Ingmar Bergman would’ve celebrated his 101st birthday on July 14, 2019. The Oscar-winning Swedish auteur helped bring international cinema into the American art houses with his stark, brooding dramas. But how many of his titles remain classics? In honor of his birthday, let’s take a look back at 25 of his greatest films, ranked worst to best.
Born in 1918 in Uppsala, Sweden, Bergman started off as a screenwriter before moving into directing. His early hits “Summer with Monika” (1953), “Sawdust and Tinsel” (1953) and “Smiles of a Summer Night” (1955) helped make him a favorite amongst American audiences hungry for world cinema.
SEEOscar Best Director Gallery: Every Winner In Academy Award History
He hit his stride in 1957 with a pair of noteworthy titles: “Wild Strawberries” and “The Seventh Seal.” Both films dealt with the absence of God and the inevitability of mortality — the former concerning an aging professor (Victor Sjostrom) coming to terms with his life,...
Born in 1918 in Uppsala, Sweden, Bergman started off as a screenwriter before moving into directing. His early hits “Summer with Monika” (1953), “Sawdust and Tinsel” (1953) and “Smiles of a Summer Night” (1955) helped make him a favorite amongst American audiences hungry for world cinema.
SEEOscar Best Director Gallery: Every Winner In Academy Award History
He hit his stride in 1957 with a pair of noteworthy titles: “Wild Strawberries” and “The Seventh Seal.” Both films dealt with the absence of God and the inevitability of mortality — the former concerning an aging professor (Victor Sjostrom) coming to terms with his life,...
- 7/14/2019
- by Zach Laws and Chris Beachum
- Gold Derby
Death, dying, and the grieving process can be a personal and unique experience. For each individual who must endure watching someone leave, mourn the death of someone important in their lives, and ultimately grieve the fact that life will proceed without that person in their lives, the process can be a mixture of emotions both good and bad. But it is a process that is wholly unique for the individual.
In some cultures, this process has a defined set of steps that must be followed. For Native American tribes, the grieving practice is often incorporated into the processing of the burial arrangements, with each tribal community having a different set of operations that are incorporated into the traditional practices. Some of these specific practices are vastly different, oftentimes misunderstood or challenged by non-tribal people, from the “normal” process demonstrated throughout traditional America. But when you break it down, all the...
In some cultures, this process has a defined set of steps that must be followed. For Native American tribes, the grieving practice is often incorporated into the processing of the burial arrangements, with each tribal community having a different set of operations that are incorporated into the traditional practices. Some of these specific practices are vastly different, oftentimes misunderstood or challenged by non-tribal people, from the “normal” process demonstrated throughout traditional America. But when you break it down, all the...
- 7/3/2019
- by Monte Yazzie
- DailyDead
What’s so riveting about Netflix’s “Russian Doll” is the voice at its center. Brainy narcissist trash-talking hard-living game coder Nadia Vulvokov (Natasha Lyonne) seems to be completely out of control throughout the dizzying rush of eight half-hour episodes, which were tailor-made to binge. The series flies at you with such a saturated flurry of images, sex and death shocks and Altman-speed profane dialogue that it feels exploded out of a cannon. Which belies its precise craftsmanship.
The ever-expanding universe of television programming has created huge demand for shows that pop and grab, that aren’t the same as everything else. You haven’t seen “Russian Doll” before, its brazen female anti-hero, its bravura style. “Nadia was this character I’d created long before ‘Russian Doll,'” said Lyonne, who’s been seeped in show business for 35 years with one dramatic break for rehab. “She’s my alter ego Nadia,...
The ever-expanding universe of television programming has created huge demand for shows that pop and grab, that aren’t the same as everything else. You haven’t seen “Russian Doll” before, its brazen female anti-hero, its bravura style. “Nadia was this character I’d created long before ‘Russian Doll,'” said Lyonne, who’s been seeped in show business for 35 years with one dramatic break for rehab. “She’s my alter ego Nadia,...
- 5/16/2019
- by Anne Thompson
- Thompson on Hollywood
What’s so riveting about Netflix’s “Russian Doll” is the voice at its center. Brainy narcissist trash-talking hard-living game coder Nadia Vulvokov (Natasha Lyonne) seems to be completely out of control throughout the dizzying rush of eight half-hour episodes, which were tailor-made to binge. The series flies at you with such a saturated flurry of images, sex and death shocks and Altman-speed profane dialogue that it feels exploded out of a cannon. Which belies its precise craftsmanship.
The ever-expanding universe of television programming has created huge demand for shows that pop and grab, that aren’t the same as everything else. You haven’t seen “Russian Doll” before, its brazen female anti-hero, its bravura style. “Nadia was this character I’d created long before ‘Russian Doll,'” said Lyonne, who’s been seeped in show business for 35 years with one dramatic break for rehab. “She’s my alter ego Nadia,...
The ever-expanding universe of television programming has created huge demand for shows that pop and grab, that aren’t the same as everything else. You haven’t seen “Russian Doll” before, its brazen female anti-hero, its bravura style. “Nadia was this character I’d created long before ‘Russian Doll,'” said Lyonne, who’s been seeped in show business for 35 years with one dramatic break for rehab. “She’s my alter ego Nadia,...
- 5/16/2019
- by Anne Thompson
- Indiewire
Seen from the vantage of 2019, the extraordinary actresses who came to prominence in the films of Ingmar Bergman — Harriet Andersson, Liv Ullmann, Ingrid Thulin, and the sunny and anguished, incandescent and heartbreaking Bibi Andersson, who died Sunday — enjoyed a relationship with their director that was rooted in a 20th-century male-gaze ethos. Bergman was famously obsessed with these women: with their faces, their personae, the dramatic possibilities they opened up to him. He carried on off-screen romantic relationships with most of them (including Bibi Andersson), and in his movies he placed them on a grand pedestal of extravagant expression. The pedestal was framed not with a medium or long shot but with a starkly penetrating close-up. You could say that Bergman used the camera to probe their very being.
Yet it may be the essence of the partnership between Bergman, the mythical art-house giant, and the actresses he turned into psychodramatic...
Yet it may be the essence of the partnership between Bergman, the mythical art-house giant, and the actresses he turned into psychodramatic...
- 4/15/2019
- by Owen Gleiberman
- Variety Film + TV
Swedish actress Bibi Andersson, known for her roles in “The Seventh Seal” and “Persona,” died on Sunday, according to Stockholm newspaper Aftonbladet. She was 83.
“She has been sick for many years, but it is sad. I found out that Bibi passed away lunchtime today,” director and friend Christina Olofsson told Aftonbladet.
According to Aftonbladet, Andersson had a stroke in 2009 while living in France with her husband Gabriel Mora Baeza. She returned to Sweden a few days later for hospital care. Shortly thereafter, she moved to a nursing home in Stockholm.
Andersson, who starred in several of writer and director Ingmar Bergman’s classic films, became well-known in the 1950’s, appearing in “The Seventh Seal” and “Wild Strawberries,” among countless other films.
She would go on to work constantly throughout the ’60s, ’70s and subsequent decades and as recently...
“She has been sick for many years, but it is sad. I found out that Bibi passed away lunchtime today,” director and friend Christina Olofsson told Aftonbladet.
According to Aftonbladet, Andersson had a stroke in 2009 while living in France with her husband Gabriel Mora Baeza. She returned to Sweden a few days later for hospital care. Shortly thereafter, she moved to a nursing home in Stockholm.
Andersson, who starred in several of writer and director Ingmar Bergman’s classic films, became well-known in the 1950’s, appearing in “The Seventh Seal” and “Wild Strawberries,” among countless other films.
She would go on to work constantly throughout the ’60s, ’70s and subsequent decades and as recently...
- 4/14/2019
- by Trey Williams
- The Wrap
Panama City — Argentine actor Ricardo Darin, currently attending the 8th Iff Panama for the fest’s opening film, “An Unexpected Love,” is prepping a new film, “Heroic Losers,” (La Odisea de los Giles) about an agricultural cooperative in Argentina in 2001, to be directed by Sebastián Borensztein, with whom Darin previously worked on “Koblic” (2016) and “Chinese Take-Out” (2011).
“Love” was the first production from Darin’s new production shingle, Kenya Films, founded in 2018 with his son, Chino Darin.
“Heroic Losers” is their second production. The film is about a group of people from a chic neighborhood of Buenos Aires, who have an idea to create an agricultural cooperative, in 2001, at a very difficult moment in Argentine history, with rampant inflation and banking controls.
Darin plays a retired ex-football player who lives in a small town near Buenos Aires, Villa Alsina, who has the original idea to create the cooperative. Darin explained at...
“Love” was the first production from Darin’s new production shingle, Kenya Films, founded in 2018 with his son, Chino Darin.
“Heroic Losers” is their second production. The film is about a group of people from a chic neighborhood of Buenos Aires, who have an idea to create an agricultural cooperative, in 2001, at a very difficult moment in Argentine history, with rampant inflation and banking controls.
Darin plays a retired ex-football player who lives in a small town near Buenos Aires, Villa Alsina, who has the original idea to create the cooperative. Darin explained at...
- 4/7/2019
- by Martin Dale
- Variety Film + TV
Ingmar Bergman’s The Serpent’S Egg will be available on Blu-ray December 4th from Arrow Academy
How Do You Measure Your Own Sanity In A World Gone Mad?
In 1977, legendary Swedish filmmaker Ingmar Bergman teamed up with the equally legendary Italian producer Dino De Laurentiis for what would be the director s one and only Hollywood feature.
Berlin, 1923. Out-of-work circus performer Abel Rosenberg is living in poverty. When his brother commits suicide, he moves into the apartment of his cabaret singer sister-in-law, but the pair soon attract the attentions of both the police and a professor with a terrifying area of research when they start to make enquiries about his mysterious death.
One of Bergman s darkest and most unlikely films, The Serpent s Egg is a hypnotic, Kafkaesque tale of paranoia in a poisoned city.
High Definition Blu-ray (1080p) presentation Original English mono audio (uncompressed Lpcm) Optional English...
How Do You Measure Your Own Sanity In A World Gone Mad?
In 1977, legendary Swedish filmmaker Ingmar Bergman teamed up with the equally legendary Italian producer Dino De Laurentiis for what would be the director s one and only Hollywood feature.
Berlin, 1923. Out-of-work circus performer Abel Rosenberg is living in poverty. When his brother commits suicide, he moves into the apartment of his cabaret singer sister-in-law, but the pair soon attract the attentions of both the police and a professor with a terrifying area of research when they start to make enquiries about his mysterious death.
One of Bergman s darkest and most unlikely films, The Serpent s Egg is a hypnotic, Kafkaesque tale of paranoia in a poisoned city.
High Definition Blu-ray (1080p) presentation Original English mono audio (uncompressed Lpcm) Optional English...
- 11/24/2018
- by Tom Stockman
- WeAreMovieGeeks.com
August Strindberg once said, “Could there be anything more terrifying than a husband and wife who hate each other?” The question is raised by a character in Ingmar Bergman’s Scenes From a Marriage (1973), a five-hour, six-part miniseries made for Swedish television that was subsequently shortened to a mere three hours for an international theatrical release. Though far more limited in scope and production value, not to mention a pronounced shift away from the existential questioning that drove so much of Bergman’s filmmaking career up to this point, Scenes is nonetheless a fine joiner into the filmmaker’s canon; crucial, in fact. Which is what makes the following admission all the more pained. ... Despite a professed adoration of the cinema of Ingmar Bergman for well over...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 11/12/2018
- Screen Anarchy
In the category of culture-driven documentaries that focus on film history, a particularly enjoyable subset of that subset is the kind made by noteworthy artists themselves. There’s Martin Scorsese waxing luxuriously on Italian cinema (“My Voyage to Italy”), Noah Baumbach and Jake Paltrow fanboy-interviewing Brian DePalma for “DePalma,” and now, German filmmaker Margarethe von Trotta (“Hannah Arendt”) taking us on a personal tour of her lifelong admiration for Sweden’s hallowed grandmaster in the playfully inquisitive “Searching for Ingmar Bergman.”
Von Trotta’s connection to Bergman started when she was a young, New Wave-enamored film lover who responded deeply to his 1957 chess-with-Death masterpiece “The Seventh Seal”; she even opens her valentine of a documentary visiting its famed rocky beach setting, narrating the impact of its establishing shots.
When she blossomed as an artist herself as part of West Germany’s own exciting crush of post-war filmmaking talent alongside...
Von Trotta’s connection to Bergman started when she was a young, New Wave-enamored film lover who responded deeply to his 1957 chess-with-Death masterpiece “The Seventh Seal”; she even opens her valentine of a documentary visiting its famed rocky beach setting, narrating the impact of its establishing shots.
When she blossomed as an artist herself as part of West Germany’s own exciting crush of post-war filmmaking talent alongside...
- 11/9/2018
- by Robert Abele
- The Wrap
It was more or less inevitable that the centenary of Ingmar Bergman would be commemorated with a reverent film portrait of the legendary Swedish director’s life and work. But here’s how we’ve been lucky: The year has given us not one but two world-class, eye-and-mind-opening Bergman documentaries. The most haunting of the two, “Bergman — A Year in a Life” (which I reviewed at Cannes), has yet to be released in the U.S. But anyone with a passion for Bergman should make a point of seeking out Margarethe von Trotta’s “Searching for Ingmar Bergman,” which opens this week. It’s an investigation in the form of a highly personalized meditation.
It’s also a documentary that bubbles over with anecdote and insight (did you know that “Scenes from a Marriage” was an influence on “Dallas”?). Von Trotta, a directorial legend in her own right, opens “Searching...
It’s also a documentary that bubbles over with anecdote and insight (did you know that “Scenes from a Marriage” was an influence on “Dallas”?). Von Trotta, a directorial legend in her own right, opens “Searching...
- 10/30/2018
- by Owen Gleiberman
- Variety Film + TV
The marital discord in this show is a different animal than those Italian romps with Loren and Mastroianni — Ingmar Bergman’s miniseries examination of a breakup between two upstanding, thoughtful parents is a demanding, grueling exercise in self-evaluation. Try as one might, we can’t help but compare the fireworks between Liv Ullmann and Erland Josephson with one’s personal experiences.
Scenes from a Marriage
Blu-ray
The Criterion Collection 229
1973 / Color / 1:33 flat Television / 297, 169 min. / Scener ur ett üktenskap / available through The Criterion Collection / Street Date September 4, 2018 / 49.95
Starring: Liv Ullmann, Erland Josephson, Gunnel Lindblom, Bibi Andersson, Wenche Foss, an Malmsjö, Bertil Norström, Anita Wall.
Cinematography: Sven Nykvist
Film Editor: Siv Lundgren
Production Design: Björn Thulin
Produced by Lars-Owe Carlberg
Written and Directed by Ingmar Bergman
We long ago found out that fifty million Frenchmen could be wrong when the experts claimed that the whole country loved Jerry Lewis movies. Some of...
Scenes from a Marriage
Blu-ray
The Criterion Collection 229
1973 / Color / 1:33 flat Television / 297, 169 min. / Scener ur ett üktenskap / available through The Criterion Collection / Street Date September 4, 2018 / 49.95
Starring: Liv Ullmann, Erland Josephson, Gunnel Lindblom, Bibi Andersson, Wenche Foss, an Malmsjö, Bertil Norström, Anita Wall.
Cinematography: Sven Nykvist
Film Editor: Siv Lundgren
Production Design: Björn Thulin
Produced by Lars-Owe Carlberg
Written and Directed by Ingmar Bergman
We long ago found out that fifty million Frenchmen could be wrong when the experts claimed that the whole country loved Jerry Lewis movies. Some of...
- 10/6/2018
- by Glenn Erickson
- Trailers from Hell
“Earthly And Imperfect Love”
By Raymond Benson
Ingmar Bergman’s celebrated six-part mini-series, Scenes from a Marriage, premiered on Swedish television in 1973. For markets outside of his native country, Bergman cut the 297-minute TV version down to 169-minutes (not quite three hours) for a theatrical release in 1974—which is the version I first saw.
Having recently discovered Bergman in the early 1970s while attending college, I welcomed Scenes with enthusiasm and awe, as did most critics. The film received numerous accolades, although the Academy of Motion Picture Arts and Sciences deemed the picture ineligible for Oscars since it had previously been a television mini-series. The acclaim for the film, director/writer Bergman, and the movie’s two brilliant actors, Liv Ullmann and Erland Josephson, was through the roof.
In a nutshell, it’s the intimate, often painful, sometimes joyful story of the twenty-year relationship of a married-then-divorced couple. The tale...
By Raymond Benson
Ingmar Bergman’s celebrated six-part mini-series, Scenes from a Marriage, premiered on Swedish television in 1973. For markets outside of his native country, Bergman cut the 297-minute TV version down to 169-minutes (not quite three hours) for a theatrical release in 1974—which is the version I first saw.
Having recently discovered Bergman in the early 1970s while attending college, I welcomed Scenes with enthusiasm and awe, as did most critics. The film received numerous accolades, although the Academy of Motion Picture Arts and Sciences deemed the picture ineligible for Oscars since it had previously been a television mini-series. The acclaim for the film, director/writer Bergman, and the movie’s two brilliant actors, Liv Ullmann and Erland Josephson, was through the roof.
In a nutshell, it’s the intimate, often painful, sometimes joyful story of the twenty-year relationship of a married-then-divorced couple. The tale...
- 9/30/2018
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
When Ingmar Bergman wrote the script for his six-part, five-hour miniseries Scenes From a Marriage in 1973, his wife told him that it was far too personal to connect with a wide audience. She was right about its specificity, but wrong about its appeal — when the show premiered on Scandinavian television it was a smash hit, leaving the streets deserted every night that it was on. Bergman re-edited the material into a feature film of around half the length for theatrical distribution in the United States, where it became a hit on the art house circuit on the heels […]...
- 9/14/2018
- by Jim Hemphill
- Filmmaker Magazine - Blog
When Ingmar Bergman wrote the script for his six-part, five-hour miniseries Scenes From a Marriage in 1973, his wife told him that it was far too personal to connect with a wide audience. She was right about its specificity, but wrong about its appeal — when the show premiered on Scandinavian television it was a smash hit, leaving the streets deserted every night that it was on. Bergman re-edited the material into a feature film of around half the length for theatrical distribution in the United States, where it became a hit on the art house circuit on the heels […]...
- 9/14/2018
- by Jim Hemphill
- Filmmaker Magazine-Director Interviews
Tomorrow is the centenary of the birth of one of cinema’s greatest directors, Ingmar Bergman, and to celebrate, The Criterion Collection has announced of their most expansive releases ever. This November, they will release Ingmar Bergman’s Cinema, a 39-film box set comprising nearly all of his work, including 18 films never before released by Criterion. Curated akin to a film festival, the set features Opening, Centerpiece, and Closing Films, with many double features in between. The set also features 11 introductions and over five hours of interviews with the director himself, six making-of documentaries, a 248-page book, and much more.
As we await for its November 20 release, check out an overview from Criterion below, as well as the box art, the trailer, and the full list of films, in curated order. One can also see much more about each release and the special features on the official site.
With the...
As we await for its November 20 release, check out an overview from Criterion below, as well as the box art, the trailer, and the full list of films, in curated order. One can also see much more about each release and the special features on the official site.
With the...
- 7/13/2018
- by Jordan Raup
- The Film Stage
July 14 marks the 100th birthday of writer-director Ingmar Bergman, whom Variety declared on Nov. 24, 1954, to be “Sweden’s top director.” Within three years, Bergman went beyond that: He was recognized as one of the top filmmakers in the entire world, thanks to the 1957 duo of “The Seventh Seal” and “Wild Strawberries.” A year later, Carl Dymling, president of Sweden’s leading production unit Svensk Filmindustri, told Variety that “Seventh Seal” marked a new era in moviemaking: “Bergman uses the film much as an author does his book. As a rule, one can’t afford to be too explicit about one’s own feelings in making a picture. But Bergman does it.” The director made global stars of Liv Ullmann and Max von Sydow and inspired young filmmakers around the world for decades with his tales of existential crisis, the tenderness and brutality between individuals, and the pleasures and insanity of sex.
- 6/22/2018
- by Tim Gray
- Variety Film + TV
Michelle Williams has always gone her own way. The Montana-born actress was legally emancipated from her parents at age 15 so that she could better pursue her acting career and pursue it she did. By age 18, she was starring in the popular TV drama “Dawson’s Creek,” in which she played Meg, a loose big-city teen who relocates to small-town life. In her time away from the TV series, she acted in many small independent films, none of which connected until 2003, when one finally did — Tom McCarthy‘s “The Station Agent,” in which she played a small-town librarian who becomes close to a socially-withdrawn dwarf (Peter Dinklage). That performance earned Williams her first SAG Awards nomination for Best Ensemble.
SEEWho is most overdue for an Oscar in 2019: Annette Bening, Michelle Williams, Christopher Nolan … ? [Poll]
From there Williams’ film career took off with powerful performances in such films as “Brokeback Mountain” (2005), “Blue Valentine...
SEEWho is most overdue for an Oscar in 2019: Annette Bening, Michelle Williams, Christopher Nolan … ? [Poll]
From there Williams’ film career took off with powerful performances in such films as “Brokeback Mountain” (2005), “Blue Valentine...
- 4/20/2018
- by Tom O'Brien and Chris Beachum
- Gold Derby
An upscale apartment in one of Moscow’s uglier neighborhoods is on the market: Zhenya (Maryana Spivak) and Boris (Alexei Rozin) are at the final stage of divorce and have already arranged new lives with new partners. They can’t wait to be done with each other, and neither needs the property; same goes for the only, unwanted child of their failed union, Alyosha, about twelve years old. After eavesdropping on another hateful, screaming fight, in which the word orphanage is brought up, the boy disappears, likely run away, possibly kidnapped. There are many directions a story can take from a premise like this. A Hollywood drama would see the bitter spouses bonding, perhaps achieving a reunion, or it would turn into a thriller (which is, actually, one of the unfulfilled promises of Loveless). In a European art film, which of course is Andrei Zvyagintsev’s main frame of reference,...
- 2/15/2018
- MUBI
Author: Euan Franklin
Anyone experienced with Bergman’s better-known films associate him with death, mortality, and the irrelevance of religion. In his most recognised film The Seventh Seal, Death is personified by Bengt Ekerot in a pitch-black cloak – but we can almost see Bergman’s face under that hood, casting a gloomy presence within his sumptuous oeuvre.
But in the ‘70s, these existential themes loosened in his work and he became more optimistic (to the criticism of some). In 1971, the year Ekerot died, Bergman’s 31st film The Touch opened to bad box-office takings and a poor response from critics – Roger Ebert claimed it was “a movie that no one liked that much”. I’m going to be controversial and say that, despite its issues, I like The Touch.
In a small medieval town in Sweden, a place where everyone knows everyone, happily-married Karin (Bibi Andersson) visits her mother in...
Anyone experienced with Bergman’s better-known films associate him with death, mortality, and the irrelevance of religion. In his most recognised film The Seventh Seal, Death is personified by Bengt Ekerot in a pitch-black cloak – but we can almost see Bergman’s face under that hood, casting a gloomy presence within his sumptuous oeuvre.
But in the ‘70s, these existential themes loosened in his work and he became more optimistic (to the criticism of some). In 1971, the year Ekerot died, Bergman’s 31st film The Touch opened to bad box-office takings and a poor response from critics – Roger Ebert claimed it was “a movie that no one liked that much”. I’m going to be controversial and say that, despite its issues, I like The Touch.
In a small medieval town in Sweden, a place where everyone knows everyone, happily-married Karin (Bibi Andersson) visits her mother in...
- 1/16/2018
- by Euan Franklin
- HeyUGuys.co.uk
On July 14, 1918 in Uppsala, Sweden, Ingmar Bergman was born, and a quarter-century later, he began to bring his cinematic voice to the world. A century after his brith, with an astounding body of work like few other directors and an influence that reverberates through the past many decades of filmmaking, his filmography is being celebrated like never before.
Starting this February at NYC’s Film Forum and then expanding throughout the nation “the largest jubilee of a single filmmaker” will be underway in a massive, 47-film retrospective. Featuring 35 new restorations, including The Seventh Seal, Wild Strawberries, Scenes from a Marriage, Fanny and Alexander, and many, many more, Janus Films has now debuted a beautiful trailer alongside the full line-up of films.
The Ingmar Bergman retrospective begins on February 7 at NYC’s Film Forum and then will expand to the following cities this spring:
Seattle Art Museum, Seattle Wa
Detroit Film Theatre,...
Starting this February at NYC’s Film Forum and then expanding throughout the nation “the largest jubilee of a single filmmaker” will be underway in a massive, 47-film retrospective. Featuring 35 new restorations, including The Seventh Seal, Wild Strawberries, Scenes from a Marriage, Fanny and Alexander, and many, many more, Janus Films has now debuted a beautiful trailer alongside the full line-up of films.
The Ingmar Bergman retrospective begins on February 7 at NYC’s Film Forum and then will expand to the following cities this spring:
Seattle Art Museum, Seattle Wa
Detroit Film Theatre,...
- 1/8/2018
- by Jordan Raup
- The Film Stage
Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This August will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Tuesday, August 1
Tuesday’s Short + Feature: These Boots and Mystery Train
Music is at the heart of this program, which pairs a zany music video by Finnish master Aki Kaurismäki with a tune-filled career highlight from American independent-film pioneer Jim Jarmusch. In the 1993 These Boots, Kaurismäki’s band of pompadoured “Finnish Elvis” rockers, the Leningrad Cowboys, cover a Nancy Sinatra classic in their signature deadpan style. It’s the perfect prelude to Jarmusch’s 1989 Mystery Train, a homage to the King of Rock ‘n’ Roll and the musical legacy of Memphis, featuring appearances by Screamin’ Jay Hawkins and Joe Strummer.
To sign up for a free two-week trial here.
Tuesday, August 1
Tuesday’s Short + Feature: These Boots and Mystery Train
Music is at the heart of this program, which pairs a zany music video by Finnish master Aki Kaurismäki with a tune-filled career highlight from American independent-film pioneer Jim Jarmusch. In the 1993 These Boots, Kaurismäki’s band of pompadoured “Finnish Elvis” rockers, the Leningrad Cowboys, cover a Nancy Sinatra classic in their signature deadpan style. It’s the perfect prelude to Jarmusch’s 1989 Mystery Train, a homage to the King of Rock ‘n’ Roll and the musical legacy of Memphis, featuring appearances by Screamin’ Jay Hawkins and Joe Strummer.
- 7/24/2017
- by Ryan Gallagher
- CriterionCast
A shot late in Andrey Zvyagintsev’s Loveless encapsulates both the film’s overarching message and its author’s bludgeoning directorial approach. One of the protagonists, Zhenya (Maryana Spivak), gets on a treadmill and gradually increases its speed, quickening her steps until she reaches a steady running pace. Just in case we had yet to clock that the characters are supposed to be representative of Russian society – be it from the transparently schematic script, or the fact that one of the film’s opening images is a lengthy static shot offering little to look at other than a Russian flag hanging off the side of a building – Zhenya wears a tracksuit emblazoned with the country’s national colors and “Russia” printed in giant letters across her chest. Zvyangintev frames her from the front, holding the shot for several seconds. Then, once he’s made sure everyone’s had sufficient time...
- 5/18/2017
- by Giovanni Marchini Camia
- The Film Stage
Russian director Andrei Zvyagintsev has produced another masterpiece in this apocalyptic study of a failed marriage and the subsequent disappearance of a child
Andrei Zvyagintsev’s Loveless is a stark, mysterious and terrifying story of spiritual catastrophe: a drama with the ostensible form of a procedural crime thriller. It has a hypnotic intensity and unbearable ambiguity which is maintained until the very end. This is a story of modern Russia whose people are at the mercy of implacable forces, a loveless world like a planet without the full means to support human life, a place where the ordinary need for survival has mutated or upgraded into an unending aspirational demand for status, money, freedom to find an advantageous second marriage which brings a nice apartment, sex, luxury and the social media prerogative of selfies and self-affirmation. But all of it is underpinned, or overseen, by intensely conservative social norms of Christianity,...
Andrei Zvyagintsev’s Loveless is a stark, mysterious and terrifying story of spiritual catastrophe: a drama with the ostensible form of a procedural crime thriller. It has a hypnotic intensity and unbearable ambiguity which is maintained until the very end. This is a story of modern Russia whose people are at the mercy of implacable forces, a loveless world like a planet without the full means to support human life, a place where the ordinary need for survival has mutated or upgraded into an unending aspirational demand for status, money, freedom to find an advantageous second marriage which brings a nice apartment, sex, luxury and the social media prerogative of selfies and self-affirmation. But all of it is underpinned, or overseen, by intensely conservative social norms of Christianity,...
- 5/17/2017
- by Peter Bradshaw
- The Guardian - Film News
Cmg to handle sales in Cannes on Ingmar Bergman – Legacy Of A Defining Genius from C-Films, Mondex & Cie co-production
Germany’s C-Films is partnering with Mondex & Cie of France on Ingmar Bergman – Legacy Of A Defining Genius that Cinema Management Group will introduce to buyers on the Croisette.
Margarethe von Trotta will direct the documentary and production is scheduled to commence this summer.
The film – which is scheduled for delivery in 2018 to mark the centenary of the Swedish auteur’s birth – will explore Bergman’s legacy through interviews with close collaborators and younger filmmakers.
His credits include The Seventh Seal, Cries And Whispers, Wild Strawberries, Scenes From A Marriage, and Persona. Bergman received the Palm of Palms at the 1997 Cannes Film Festival.
Von Trotta has a close connection to the subject matter. She worked with Bergman’s cinematographer Sven Nykvist as an actress on her husband Volker Schlöndorff’s 1972 film A Free Woman.
In 1982 Bergman...
Germany’s C-Films is partnering with Mondex & Cie of France on Ingmar Bergman – Legacy Of A Defining Genius that Cinema Management Group will introduce to buyers on the Croisette.
Margarethe von Trotta will direct the documentary and production is scheduled to commence this summer.
The film – which is scheduled for delivery in 2018 to mark the centenary of the Swedish auteur’s birth – will explore Bergman’s legacy through interviews with close collaborators and younger filmmakers.
His credits include The Seventh Seal, Cries And Whispers, Wild Strawberries, Scenes From A Marriage, and Persona. Bergman received the Palm of Palms at the 1997 Cannes Film Festival.
Von Trotta has a close connection to the subject matter. She worked with Bergman’s cinematographer Sven Nykvist as an actress on her husband Volker Schlöndorff’s 1972 film A Free Woman.
In 1982 Bergman...
- 5/14/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Kathryn Hahn finally has a leading role in Jill Soloway’s new Amazon series, but will the intimacy of the novel translate to the screen?
In voiceover, Kathryn Hahn’s Chris reads a letter to the titular Dick, played by Kevin Bacon, in the new trailer for Jill Soloway’s latest Amazon series I Love Dick. “Dear Dick,” she says, with an image of a deer, a sharpie and a letter appearing within the first two seconds of the trailer, “this is about obsession.” It’s a simple line — as emphasized through the minimal white-text-on-red-background as Hahn’s line is spoken — but it conveys both what makes Chris Kraus’ original novel worthy of being deemed “one of the most important books about being a woman” as well as the difficulty in translating confessional literature onto the screen.
https://medium.com/media/e0d86b3124b32131b84ff9ab5b21f417/href
The events of Kraus’ novel of...
In voiceover, Kathryn Hahn’s Chris reads a letter to the titular Dick, played by Kevin Bacon, in the new trailer for Jill Soloway’s latest Amazon series I Love Dick. “Dear Dick,” she says, with an image of a deer, a sharpie and a letter appearing within the first two seconds of the trailer, “this is about obsession.” It’s a simple line — as emphasized through the minimal white-text-on-red-background as Hahn’s line is spoken — but it conveys both what makes Chris Kraus’ original novel worthy of being deemed “one of the most important books about being a woman” as well as the difficulty in translating confessional literature onto the screen.
https://medium.com/media/e0d86b3124b32131b84ff9ab5b21f417/href
The events of Kraus’ novel of...
- 4/12/2017
- by Sinéad McCausland
- FilmSchoolRejects.com
After a banner year that included The Witch, Krisha, Green Room, The Lobster, De Palma, Swiss Army Man, Morris from America, American Honey, Moonlight, and 20th Century Women, A24 are gearing up for quite a 2017 as well. One of their first releases of the year will be The Lovers, and today the first trailer has arrived.
Starring Debra Winger and Tracy Letts, the dramedy comes from writer-director Azazel Jacobs, who impressed a few years back with Terri. Exploring infidelity and reconciliation in a marriage, it looks to be akin to Scenes From a Marriage, American-style, and I especially look forward to Letts’ performance, who was terrific in a handful of films last year.
Check out the trailer and poster below for the film also starring Aidan Gillen, Melora Walters, Tyler Ross and Jessica Sula.
The Lovers is a refreshing, funny look at love, fidelity, and family, starring Debra Winger and...
Starring Debra Winger and Tracy Letts, the dramedy comes from writer-director Azazel Jacobs, who impressed a few years back with Terri. Exploring infidelity and reconciliation in a marriage, it looks to be akin to Scenes From a Marriage, American-style, and I especially look forward to Letts’ performance, who was terrific in a handful of films last year.
Check out the trailer and poster below for the film also starring Aidan Gillen, Melora Walters, Tyler Ross and Jessica Sula.
The Lovers is a refreshing, funny look at love, fidelity, and family, starring Debra Winger and...
- 1/4/2017
- by Jordan Raup
- The Film Stage
With “Things To Come,” director Mia Hansen-Løve, who is only 35, already has five critically acclaimed feature films under her belt and looks to have a long filmmaking career ahead of her. So which of the great directors’ careers from film history does she look to as being a model for her own? “It’s going to sound pretentious and ridiculous, but I think I should tell you any way: Ingmar Bergman,” Hansen-Løve recently told IndieWire. “I’m obsessed with Ingmar Bergman, I’m so obsessed I’m even writing a film right now that takes place in Fårö, which is the island where he use to live.”
Read More: With ‘Things To Come,’ Mia Hansen-Løve Proves That She’s One Of The Best Filmmakers In The World — Nyff Review
Fårö is a remote, windswept island off the eastern coast of Sweden that has become part of film lore, as it...
Read More: With ‘Things To Come,’ Mia Hansen-Løve Proves That She’s One Of The Best Filmmakers In The World — Nyff Review
Fårö is a remote, windswept island off the eastern coast of Sweden that has become part of film lore, as it...
- 12/9/2016
- by Chris O'Falt
- Indiewire
Where did it all go wrong? The question loomed large over this week’s Japril-centric Grey’s Anatomy. But, even after rewinding all the way to their first meeting, were the Averys able to agree on an answer? Would you be able to agree on one in the comments section? And, most importantly, were we left with any hope for the couple’s future? Read on, and we’ll find out!
RelatedGrey’s Anatomy: Sarah Drew Reacts to April’s Shocking Pregnancy
Scenes From A Marriage | Using the progress of a longtime patient of Jackson’s as a framing device,...
RelatedGrey’s Anatomy: Sarah Drew Reacts to April’s Shocking Pregnancy
Scenes From A Marriage | Using the progress of a longtime patient of Jackson’s as a framing device,...
- 2/26/2016
- TVLine.com
Let’s be naughty and treat this recap of Sleepy Hollow‘s midseason premiere like one of those frozen novelty cones sold by ice cream trucks: We’ll bite off and savor the delicious end first. Sound yummy?
Yes, most of us were fairly certain that Abbie hadn’t shuffled off to that great Corbin’s Cabin in the sky. Still, going nearly the full hour without a glimpse of Ichabod’s petite partner was no fun — and Team Wtf was much the worse for wear. Jenny cried. Joe got pistol-whipped. Sophie breached the archives (?!).
RelatedSleepy Hollow EPs: Intel...
Yes, most of us were fairly certain that Abbie hadn’t shuffled off to that great Corbin’s Cabin in the sky. Still, going nearly the full hour without a glimpse of Ichabod’s petite partner was no fun — and Team Wtf was much the worse for wear. Jenny cried. Joe got pistol-whipped. Sophie breached the archives (?!).
RelatedSleepy Hollow EPs: Intel...
- 2/6/2016
- TVLine.com
The cast of David Bowie's off-Broadway musical Lazarus, led by actor-singer Michael C. Hall, performed the play's haunting title-track Thursday on The Late Show With Stephen Colbert. Hall adopted Bowie's dramatic vibrato, emoting lines like "Look up here, I'm in heaven/ I've got scars that can't be seen" over an ethereal, jazzy atmosphere of saxophone, trombone and steel guitar.
Lazarus, staged at the New York Theatre Workshop through January 20th, is a sequel to Bowie's 1976 movie The Man Who Fell To Earth and tells the surreal story of alcoholic millionaire alien Thomas Newton.
Lazarus, staged at the New York Theatre Workshop through January 20th, is a sequel to Bowie's 1976 movie The Man Who Fell To Earth and tells the surreal story of alcoholic millionaire alien Thomas Newton.
- 12/18/2015
- Rollingstone.com
Scorpio Becomes Electra: Noé’s Sex Scenes from a Marriage
The last time we were caught in provocateur Gaspar Noé’s crosshairs it was back in 2009 with Enter the Void, which ended on an orgasmic crescendo by literally fucking the audience. He’s back with more of that kind of sex stuff with Love, a memory poem as sexual odyssey/obsession told via the nostalgia of its tortured protagonist. Sexually explicit, but not necessarily distasteful, Noé is simply showing the general mechanics of people having sex. The rest of the narrative, seeking to explore the undoing of a passionate, youthful relationship, is nothing new as it explores the mundane inevitability of monogamy and how solving such an issue in a union based mostly on sexual attraction proves to be difficult. For those not titillated by a generous helping of spurting fluids and erect penises (including another vagina-cam shot), it’s...
The last time we were caught in provocateur Gaspar Noé’s crosshairs it was back in 2009 with Enter the Void, which ended on an orgasmic crescendo by literally fucking the audience. He’s back with more of that kind of sex stuff with Love, a memory poem as sexual odyssey/obsession told via the nostalgia of its tortured protagonist. Sexually explicit, but not necessarily distasteful, Noé is simply showing the general mechanics of people having sex. The rest of the narrative, seeking to explore the undoing of a passionate, youthful relationship, is nothing new as it explores the mundane inevitability of monogamy and how solving such an issue in a union based mostly on sexual attraction proves to be difficult. For those not titillated by a generous helping of spurting fluids and erect penises (including another vagina-cam shot), it’s...
- 10/26/2015
- by Nicholas Bell
- IONCINEMA.com
'Fanny and Alexander' movie: Ingmar Bergman classic with Bertil Guve as Alexander Ekdahl 'Fanny and Alexander' movie review: Last Ingmar Bergman 'filmic film' Why Ingmar Bergman's Fanny and Alexander / Fanny och Alexander bears its appellation is a mystery – one of many in the director's final 'filmic film' – since the first titular character, Fanny (Pernilla Allwin) is at best a third- or fourth-level supporting character. In fact, in the three-hour theatrical version she is not even mentioned by name for nearly an hour into the film. Fanny and Alexander should have been called "Alexander and Fanny," or simply "Alexander," since it most closely follows two years – from 1907 to 1909 – in the life of young, handsome, brown-haired Alexander Ekdahl (Bertil Guve), the original "boy who sees dead people." Better yet, it should have been called "The Ekdahls," for that whole family is central to the film, especially Fanny and Alexander's beautiful blonde mother Emilie,...
- 5/8/2015
- by Dan Schneider
- Alt Film Guide
Whenever I sit down to review an Ingmar Begman movie I tend to bounce over to IMDb just to see how many of his films I've seen. Obviously when you're talking about Bergman we all pretty much start with the well known classics (The Seventh Seal, Wild Strawberries, etc.) and then slowly begin to explore his lesser known films. Well, having now finally seen Cries & Whispers, what very well may be the last of his well known classics I had left to see (except for "Scenes from a Marriage"), I feel there are only lesser known corners of his oeuvre for me to explore. However, with over 65 films credited to him as a director on IMDb it would seem I've still only scratched the surface as I've only 14 of his films under my belt. Criterion's new Blu-ray release of Cries and Whispers is an upgrade from their 2001 DVD release, arriving...
- 4/14/2015
- by Brad Brevet
- Rope of Silicon
Criterion repackages one of its earlier Ingmar Bergman inclusions this month, restoring his brilliant, enigmatic 1972 masterpiece Cries and Whispers for Blu-ray release. Financed with Bergman’s own money, the auteur had difficulty securing an American distributor, eventually finding an unlikely champion in Roger Corman, of all people, who had recently established his own releasing company, New World, and was in search of prestige titles to build artistic merit.
Rushed to theatrical release to qualify for Academy Awards consideration, it would secure five nominations, including for Best Picture and Director, winning Best Cinematography for Sven Nyqvist, before going on to be selected to play out of competition at the 1973 Cannes Film Festival (awarded the Vulcain Prize of the Technical Artist). In Bergman’s illustrious filmography, it’s unnecessary (and incredibly difficult) to endow any one title as his best from a body of work that sports a myriad of celebrated examples spanning seven decades.
Rushed to theatrical release to qualify for Academy Awards consideration, it would secure five nominations, including for Best Picture and Director, winning Best Cinematography for Sven Nyqvist, before going on to be selected to play out of competition at the 1973 Cannes Film Festival (awarded the Vulcain Prize of the Technical Artist). In Bergman’s illustrious filmography, it’s unnecessary (and incredibly difficult) to endow any one title as his best from a body of work that sports a myriad of celebrated examples spanning seven decades.
- 3/31/2015
- by Nicholas Bell
- IONCINEMA.com
Very clearly of the independent American cinema of the moment, and the New York scene in particular, Alex Ross Perry has nevertheless distinguished himself from his contemporaries with three singularly biting comedies—and now has set himself further apart with his latest: Queen of Earth, an intense dramatic departure. Viewers of Impolex, The Color Wheel, and most recently Listen Up Philip will recognize certain trademarks, among them a cast of entitled characters who treat each other horribly, as well as Sean Price Williams's stunning Super 16 cinematography, which here captures the damaged mental state of the film's protagonist with a blend of grainy pastel blues and greys contrasted with the earthly colors that make up the terrain surrounding its lake house setting. Taking cues from Polanski, Bergman, Fassbinder, and Kubrick, Perry imbues the film with an unsettlingly violent tone, made all the more discomforting in its restraint (this bubbling violence never manifests physically,...
- 3/3/2015
- by Adam Cook
- MUBI
Chicago – The title event of “Gett: The Trial of Viviane Amsalem” is a prison sentence with no predictable day of release. The prisoner is Viviane (a fascinating Ronit Elkabetz), a soft-spoken middle-aged woman well beyond the point of a content unhappiness. She is trapped to a farce, as the divorce laws of Israel demand that a husband agree to the divorce before it can be finalized, with three rabbis and a lawyer each to discuss the event.
Viviane’s desire to start a new life away from her current husband Elisha (Simon Abkarian) becomes a hell on earth as he proves an unmovable object, a warden with no empathy who refuses to show up for many of the hearings (he doesn’t really have to unless it gets really bad, according to law). It takes him about a year and a half to finally appear first time, and even...
Viviane’s desire to start a new life away from her current husband Elisha (Simon Abkarian) becomes a hell on earth as he proves an unmovable object, a warden with no empathy who refuses to show up for many of the hearings (he doesn’t really have to unless it gets really bad, according to law). It takes him about a year and a half to finally appear first time, and even...
- 2/28/2015
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Editor's Note: RogerEbert.com is proud to reprint Roger Ebert's 1978 entry from the Encyclopedia Britannica publication "The Great Ideas Today," part of "The Great Books of the Western World." Reprinted with permission from The Great Ideas Today ©1978 Encyclopædia Britannica, Inc.
It's a measure of how completely the Internet has transformed communication that I need to explain, for the benefit of some younger readers, what encyclopedias were: bound editions summing up all available knowledge, delivered to one's home in handsome bound editions. The "Great Books" series zeroed in on books about history, poetry, natural science, math and other fields of study; the "Great Ideas" series was meant to tie all the ideas together, and that was the mission given to Roger when he undertook this piece about film.
Given the venue he was writing for, it's probably wisest to look at Roger's long, wide-ranging piece as a snapshot of the...
It's a measure of how completely the Internet has transformed communication that I need to explain, for the benefit of some younger readers, what encyclopedias were: bound editions summing up all available knowledge, delivered to one's home in handsome bound editions. The "Great Books" series zeroed in on books about history, poetry, natural science, math and other fields of study; the "Great Ideas" series was meant to tie all the ideas together, and that was the mission given to Roger when he undertook this piece about film.
Given the venue he was writing for, it's probably wisest to look at Roger's long, wide-ranging piece as a snapshot of the...
- 2/12/2015
- by Roger Ebert
- blogs.suntimes.com/ebert
Everyone knows Woody Allen. At least, everyone thinks they know Woody Allen. His plumage is easily identifiable: horn-rimmed glasses, baggy suit, wispy hair, kvetching demeanor, ironic sense of humor, acute fear of death. As is his habitat: New York City, though recently he has flown as far afield as London, Barcelona, and Paris. His likes are well known: Bergman, Dostoevsky, New Orleans jazz. So too his dislikes: spiders, cars, nature, Wagner records, the entire city of Los Angeles. Whether or not these traits represent the true Allen, who’s to say? It is impossible to tell, with Allen, where cinema ends and life begins, an obfuscation he readily encourages. In the late nineteen-seventies, disillusioned with the comedic success he’d found making such films as Sleeper (1973), Love and Death (1975), and Annie Hall (1977), he turned for darker territory with Stardust Memories (1980), a film in which, none too surprisingly, he plays a...
- 1/24/2015
- by Graham Daseler
- The Moving Arts Journal
When you enter the East 4th Street home of New York Theatre Workshop, you can never be sure what you’re going to find. The blank-slate interior has been turned into an amphitheater for Caryl Churchill’s A Number, an Irish bar for Once, a television studio for The Little Foxes, and a multiplex for Scenes From a Marriage. This is not only a radical extension of “form follows function” but a message to playwrights (and audiences) that change is good — even if, on occasion, it fills you with dread. Dread is in fact the main feeling you get as you walk into the theater as it’s currently configured for Ayad Akhtar’s The Invisible Hand. You would not mistake the designer Riccardo Hernandez’s arrangement of concrete slabs and bare fluorescent fixtures in low, corrugated ceilings that fly over your seats for the set of, say, a sprightly comedy.
- 12/9/2014
- by Jesse Green
- Vulture
Updated Wednesday morning, with a few knots untangled, below.
August Strindberg and Ingmar Bergman both came in for some bruising comments Tuesday night courtesy of Liv Ullmann, the actress-turned-writer and director with intimate knowledge of both artists’ genius and foibles.
“Being Scandinavian, of course, Strindberg has always been familiar to me,” she told an audience gathered at the Film Society of Lincoln Center, where she was interviewed in advance of the Friday opening of her own adaptation of Miss Julie.
The film stars Jessica Chastain in the title role, a nobleman’s daughter who spends a fateful midsummer’s eve in a charged flirtation with her father’s valet, Jean, (Colin Farrell), sometimes in the presence of his fiancée, the cook (Samantha Morton). The play’s 1888 premiere scandalized audiences with its frank depiction of a dance of sex and power between people of different classes.
“But I never wished to play Miss Julie,...
August Strindberg and Ingmar Bergman both came in for some bruising comments Tuesday night courtesy of Liv Ullmann, the actress-turned-writer and director with intimate knowledge of both artists’ genius and foibles.
“Being Scandinavian, of course, Strindberg has always been familiar to me,” she told an audience gathered at the Film Society of Lincoln Center, where she was interviewed in advance of the Friday opening of her own adaptation of Miss Julie.
The film stars Jessica Chastain in the title role, a nobleman’s daughter who spends a fateful midsummer’s eve in a charged flirtation with her father’s valet, Jean, (Colin Farrell), sometimes in the presence of his fiancée, the cook (Samantha Morton). The play’s 1888 premiere scandalized audiences with its frank depiction of a dance of sex and power between people of different classes.
“But I never wished to play Miss Julie,...
- 12/3/2014
- by Jeremy Gerard
- Deadline
10. Letter from an Unknown Woman (1948)
Directed by: Max Ophuls
To be honest, the relationship at the center of “Letter from an Unknown Woman” barely even exists. It’s more of a longing from one side than the other. But the ways Ophuls structures the film qualifies it for this list. For the run of the story, we hear a voiceover, explaining the moments in these two characters’ lives. Lisa (Joan Fontaine) is a teenager who becomes obsessed with a pianist who lives in her building named Stefan (Louis Jordan). She only meets him once, but maintains her love for him. After her mother announces they will be moving, Lisa runs away, but sees Stefan with another woman. Lisa becomes a respectable woman and is proposed to by a young, family-focused military officer, whom she turns down, still in love with Stefan, a man she has barely met. Years later, she...
Directed by: Max Ophuls
To be honest, the relationship at the center of “Letter from an Unknown Woman” barely even exists. It’s more of a longing from one side than the other. But the ways Ophuls structures the film qualifies it for this list. For the run of the story, we hear a voiceover, explaining the moments in these two characters’ lives. Lisa (Joan Fontaine) is a teenager who becomes obsessed with a pianist who lives in her building named Stefan (Louis Jordan). She only meets him once, but maintains her love for him. After her mother announces they will be moving, Lisa runs away, but sees Stefan with another woman. Lisa becomes a respectable woman and is proposed to by a young, family-focused military officer, whom she turns down, still in love with Stefan, a man she has barely met. Years later, she...
- 12/2/2014
- by Joshua Gaul
- SoundOnSight
I am walking into a play, my most highly anticipated production of the year – Ivo Van Hove’s adaptation of Ingmar Bergman’s 1973 film Scenes from a Marriage at New York Theater Workshop in the East Village. Obviously Bergman is a cinematic legend; he’s also my personal favorite artist. Van Hove’s stage adaptations tend to have a very different aesthetic than the films upon which they are based, but they are colored with the same emotional hysteria that deeply affected me when first watching Persona at the impressionable age of 20. Years later, Persona still takes my breath away. In […]...
- 11/18/2014
- by Taylor Hess
- Filmmaker Magazine - Blog
I am walking into a play, my most highly anticipated production of the year – Ivo Van Hove’s adaptation of Ingmar Bergman’s 1973 film Scenes from a Marriage at New York Theater Workshop in the East Village. Obviously Bergman is a cinematic legend; he’s also my personal favorite artist. Van Hove’s stage adaptations tend to have a very different aesthetic than the films upon which they are based, but they are colored with the same emotional hysteria that deeply affected me when first watching Persona at the impressionable age of 20. Years later, Persona still takes my breath away. In […]...
- 11/18/2014
- by Taylor Hess
- Filmmaker Magazine-Director Interviews
Waiting On Final Quote Approval!!! I am walking into a play, my most highly anticipated production of the year – Ivo Van Hove’s adaptation of Ingmar Bergman’s 1973 film Scenes From A Marriage at New York Theater Workshop in the East Village. Obviously Bergman is a cinematic legend; he’s also my personal favorite artist. Van Hove’s stage adaptations tend to have a very different aesthetic than the films upon which they are based, but they are colored with the same emotional hysteria that deeply affected me when first watching Persona at the impressionable age of 20. Years later, Persona still […]...
- 11/15/2014
- by Taylor Hess
- Filmmaker Magazine-Director Interviews
Scenes From a Marriage: Marsh’s Distilled Look at Physicist Stephen Hawking
Spanning twenty five years in their lives together and based on the memoir Travelling to Infinity: My Life with Stephen by Jane Hawking, The Theory of Everything is the first major motion theatrical release to explore the life of one of the world’s most celebrated physicists, Stephen Hawking, a man with a compelling foothold in the cultural lexicon. As an arena for poignant and impeccably calibrated performances, the film is bound to be highly notable, not unlike a pair of names that overshadowed the significant shortcomings of last year’s The Dallas Buyers Club. As directed by James Marsh, the film is something of a crowd pleaser from a filmmaker that vacillates between arresting documentaries (Man on Wire; Project Nim) and brooding cinema (Shadow Dancer and a portion of the BBC Red Riding trilogy). Standardly told,...
Spanning twenty five years in their lives together and based on the memoir Travelling to Infinity: My Life with Stephen by Jane Hawking, The Theory of Everything is the first major motion theatrical release to explore the life of one of the world’s most celebrated physicists, Stephen Hawking, a man with a compelling foothold in the cultural lexicon. As an arena for poignant and impeccably calibrated performances, the film is bound to be highly notable, not unlike a pair of names that overshadowed the significant shortcomings of last year’s The Dallas Buyers Club. As directed by James Marsh, the film is something of a crowd pleaser from a filmmaker that vacillates between arresting documentaries (Man on Wire; Project Nim) and brooding cinema (Shadow Dancer and a portion of the BBC Red Riding trilogy). Standardly told,...
- 10/30/2014
- by Nicholas Bell
- IONCINEMA.com
In the first half of the pilot Showtime's The Affair, Alison (Ruth Wilson), one-half of the couple set to engage in the act that gives the show its title, tells Noah (Dominic West) that her favorite book is Peter Pan. He quotes it back to her, and they flirtatiously talk about how though it's meant to be a children's book it's actually "terrifying." In the second half, told from Alison's perspective, Alison reads the book at the grave of her child. If co-creator Sarah Treem had it her way, characters would constantly be quoting Peter Pan. Treem hones in on...
- 10/13/2014
- by Esther Zuckerman
- EW - Inside TV
The premise of Showtime’s “The Affair” — in which Dominic West and Ruth Wilson get together, cheating on, respectively, Maura Tierney and Joshua Jackson — didn’t much interest me when I heard about it, even when those actors were involved. Then I heard that Sarah Treem was one of the creators and the lead writer, and my tune started to change. Treem, a playwright turned screenwriter, was on staff for all three seasons of HBO’s great “In Treatment” — she was, in fact, the only writer to be with the show for all three years — and helped craft the episodes involving three of my favorite characters: Sophie the gymnast, April the cancer patient and Jesse the teen in search of his birth parents. (As the youngest writer on the show, she inevitably got assigned the youngest characters.) As it turns out, I really liked the pilot for “The Affair,” which Treem created with Hagai Levi,...
- 10/10/2014
- by Alan Sepinwall
- Hitfix
Chicago – The 2014 edition, the 50th Chicago International Film Festival, kicks off tonight on October 9th. The premiere film will be “Miss Julie,” an adaptation of the August Strindberg play adapted and directed by Liv Ullmann. The first weekend promises a scintillating variety of cinema indulgences.
HollywoodChicago.com contributors Nick Allen and Patrick McDonald have been sampling the festival offerings, and provide this preview to cover the first four days of the event. The depth and breadth of the films is a reminder to participate in the variety of the Festival, especially if interested in a particular country, for their cinema is a glimpse into their culture. Each capsule is designated with Na (Nick Allen) or Pm (Patrick McDonald), to indicate the author.
Opening Night “Miss Julie”
Jessica Chastain in ‘Miss Julie’
Photo credit: Chicago International Film Festival
Liv Ullmann, the legendary Swedish actress – and muse to director Ingmar Bergman – directs her fifth feature film,...
HollywoodChicago.com contributors Nick Allen and Patrick McDonald have been sampling the festival offerings, and provide this preview to cover the first four days of the event. The depth and breadth of the films is a reminder to participate in the variety of the Festival, especially if interested in a particular country, for their cinema is a glimpse into their culture. Each capsule is designated with Na (Nick Allen) or Pm (Patrick McDonald), to indicate the author.
Opening Night “Miss Julie”
Jessica Chastain in ‘Miss Julie’
Photo credit: Chicago International Film Festival
Liv Ullmann, the legendary Swedish actress – and muse to director Ingmar Bergman – directs her fifth feature film,...
- 10/9/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – One of the finest places in the world to witness its best cinema is the Chicago International Film Festival, which is now hitting its golden year of 50. This year’s festival boasts a lineup of top tier entries from world renowned filmmakers, packaged in the distinct Chicago flavor that keeps the city on a level all its own.
The festivities begin on Thursday, October 9 with a presentation of Liv Ullman’s “Miss Julie,” an adaptation of the August Strindberg play starring Colin Farrell and Jessica Chastain. With the film playing at Chicago’s Harris Theater, Ullman and Farrell are scheduled to walk the red carpet, along with “The Fugitive” director Andrew Davis and Academy Award-nominated actress Kathleen Turner.
A delicious lineup of films from around the world, adored at previous festivals and now ready for Chicago audiences, begin their presentation the next day (Friday October 10) with all festival screenings...
The festivities begin on Thursday, October 9 with a presentation of Liv Ullman’s “Miss Julie,” an adaptation of the August Strindberg play starring Colin Farrell and Jessica Chastain. With the film playing at Chicago’s Harris Theater, Ullman and Farrell are scheduled to walk the red carpet, along with “The Fugitive” director Andrew Davis and Academy Award-nominated actress Kathleen Turner.
A delicious lineup of films from around the world, adored at previous festivals and now ready for Chicago audiences, begin their presentation the next day (Friday October 10) with all festival screenings...
- 10/8/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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