,...
Alejandro G. Iñárritu would like to get this straight from the start: “Bardo, False Chronicle of a Handful of Truths” is not an autobiography. Its lead character, played by Daniel Giménez Cacho, is Silverio Gama, a movie director who looks like Iñárritu and who moved from Mexico to Los Angeles early in his career, just like Iñárritu; he also has a family like Iñárritu’s and he and his wife lost a child, like Iñárritu. But “Bardo” is a fantasia, a dreamscape and, insisted the writer-director, anything but a factual accounting of his life.
“It has taken me a long time to make myself clear that this is not an autobiography,” he said. “For me, every autobiography is a lie. Autobiography pretends it owns the truth,...
- 11/29/2022
- by Steve Pond
- The Wrap
Sandro Fiorin’s Figa Films has snapped up international sales rights to Pavel Giroud’s “El Caso Padilla,” which, selected for the San Sebastian highly competitive Horizontes Latinos, bids fair to become one of the most notable Latin American doc features of 2022.
Variety has also shared in exclusivity a first trailer to the film.
The follow-up to Giroud admired 2015 fiction film “El Acompañante,” which won San Sebastian’s Co-Production Forum, “El Caso Padilla” turns on the so-called Padilla Affair. That climaxed with arrest on March 30, 1971 of Heberto Padilla, one of the most exquisite and trenchant of modern Cuban poets whose 1968 poetry collection “Fuera de Juego” constituted a scathing attack on the lack of liberties in Fidel Castro’s Cuba.
Padilla’s arrest signalled the end of a honeymoon between Europe’s left and Castro’s revolution, prompting a letter published in Le Monde – signed by Jean-Paul Sartre, Simone de Beauvoir,...
Variety has also shared in exclusivity a first trailer to the film.
The follow-up to Giroud admired 2015 fiction film “El Acompañante,” which won San Sebastian’s Co-Production Forum, “El Caso Padilla” turns on the so-called Padilla Affair. That climaxed with arrest on March 30, 1971 of Heberto Padilla, one of the most exquisite and trenchant of modern Cuban poets whose 1968 poetry collection “Fuera de Juego” constituted a scathing attack on the lack of liberties in Fidel Castro’s Cuba.
Padilla’s arrest signalled the end of a honeymoon between Europe’s left and Castro’s revolution, prompting a letter published in Le Monde – signed by Jean-Paul Sartre, Simone de Beauvoir,...
- 8/31/2022
- by John Hopewell
- Variety Film + TV
What can we glean from three minutes of film shot in 1938? This is the question driving Three Minutes — A Lengthening, an engaging essay film from director Bianca Stigter. Over a decade ago Glenn Kurtz recovered a 16mm film reel hiding in his parent’s house. It was footage his grandfather David Kurtz shot while on a European vacation in 1938. These three minutes photograph the mostly Jewish town of Nasielsk, Poland. By 1939, the Nazi occupation and their Holocaust would leave less than 100 surviving Jewish townspeople. In these brief, captured moments we see a flurry of faces. Who were these people? What lives did they lead?
Primarily relying on the three minutes of existing footage, Stigter and her collaborators investigate each frame as if it’s a Julio Cortázar short story. From the faces to the street signs to the banners atop the storefronts, everything is dissected. The brief 69-minute runtime moves fast,...
Primarily relying on the three minutes of existing footage, Stigter and her collaborators investigate each frame as if it’s a Julio Cortázar short story. From the faces to the street signs to the banners atop the storefronts, everything is dissected. The brief 69-minute runtime moves fast,...
- 1/31/2022
- by Dan Mecca
- The Film Stage
Exclusive: A collection of documentaries from acclaimed filmmaker Lynne Sachs is coming to the Criterion Channel in October.
The streaming platform will showcase seven Sachs films beginning October 1, ranging from the 1994 short Which Way Is East to her most recent work, including E•pis•to•lar•y: Letter to Jean Vigo, an exploration of the French director’s classic 1933 film Zero for Conduct (Zéro de Conduite).
On October 13, the Criterion Channel will exclusively stream her latest feature documentary, Film About a Father Who, which examines Sachs’ relationship with her unorthodox father, Ira Sachs Sr, whose children include Lynne and fellow filmmaker Ira Sachs Jr.
“Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings,” the director has written. “With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous,...
The streaming platform will showcase seven Sachs films beginning October 1, ranging from the 1994 short Which Way Is East to her most recent work, including E•pis•to•lar•y: Letter to Jean Vigo, an exploration of the French director’s classic 1933 film Zero for Conduct (Zéro de Conduite).
On October 13, the Criterion Channel will exclusively stream her latest feature documentary, Film About a Father Who, which examines Sachs’ relationship with her unorthodox father, Ira Sachs Sr, whose children include Lynne and fellow filmmaker Ira Sachs Jr.
“Film About a Father Who is her attempt to understand the web that connects a child to her parent and a sister to her siblings,” the director has written. “With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous,...
- 8/14/2021
- by Matthew Carey
- Deadline Film + TV
At the 56th New York Film Festival there were titles that have intrigued, beguiled, and challenged viewers, perhaps none more so than Mariano Llinás’ fourteen-hour grand experiment La Flor and Orson Welles’ posthumously released The Other Side of The Wind. The former will be lucky to achieve any life after the festival; the latter will be widely available through Netflix next month. These are both films of grand ambition, creativity, and reflexivity. Quite coincidentally, both feature films within films that underscore this reflexivity, center the process of filmmaking for viewers, and show Llinás and Welles unlocking a kind of creative freedom that very few are privileged to make and be seen in such a way.
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
How does any filmmaker justify a fourteen-plus hour runtime? In the case of the Argentine Llinás, it is to express or at least give the impression of self-awareness in his massive undertaking with La Flor,...
- 10/17/2018
- by The Film Stage
- The Film Stage
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
20th Century Women (Mike Mills)
That emotional profundity most directors try to build to across an entire film? Mike Mills achieves it in every scene of 20th Century Women. There’s such a debilitating warmness to both the vibrant aesthetic and construction of its dynamic characters as Mills quickly soothes one into his story that you’re all the more caught off-guard as the flurry of emotional wallops are presented. Without ever hitting a tonal misstep, Mills’ latest...
20th Century Women (Mike Mills)
That emotional profundity most directors try to build to across an entire film? Mike Mills achieves it in every scene of 20th Century Women. There’s such a debilitating warmness to both the vibrant aesthetic and construction of its dynamic characters as Mills quickly soothes one into his story that you’re all the more caught off-guard as the flurry of emotional wallops are presented. Without ever hitting a tonal misstep, Mills’ latest...
- 3/28/2017
- by The Film Stage
- The Film Stage
Elle
Blu-ray
Sony Pictures Home Entertainment
2017 / Color / 2.40:1 widescreen / Street Date March 14, 2017
Starring: Isabelle Huppert, Laurent Lafitte, Anne Consigny, Charles Berling.
Cinematography: Stéphane Fontaine
Film Editor: Job Ter Burg
Written by David Birke
Produced by Saïd Ben Saïd and Michel Merkt
Directed by Paul Verhoeven
Michèle Leblanc, glamorous entrepreneur of a successful video game company, is the calm at the center of many storms. Her son’s girlfriend has given birth to another man’s child, an employee is stalking her with anime porn and her botox-ridden mother is betrothed to a male prostitute.
In the face of all this outrageous fortune, Michèle remains cool, calm and collected, even in the aftermath of her own harrowing sexual assault.
Elle, the new film from the Dutch provocateur Paul Verhoeven, begins with that already infamous assault, our heroine struggling under the weight of her attacker while an unblinking cat perches nearby, watching.
Blu-ray
Sony Pictures Home Entertainment
2017 / Color / 2.40:1 widescreen / Street Date March 14, 2017
Starring: Isabelle Huppert, Laurent Lafitte, Anne Consigny, Charles Berling.
Cinematography: Stéphane Fontaine
Film Editor: Job Ter Burg
Written by David Birke
Produced by Saïd Ben Saïd and Michel Merkt
Directed by Paul Verhoeven
Michèle Leblanc, glamorous entrepreneur of a successful video game company, is the calm at the center of many storms. Her son’s girlfriend has given birth to another man’s child, an employee is stalking her with anime porn and her botox-ridden mother is betrothed to a male prostitute.
In the face of all this outrageous fortune, Michèle remains cool, calm and collected, even in the aftermath of her own harrowing sexual assault.
Elle, the new film from the Dutch provocateur Paul Verhoeven, begins with that already infamous assault, our heroine struggling under the weight of her attacker while an unblinking cat perches nearby, watching.
- 3/27/2017
- by Charlie Largent
- Trailers from Hell
“A Mod Murder Mystery”
By Raymond Benson
Michelangelo Antonioni’s Blowup (it’s spelled this way in the film credits, but on theatrical posters and advertising it was called Blow-Up) was a landmark, envelope-pushing film that caused quite a stir. For one thing, it was one of the nails in the coffin of the U.S. Production Code, paving the way for the elimination of cinematic censorship and the eventual creation of the movie ratings. Its depiction of nudity, sexual attitudes, and recreational drugs crossed the line for late 1966. Nevertheless, newspaper ads got away with simply proclaiming that the picture was “Recommended for Mature Audiences,” since this was prior to the ratings themselves.
Blowup also stands as a cultural landmark in that it captures that moment of time called “Swinging London.” Everything was “mod”—music, fashion, art... even groups of youths were called “mods.” Antonioni’s film could serve as...
By Raymond Benson
Michelangelo Antonioni’s Blowup (it’s spelled this way in the film credits, but on theatrical posters and advertising it was called Blow-Up) was a landmark, envelope-pushing film that caused quite a stir. For one thing, it was one of the nails in the coffin of the U.S. Production Code, paving the way for the elimination of cinematic censorship and the eventual creation of the movie ratings. Its depiction of nudity, sexual attitudes, and recreational drugs crossed the line for late 1966. Nevertheless, newspaper ads got away with simply proclaiming that the picture was “Recommended for Mature Audiences,” since this was prior to the ratings themselves.
Blowup also stands as a cultural landmark in that it captures that moment of time called “Swinging London.” Everything was “mod”—music, fashion, art... even groups of youths were called “mods.” Antonioni’s film could serve as...
- 3/26/2017
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Exclusive: Writer-director Javier Fuentes-León’s whodunit pays homage to Hollywood film noir and the reality-twisting fictions of Jorge Luis Borges and Julio Cortázar. The Vanished Elephant, which has its premiere Saturday at Toronto, stars Salvador del Solar as a crime novelist whose fiancée has been missing for seven years. He is given a clue to the mystery by a woman (Angie Cepeda) whose ex-husband died the same day the writer’s betrothed vanished. Lucho Cáceres, Tatiana Astengo, Vanessa Saba, Andrés Parra also star in the Peru-Colombia-Spain co-production. Mundial is selling international rights at Tiff. Watch the trailer above.
- 9/5/2014
- by The Deadline Team
- Deadline
The 1967 Cannes Grand Prix winner Blowup was prestigious director Michelangelo Antonioni’s first foray into English, thanks to a deal struck with MGM by producer Carlo Ponti, who contracted the director to do three of them: this one, Zabriskie Point, and The Passenger. While this is clearly the best of that trio (though The Passenger has some merit), in the great Antonioni’s career it feels like a tangential experiment more than a fully realized piece of art.
Based on the short story “Las babas del diablo” by Julio Cortázar, Blowup stars David Hemmings as Thomas, a London photographer who spends his days straddling models while he snaps their pictures, doing various drugs, and moving from woman to woman, enjoying the swinging lifestyle commonly practiced during the era. While walking through a London park, he snaps photos of a couple in an embrace, infuriating the woman (Vanessa Redgrave), who arrives...
Based on the short story “Las babas del diablo” by Julio Cortázar, Blowup stars David Hemmings as Thomas, a London photographer who spends his days straddling models while he snaps their pictures, doing various drugs, and moving from woman to woman, enjoying the swinging lifestyle commonly practiced during the era. While walking through a London park, he snaps photos of a couple in an embrace, infuriating the woman (Vanessa Redgrave), who arrives...
- 5/16/2014
- by Joshua Gaul
- SoundOnSight
Colombian production powerhouse Dynamo is preparing to shoot Peruvian co-production The Vanished Elephant as it enters post on Que Viva La Musica and Out Of The Dark.
Dynamo partner Michel Ruben told Screendaily that Javier Fuentes-Léon will direct The Vanished Elephant as his follow-up to the 2009 romance Undertow (Contracorriente).
The co-production with Fuentes-Léon’s El Calvo Films is scheduled to commence in October in Peru. The Vanished Elephant is a film noir and will star Salvador Del Solar from Peru and Colombia’s Angie Cepeda.
Ruben said the Lima-set story is inspired by the work of Argentinian novelist Julio Cortázar, the David Hockney collage Pearl Blossom Highway and David Lynch’s Mullholland Drive.
Production finished 10 days ago on Que Viva La Musica, a co-production with Mexico’s Anima. Carlos Moreno directs and his credits include Sundance 2011 entry All Your Dead Ones (Todos Tus Muertos) and Sundance 2008 selection Dog Eat Dog.
Alex Garcia is the...
Dynamo partner Michel Ruben told Screendaily that Javier Fuentes-Léon will direct The Vanished Elephant as his follow-up to the 2009 romance Undertow (Contracorriente).
The co-production with Fuentes-Léon’s El Calvo Films is scheduled to commence in October in Peru. The Vanished Elephant is a film noir and will star Salvador Del Solar from Peru and Colombia’s Angie Cepeda.
Ruben said the Lima-set story is inspired by the work of Argentinian novelist Julio Cortázar, the David Hockney collage Pearl Blossom Highway and David Lynch’s Mullholland Drive.
Production finished 10 days ago on Que Viva La Musica, a co-production with Mexico’s Anima. Carlos Moreno directs and his credits include Sundance 2011 entry All Your Dead Ones (Todos Tus Muertos) and Sundance 2008 selection Dog Eat Dog.
Alex Garcia is the...
- 7/11/2013
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
On the surface, director Bradley Rust Gray’s Jack & Diane tells a typical tale of romance spawning from an immediate attraction. The kinetic chemistry between the title characters (played by Riley Keough and Juno Temple, respectively) is reminiscent of the unnerving beat of Gray’s previous directorial effort The Exploding Girl. However, one doesn’t have to look too deep to find the dichotomy between romance and horror that Gray brings to the screen with this experimental film.
It’s a pulsing story of two girls who are drawn to each other against an ambient soundtrack of modern beats and ’80s rock. Diane, a flighty wallflower, is vacationing in New York when she encounters the intense punk-loving skater girl Jack. Together they fumble hastily through the many firsts that come with the frenetic urgency of young love. But a sense of foreboding constantly overhands the all-consuming tryst as the audience...
It’s a pulsing story of two girls who are drawn to each other against an ambient soundtrack of modern beats and ’80s rock. Diane, a flighty wallflower, is vacationing in New York when she encounters the intense punk-loving skater girl Jack. Together they fumble hastily through the many firsts that come with the frenetic urgency of young love. But a sense of foreboding constantly overhands the all-consuming tryst as the audience...
- 10/30/2012
- by Niki Cruz
- Filmmaker Magazine - Blog
Experimental Chilean photographer whose short career resulted in a string of inspirational images
Although he was photographically active for scarcely more than a decade and was the author of just four books (all of them now collectors' items), the stature and reputation of the Chilean photographer Sergio Larrain, who has died aged 80, continued to grow after he withdrew from the vibrant European world of street photography to live in a meditational retreat.
Born into a professional family in Santiago (his father was an architect), he began by studying music. At the age of 18, he went to the Us and studied forestry at the University of California, Berkeley, before transferring to Ann Arbor, Michigan, in 1954. He also travelled through Europe and the Middle East, taking a camera. When he returned home, he began freelancing for the Brazilian magazine O Cruzeiro with a heart-searing series on street children living on the banks of the Rio Mapuche.
Although he was photographically active for scarcely more than a decade and was the author of just four books (all of them now collectors' items), the stature and reputation of the Chilean photographer Sergio Larrain, who has died aged 80, continued to grow after he withdrew from the vibrant European world of street photography to live in a meditational retreat.
Born into a professional family in Santiago (his father was an architect), he began by studying music. At the age of 18, he went to the Us and studied forestry at the University of California, Berkeley, before transferring to Ann Arbor, Michigan, in 1954. He also travelled through Europe and the Middle East, taking a camera. When he returned home, he began freelancing for the Brazilian magazine O Cruzeiro with a heart-searing series on street children living on the banks of the Rio Mapuche.
- 2/24/2012
- by Amanda Hopkinson
- The Guardian - Film News
Release Date: Sept. 27, 2011
Price: DVD $20.00
Studio: Microcinema
Inspired by the stories of Argentine writer Julio Cortazar, yet blended with the realities of contemporary Argentina, 2009’s Wind in Our Hair is an experimental narrative by New York-based filmmaker Lynne Sachs (The Small Ones). The film is about four girls discovering themselves through a common fascination with the trains that pass by their house.
Shot with 16mm, Super 8mm, regular 8mm film and video, the movie follows the girls to the train tracks, into kitchens, on sidewalks, in costume stores and into backyards in the heart of Buenos Aires as well as the outskirts of town.
Sachs and her Argentine collaborators move about Buenos Aires with their cameras, witnessing the four playful girls as they wander a city embroiled in a debate about the role of agribusiness, food resources and taxes. Using an intricately constructed Spanish-English “bilingual” soundtrack, Sachs articulates this atmosphere...
Price: DVD $20.00
Studio: Microcinema
Inspired by the stories of Argentine writer Julio Cortazar, yet blended with the realities of contemporary Argentina, 2009’s Wind in Our Hair is an experimental narrative by New York-based filmmaker Lynne Sachs (The Small Ones). The film is about four girls discovering themselves through a common fascination with the trains that pass by their house.
Shot with 16mm, Super 8mm, regular 8mm film and video, the movie follows the girls to the train tracks, into kitchens, on sidewalks, in costume stores and into backyards in the heart of Buenos Aires as well as the outskirts of town.
Sachs and her Argentine collaborators move about Buenos Aires with their cameras, witnessing the four playful girls as they wander a city embroiled in a debate about the role of agribusiness, food resources and taxes. Using an intricately constructed Spanish-English “bilingual” soundtrack, Sachs articulates this atmosphere...
- 8/26/2011
- by Laurence
- Disc Dish
Blowup (1966) Direction: Michelangelo Antonioni Cast: David Hemmings, Vanessa Redgrave, Sarah Miles, John Castle, Veruschka, Jane Birkin, Gillian Hills, Peter Bowles Screenplay: Michelangelo Antonioni, Tonino Guerra, Edward Bond Oscar Movies David Hemmings, Veruschka, Blowup By Dan Schneider of Cosmoetica: Made in Great Britain in 1966, the flat-out great Blowup was Michelangelo Antonioni's first English-language effort. "Inspired" by Argentinean writer Julio Cortazar's short story Las babas del diablo, Blowup was nominated for two Academy Awards: Best Direction and Best Original Screenplay (Antonioni, Tonino Guerra, and Edward Bond), in addition to winning the Palme d'Or at Cannes and the National Society of Film Critics' Best Film Award. Having first seen the two Hollywood films most influenced by Blowup, Francis Ford Coppola's The Conversation (1974) and Brian De Palma's Blowout (1981), I did not know quite what to expect since the former is an excellent film — arguably, Coppola's best — and the latter is...
- 3/13/2011
- by Dan Schneider
- Alt Film Guide
Berlin-based Israeli who creates deceptively complex amateur films starring her friends and posts them on YouTube
Keren Cytter creates short Diy films at a breakneck speed. Using only what she has to hand, the young Berlin-based Israeli writes, shoots and edits each project herself, sometimes in a matter of weeks, casting friends in starring roles and using their apartments and local neighbourhood for sets. She's shown her films at major art spaces everywhere from Tel Aviv to Los Angeles but, long before they get installed in galleries, her films are swiftly posted on YouTube.
While the look is pure home movie, Cytter's work is anything but unthoughtful. Authors such as Samuel Beckett or Julio Cortázar influence some of her stories, featuring amateur actors deadpanning their way through intricate, poetic scripts. Frequently, however, her plots hinge on the stuff of soap opera and classic French film: love, sex and relationships.
Cytter's latest work,...
Keren Cytter creates short Diy films at a breakneck speed. Using only what she has to hand, the young Berlin-based Israeli writes, shoots and edits each project herself, sometimes in a matter of weeks, casting friends in starring roles and using their apartments and local neighbourhood for sets. She's shown her films at major art spaces everywhere from Tel Aviv to Los Angeles but, long before they get installed in galleries, her films are swiftly posted on YouTube.
While the look is pure home movie, Cytter's work is anything but unthoughtful. Authors such as Samuel Beckett or Julio Cortázar influence some of her stories, featuring amateur actors deadpanning their way through intricate, poetic scripts. Frequently, however, her plots hinge on the stuff of soap opera and classic French film: love, sex and relationships.
Cytter's latest work,...
- 2/4/2011
- by Skye Sherwin
- The Guardian - Film News
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