Jerry Herman’s musical “Hello, Dolly!” dominated the 18th Tony Awards which took place at the New York Hilton on May 24, 1964. “Hello, Dolly!” entered the ceremony with 11 nominations and walked out with ten awards including best musical, best actress for Carol Channing, original score for Herman and for Gower Champion’s choreography and direction.
Other musicals in contention for multiple awards that year were “High Spirits,” based on Noel Coward’s classic comedy “Blithe Spirit,” “Funny Girl,” which transformed Barbra Streisand into a Broadway superstar, and “110 in the Shade,” based on the straight play “The Rainmaker.”
Bert Lahr, best known as the Cowardly Lion in the 1939 classic “The Wizard of Oz,” won lead actor in a musical for “Foxy,” based on Ben Jonson’s “Volpone.” The musical was not a hit closed after 72 performances. Also nominated in the category was Bob Fosse for a short-lived revival of Rodgers and Hart’s “Pal Joey.
Other musicals in contention for multiple awards that year were “High Spirits,” based on Noel Coward’s classic comedy “Blithe Spirit,” “Funny Girl,” which transformed Barbra Streisand into a Broadway superstar, and “110 in the Shade,” based on the straight play “The Rainmaker.”
Bert Lahr, best known as the Cowardly Lion in the 1939 classic “The Wizard of Oz,” won lead actor in a musical for “Foxy,” based on Ben Jonson’s “Volpone.” The musical was not a hit closed after 72 performances. Also nominated in the category was Bob Fosse for a short-lived revival of Rodgers and Hart’s “Pal Joey.
- 5/15/2024
- by Susan King
- Gold Derby
When Barbra Streisand’s “Yentl” opened on Nov. 18, 1983, directing was very much a man’s world. In the 1970s, there had been a few inroads for women. Italian director Lina Wertmuller was nominated for best director for 1976’s “Seven Beauties” Stateside, actress Barbara Loden, who was married to Oscar-winning director Elia Kazan, wrote, directed and starred in the acclaimed 1970 indie drama “Wanda,” which won best foreign film at the Venice Film Festival. She never followed up with another movie and died of breast cancer in 1980.
There was also Joan Micklin Silver (“Hester Street”), Claudia Weill (“Girlfriends”), Martha Coolidge (“Not a Pretty Picture”), Joan Tewkesbury (“Old Boyfriends”) and Joan Darling (“First Love”). But those filmmakers ran into brick walls when they tried to set up projects with the major studios. The late Silver told Vanity Fair in 2021 that a studio executive didn’t mince his word: “Feature films are expensive to make and expensive to market,...
There was also Joan Micklin Silver (“Hester Street”), Claudia Weill (“Girlfriends”), Martha Coolidge (“Not a Pretty Picture”), Joan Tewkesbury (“Old Boyfriends”) and Joan Darling (“First Love”). But those filmmakers ran into brick walls when they tried to set up projects with the major studios. The late Silver told Vanity Fair in 2021 that a studio executive didn’t mince his word: “Feature films are expensive to make and expensive to market,...
- 11/19/2023
- by Susan King
- Gold Derby
Wim Wenders and Thierry Frémaux signalled their support on Saturday for the Hollywood actors strike as the industrial action hits its 100th day.
“I understand the actors who all want to profit a little more… rather than there being just a dozen big names who have high salaries… while all the others earn nothing or very little,” Wenders told a press conference at the Lumière Film Festival.
The German director is guest of honor at the 15th edition of the festival, spearheaded by double-hatted Cannes Delegate General Frémaux in his role of director of the Institut Lumière in Lyon, preserving the legacy of cinema pioneers Auguste and Louis Lumière.
Frémaux seconded Wenders’s words.
“The universal dimension of this strike is perhaps a bit underestimated… France, which has a reputation for struggle and putting up a fight, can also look with admiration at what is happening in Hollywood for something that touches us all,...
“I understand the actors who all want to profit a little more… rather than there being just a dozen big names who have high salaries… while all the others earn nothing or very little,” Wenders told a press conference at the Lumière Film Festival.
The German director is guest of honor at the 15th edition of the festival, spearheaded by double-hatted Cannes Delegate General Frémaux in his role of director of the Institut Lumière in Lyon, preserving the legacy of cinema pioneers Auguste and Louis Lumière.
Frémaux seconded Wenders’s words.
“The universal dimension of this strike is perhaps a bit underestimated… France, which has a reputation for struggle and putting up a fight, can also look with admiration at what is happening in Hollywood for something that touches us all,...
- 10/21/2023
- by Melanie Goodfellow
- Deadline Film + TV
Mark Margolis, a veteran actor with hundreds of credits dating back to the 1970s but perhaps best known for his Emmy-nominated portrayal of cartel don Hector “Tio” Salamanca on TV’s Breaking Bad and Better Call Saul, died Thursday at Mount Sinai Hospital in New York City following a short illness. He was 83.
His death was announced by son Morgan Margolis, the CEO of Knitting Factory Entertainment. Morgan Margolis said he and Mark’s wife Jacqueline were at his bedside at the time of death.
“He was one of a kind,” said manager Robert Kolker of Red Letter Entertainment. “We won’t see his likes again. He was a treasured client and a lifelong friend. I was lucky to know him.”
Born on November 26, 1939 in Philadelphia, Margolis briefly attended Temple University before moving to New York City to study acting, first under Stella Adler at the Actors Studio and subsequently...
His death was announced by son Morgan Margolis, the CEO of Knitting Factory Entertainment. Morgan Margolis said he and Mark’s wife Jacqueline were at his bedside at the time of death.
“He was one of a kind,” said manager Robert Kolker of Red Letter Entertainment. “We won’t see his likes again. He was a treasured client and a lifelong friend. I was lucky to know him.”
Born on November 26, 1939 in Philadelphia, Margolis briefly attended Temple University before moving to New York City to study acting, first under Stella Adler at the Actors Studio and subsequently...
- 8/4/2023
- by Greg Evans
- Deadline Film + TV
“The nomination has been such a helpful step into breaking through,” reflects Andrea Riseborough on her Independent Spirit Awards citation for her performance in “To Leslie.” The actress stars in the title role of the film as a mother from Texas who had won 190,000 in the lottery, but lost it all and her relationships to alcoholism; the film chronicles her recovery and ultimate reunion with her son, played by Owen Teague. For a small feature that the actress notes was shot in only 19 days, the recognition is “vital.” Watch our exclusive video interview above.
Riseborough also serves as an executive producer on “To Leslie.” She felt passionately about working on the project both in front of and behind the camera because Ryan Binaco’s “script was beautiful and it wasn’t sensational in any way, and it certainly wasn’t saccharine.” The actress shares that the screenwriter penned the film for his mother,...
Riseborough also serves as an executive producer on “To Leslie.” She felt passionately about working on the project both in front of and behind the camera because Ryan Binaco’s “script was beautiful and it wasn’t sensational in any way, and it certainly wasn’t saccharine.” The actress shares that the screenwriter penned the film for his mother,...
- 1/11/2023
- by David Buchanan
- Gold Derby
Canadian author, director, festival programmer, and publisher Kier-La Janisse is a true renaissance woman when it comes to film, having sculpted a unique career focusing on cult, horror, and exploitation cinema. Through her small press, Spectacular Optical, she has published books on French fantastique director Jean Rollin, the satanic panic craze, Christmas horror, and bizarre children’s films, among other fantastically niche topics. In recent years her directorial debut, Woodlands Dark and Days Bewitched: A History of Folk Horror (2021), won Best Documentary at several festivals, inspired folk horror film screenings in theaters and on Shudder, and was released as part of a massive, fifteen-disc box set through Severin Films. And now, ten years after its initial publication, Fab Press is releasing a new edition of her essential tome, House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. Now including a preface and 100 new capsule reviews,...
- 12/14/2022
- MUBI
The first time Andrea Riseborough was on the podcast (episode 100), we got a chance to hear how this incredible actor approaches her craft. On this episode, we get to focus on her astounding work in the new movie To Leslie. She talks about the interesting ways shooting on film in the middle of the pandemic affected everything, why working on her character’s alcoholism would have been a disaster, finding a touchstone with director Michael Morris in Barbara Loden’s Wanda, taking the objective “to just exist” from Mike Leigh, seeing constrains as freedoms, the importance of keeping your integrity, and […]
The post “The Only Goal Is To Be Lost”: Andrea Riseborough on To Leslie (Back To One Episode 232) first appeared on Filmmaker Magazine.
The post “The Only Goal Is To Be Lost”: Andrea Riseborough on To Leslie (Back To One Episode 232) first appeared on Filmmaker Magazine.
- 12/13/2022
- by Peter Rinaldi
- Filmmaker Magazine-Director Interviews
The first time Andrea Riseborough was on the podcast (episode 100), we got a chance to hear how this incredible actor approaches her craft. On this episode, we get to focus on her astounding work in the new movie To Leslie. She talks about the interesting ways shooting on film in the middle of the pandemic affected everything, why working on her character’s alcoholism would have been a disaster, finding a touchstone with director Michael Morris in Barbara Loden’s Wanda, taking the objective “to just exist” from Mike Leigh, seeing constrains as freedoms, the importance of keeping your integrity, and […]
The post “The Only Goal Is To Be Lost”: Andrea Riseborough on To Leslie (Back To One Episode 232) first appeared on Filmmaker Magazine.
The post “The Only Goal Is To Be Lost”: Andrea Riseborough on To Leslie (Back To One Episode 232) first appeared on Filmmaker Magazine.
- 12/13/2022
- by Peter Rinaldi
- Filmmaker Magazine - Blog
It’s been less than 24 hours since the announcement of Sight and Sound’s greatest films of all-time polls. While we have a decade more of discourse, the first reactions were expectedly divisive when certain 21st-century films make the list and other venerated classics are dropped. As interesting as the top 100 is to discuss, we wanted to look a bit deeper to see how the reception of certain films shifted over the last decade, with a rundown of the films that were added and those removed.
As one can see below, about a quarter of the list switched up this time, with major showings for a number of women filmmakers—Agnès Varda, Chantal Akerman, Julie Dash, Jane Campion, Barbara Loden, Céline Sciamma, Maya Daren, and Věra Chytilová. Wong Kar-wai, Hayao Miyazaki, Charles Burnett, Spike Lee, Jordan Peele, Barry Jenkins, and Bong Joon-ho were also well-represented.
The films that were dropped...
As one can see below, about a quarter of the list switched up this time, with major showings for a number of women filmmakers—Agnès Varda, Chantal Akerman, Julie Dash, Jane Campion, Barbara Loden, Céline Sciamma, Maya Daren, and Věra Chytilová. Wong Kar-wai, Hayao Miyazaki, Charles Burnett, Spike Lee, Jordan Peele, Barry Jenkins, and Bong Joon-ho were also well-represented.
The films that were dropped...
- 12/2/2022
- by Jordan Raup
- The Film Stage
Another decade, another Sight & Sound poll. On Thursday, the British magazine unveiled the 2022 edition of its long-running critics’ poll on the greatest films of all time, with “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles” taking the top spot — the first film from a female director to achieve the honor since the poll began in 1952.
Directed by Belgian filmmaker Chantal Akerman and released in 1975, “Jeanne Dielman” is a three-hour, 20-minute film following the title character (Delphine Seyrig), a single mother and prostitute, as she carries out a monotonous daily routine that slowly breaks apart and collapses. Since its premiere, the film has been highly acclaimed as a landmark of feminist cinema. Previously, it ranked 36 on Sight & Sound’s 2012 edition of the poll, where it was one of only two films in the top 100 from a female filmmaker; the other, “Beau Travail” by Claire Denis, is now ranked at number seven.
In celebration...
Directed by Belgian filmmaker Chantal Akerman and released in 1975, “Jeanne Dielman” is a three-hour, 20-minute film following the title character (Delphine Seyrig), a single mother and prostitute, as she carries out a monotonous daily routine that slowly breaks apart and collapses. Since its premiere, the film has been highly acclaimed as a landmark of feminist cinema. Previously, it ranked 36 on Sight & Sound’s 2012 edition of the poll, where it was one of only two films in the top 100 from a female filmmaker; the other, “Beau Travail” by Claire Denis, is now ranked at number seven.
In celebration...
- 12/1/2022
- by Wilson Chapman and Christian Blauvelt
- Indiewire
Now that’s dedication in marriage: Paul Newman’s first directed feature film is a drama showcase for his spouse Joanne Woodward, one likely to garner critical attention. A small-town teacher deals with boredom, isolation, repression, and dwindling hope; the carefully measured conflicts allow good input from actors Kate Harrington, Estelle Parsons, and James Olson as the lover with the right approach at just the right time. It’s a picture of sensitive emotions: is Rachel Cameron really becoming a spinster? Does she have any choice in the matter? Middle age does tend to sneak up on a person . . .
Rachel, Rachel
Blu-ray
Warner Archive Collection
1968 / Color / 1:85 widescreen / 101 min. / Available at Wac-Amazon / Street Date September 6, 2022 / 21.99
Starring: Joanne Woodward, James Olson, Kate Harrington, Estelle Parsons, Donald Moffat, Frank Corsaro, Geraldine Fitzgerald, Bernard Barrow, Nell Potts.
Cinematography: Gayne Rescher
Art Director: Robert Gundlach
Film Editor: Dede Allen
Original Music: Jerome Moross...
Rachel, Rachel
Blu-ray
Warner Archive Collection
1968 / Color / 1:85 widescreen / 101 min. / Available at Wac-Amazon / Street Date September 6, 2022 / 21.99
Starring: Joanne Woodward, James Olson, Kate Harrington, Estelle Parsons, Donald Moffat, Frank Corsaro, Geraldine Fitzgerald, Bernard Barrow, Nell Potts.
Cinematography: Gayne Rescher
Art Director: Robert Gundlach
Film Editor: Dede Allen
Original Music: Jerome Moross...
- 8/30/2022
- by Glenn Erickson
- Trailers from Hell
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSEl Conde (Pablo Larraín).Natalie Portman will star opposite Julianne Moore in Todd Haynes's next film, May December, which begins filming later this year. In the film, an actress (Portman) meets with the woman she is due to portray (Moore) in a film that dramatizes her tabloid scandal.After Spencer, Pablo Larraín's next project with Netflix will be El Conde, a pitch-black comedy that will portray Chilean dictator Augusto Pinochet as a 250-year-old vampire.Pedro Almodóvar has announced a new 30-minute Western, Strange Way of Life, which he will shoot in August. The short stars Ethan Hawke and Pedro Pascal as two gunslingers, long separated, who must cross the Spanish desert to reunite. Almodóvar's next feature—an adaptation of Lucia Berlin's A Manual for Cleaning Women led by Cate Blanchett—begins filming early next year.
- 6/30/2022
- MUBI
America has officially celebrated Women’s History month since the 1980s when a feminist surge for equal job opportunities and education blossomed out of local celebrations and the International Women’s Day holiday, as well as Women’s History Week. And for the entire month of March, the streaming service HBO Max is celebrating Women’s History Month with programming devoted entirely to stories about women.
HBO Max is stacked with movies and shows that show complex female leads, and along with their spotlight page offerings, HBO is offering a first ever in-app trivia experience to celebrate the event. The HBO Max Women’s History Month Trivia tray allows fans to discover entertainment milestones that all involve women. To reveal the answer, viewers can simply click or tap the tile.
HBO Max has curated a list of films, TV shows and documentaries that reflect empowering and challenging female characters, overlooked and underrated performances,...
HBO Max is stacked with movies and shows that show complex female leads, and along with their spotlight page offerings, HBO is offering a first ever in-app trivia experience to celebrate the event. The HBO Max Women’s History Month Trivia tray allows fans to discover entertainment milestones that all involve women. To reveal the answer, viewers can simply click or tap the tile.
HBO Max has curated a list of films, TV shows and documentaries that reflect empowering and challenging female characters, overlooked and underrated performances,...
- 3/2/2022
- by Dessi Gomez
- The Wrap
Not only did Ryusuke Hamaguchi craft two of the greatest films of last year with Drive My Car and Wheel of Fortune and Fantasy, but the rising Japanese master has also been able to share his process on a wider scale thanks to such newfound acclaim. Following his two-hour chat with Bong Joon Ho, Hamaguchi and the legendary Isabelle Huppert gathered at the Tokyo International Film Festival for a 75-minute conversation, which is now available to watch in its entirety.
Huppert, who has seen and adored his last four features, touches on Hamaguchi’s mastery of exploring the space between “expression and silence.” The duo go on to discuss the language of cinema and finding truth in acting, references ranging from Paul Verhoeven, Maurice Pialat, Claude Chabrol, Jean-Luc Godard, Hong Sangsoo, Jean Renoir, Barbara Loden, and many more. When asked if Huppert may appear in any of Hamaguchi’s films,...
Huppert, who has seen and adored his last four features, touches on Hamaguchi’s mastery of exploring the space between “expression and silence.” The duo go on to discuss the language of cinema and finding truth in acting, references ranging from Paul Verhoeven, Maurice Pialat, Claude Chabrol, Jean-Luc Godard, Hong Sangsoo, Jean Renoir, Barbara Loden, and many more. When asked if Huppert may appear in any of Hamaguchi’s films,...
- 2/2/2022
- by Leonard Pearce
- The Film Stage
If you weren’t around at the time, it’s hard to communicate just what a splashy, dominating place the Italian filmmaker Lina Wertmüller occupied during the 1970s. Wertmüller, who died on Thursday at 93, was far from the first celebrated woman director — just think of Agnès Varda, Shirley Clarke, Elaine May, Lois Weber, Ida Lupino, Dorothy Arzner, or Barbara Loden. But apart from the infamous Leni Riefenstahl, it’s fair to say that Wertmüller was the first woman filmmaker to become a household name. She was the first to receive an Academy Award nomination for best director, the first to adorn the cover of major magazines, the first to rule and own the zeitgeist.
And rule it she did. “Swept Away,” Wertmüller’s controversial 1974 drama about a wealthy snob (Mariangela Melato) and one of her lowly yacht crew members (Giancarlo Giannini), who wind up swapping roles after the two are stranded on a desert island,...
And rule it she did. “Swept Away,” Wertmüller’s controversial 1974 drama about a wealthy snob (Mariangela Melato) and one of her lowly yacht crew members (Giancarlo Giannini), who wind up swapping roles after the two are stranded on a desert island,...
- 12/10/2021
- by Owen Gleiberman
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Dean Stockwell in David Lynch's Blue Velvet (1986)The actor Dean Stockwell, remembered for his performances in films like The Boy with the Green Hair (1948), Paris, Texas (1984), Blue Velvet (1986), and many more, has died at the age of 85. As Sheila O'Malley mentions in her tribute, Stockwell's career was marked by numerous disappearances. He didn't always love acting, but "he lived long enough to be able to not just appreciate but feel the love that people had for him, the way audiences fell in love with him for 70 years." A newly discovered memoir by Paul Newman will be published next year by Knopf. Based on Newman's conversations with screenwriter Stewart Stern, the book aims to tell the legendary actor's story in his own words. Following the exit of Robert Pattinson and Taron Egerton, Joe Alwyn...
- 11/10/2021
- MUBI
When we first meet Anne (Deragh Campbell), she’s in two places at once. Gently cupping a butterfly in her hands, she ushers it onto a young girl’s shoulder as other children look on, mesmerized by her ability to capture the elusive creature. Without warning, the camera cuts from a moment of calm to one of exhilaration — Anne is preparing to jump out of a moving plane for her best friend’s bachelorette party. The two scenes are interwoven to the point where we don’t know where one ends and one begins, like someone trying to piece together formless fragments of distant memories.
It’s a manic introduction to “Anne at 13,000 Ft.,” Canadian director Kazik Radwanski’s portrait of an unsteady woman struggling to navigate her everyday life, and it sets us up for 75 minutes of fits and starts as we are jerked from one episode to the next.
It’s a manic introduction to “Anne at 13,000 Ft.,” Canadian director Kazik Radwanski’s portrait of an unsteady woman struggling to navigate her everyday life, and it sets us up for 75 minutes of fits and starts as we are jerked from one episode to the next.
- 8/31/2021
- by Susannah Gruder
- Indiewire
This past week I happily immersed myself in the latest book by protean film critic/biographer/sometime novelist David Thomson, A Light in the Dark: A History of Movie Directors. Even as he approaches 80, the author of the invaluable Biographical Dictionary of Film editions is able to find fresh things to say about such cinematic imperishables as Hitchcock, Welles, Lang, Renoir, Bunuel, Hawks, Godard and Nicholas Ray.
Midway through the new tome, Thomson delivers his most unexpected and welcome piece, a savory appreciation of a director who, almost defiantly, is not an auteur and therefore remains somewhat taken for granted, far too much so, despite having made any number of notable films of considerable class and merit. That would be Stephen Frears, who himself will turn 80 in June.
Like such Hollywood non-auteurs as Michael Curtiz, Raoul Walsh, Don Siegel, Henry Hathaway, Richard Fleischer and any number of others, Frears is not a writer.
Midway through the new tome, Thomson delivers his most unexpected and welcome piece, a savory appreciation of a director who, almost defiantly, is not an auteur and therefore remains somewhat taken for granted, far too much so, despite having made any number of notable films of considerable class and merit. That would be Stephen Frears, who himself will turn 80 in June.
Like such Hollywood non-auteurs as Michael Curtiz, Raoul Walsh, Don Siegel, Henry Hathaway, Richard Fleischer and any number of others, Frears is not a writer.
- 4/21/2021
- by Todd McCarthy
- Deadline Film + TV
Last year, I had the opportunity to check out Gillian Wallace Horvat’s pitch-black meta horror comedy I Blame Society, and more than 12 months later, it has still stuck with me (I’ve even taken up calling people I don’t like “Stalin” now—thanks Gillian!). But not only is it entertaining, I Blame Society is an incredibly thought-provoking exploration of the trials and tribulations of indie filmmaking and one of the ballsiest movies to come along in some time. And now that the film is making its home media debut today, courtesy of Kino Lorber, I thought that this was the perfect time to catch up with Horvat to talk about her experiences working on her feature film debut.
During our interview with Horvat, she discussed blurring the lines between fiction and reality to play a version of herself in I Blame Society as well as why she felt...
During our interview with Horvat, she discussed blurring the lines between fiction and reality to play a version of herself in I Blame Society as well as why she felt...
- 4/13/2021
- by Heather Wixson
- DailyDead
You can only hide so many eviction notices underneath the porch flowerpot before a bank official finds and tapes them all onto the front door. This is where we meet Ruth (Jessica Barden) and Blaze Avery (Gus Halper). What choice do they have, though? With their mother (Pamela Adlon’s Rhonda) in jail because of a refusal to go to rehab for a pain pill addiction and family friend Linda (Becky Ann Baker) already over-extending herself to help, these two siblings are waking up at dawn to sell soda cans for pennies at the local scrap heap owned by Hark (Austin Amelio). Blaze works nonstop to keep them from going hungry and Ruth misses so many classes that her high school teachers have given up on even considering college.
It’s a sobering realization that writer/director Nicole Riegel knows too well. The former Marine draws upon her own experience...
It’s a sobering realization that writer/director Nicole Riegel knows too well. The former Marine draws upon her own experience...
- 9/13/2020
- by Jared Mobarak
- The Film Stage
There’s a distracting practice in American cinema of casting actors who are already well into their 20s to play teens, although “Holler” contains one of the few examples in recent memory where an age difference of nearly a decade, while noticeable, works to the film’s advantage. Ruth, the resourceful Ohio high school student at the heart of writer-director Nicole Riegel’s open-wound debut, has been forced to grow up too soon. Life isn’t fair, and it shows on the face of British actor Jessica Barden (“The Lobster”), whose remarkable performance illuminates this unvarnished dive into tough, small-town survival … and escape.
A resilient spark plug in a box of rusted parts, Ruth represents a huge swath of the American public rarely seen on-screen: young people without iPhones and Instagram accounts, just struggling to get by. Her mother (Pamela Adlon) got hooked on painkillers after injuring her hand and...
A resilient spark plug in a box of rusted parts, Ruth represents a huge swath of the American public rarely seen on-screen: young people without iPhones and Instagram accounts, just struggling to get by. Her mother (Pamela Adlon) got hooked on painkillers after injuring her hand and...
- 9/9/2020
- by Peter Debruge
- Variety Film + TV
Featured on the Black List in 2013 for her screenplay “Dogfight” and invited to participate in the Sundance Screenwriters Lab the following year to develop a script she wrote about American Pow Jessica Lynch, Riegel has been channeling her personal experience — former U.S. military and Midwest small-town escapee — to tell authentic stories missing from the U.S. film scene.
That’s especially true of her feature debut, the upcoming “Holler” (executive produced by Paul Feig), a genuine depiction of a resourceful working-class teen trapped in a Rust Belt town that positions the UCLA graduate as the Debra Granik of her generation.
“I didn’t really see my coming-of-age story onscreen, and I really wanted to put a film out into the world for girls from towns that you can’t escape, but you want to,” Riegel says. “It’s hard to leave those places because they’re home. They shaped you and they made you.
That’s especially true of her feature debut, the upcoming “Holler” (executive produced by Paul Feig), a genuine depiction of a resourceful working-class teen trapped in a Rust Belt town that positions the UCLA graduate as the Debra Granik of her generation.
“I didn’t really see my coming-of-age story onscreen, and I really wanted to put a film out into the world for girls from towns that you can’t escape, but you want to,” Riegel says. “It’s hard to leave those places because they’re home. They shaped you and they made you.
- 1/3/2020
- by BreAnna Bell
- Variety Film + TV
Outside of the likes of Charles Laughton and Barbara Loden, there are seldom other directors who have earned such a reputation after directing so few films as Elaine May. With four narrative films to her name–1971’s A New Leaf, 1972’s The Heartbreak Kid, 1976’s Mikey and Nicky, and 1987’s Ishtar–and the majority initially met with either studio pushback or neglect from audiences, it has, sadly, resulted in May not helming a film in over 30 years.
While she did direct the TV documentary Mike Nichols: American Masters a few years ago, May also wrote with her longtime collaborator Nichols on a few projects in the past few decades since Ishtar. One film was set to be directed by May’s partner Stanley Donen, who co-wrote the script with her, and produced by Nichols, but with both men now sadly having passed away, it never saw the light of day.
While she did direct the TV documentary Mike Nichols: American Masters a few years ago, May also wrote with her longtime collaborator Nichols on a few projects in the past few decades since Ishtar. One film was set to be directed by May’s partner Stanley Donen, who co-wrote the script with her, and produced by Nichols, but with both men now sadly having passed away, it never saw the light of day.
- 11/2/2019
- by Jordan Raup
- The Film Stage
In Pain and Glory, Pedro Almodóvar’s 21st feature and his eighth with Antonio Banderas, the star plays Salvador, an aging filmmaker struggling to continue working due to an oppressive cocktail of pain and his new habit for heroin. A repertory screening of his breakthrough film, Taste, gives way for Salvador to face various, unreconciled fragments of his past: his late mother’s chilly regard for him, his budding sexuality, and his first relationship, as well as a tumultuous friendship with an estranged collaborator.
Almodóvar’s cinema is an amass of messy folks in flux, like Women on the Verge of a Nervous Breakdown’s Pepa or Volver’s Raimunda, suddenly trying, the best way they know how, to pacify inharmonious, frayed strands of their lives. In an interview at the 72nd Cannes Film Festival, Banderas said this film, more than an addiction narrative, is about closing the circles and...
Almodóvar’s cinema is an amass of messy folks in flux, like Women on the Verge of a Nervous Breakdown’s Pepa or Volver’s Raimunda, suddenly trying, the best way they know how, to pacify inharmonious, frayed strands of their lives. In an interview at the 72nd Cannes Film Festival, Banderas said this film, more than an addiction narrative, is about closing the circles and...
- 10/15/2019
- by The Film Stage
- The Film Stage
Nearly a decade since Ava DuVernay launched Array, what was initially a small distribution company has grown to become a multimedia empire that now sits on a sprawling Los Angeles campus. The gated property in Historic Filipinotown contains, among several things, post-production facilities and a recently completed state-of-the-art, 50-seat theater that will screen Array titles, work by local artists, and an annual film series, which was announced today, curated and funded by DuVernay’s non-profit Array Alliance. Titled Array 360, the program will bring together award-winning filmmakers and emerging artists for six weekends of cinema, community, and conversation.
Array 360 will run from September 27 – November 2 at the all-new Amanda Theater, as the new screening space will be called. The inaugural slate features a celebration of women filmmakers including Agnès Varda, Euzhan Palcy, Barbara Loden, Suzana Amaral, Kathleen Collins, Shirin Neshat, Garrett Bradley, and Mati Diop, among others; a John Singleton retrospective; a...
Array 360 will run from September 27 – November 2 at the all-new Amanda Theater, as the new screening space will be called. The inaugural slate features a celebration of women filmmakers including Agnès Varda, Euzhan Palcy, Barbara Loden, Suzana Amaral, Kathleen Collins, Shirin Neshat, Garrett Bradley, and Mati Diop, among others; a John Singleton retrospective; a...
- 9/13/2019
- by Tambay Obenson
- Indiewire
Ava DuVernay continues to champion inclusivity and global film perspectives with Array 360 film series to mark the completion of the Array Creative Campus and the brand-spankin’ new, state-of-the-art Amanda Theater. The series will kick off September 27 and continue through November 2.
Located in the Historic Filipinotown in Los Angeles, the Amanda Theater will host the inaugural film series created and funded by DuVernay’s non-profit Array Alliance. For six weekends, Array 360 will feature award-winning filmmakers and emerging artists.
“As a model, Array does steep itself in inclusion models to correct long-held absences. We believe in balance from the beginning,” said DuVernay. “Our Array Creative Campus was built with this belonging in mind from the first day and Array 360 is a reflection of our mantra that everyone has a place in true cinema.”
“In addition to paying tribute to exquisite filmmakers, some of whose work has gone underappreciated, our Array 360 series strives...
Located in the Historic Filipinotown in Los Angeles, the Amanda Theater will host the inaugural film series created and funded by DuVernay’s non-profit Array Alliance. For six weekends, Array 360 will feature award-winning filmmakers and emerging artists.
“As a model, Array does steep itself in inclusion models to correct long-held absences. We believe in balance from the beginning,” said DuVernay. “Our Array Creative Campus was built with this belonging in mind from the first day and Array 360 is a reflection of our mantra that everyone has a place in true cinema.”
“In addition to paying tribute to exquisite filmmakers, some of whose work has gone underappreciated, our Array 360 series strives...
- 9/13/2019
- by Dino-Ray Ramos
- Deadline Film + TV
Ava DuVernay is starting an Array 360 Film Series, aimed at bringing together filmmakers and emerging artists for six weekends from Sept. 27 to Nov. 2 in Los Angeles.
The events will take place at the new Amanda Theater on the Array Creative Campus in Filipinotown. The series will include the work of filmmakers Agnès Varda, Euzhan Palcy, Barbara Loden, Suzana Amaral, Kathleen Collins, Shirin Neshat, Garrett Bradley and Mati Diop. Highlights include a weekend of screenings devoted to the work of John Singleton, a showcase of Filipinx cinema and a conversation between Michael Mann and DuVernay.
“As a model, Array does steep itself in inclusion models to correct long-held absences,” she said. “We believe in balance from the beginning. Our Array Creative Campus was built with this belonging in mind from the first day and Array 360 is a reflection of our mantra that everyone has a place in true cinema,” said DuVernay.
The events will take place at the new Amanda Theater on the Array Creative Campus in Filipinotown. The series will include the work of filmmakers Agnès Varda, Euzhan Palcy, Barbara Loden, Suzana Amaral, Kathleen Collins, Shirin Neshat, Garrett Bradley and Mati Diop. Highlights include a weekend of screenings devoted to the work of John Singleton, a showcase of Filipinx cinema and a conversation between Michael Mann and DuVernay.
“As a model, Array does steep itself in inclusion models to correct long-held absences,” she said. “We believe in balance from the beginning. Our Array Creative Campus was built with this belonging in mind from the first day and Array 360 is a reflection of our mantra that everyone has a place in true cinema,” said DuVernay.
- 9/13/2019
- by Dave McNary
- Variety Film + TV
Ava DuVernay is launching a curated film series in Los Angeles showcasing emerging artists, female filmmakers and directors from underrepresented backgrounds, DuVernay’s non-profit organization Array Alliance announced Friday.
Array 360 will be six weeks of cinema, community and conversation hosted in La’s historic Filipinotown starting on Sept. 27 and running through Nov. 2. The screening space for the films, including work by Agnès Varda, Euzhan Palcy, Barbara Loden, Suzana Amaral, Kathleen Collins, Shirin Neshat, Garrett Bradley and Mati Diop, among others, will be hosted on the Array Creative Campus at the Amanda Theater.
As part of the series, DuVernay is also hosting a weekend marathon of the films of the late John Singleton, who passed away earlier this year. Array 360 will also feature a showcase of Filipinx cinema from the neighborhood and a conversation between DuVernay and director Michael Mann. His appearance will also include a centerpiece screening of his 2004 film...
Array 360 will be six weeks of cinema, community and conversation hosted in La’s historic Filipinotown starting on Sept. 27 and running through Nov. 2. The screening space for the films, including work by Agnès Varda, Euzhan Palcy, Barbara Loden, Suzana Amaral, Kathleen Collins, Shirin Neshat, Garrett Bradley and Mati Diop, among others, will be hosted on the Array Creative Campus at the Amanda Theater.
As part of the series, DuVernay is also hosting a weekend marathon of the films of the late John Singleton, who passed away earlier this year. Array 360 will also feature a showcase of Filipinx cinema from the neighborhood and a conversation between DuVernay and director Michael Mann. His appearance will also include a centerpiece screening of his 2004 film...
- 9/13/2019
- by Brian Welk
- The Wrap
Ava DuVernay's film collective Array Alliance has announced a six weekend-long film series, Array 360, which will take place at the newly opened Amanda Theater on Array's Historic Filipinotown campus.
Array 360 programming will feature work from filmmakers including Agnès Varda, Euzhan Palcy, Barbara Loden and Mati Diop, among others, as well as marathon screenings devoted to the complete work of late director John Singleton.
The series will also include a showcase of Filipinx cinema from the neighborhood in which the theater is located and a conversation between Michael Mann and DuVernay before a screening of Collateral.
Also ...
Array 360 programming will feature work from filmmakers including Agnès Varda, Euzhan Palcy, Barbara Loden and Mati Diop, among others, as well as marathon screenings devoted to the complete work of late director John Singleton.
The series will also include a showcase of Filipinx cinema from the neighborhood in which the theater is located and a conversation between Michael Mann and DuVernay before a screening of Collateral.
Also ...
- 9/13/2019
- The Hollywood Reporter - Movie News
Ava DuVernay's film collective Array Alliance has announced a six weekend-long film series, Array 360, which will take place at the newly opened Amanda Theater on Array's Historic Filipinotown campus.
Array 360 programming will feature work from filmmakers including Agnès Varda, Euzhan Palcy, Barbara Loden and Mati Diop, among others, as well as marathon screenings devoted to the complete work of late director John Singleton.
The series will also include a showcase of Filipinx cinema from the neighborhood in which the theater is located and a conversation between Michael Mann and DuVernay before a screening of Collateral.
Also ...
Array 360 programming will feature work from filmmakers including Agnès Varda, Euzhan Palcy, Barbara Loden and Mati Diop, among others, as well as marathon screenings devoted to the complete work of late director John Singleton.
The series will also include a showcase of Filipinx cinema from the neighborhood in which the theater is located and a conversation between Michael Mann and DuVernay before a screening of Collateral.
Also ...
- 9/13/2019
- The Hollywood Reporter - Film + TV
With his epic fourteen-hour documentary “Women Make Film: A New Road Movie Through Cinema,” writer/director Mark Cousins doesn’t skimp in his continuing pursuit to celebrate female filmmakers. Set to finally screen at its full-length (in five parts) next month at the Toronto International Film Festival, the movie is narrated by an eclectic list of voices.
UK actresses Adjoa Andoh and Thandie Newton, New Zealander Kerry Fox, India icon Sharmila Tagore, and Hollywood star Debra Winger all join previously announced narrators Jane Fonda and Tilda Swinton, who is an executive producer. Swinton narrates the first four hours of the film, which debuted at Venice 2018.
“We have 11 decades of women making films,” Swinton told IndieWire. “Another slight tweak of the goalpost is talking about women filmmakers. Women have made films since Mary Pickford onwards in incredible numbers. We know who made Hitchcock’s films with him (Alma Reville), but we don’t focus on it.
UK actresses Adjoa Andoh and Thandie Newton, New Zealander Kerry Fox, India icon Sharmila Tagore, and Hollywood star Debra Winger all join previously announced narrators Jane Fonda and Tilda Swinton, who is an executive producer. Swinton narrates the first four hours of the film, which debuted at Venice 2018.
“We have 11 decades of women making films,” Swinton told IndieWire. “Another slight tweak of the goalpost is talking about women filmmakers. Women have made films since Mary Pickford onwards in incredible numbers. We know who made Hitchcock’s films with him (Alma Reville), but we don’t focus on it.
- 8/14/2019
- by Anne Thompson
- Thompson on Hollywood
With his epic fourteen-hour documentary “Women Make Film: A New Road Movie Through Cinema,” writer/director Mark Cousins doesn’t skimp in his continuing pursuit to celebrate female filmmakers. Set to finally screen at its full-length (in five parts) next month at the Toronto International Film Festival, the movie is narrated by an eclectic list of voices.
UK actresses Adjoa Andoh and Thandie Newton, New Zealander Kerry Fox, India icon Sharmila Tagore, and Hollywood star Debra Winger all join previously announced narrators Jane Fonda and Tilda Swinton, who is an executive producer. Swinton narrates the first four hours of the film, which debuted at Venice 2018.
“We have 11 decades of women making films,” Swinton told IndieWire. “Another slight tweak of the goalpost is talking about women filmmakers. Women have made films since Mary Pickford onwards in incredible numbers. We know who made Hitchcock’s films with him (Alma Reville), but we don’t focus on it.
UK actresses Adjoa Andoh and Thandie Newton, New Zealander Kerry Fox, India icon Sharmila Tagore, and Hollywood star Debra Winger all join previously announced narrators Jane Fonda and Tilda Swinton, who is an executive producer. Swinton narrates the first four hours of the film, which debuted at Venice 2018.
“We have 11 decades of women making films,” Swinton told IndieWire. “Another slight tweak of the goalpost is talking about women filmmakers. Women have made films since Mary Pickford onwards in incredible numbers. We know who made Hitchcock’s films with him (Alma Reville), but we don’t focus on it.
- 8/14/2019
- by Anne Thompson
- Indiewire
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSRip TornThe great American actor and comedian Rip Torn has died. The New York Times gathers his eclectic accomplishments as a performer with his many personal and artistic eccentricities in their obit. The first poster for Hirokazu Kore-eda's The Truth, starring Catherine Deneuve as a pioneering French actress, set to publish her confessional memoir, and Juliette Binoche as her screenwriter daughter. Recommended VIEWINGAn ominous teaser for Akira director Katsuhiro Otomo's forthcoming third feature, Orbital Era. The film follows a group of young boys surviving in a space colony as it undergoes construction. The Royal Ocean Film Society analyzes the design philosophy of filmmaker and graphic designer Saul Bass in this guided visual tour of his landmark film posters.The divisive, baroque Italian auteur Paolo Sorrentino is back with a crime epic concerning the inner...
- 7/10/2019
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSWanuri Kahiu on the set of RafikiRafiki director Wanuri Kahiu has announced her latest project, an adaptation of Octavia Butler's 1980 Wild Seed, produced by Viola Davis and written by novelist Nnedi Okorafor. Butler's novel follows two immortal African beings whose tumultuous rivalry takes them across pre-colonial West Africa to a plantation in the American South. Recommended VIEWINGFrom March 20–April 2, Vdrome is screening Adam Khalil and Zack Khalil's documentary Inaate/Se/ [it shines a certain way. to a certain place/it flies. falls./]. The film "imagines new indigenous futures, looking simultaneously backward and forward." The new trailer for Hong Sang-soo's Grass is at once simple and cryptic, conveying one of many mysteries encountered by a young writer observing intimate interactions in a bustling cafe. The dreamy, video game-inspired images of Caroline Poggi and Jonathan Vinel's Jessica Forever come to life in a new trailer.
- 3/27/2019
- MUBI
A director and a film unfortunately stymied shortly after its premiere, Barbara Loden’s Wanda (1970) remains a singularly unwavering portrait of neo-realistic gender identity which is finally brought to a platform whereby it can reclaim renown. Premiering out of the 1970 Venice Film Festival, Loden picked up the International Critics Award. One wonders what might have been possible had the film not premiered during the festival’s transitional period from 1969-1979, when there was no official ‘competition’ but only various sidebars sans a jury. Heretofore remembered as the estranged wife of director Elia Kazan, who cast Loden in 1960’s Wild River and the wild child sister to Warren Beatty in Splendor in the Grass (1961), the Tony winning actress would become the first woman to write, direct and star in her own production in 1970.…...
- 3/26/2019
- by Nicholas Bell
- IONCINEMA.com
In just two weeks, a cinematic haven will launch. After the demise of FilmStruck left cinephiles in a dark depression, The Criterion Channel has stepped up to the plate to launch their own separate service coming to the U.S. and Canada on Apple TV, Amazon Fire, Roku, iOS, and Android and Android TV devices. Now, after giving us a taste of what is to come with their Movies of the Week, they’ve unveiled the staggeringly great lineup for their first month.
Along with the Criterion Collection and Janus Films’ library of 1,000 feature films, 350 shorts, and 3,500 supplementary features–including trailers, introductions, behind-the-scenes documentaries, interviews, video essays, commentary tracks, and rare archival footage–the service will also house films from Sony Pictures, Warner Bros., Paramount Pictures, Metro Goldwyn Mayer (MGM), Lionsgate, IFC Films, Kino Lorber, Cohen Media, Milestone Film and Video, Oscilloscope, Cinema Guild, Strand Releasing, Shout Factory, Film Movement,...
Along with the Criterion Collection and Janus Films’ library of 1,000 feature films, 350 shorts, and 3,500 supplementary features–including trailers, introductions, behind-the-scenes documentaries, interviews, video essays, commentary tracks, and rare archival footage–the service will also house films from Sony Pictures, Warner Bros., Paramount Pictures, Metro Goldwyn Mayer (MGM), Lionsgate, IFC Films, Kino Lorber, Cohen Media, Milestone Film and Video, Oscilloscope, Cinema Guild, Strand Releasing, Shout Factory, Film Movement,...
- 3/25/2019
- by Jordan Raup
- The Film Stage
The Criterion Channel, the streaming service that is bringing classic films back online after the widely lamented shutdown last fall of WarnerMedia’s FilmStruck, has set the lineup for its launch on April 8. (See it below.)
The channel features the same Criterion Collection and Janus Films titles that were on FilmStruck, which went dark last fall, prompting a backlash among a long list of A-list directors, not to mention thousands of fans of the service. FilmStruck had been an effort to take the DNA of Turner Classic Movies into the streaming realm, with hundreds of Criterion titles at its core. Original programming from FilmStruck will also be back on the new channel, including Adventures in Moviegoing, Meet the Filmmakers, Observations on Film Art and 10 seasons of John Pierson’s Split Screen.
Subscriptions are $10.99 per month or $99.99 a year. A promotional offer lowers the lifetime price for those who sign up...
The channel features the same Criterion Collection and Janus Films titles that were on FilmStruck, which went dark last fall, prompting a backlash among a long list of A-list directors, not to mention thousands of fans of the service. FilmStruck had been an effort to take the DNA of Turner Classic Movies into the streaming realm, with hundreds of Criterion titles at its core. Original programming from FilmStruck will also be back on the new channel, including Adventures in Moviegoing, Meet the Filmmakers, Observations on Film Art and 10 seasons of John Pierson’s Split Screen.
Subscriptions are $10.99 per month or $99.99 a year. A promotional offer lowers the lifetime price for those who sign up...
- 3/22/2019
- by Dade Hayes
- Deadline Film + TV
The work of a great, original, natural filmmaker, Wanda continues to confound viewers that don’t recognize honest human reality when they see it. A woman dispossessed, uprooted and adrift no longer has a self-definition, just a basic drive to subsist and find someone who values her. Morals? It’s hard enough just to survive. Director-actress Barbara Loden isn’t Wanda, yet she is — her film erases the distinctions between movies, theater and reality, something John Cassavetes never quite accomplished.
Wanda
Blu-ray
The Criterion Collection 965
1970 / Color / 1:37 flat Academy / 103 min. / available through The Criterion Collection / Street Date March 19, 2019 / 39.95
Starring: Barbara Loden, Michael Higgins, Jerome Thier, Jack Ford.
Cinematography, Editing: Nicholas T. Proferes
Produced by Harry Shuster
Directed by Barbara Loden
Consciously or unconsciously, most American movies pre: 1970 promote the status quo success story. People living below middle-class status were often patronized; in many socially-conscious movies they were either problem cases or overly sentimentalized,...
Wanda
Blu-ray
The Criterion Collection 965
1970 / Color / 1:37 flat Academy / 103 min. / available through The Criterion Collection / Street Date March 19, 2019 / 39.95
Starring: Barbara Loden, Michael Higgins, Jerome Thier, Jack Ford.
Cinematography, Editing: Nicholas T. Proferes
Produced by Harry Shuster
Directed by Barbara Loden
Consciously or unconsciously, most American movies pre: 1970 promote the status quo success story. People living below middle-class status were often patronized; in many socially-conscious movies they were either problem cases or overly sentimentalized,...
- 3/16/2019
- by Glenn Erickson
- Trailers from Hell
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Jupiter’s Moon (Kornél Mundruczó)
The juxtaposition of supernatural thriller tropes and urgent socio-political issues in Kornél Mundruczó’s latest movie — an original take on the superhero origin story set to the backdrop of the refugee crisis — might prove a delicate one for some viewers to take. Those unperturbed, however, should find much to relish in Jupiter’s Moon, a film that somewhat lightly plays with themes of religion and immigration as it rumbles, crashes, and ultimately soars through the streets of the Hungarian capital. It’s a tricky balance and Mundruczó (who had a break-out with his canine revolt film White God in 2014) strikes it with style and confidence.
Jupiter’s Moon (Kornél Mundruczó)
The juxtaposition of supernatural thriller tropes and urgent socio-political issues in Kornél Mundruczó’s latest movie — an original take on the superhero origin story set to the backdrop of the refugee crisis — might prove a delicate one for some viewers to take. Those unperturbed, however, should find much to relish in Jupiter’s Moon, a film that somewhat lightly plays with themes of religion and immigration as it rumbles, crashes, and ultimately soars through the streets of the Hungarian capital. It’s a tricky balance and Mundruczó (who had a break-out with his canine revolt film White God in 2014) strikes it with style and confidence.
- 3/8/2019
- by Jordan Raup
- The Film Stage
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’re highlighting the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
Annihilation (Alex Garland)
Without all its wild ideas and analogies, this would still be a ripping adventure yarn. Lucky for the cerebral audience members, writer/director Alex Garland is able to weave ideas regarding self-destruction, personal evolution, and the mutable quality of self. Natalie Portman anchors it all through her expressive performance as a woman who is threatened more by her own mind than a world filled with vicious mutations. – Brian R.
Where to Stream: Amazon Prime, Hulu
Beautiful Boy (Felix Van Groeningen)
There’s an interesting framing device within Felix Van Groeningen’s Beautiful Boy that strangely only frames the first half of the film. It...
Annihilation (Alex Garland)
Without all its wild ideas and analogies, this would still be a ripping adventure yarn. Lucky for the cerebral audience members, writer/director Alex Garland is able to weave ideas regarding self-destruction, personal evolution, and the mutable quality of self. Natalie Portman anchors it all through her expressive performance as a woman who is threatened more by her own mind than a world filled with vicious mutations. – Brian R.
Where to Stream: Amazon Prime, Hulu
Beautiful Boy (Felix Van Groeningen)
There’s an interesting framing device within Felix Van Groeningen’s Beautiful Boy that strangely only frames the first half of the film. It...
- 1/11/2019
- by Jordan Raup
- The Film Stage
Yes, you’ve probably emptied your bank accounts buying people presents this holiday season, but you have plenty of time to save up for March 2019, when the Criterion Collection releases six new films that film fans are surely going to need to pick up. Of the six films debuting in the Collection in March 2019, some of the highlights include the incredible ‘70s film from filmmaker Barbara Loden, titled “Wanda,” Edgar G.
Continue reading ‘Wanda,’ ‘Detour,’ Carlos Reygadas’ ‘Japón,’ & More All Part Of Criterion’s March 2019 Releases at The Playlist.
Continue reading ‘Wanda,’ ‘Detour,’ Carlos Reygadas’ ‘Japón,’ & More All Part Of Criterion’s March 2019 Releases at The Playlist.
- 12/19/2018
- by Charles Barfield
- The Playlist
Sondra Locke, the Oscar-nominated actress for the 1968 film “The Heart is a Lonely Hunter” who was reported dead on Thursday at age 74, is being remembered by Hollywood as someone who stood up for female rights in the industry against powerful men.
In 1996, Locke settled a legal suit with her ex-husband and frequent co-star Clint Eastwood after she contended that the actor and director sabotaged her career and duped her by dangling the promise of a directing deal at Warner Bros. At the time, the Los Angeles Times quoted her as saying that her suit was never about the money.
“It was about my fighting for my professional rights,” Locke said at the time. “People cannot get away with whatever they want to, just because they’re powerful.”
Also Read: Sondra Locke, Oscar-Nominated Actress and Longtime Clint Eastwood Partner, Dies at 74
A comment by her lawyer Peggy Garrity similarly should stir...
In 1996, Locke settled a legal suit with her ex-husband and frequent co-star Clint Eastwood after she contended that the actor and director sabotaged her career and duped her by dangling the promise of a directing deal at Warner Bros. At the time, the Los Angeles Times quoted her as saying that her suit was never about the money.
“It was about my fighting for my professional rights,” Locke said at the time. “People cannot get away with whatever they want to, just because they’re powerful.”
Also Read: Sondra Locke, Oscar-Nominated Actress and Longtime Clint Eastwood Partner, Dies at 74
A comment by her lawyer Peggy Garrity similarly should stir...
- 12/14/2018
- by Brian Welk
- The Wrap
The holidays are upon us, so whether you looking for film-related gift ideas or simply want to pick up some of the finest the year had to offer in the category for yourself, we have a gift guide for you. Including must-have subscriptions, the best from The Criterion Collection and more home video picks, apparel, music, book picks, and more, dive in below.
Dietrich & von Sternberg in Hollywood
With her commanding screen presence, Marlene Dietrich was an early cinema force to be reckoned with. Taking far more control over her image that her colleagues, the German actress found a fruitful relationship with Josef von Sternberg in Hollywood. The handful of Paramount films they made together were feats of immaculate production design and powerful onscreen charisma, courtesy of Dietrich. The Criterion Collection’s beautiful box set is a gem, complete not only with sparkling restorations and special features, but a selection...
Dietrich & von Sternberg in Hollywood
With her commanding screen presence, Marlene Dietrich was an early cinema force to be reckoned with. Taking far more control over her image that her colleagues, the German actress found a fruitful relationship with Josef von Sternberg in Hollywood. The handful of Paramount films they made together were feats of immaculate production design and powerful onscreen charisma, courtesy of Dietrich. The Criterion Collection’s beautiful box set is a gem, complete not only with sparkling restorations and special features, but a selection...
- 11/19/2018
- by Jordan Raup
- The Film Stage
There’s scope but not a whole lot of depth to “American Woman,” which attempts to make a sweeping and universal statement about one small life in the larger scheme of things. But Sienna Miller’s titular figure is at once too abrasive and too glam to be especially relatable as the Everywoman intended. Jake Scott’s third directorial feature in two decades doesn’t evince a firm enough grasp on the rhythms of lower-middle-class life in Rust Belt Pennsylvania to compensate for the over-dependence on crisis melodrama in Brad Inglesby’s script.
While offering some nice grace notes, the film feels too soap-operatic to meet the high bar of its more literary-minded pretensions. Unlikely to get the kind of critical support that would justify art-house exposure, it seems destined for quality cable sales.
We first meet Deb Callahan (Miller) past 30, and already waist-deep in the consequences of various bad...
While offering some nice grace notes, the film feels too soap-operatic to meet the high bar of its more literary-minded pretensions. Unlikely to get the kind of critical support that would justify art-house exposure, it seems destined for quality cable sales.
We first meet Deb Callahan (Miller) past 30, and already waist-deep in the consequences of various bad...
- 9/15/2018
- by Dennis Harvey
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.News We are devastated to learn that the late Theodoros Angelopoulos' home, which housed the director's archives, has burnt down amidst the Attica wildfires in Greece. It is currently unclear what has been lost in the fire. This is the house that housed the whole archives of late director Theo Angelopoulos. Everything has been burnt. A massive loss to not only modern Greek culture but world culture. pic.twitter.com/DM60QxWP6a— Konn1e (@ntina79) July 25, 2018Recommended Viewing The ever-elegant "Mandopop diva" Faye Wong reprises her cover of The Cranberries' "Dreams"—best known for its appearance in Wong Kar-Wai's Chungking Express—in the first episode of Phantacity, a Chinese variety show that creates "music video-worthy performances." The full episode can be viewed here. Lucrecia Martel has directed a music video for Argentine...
- 8/1/2018
- MUBI
While not quite the forgotten masterpiece that some may claim, Barbara Loden’s groundbreaking 1970 independent film “Wanda,” which has just received a brand new re-master and is being released in New York, is nonetheless a stunning debut in the key of early Cassavetes that showed writer/director/actor Loden as an independently minded filmmaker willing to take narrative risks but, still, wasn’t given the chance to fully develop her cinematic voice as she died in only 10 years later in 1980 after battling cancer.
Continue reading Barbara Loden’s Groundbreaking Film ‘Wanda’ Shines in Stunning New Restoration [Review] at The Playlist.
Continue reading Barbara Loden’s Groundbreaking Film ‘Wanda’ Shines in Stunning New Restoration [Review] at The Playlist.
- 7/27/2018
- by Christian Gallichio
- The Playlist
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.News Luca Guadagnino's Suspiria.The lineup for this year's Venice Film Festival has been announced. In-competition titles include Carlos Reygadas' open-relationship romance Where Life is Born (the auteur's first feature in 5 years), Shinya Tsukamoto's much-anticipated samurai film Killing, and Jennifer Kent's The Nightingale, a Gothic revenge story set in Tasmania. The Venice Documentaries section joins an eclectic range of heavy-hitters, from Gastón Solnicki (Kékszakállú) and once-retiree Tsai Ming-liang, to Errol Morris and Frederick Wiseman, whose Ex-Libris: The New York Public Library screened in competition at the festival last year.Meanwhile, the 2018 Toronto International Film Festival has followed suit, releasing the names of the films set to premiere at its Special Presentations and Galas. Notably, this edition reunites the festival with Barry Jenkins, whose James Baldwin adaptation If Beale Street Could Talk will have its world premiere.
- 7/25/2018
- MUBI
2018 brings a strange summer full of unexpected surprises, revealing an evolving specialized world that shows resilience beyond the mixed results earlier this year. The box office surge continues with documentaries and narratives with wide appeal not so much to the usual older crowd but more diverse, younger audiences.
Sundance breakout “Blindspotting” (Lionsgate) lead the way this weekend, coming quickly after another Sundance hit from Oakland, “Sorry to Bother You” (Annapurna). And multiple new documentaries, led by fashion biodioc “McQueen” (Bleecker Street), showed strong early interest.
Meantime, “Eighth Grade” (A24) enjoyed an excellent second weekend expansion, while widening “Three Identical Strangers” (Neon) is following the season’s other documentary smashes to higher than expected levels.
Opening
Blindspotting (Lionsgate) – Metacritic: 73; Festivals include: Sundance, South by Southwest 2018
$332,500 in 14 theaters; PTA (per theater average): $23,750
With “Sorry to Bother You” already a success, another filmmaker out of the Oakland film community that produced Ryan Coogler...
Sundance breakout “Blindspotting” (Lionsgate) lead the way this weekend, coming quickly after another Sundance hit from Oakland, “Sorry to Bother You” (Annapurna). And multiple new documentaries, led by fashion biodioc “McQueen” (Bleecker Street), showed strong early interest.
Meantime, “Eighth Grade” (A24) enjoyed an excellent second weekend expansion, while widening “Three Identical Strangers” (Neon) is following the season’s other documentary smashes to higher than expected levels.
Opening
Blindspotting (Lionsgate) – Metacritic: 73; Festivals include: Sundance, South by Southwest 2018
$332,500 in 14 theaters; PTA (per theater average): $23,750
With “Sorry to Bother You” already a success, another filmmaker out of the Oakland film community that produced Ryan Coogler...
- 7/22/2018
- by Tom Brueggemann
- Indiewire
Illustration by Yelena Bryksenkova.After I saw Wanda for the first time, at a public screening a few years ago, I caught another viewer’s impromptu critique. A young man remarked, “She seemed like a dumb blonde,” shrugging away the last 103 minutes. How many others, I wondered, had sorely missed the point and tossed away Barbara Loden’s exquisite film? And how many other films that choose to orbit unlikely and atypical heroines have been casually misinterpreted? Turns out my fellow moviegoer was not alone in his ambivalence; while Wanda debuted, and won the award for Best Foreign Film at the Venice International Film Festival in 1970, it was met with little acclaim when it arrived stateside the following year. Not until recently did it garner significant attention, gaining speed on the repertory circuit and having been rightfully inducted into the National Film Registry in 2017. Restored by the UCLA archives, with...
- 7/19/2018
- MUBI
Illustration by Sergio MembrillasLegendary film critic Molly Haskell once wrote after seeing Francis Ford Coppola’s The Godfather that the final image of the film where Michael Corleone (Al Pacino) has the door closed on his wife, Kay (Diane Keaton), to conduct a business meeting has “reverberated through our culture” ever since. In terms of movies Haskell is specifically referring to the image’s metaphorical power of representing the course Hollywood would take in ignoring women for what is now, nearly fifty years. The image of Michael shutting the door essentially forces Kay into the fringes of his life and therefore the narrative of the movie, and I agree with Haskell that it has proven to be one of the more useful images in all of Hollywood, and filmmaking in general, ever since. What is ironic about the appearance of this culturally significant image in the early 70s is that...
- 7/17/2018
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.