At Cph:Forum, Eurimages Award goes to Maria Back’s Psychosis in Stockholm; 31 projects pitched.
Cph:dox expanded its industry offerings this year by adding a Work-in-Progress session on the eve of its Cph:forum for six Nordic documentaries currently in production or post-production.
Short presentations including footage was shown for projects including:
The Acali Experiment (Swe/Den/Ger/Us), dir Marcus Lindeen, prod Erik Gandini
The story will examine what happened when Mexican anthropologist Santiago Genovés tried a unique experiment in 1973, putting 10 people on a raft for a 101-day voyage to study human behaviour. Lindeen brought the participants together for the first time in 43 years to talk about Genoves’ manipulative behaviour. “I wanted make a reunion and let them talk about their memories of what happened on the raft,” he said. “We let the subjects make a study of the scientist.” The team aims to deliver the film in the autumn.
Contact: gandini@fasad.se
[link...
Cph:dox expanded its industry offerings this year by adding a Work-in-Progress session on the eve of its Cph:forum for six Nordic documentaries currently in production or post-production.
Short presentations including footage was shown for projects including:
The Acali Experiment (Swe/Den/Ger/Us), dir Marcus Lindeen, prod Erik Gandini
The story will examine what happened when Mexican anthropologist Santiago Genovés tried a unique experiment in 1973, putting 10 people on a raft for a 101-day voyage to study human behaviour. Lindeen brought the participants together for the first time in 43 years to talk about Genoves’ manipulative behaviour. “I wanted make a reunion and let them talk about their memories of what happened on the raft,” he said. “We let the subjects make a study of the scientist.” The team aims to deliver the film in the autumn.
Contact: gandini@fasad.se
[link...
- 3/24/2017
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
In today's roundup of news and views: Martin Scorsese, Laurie Anderson, Nastassja Kinski, cinematographer Ed Lachman and novelist Siri Hustvedt on Wim Wenders, Gertjan Willems on Jean-Marie Straub's Kommunisten, Ilsa Leaver-Yap on Stan Brakhage, Damon Smith on Stanley Kubrick’s 2001: A Space Odyssey, J. Hoberman on David Cronenberg's Maps to the Stars and Ari Forman's The Congress, Frank Rich on Bob Hope, a new restoration of The Breakfast Club, awards for Xavier Dolan and Bille August; Antoine Fuqua (Training Day) will likely reunite with Denzel Washington and Ethan Hawke; and it looks like Steven Spielberg will soon be directing Jennifer Lawrence. » - David Hudson...
- 3/3/2015
- Fandor: Keyframe
In today's roundup of news and views: Martin Scorsese, Laurie Anderson, Nastassja Kinski, cinematographer Ed Lachman and novelist Siri Hustvedt on Wim Wenders, Gertjan Willems on Jean-Marie Straub's Kommunisten, Ilsa Leaver-Yap on Stan Brakhage, Damon Smith on Stanley Kubrick’s 2001: A Space Odyssey, J. Hoberman on David Cronenberg's Maps to the Stars and Ari Forman's The Congress, Frank Rich on Bob Hope, a new restoration of The Breakfast Club, awards for Xavier Dolan and Bille August; Antoine Fuqua (Training Day) will likely reunite with Denzel Washington and Ethan Hawke; and it looks like Steven Spielberg will soon be directing Jennifer Lawrence. » - David Hudson...
- 3/3/2015
- Keyframe
The Terracotta Far East Film Festival is on in London through the weekend, presenting, as Electric Sheep notes in the introduction to its newish issue, "the UK premiere of Sion Sono's Himizu [review: John Bleasdale], using a comic to tackle the fallout from Fukushima." Es takes "a look at manga adaptations with Takashi Miike's stylized, violent high school movie Crows Zero [comic strip review: Joe Morgan] and Toshiya Fujita's 70s revenge tale Lady Snowblood: Blizzard from the Netherworld [review: Virginie Sélavy]."
Hiroyuki Okiura's A Letter to Momo, seven years in the making, opens in Japan next week after a run through the festival circuit and, in the Japan Times, Mark Schilling gives it four out of five stars: "Hayao Miyazaki is the obvious point of comparison, but unlike many of Miyazaki's more fanciful landscapes, Okiura's port is vividly, recognizably real — so much so that you can almost smell the salt in the water and feel the warmth of the stones.
Hiroyuki Okiura's A Letter to Momo, seven years in the making, opens in Japan next week after a run through the festival circuit and, in the Japan Times, Mark Schilling gives it four out of five stars: "Hayao Miyazaki is the obvious point of comparison, but unlike many of Miyazaki's more fanciful landscapes, Okiura's port is vividly, recognizably real — so much so that you can almost smell the salt in the water and feel the warmth of the stones.
- 4/13/2012
- MUBI
A red letter day. There's a new Senses of Cinema out and it opens with the first part of Daniel Fairfax's interview with Jean-Louis Comolli, who edited Cahiers du cinéma from 1965 to 1973. Senses editor Rolando Caputo: "At the time, Cahiers was undergoing its so-called 'Marxist-Leninist' phase, with a heavy overlay of Lacanian psychoanalytic theory." And Slavoj Žižek would have been in his late teens, early 20s. At any rate: "Put simply, at stake was the demystification of the 'cinematic apparatus' to demonstrate how ideology was both embedded within the technology of cinema and an effect of its representational modes."
Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,...
Fairfax: "Having steadily made films over the last 40 years — including the magisterial series on the French electoral machine, Marseille contre Marseille (1996) — Comolli has also pursued a prolonged theoretical pre-occupation with the cinema, which, in various ways, is profoundly defined by his earlier participation in Cahiers. Refreshingly, he has never sought to repudiate his radical past,...
- 3/20/2012
- MUBI
"When something is said to be dead or dying, we are bound to hear more about it than ever," writes Nico Baumbach in a piece for Film Comment, "All That Heaven Allows: What Is, Or Was, Cinephilia? (Part One)." Part Two will appear on Wednesday. "Two relatively distinct trajectories have emerged: one that takes 20th-century cinephilia to be a historical phenomenon, a 'specific kind of love' that emerged in postwar France and spread throughout Europe and the Americas in the Fifties and Sixties; and a second that asserts the ongoing validity of cinephilia and seeks to demonstrate the health of cinephile culture in the 21st century. The occasion for these reflections, Project: New Cinephilia — a website hosted by Mubi, curated by Damon Smith and Kate Taylor, and conceived in conjunction with a day-long symposium at the 2011 Edinburgh International Film Festival — falls into the second category."
New York. Star Quality...
New York. Star Quality...
- 3/12/2012
- MUBI
Let's join Der Tagesspiegel's Claudia Lenssen in wishing Margarethe von Trotta all the best on her 70th. Lenssen reminds us that when von Trotta hoped to see her first feature, The Second Awakening of Christina Klages (1978), in cinemas, the "fine machos" at the Filmverlag der Autoren in Munich judged it worthy of television, but no more. For the movers and shakers of the New German Cinema, the story of a bank employee and a bank robber who fall for each other was all together too much a woman's picture. Lena (Katharina Thalbach) finds out that the stolen money's supposed to save a kindergarten from being shut down? Not sexy enough.
Lenssen: "Margarethe von Trotta's films are inspired by real events and circumstances. Die bleierne Zeit (Marianne and Juliane, 1981) tells the story of Raf terrorist Gudrun Ensslin and her sister, Christiane, Rosa Luxemburg (1986), the story of the revolutionary who was...
Lenssen: "Margarethe von Trotta's films are inspired by real events and circumstances. Die bleierne Zeit (Marianne and Juliane, 1981) tells the story of Raf terrorist Gudrun Ensslin and her sister, Christiane, Rosa Luxemburg (1986), the story of the revolutionary who was...
- 2/21/2012
- MUBI
One of the best films of 2011, currently playing in New York and Los Angeles, begins rolling out across the Us over next two months. Check the site for cities and dates.
"A Separation literally makes the viewer judge its protagonists," notes Vadim Rizov at GreenCine Daily: "in the opening scene, wife Simin (Leila Hatami) pleads for a divorce from husband Nader (Peyman Maadi). The Pov is the judge's, who skeptically asks why an Iranian woman would possibly want her daughter to grow up anywhere else. The offscreen interrogator/filmmaker is a familiar figure in Iranian cinema, with Abbas Kiarostami and Jafar Panahi often breaking the fourth walls in their films, often directly appearing (and/or heard off-camera) asking their characters questions. Kiarostami's seemingly given up on making films in Iran at all, while Panahi's imprisoned; for many, Iranian cinema's currently more associated right now with its absentees than actual films.
"A Separation literally makes the viewer judge its protagonists," notes Vadim Rizov at GreenCine Daily: "in the opening scene, wife Simin (Leila Hatami) pleads for a divorce from husband Nader (Peyman Maadi). The Pov is the judge's, who skeptically asks why an Iranian woman would possibly want her daughter to grow up anywhere else. The offscreen interrogator/filmmaker is a familiar figure in Iranian cinema, with Abbas Kiarostami and Jafar Panahi often breaking the fourth walls in their films, often directly appearing (and/or heard off-camera) asking their characters questions. Kiarostami's seemingly given up on making films in Iran at all, while Panahi's imprisoned; for many, Iranian cinema's currently more associated right now with its absentees than actual films.
- 1/2/2012
- MUBI
"Of all the cinematic surprises of 2011 — the ascendency of Elizabeth Olsen, the excellence of Rise of the Planet of the Apes, Woody Allen's return as hit-maker — the renaissance of silent cinema was probably the hardest to see coming down the pike," writes Tom Shone in Slate. "After it received a 15-minute standing ovation, Michel Hazanavicius's homage to the days of swashbuckling matinee idols, iris shots, and Busby Berkeley dance numbers, The Artist, was marked up by Oscarologists as the outside favorite to win best picture." And of course, this same holiday weekend has seen the opening of Martin Scorsese's Hugo, "whose poster echoes Harold Lloyd's clock shenanigans in Safety Last (1923) and whose final 25 minutes turn into a loving revivification of the earliest days of cinema, from George Méliès's A Trip to the Moon to the Lumière brothers' Arrival of a Train at La Ciotat… Nobody could accuse modern blockbusters of silence,...
- 11/25/2011
- MUBI
"In five features over two decades Christopher Munch has cultivated a singular career on the margins of the independent film world," begins Dennis Lim in the New York Times. "Although his debut, The Hours and Times (1991), was grouped with the emerging New Queer Cinema, Mr Munch, 49, has never fit in with a movement, and it's hard to think of another working American filmmaker with a similar sensibility or array of interests."
Writing in Filmmaker, Howard Feinstein suggests that Munch "explores that chaotic region where two forms of desire butt up against each other: the wish for a more perfect world, for one, usually depicted as majestic nature and whatever beauty man might have put into it (the old, deserted railroad in Color of a Brisk and Leaping Day [1996]) — an American version of classic German Romanticism, or blood and soil when taken to a nationalist extreme; and two, the physical attraction...
Writing in Filmmaker, Howard Feinstein suggests that Munch "explores that chaotic region where two forms of desire butt up against each other: the wish for a more perfect world, for one, usually depicted as majestic nature and whatever beauty man might have put into it (the old, deserted railroad in Color of a Brisk and Leaping Day [1996]) — an American version of classic German Romanticism, or blood and soil when taken to a nationalist extreme; and two, the physical attraction...
- 11/11/2011
- MUBI
Following rounds 1 and 2, this one will take us right on through the countdown to Halloween and will surely be the most actively updated of the bunch. Best to begin, then, by grounding it in a classic, so we turn to David Kalat: "Frankenstein isn't a science fiction story about an arrogant scientist who intrudes on God's domain, it's a metaphor about our relationship to God." That's his argument, and I'll let him explain, but I want to pull back to a couple of earlier sentences in his piece. Mary Shelley's novel, "and the 1910 film version, treated the 'science' of Frankenstein as just so much folderol, a MacGuffin to introduce the artificial man into the story. Whale was so good at providing a reasonably convincing visualization of reviving the dead — no, more than that, a stunningly satisfying visualization of reviving the dead — it focused popular attention on that part of...
- 10/27/2011
- MUBI
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