May 11, 1994 saw the release of Alex Proyas’ The Crow, and cinema was never the same. And now, 30 years later, we’re finally being treated to the definitive version on 4K Uhd. You know what big fans of physical media we are here at JoBlo so we’ve been highly anticipating this release. And we also Looooove The Crow. We’ve covered it on our JoBlo Horror Originals YouTube Channel and have even taken a look at its terrible sequels. Heck, I’m not sure about you guys but The Crow was one of those films I always loved to talk about on the old JoBlo forums. I wonder what they’d be saying about the new film?
And shoutout to those that were able to snag the very cool Steelbook that went quickly out of print. It’s easily one of the coolest Steelbooks out there and features an absolutely beautiful design.
And shoutout to those that were able to snag the very cool Steelbook that went quickly out of print. It’s easily one of the coolest Steelbooks out there and features an absolutely beautiful design.
- 5/11/2024
- by Tyler Nichols
- JoBlo.com
Lyon’s impressive Roman-style auditorium, normally used by the city’s symphonic orchestra, was sold out as U.S. writer and director Wes Anderson took to the stage as guest of honor of the Lumière Film Festival.
Mid-way through his conversation with festival director Thierry Frémaux, the crowd gathered in the massive 2,000-seat venue was treated to a screening of one of Anderson’s new Roald Dahl adaptations, the short film “The Wonderful Story of Henry Sugar.”
The story of a rich man who sets out to master an extraordinary skill to cheat at gambling, it is one of four Dahl stories recently adapted by Anderson for Netflix, which acquired the Roald Dahl Story Company (Rdsc), that manages the rights to the late British author’s works, from back in 2021.
The only adaptations Anderson has done are Dahl stories, starting with his first animation film, “Fantastic Mr Fox,” in 2009. Asked...
Mid-way through his conversation with festival director Thierry Frémaux, the crowd gathered in the massive 2,000-seat venue was treated to a screening of one of Anderson’s new Roald Dahl adaptations, the short film “The Wonderful Story of Henry Sugar.”
The story of a rich man who sets out to master an extraordinary skill to cheat at gambling, it is one of four Dahl stories recently adapted by Anderson for Netflix, which acquired the Roald Dahl Story Company (Rdsc), that manages the rights to the late British author’s works, from back in 2021.
The only adaptations Anderson has done are Dahl stories, starting with his first animation film, “Fantastic Mr Fox,” in 2009. Asked...
- 10/18/2023
- by Lise Pedersen
- Variety Film + TV
Jeremy Thomas with Anne-Katrin Titze on his next mission, Christopher Hampton’s adaptation of Jonathan Coe’s Mr. Wilder and Me to be directed by Stephen Frears and starring Christoph Waltz as Billy Wilder: “We’ve got all the locations in Corfu and Paris where the drama is set. Now I’m looking for eight million dollars more …”
In the first instalment with producer extraordinaire Jeremy Thomas we discuss his work and admiration for Nicolas Roeg, Wim Wenders, and Matteo Garrone.
Jeremy Thomas with Glenn Kenny and Michael Almereyda at the Posteritati Gallery reception Photo: Anne-Katrin Titze
Karel Reisz’s Everybody Wins (written by Arthur Miller) came to Jeremy’s mind; the connection between Bernardo Bertolucci’s The Last Emperor (winning nine Oscars), Paul Bowles and The Sheltering Sky; Jonathan Glazer (Sexy Beast) plus Glazer’s Martin Amis adaption of The Zone Of Interest (a Main Slate selection of...
In the first instalment with producer extraordinaire Jeremy Thomas we discuss his work and admiration for Nicolas Roeg, Wim Wenders, and Matteo Garrone.
Jeremy Thomas with Glenn Kenny and Michael Almereyda at the Posteritati Gallery reception Photo: Anne-Katrin Titze
Karel Reisz’s Everybody Wins (written by Arthur Miller) came to Jeremy’s mind; the connection between Bernardo Bertolucci’s The Last Emperor (winning nine Oscars), Paul Bowles and The Sheltering Sky; Jonathan Glazer (Sexy Beast) plus Glazer’s Martin Amis adaption of The Zone Of Interest (a Main Slate selection of...
- 9/23/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Have you ever noticed how, in Western culture, when referring to someone’s death, writers feel obliged to insert the word “tragic” somewhere in the sentence? Is there any other kind, a reader might rightly ask. Sometimes they mean “unexpected,” a kind of shorthand intended to show that the life in question was cut short before its time. But just as often, the phrase “tragic death” is simply redundant, a trite cliché intended to signify that the speaker isn’t some callous bastard.
Writer-director John Michael McDonagh recognizes that not all deaths are tragic. Some are merciful, others accidental; while many are unfortunate, on some occasions, people meet an end that could be described as “poetic” — or at the least, deserved. McDonagh (like younger brother Martin) is a brute-force moralist. Both siblings write scripts in which the term “reckoning” often applies, which is to say, movies and plays where atonement...
Writer-director John Michael McDonagh recognizes that not all deaths are tragic. Some are merciful, others accidental; while many are unfortunate, on some occasions, people meet an end that could be described as “poetic” — or at the least, deserved. McDonagh (like younger brother Martin) is a brute-force moralist. Both siblings write scripts in which the term “reckoning” often applies, which is to say, movies and plays where atonement...
- 9/11/2021
- by Peter Debruge
- Variety Film + TV
If there’s a kerfuffle on the Croisette, the prolific U.K. producer is never far away…
Oscar-winning producer Jeremy Thomas knows a thing or two about making waves. The man once described by director Bernardo Bertolucci as a “hustler in the fur of a teddy bear” has lived both at the heart of the U.K. film establishment and as a passionate advocate for counterculture, whether in the novels of authors William S. Burroughs and Paul Bowles or the punk-rock anarchy of the Sex Pistols.
But none of the 75+ features the 71-year-old Thomas has worked on has created as much of a stir as David Cronenberg’s adaptation of J.G. Ballard’s Crash, which debuted on the Croisette 25 years ago. The drama, about an underground subculture of scarred, omnisexual car-crash victims who fetishize auto accidents, became a lightning rod among critics and politicians.
After landing 18 films in Official Selection,...
Oscar-winning producer Jeremy Thomas knows a thing or two about making waves. The man once described by director Bernardo Bertolucci as a “hustler in the fur of a teddy bear” has lived both at the heart of the U.K. film establishment and as a passionate advocate for counterculture, whether in the novels of authors William S. Burroughs and Paul Bowles or the punk-rock anarchy of the Sex Pistols.
But none of the 75+ features the 71-year-old Thomas has worked on has created as much of a stir as David Cronenberg’s adaptation of J.G. Ballard’s Crash, which debuted on the Croisette 25 years ago. The drama, about an underground subculture of scarred, omnisexual car-crash victims who fetishize auto accidents, became a lightning rod among critics and politicians.
After landing 18 films in Official Selection,...
- 7/9/2021
- by Andreas Wiseman
- Deadline Film + TV
Ryuichi Sakamoto is a composer and conductor who has scored several well-known films, including “Merry Christmas, Mr. Lawrence” (1983), “The Last Emperor” (1987) and most recently “The Revenant” (2015). His career began with a pioneering electronic music group in the late 1970’s and he has always maintained a unique aesthetic. Director Stephen Nomura Schible, who has also directed one of Sakamoto’s concerts, gives us an inside look into the life of this maestro.
“Ryuichi Sakamoto: Coda” is screening on Mubi
The film begins with Sakamoto examining a piano that was recently recovered from the site of the Fukushima nuclear power plant disaster. The piano was hit by the tsunami and floated away, with evidence of tide marks showing its journey. Sakamoto looks over the salvaged instrument that he is still able to play. This leads us into the two major concerns of his life: music and anti-nuclear activism. Following the meltdown at...
“Ryuichi Sakamoto: Coda” is screening on Mubi
The film begins with Sakamoto examining a piano that was recently recovered from the site of the Fukushima nuclear power plant disaster. The piano was hit by the tsunami and floated away, with evidence of tide marks showing its journey. Sakamoto looks over the salvaged instrument that he is still able to play. This leads us into the two major concerns of his life: music and anti-nuclear activism. Following the meltdown at...
- 11/4/2020
- by Matthew Cooper
- AsianMoviePulse
“How I Met Your Mother” creator Carter Bays paid tribute to the late writer Ari Behn on Twitter on Thursday, recalling a chance meeting in Morocco in 1997 and a week-long whirlwind friendship.
“He had knocked on my door just to be friendly and introduce himself,” Bays wrote, describing their first meeting at Hotel El Muniria in Tangier. “And by the way, who does that? Who knocks on a stranger’s door in a hotel? He wasn’t trying to rob me, or sleep with me, or convert me to some religion. He just wanted to make a friend, because that was his way.”
Behn, an author, artist and playwright best known for his short-story collection “Sad as Hell,” died by suicide on Christmas Day.
Also Read: Ari Behn, Kevin Spacey Accuser and Ex-Husband of Norwegian Princess, Dies at 47
Bays described how he and Behn bonded over being writers and staying...
“He had knocked on my door just to be friendly and introduce himself,” Bays wrote, describing their first meeting at Hotel El Muniria in Tangier. “And by the way, who does that? Who knocks on a stranger’s door in a hotel? He wasn’t trying to rob me, or sleep with me, or convert me to some religion. He just wanted to make a friend, because that was his way.”
Behn, an author, artist and playwright best known for his short-story collection “Sad as Hell,” died by suicide on Christmas Day.
Also Read: Ari Behn, Kevin Spacey Accuser and Ex-Husband of Norwegian Princess, Dies at 47
Bays described how he and Behn bonded over being writers and staying...
- 12/27/2019
- by Reid Nakamura
- The Wrap
Sara Driver's Sleepwalk (1986) and When Pigs Fly (1993) is showing October and November on Mubi in the United States.SleepwalkIn Sara Driver’s too small yet varied filmography, her two fiction features, both poetic fantasies—Sleepwalk (1986) and When Pigs Fly (1993)—are bracketed by two other longer films, the 48-minute You Are Not I and the 78-minute documentary Boom for Real: The Late Teenage Years of Jean-Michel Basquiat (2017). Sleepwalk stars Suzanne Fletcher, who also played the schizophrenic sister in You Are Not I; Boom For Real portrays both a highly interactive community and an eclectic artist inside it, which might also describe When Pigs Fly, a comedy inspired by Topper about a jazz pianist (Alfred Molina) living in an east coast port town populated by barflies and ghosts. Moreover, the community in Boom is basically Lower East Side Manhattan and more specifically the Bowery, the setting of Sleepwalk, as well as...
- 10/27/2019
- MUBI
High-profile Paris-based Moroccan filmmaker Laila Marrakchi is partnering up with Backup Films (“Donnybrook”) and Alexandre Aja (“The Hills Have Eyes”) on “My Sister Lives on the Mantelpiece,” her long-gestating English-language project based on Annabel Pitcher’s bestselling novel.
The book has been translated into more than 20 languages and has earned many prizes including the Royal Society of Authors’ Betty Trask nod and the Hull Children’s book of the year. Marrakchi is writing the script with British writer Amber Trentham (“Rhapsody in Blueberry”). The pair is working on the final draft and has incorporated new elements, such as Brexit, into the storyline. The British Film Institute has just come on board to support the project.
The film will revolve around a 10-year-old boy whose sister was killed in a terrorist attack in London when he was 5 years old and has been raised by his father who has become Islamophobic. When...
The book has been translated into more than 20 languages and has earned many prizes including the Royal Society of Authors’ Betty Trask nod and the Hull Children’s book of the year. Marrakchi is writing the script with British writer Amber Trentham (“Rhapsody in Blueberry”). The pair is working on the final draft and has incorporated new elements, such as Brexit, into the storyline. The British Film Institute has just come on board to support the project.
The film will revolve around a 10-year-old boy whose sister was killed in a terrorist attack in London when he was 5 years old and has been raised by his father who has become Islamophobic. When...
- 12/6/2018
- by Elsa Keslassy
- Variety Film + TV
Italian film director Bernardo Bertolucci, whose career defined scandal and evoked eroticism and sumptuous beauty, has died of cancer in Rome. The director of Last Tango In Paris was 77 and had been confined to a wheelchair for much of the last 10 years.
A product of Italian New Wave cinema’s golden era, the Parma-born Bertolucci achieved international acclaim, winning the Oscar for Best Director for 1987’s The Last Emperor.
Beginning as a poet, Bertolucci entered film work as a writer for Pier Paolo Pasolini before attracting attention as a director-writer with 1970’s The Conformist, a stylish work that brought him...
A product of Italian New Wave cinema’s golden era, the Parma-born Bertolucci achieved international acclaim, winning the Oscar for Best Director for 1987’s The Last Emperor.
Beginning as a poet, Bertolucci entered film work as a writer for Pier Paolo Pasolini before attracting attention as a director-writer with 1970’s The Conformist, a stylish work that brought him...
- 11/26/2018
- by Peter Mikelbank
- PEOPLE.com
When lauded Italian director Luchino Visconti first conceived of his big screen adaptation of Camillo Boito’s novella “Senso,” the “La Terra Trema” filmmaker aimed high: he wanted to cast no less than Ingrid Bergman and Marlon Brando in the film’s lead roles, a conspiring contessa and an Austrian deserter who woo amidst the dying embers of the Risorgimento. Both casting plans were waylaid by strange industry politics — Bergman’s then-husband Roberto Rossellini didn’t want the actress to work with other directors, while the film’s producers weren’t sold on the star power of Brando.
Still, “Senso” managed to make it to the big screen with some serious talent behind it: prolific Italian actress Alida Valli snagged the lead role, while Hollywood heavy hitter Farley Granger came on as her jilted lover. Behind the scenes, Visconti lined up eventual directors Franco Zeffirelli and Francesco Rosi as his own assistants.
Still, “Senso” managed to make it to the big screen with some serious talent behind it: prolific Italian actress Alida Valli snagged the lead role, while Hollywood heavy hitter Farley Granger came on as her jilted lover. Behind the scenes, Visconti lined up eventual directors Franco Zeffirelli and Francesco Rosi as his own assistants.
- 10/9/2018
- by Kate Erbland
- Indiewire
Oscar nominee Chloë Sevigny has signed with Circle of Confusion for management.
Sevigny has just wrapped filming a starring role with Bill Murray, Adam Driver, and Tilda Swinton in Jim Jarmusch’s The Dead Don’t Die for Focus Features and Universal Pictures International. She will next be seen in the title role of infamous accused murderess Lizzie Borden (opposite Kristen Stewart) in the upcoming Roadside Attractions September release Lizzie, with she also developed and produced.
In television, Sevigny wona Golden Globe for HBO’s Big Love. Other credits include Hit & Miss, Portlandia, American Horror Story: Asylum, Ahs: Hotel, and Bloodline.
Recent films include Andrew Haigh’s Lean on Pete, Miguel Arteta’s Beatriz at Dinner, Alex Ross Perry’s Golden Exits, and Oren Moverman’s The Dinner. Sevigny landed an Oscar nomination and won La Film Critics Award and Independent Spirit Award, for Kimberly Peirce’s Boys Don’t Cry.
Sevigny has just wrapped filming a starring role with Bill Murray, Adam Driver, and Tilda Swinton in Jim Jarmusch’s The Dead Don’t Die for Focus Features and Universal Pictures International. She will next be seen in the title role of infamous accused murderess Lizzie Borden (opposite Kristen Stewart) in the upcoming Roadside Attractions September release Lizzie, with she also developed and produced.
In television, Sevigny wona Golden Globe for HBO’s Big Love. Other credits include Hit & Miss, Portlandia, American Horror Story: Asylum, Ahs: Hotel, and Bloodline.
Recent films include Andrew Haigh’s Lean on Pete, Miguel Arteta’s Beatriz at Dinner, Alex Ross Perry’s Golden Exits, and Oren Moverman’s The Dinner. Sevigny landed an Oscar nomination and won La Film Critics Award and Independent Spirit Award, for Kimberly Peirce’s Boys Don’t Cry.
- 9/8/2018
- by Nellie Andreeva
- Deadline Film + TV
Consolidating as one of key sales agents at the Locarno Festival, Fiorella Moretti and Hedi Zardi’s Paris-based Luxbox has acquired sales rights to Richard Billingham’s awaited Golden Leopard contender “Ray & Liz” and “Suburban Birds,” from China’s Qiu Sheng, screening in Cinema of the Present. “Suburban Birds” is Luxbox’s first Chinese title. Both titles were announced July 11 by the Locarno Festival as its unveiled its full lineup. Rapid Eye Movies has already acquired German distribution rights to “Ray & Liz,” meaning Luxbox’s world sales rights deal is for outside the U.K. and Germany.
World premiering in Locarno’s main international competition, and produced by Jacqui Davies at her new production house, Primitive Film, “Ray & Liz” returns to the same bedrock inspiration which launched Billingham’s photographer career in the 90s as the first recipient of the Deutsche Borse Photography Prize: His own family – parents Ray and Liz and younger brother Jason.
World premiering in Locarno’s main international competition, and produced by Jacqui Davies at her new production house, Primitive Film, “Ray & Liz” returns to the same bedrock inspiration which launched Billingham’s photographer career in the 90s as the first recipient of the Deutsche Borse Photography Prize: His own family – parents Ray and Liz and younger brother Jason.
- 7/11/2018
- by John Hopewell
- Variety Film + TV
Stephen Nomura Schible’s documentary charts the career of the musician and anti-nuclear campaigner who created one of the catchiest film themes of the 80s
That “coda” in the title is maybe more wintry than it need have been. The Japanese film composer, musician and anti-nuclear campaigner Ryuichi Sakamoto was diagnosed with cancer in 2014, and his prodigious work rate had to slow to a virtual standstill. Stephen Schible’s documentary portrait follows the musician in the calm and introspective period forced on him – but it also shows him participating in post-Fukushima demonstrations. But whatever he had feared, and prepared himself for, this cancer is now in remission and so far it has not come back.
Sakamoto made his breakthrough writing the music for Nagisa Oshima’s Merry Christmas, Mr Lawrence – one of the most famous movie themes of the 80s with its inspirationally catchy westernised pop take on Japanese music.
That “coda” in the title is maybe more wintry than it need have been. The Japanese film composer, musician and anti-nuclear campaigner Ryuichi Sakamoto was diagnosed with cancer in 2014, and his prodigious work rate had to slow to a virtual standstill. Stephen Schible’s documentary portrait follows the musician in the calm and introspective period forced on him – but it also shows him participating in post-Fukushima demonstrations. But whatever he had feared, and prepared himself for, this cancer is now in remission and so far it has not come back.
Sakamoto made his breakthrough writing the music for Nagisa Oshima’s Merry Christmas, Mr Lawrence – one of the most famous movie themes of the 80s with its inspirationally catchy westernised pop take on Japanese music.
- 6/27/2018
- by Peter Bradshaw
- The Guardian - Film News
Ryuichi Sakamoto is a composer and conductor who has scored several well-known films, including “Merry Christmas, Mr. Lawrence” (1983), “The Last Emperor” (1987) and most recently “The Revenant” (2015). His career began with a pioneering electronic music group in the late 1970’s and he has always maintained a unique aesthetic. Director Stephen Nomura Schible, who has also directed one of Sakamoto’s concerts, gives us an inside look into the life of this maestro.
Ryuichi Sakamoto: Coda is screening at the Toronto Japanese Film Festival
The film begins with Sakamoto examining a piano that was recently recovered from the site of the Fukushima nuclear power plant disaster. The piano was hit by the tsunami and floated away, with evidence of tide marks showing its journey. Sakamoto looks over the salvaged instrument that he is still able to play. This leads us into the two major concerns of his life: music and his anti-nuclear activism.
Ryuichi Sakamoto: Coda is screening at the Toronto Japanese Film Festival
The film begins with Sakamoto examining a piano that was recently recovered from the site of the Fukushima nuclear power plant disaster. The piano was hit by the tsunami and floated away, with evidence of tide marks showing its journey. Sakamoto looks over the salvaged instrument that he is still able to play. This leads us into the two major concerns of his life: music and his anti-nuclear activism.
- 6/23/2018
- by Matthew Cooper
- AsianMoviePulse
Anthony Bourdain helped me get over my feelings of “imposter syndrome” in the early days of “Top Chef.”
When the show started in 2006, I was surrounded by top-tier professional chefs. I had already published a book about food, had another coming out and had done a cooking show and a couple “Planet Food” documentaries for Food Network, but I still felt people thought I was just a model and what did I know about food? I hadn’t been to culinary school. I have never worked the line in a kitchen.
Through our friendship, Tony taught me to feel pride in my own view of the world. We both relished travel and were transformed by it. He cared about me and my history and how that related to food. He was interested in everyone’s opinion. He taught me that no person’s opinion about food was too small to matter.
When the show started in 2006, I was surrounded by top-tier professional chefs. I had already published a book about food, had another coming out and had done a cooking show and a couple “Planet Food” documentaries for Food Network, but I still felt people thought I was just a model and what did I know about food? I hadn’t been to culinary school. I have never worked the line in a kitchen.
Through our friendship, Tony taught me to feel pride in my own view of the world. We both relished travel and were transformed by it. He cared about me and my history and how that related to food. He was interested in everyone’s opinion. He taught me that no person’s opinion about food was too small to matter.
- 6/12/2018
- by Padma Lakshmi
- Variety Film + TV
There’s a famous passage from Paul Bowles’ “The Sheltering Sky” that continues to resonate because of how plainly it speaks to the bittersweet shortsightedness of being alive: “Because we don’t know when we will die, we get to think of life as an inexhaustible well. Yet everything happens only a certain number of times, and a very small number really… And yet it all seems limitless.”
Of all the references sewn into the fabric of Kent Jones’ first narrative feature — the revered film critic and programmer nods to Paul Schrader, Bob Dylan, and executive producer Martin Scorsese among others in his chilly amuse-bouche of artistic inspirations — Bowles isn’t high on the list. Jones is too hyper-literate and omnivorous to be unfamiliar with the book, but even filmmaker Matías Piñeiro and Stephin Merritt serve as more explicit muses for this intimate drama.
And yet, Bowles’ writing — his resigned...
Of all the references sewn into the fabric of Kent Jones’ first narrative feature — the revered film critic and programmer nods to Paul Schrader, Bob Dylan, and executive producer Martin Scorsese among others in his chilly amuse-bouche of artistic inspirations — Bowles isn’t high on the list. Jones is too hyper-literate and omnivorous to be unfamiliar with the book, but even filmmaker Matías Piñeiro and Stephin Merritt serve as more explicit muses for this intimate drama.
And yet, Bowles’ writing — his resigned...
- 4/22/2018
- by David Ehrlich
- Indiewire
Ben Rivers' The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015) is showing on Mubi from September 6 - October 6 and Oliver Laxe's Mimosas (2016) from September 7 - October 7, 2017 in the United Kingdom as part of the series Close-Up on Oliver Laxe.MimosasBoth Mimosas and The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers mirror each other in many different ways: they both take place in the same geographical space, the south of Morocco, they were filmed at the same time, have some of the same people in them, and are filmed in 16mm. But these are only apparent similarities that veil deeper discussions between both films. Director Oliver Laxe stands behind the camera in Mimosas, he is observed from the distance in the first part of The Sky Trembles, and finally ends up crossing the invisible wall...
- 9/11/2017
- MUBI
Among the inspirations acknowledged by the eternally curious subject of Ryuichi Sakamoto: Coda are the organ chorales of Bach, the films and photographs of Andrei Tarkovsky, the spoken words of Paul Bowles and J. Robert Oppenheimer and a range of environmental sounds gathered first-hand from places as far-flung as an Arctic Circle glacier or Lake Turkana, Kenya, where the world's oldest human remains were discovered. Made over a five-year period during which the Japanese composer was diagnosed and treated for stage 3 throat cancer, this is a gentle, reflective portrait that seldom gets personal and yet somehow feels quite candid.
...
...
- 9/3/2017
- by David Rooney
- The Hollywood Reporter - Movie News
Shot with non-professionals on location in the Atlas mountains, this dreamy, beautifully shot parable has been compared to Aguirre: The Wrath of God
Recently, British director Ben Rivers made a deeply strange Morocco-set movie, inspired by a Paul Bowles story, entitled The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers. It featured a director making a film with non-professionals on location – and for these shots Rivers used a real director and (as it were) real non-professionals making a real film: this film, in fact, from 35-year-old French-born director Oliver Laxe.
Mimosas is a challengingly static, dreamily mysterious and beautifully shot film about two disreputable Moroccan men who, as part of a caravan of travellers, accept the task of carrying the dead body of a holy man, the “Sheikh”, across the Atlas mountains to be buried in his home village. They receive help from a...
Recently, British director Ben Rivers made a deeply strange Morocco-set movie, inspired by a Paul Bowles story, entitled The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers. It featured a director making a film with non-professionals on location – and for these shots Rivers used a real director and (as it were) real non-professionals making a real film: this film, in fact, from 35-year-old French-born director Oliver Laxe.
Mimosas is a challengingly static, dreamily mysterious and beautifully shot film about two disreputable Moroccan men who, as part of a caravan of travellers, accept the task of carrying the dead body of a holy man, the “Sheikh”, across the Atlas mountains to be buried in his home village. They receive help from a...
- 8/25/2017
- by Peter Bradshaw
- The Guardian - Film News
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 July will feature an exciting assortment of films, as noted below.
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master...
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master...
- 6/26/2017
- by Ryan Gallagher
- CriterionCast
Few acting resumes include as many visionary, boundary-pushing auteur filmmakers as Chloë Sevigny’s. A selected list of the directors she’s worked with could easily fill an IndieWire top ten: Harmony Korine, Vincent Gallo, Lars Von Trier, Whit Stillman, Kimberly Peirce, Olivier Assayas, and David Fincher — to name a few. In fact, as IndieWire co-founder Eugene Hernandez put it at a sit-down with the actress at the Provincetown International Film Festival last weekend, Sevigny was at the epicenter of the independent film renaissance of the late 1990s and early 2000s that inspired IndieWire’s creation in the first place.
Read More: Why Chloe Sevigny Waited 20 Years To Make Her Directorial Debut With The Female-Friendly ‘Kitty’
“It was the work of Chloe and so many of her collaborators…that inspired the site we created. So without even knowing it, Chloe, you were part of what helped inspire us to do what we did at IndieWire,” said Hernandez in his introduction.
Sevigny was in Provincetown showing her short film, “Kitty,” the actress’ first foray into directing. It’s a visually lush and fantastical film based on a short story by Paul Bowles, whose work once led her to travel to Marrakech with Korine in the mid-’90s, “Just kind of following in his footsteps.” As the festival presented her with their Excellence in Acting Award, Sevigny and Hernandez sat down for a career-spanning talk that included some eyebrow-raising anecdotes from her days working with indie cinema’s most lauded (and eccentric) directors.
Read More: Sofia Coppola On Female Sexuality In ‘The Beguiled’ And Why She Hopes Gay Men Find Colin Farrell Sexy
Here are seven things you may not have known about Sevigny’s most memorable films, and some of the greatest (and most controversial) indies of the last twenty years, according to her:
1. Before “Boys Don’t Cry,” Drew Barrymore wanted to play Brandon Teena, and she asked Harmony Korine to direct it.
“Drew Barrymore had actually approached Harmony and she wanted to play [Brandon Teena] and she wanted me to play Lana in her version. There were some weird initial meetings around that, which obviously didn’t go very far. She sent in these kind of Herb Ritts photos of herself done up as a boy. She looked really attractive, but it wasn’t gonna work. And then I actually went and auditioned for the [Brandon Teena] part. Kimberly Peirce said, ‘You’ve never wanted to be a boy, have you?’ And I said, ‘No,’ and she was like, ‘Why don’t you come back in and try out for the other part?’ So I did, and I got it.”
2. Sarah Polley was Kimberly Peirce’s first choice to play Lana in “Boys Don’t Cry.”
“I only got the part because Sarah Polley passed. That happened to me a lot in the ’90s. She got a lot of parts that I wanted.”
3. The reaction to that infamous blow job scene in Vincent Gallo’s “The Brown Bunny” still haunts her.
“I thought it would just kind of play to an art house audience, I don’t know why I thought it would just go under the radar. Vincent’s a real character. I love ‘Buffalo 66.’ I put my faith in him, believed in him. He’s also very seductive, as you can imagine… I think it was a way of kind of reclaiming myself, which sounds odd, but after the celebrity and stuff, being like: ‘No, that’s not who I am, I’m this other thing, and this is what I stand for.’ Or wanting to push the envelope. Like John [Waters], who’s here.” Sevigny gestured to Waters, who called out from the audience: “I loved the ‘The Brown Bunny’! The insects on the windshield…”
Read More: ‘Lizzie’: First Look at Kristen Stewart and Chloe Sevigny in Gothic Historical Murder Mystery
4. “The Brown Bunny” didn’t hurt her career, but it did hurt some relationships.
“I got my first studio film after that. I’d never been offered a studio film. It was ‘Zodiac.’ I don’t think it really hurt me, necessarily. I mean, it hurt me, in a lot of ways… Some relationships have had trouble with it. Of course, my mom and I don’t talk about it.”
5. Whit Stillman is terrifying.
“He’s very precise, and he also likes to do things a lot… It becomes surreal. Not as much as Fincher — he does full takes. Whit just wants you to say one line or one word again and again and again in a series. It’s terrifying. So scared of that man. And yet I keep going back. Glutton for punishment.”
6. Lars Von Trier spanked her on the set of “Dogville” (often).
“I think that Lars tortures the main actresses, and the supporting players get a free ride. He was really into spanking me. But in a playful way. He’d always tease me, like I had to be punished. And he knew I was into Black metal so he was always teasing me about like going off and burning churches. We had a funny rapport. But I think he was harder on Nicole [Kidman].”
7. The Chloe videos hurt her feelings.
“Ugh, I have a really complicated relationship with those. I don’t want to say I’m offended, ’cause that’s such a strong word. But I don’t enjoy them. I think because he’s a comedian. If he was more of a drag performer, I would feel like less – they hurt my feelings. Maybe I should be tougher, I don’t know. But they do.”
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Related stories'Glow' Producers Didn't Want to Cast Alison Brie -- Here's How She Fought to Change Their MindsBen Stiller Explains the Importance of Celebrating Human Stories that 'Don't Center on Aliens or Robots' -- Nantucket Film FestivalNoah Hawley on the 'Fargo' Finale and Why the Fate of Gloria Burgle Matters More Than You Think...
Read More: Why Chloe Sevigny Waited 20 Years To Make Her Directorial Debut With The Female-Friendly ‘Kitty’
“It was the work of Chloe and so many of her collaborators…that inspired the site we created. So without even knowing it, Chloe, you were part of what helped inspire us to do what we did at IndieWire,” said Hernandez in his introduction.
Sevigny was in Provincetown showing her short film, “Kitty,” the actress’ first foray into directing. It’s a visually lush and fantastical film based on a short story by Paul Bowles, whose work once led her to travel to Marrakech with Korine in the mid-’90s, “Just kind of following in his footsteps.” As the festival presented her with their Excellence in Acting Award, Sevigny and Hernandez sat down for a career-spanning talk that included some eyebrow-raising anecdotes from her days working with indie cinema’s most lauded (and eccentric) directors.
Read More: Sofia Coppola On Female Sexuality In ‘The Beguiled’ And Why She Hopes Gay Men Find Colin Farrell Sexy
Here are seven things you may not have known about Sevigny’s most memorable films, and some of the greatest (and most controversial) indies of the last twenty years, according to her:
1. Before “Boys Don’t Cry,” Drew Barrymore wanted to play Brandon Teena, and she asked Harmony Korine to direct it.
“Drew Barrymore had actually approached Harmony and she wanted to play [Brandon Teena] and she wanted me to play Lana in her version. There were some weird initial meetings around that, which obviously didn’t go very far. She sent in these kind of Herb Ritts photos of herself done up as a boy. She looked really attractive, but it wasn’t gonna work. And then I actually went and auditioned for the [Brandon Teena] part. Kimberly Peirce said, ‘You’ve never wanted to be a boy, have you?’ And I said, ‘No,’ and she was like, ‘Why don’t you come back in and try out for the other part?’ So I did, and I got it.”
2. Sarah Polley was Kimberly Peirce’s first choice to play Lana in “Boys Don’t Cry.”
“I only got the part because Sarah Polley passed. That happened to me a lot in the ’90s. She got a lot of parts that I wanted.”
3. The reaction to that infamous blow job scene in Vincent Gallo’s “The Brown Bunny” still haunts her.
“I thought it would just kind of play to an art house audience, I don’t know why I thought it would just go under the radar. Vincent’s a real character. I love ‘Buffalo 66.’ I put my faith in him, believed in him. He’s also very seductive, as you can imagine… I think it was a way of kind of reclaiming myself, which sounds odd, but after the celebrity and stuff, being like: ‘No, that’s not who I am, I’m this other thing, and this is what I stand for.’ Or wanting to push the envelope. Like John [Waters], who’s here.” Sevigny gestured to Waters, who called out from the audience: “I loved the ‘The Brown Bunny’! The insects on the windshield…”
Read More: ‘Lizzie’: First Look at Kristen Stewart and Chloe Sevigny in Gothic Historical Murder Mystery
4. “The Brown Bunny” didn’t hurt her career, but it did hurt some relationships.
“I got my first studio film after that. I’d never been offered a studio film. It was ‘Zodiac.’ I don’t think it really hurt me, necessarily. I mean, it hurt me, in a lot of ways… Some relationships have had trouble with it. Of course, my mom and I don’t talk about it.”
5. Whit Stillman is terrifying.
“He’s very precise, and he also likes to do things a lot… It becomes surreal. Not as much as Fincher — he does full takes. Whit just wants you to say one line or one word again and again and again in a series. It’s terrifying. So scared of that man. And yet I keep going back. Glutton for punishment.”
6. Lars Von Trier spanked her on the set of “Dogville” (often).
“I think that Lars tortures the main actresses, and the supporting players get a free ride. He was really into spanking me. But in a playful way. He’d always tease me, like I had to be punished. And he knew I was into Black metal so he was always teasing me about like going off and burning churches. We had a funny rapport. But I think he was harder on Nicole [Kidman].”
7. The Chloe videos hurt her feelings.
“Ugh, I have a really complicated relationship with those. I don’t want to say I’m offended, ’cause that’s such a strong word. But I don’t enjoy them. I think because he’s a comedian. If he was more of a drag performer, I would feel like less – they hurt my feelings. Maybe I should be tougher, I don’t know. But they do.”
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related stories'Glow' Producers Didn't Want to Cast Alison Brie -- Here's How She Fought to Change Their MindsBen Stiller Explains the Importance of Celebrating Human Stories that 'Don't Center on Aliens or Robots' -- Nantucket Film FestivalNoah Hawley on the 'Fargo' Finale and Why the Fate of Gloria Burgle Matters More Than You Think...
- 6/22/2017
- by Jude Dry
- Indiewire
Mubi and the Film Society of Lincoln Center are once again partnering to show highlights from the New York Film Festival's Projections online.The New York Film Festival’s Projections section presents an international selection of film and video work that expands upon our notions of what the moving image can do and be. Drawing on a broad range of innovative modes and techniques, including experimental narratives, avant-garde poetics, crossovers into documentary and ethnographic realms, and contemporary art practices, Projections brings together a diverse offering of short, medium, and feature-length work by some of today’s most vital and groundbreaking filmmakers and artists.Projections runs October 7 - 8 in New York, and before this weekend event Mubi will be exclusively showing two features and three shorts that are among our favorites from the festival's past two years. The films will be streaming in almost all countries around the world, for a 30 day run each.
- 10/12/2016
- MUBI
Aaron Brookner with Paterson and Gimme Danger director Jim Jarmusch - Sara Driver on Uncle Howard: "I knew Howard’s nephew Aaron was interested in filmmaking ..."
In Aaron Brookner's search in the making of Uncle Howard, with timely editing by Masahiro Hirakubo (Orlando von Einsiedel's Virunga), we see glimpses of John Cage, Merce Cunningham, Philip Glass, John Giorno, Laurie Anderson, Anne Waldman, Jim Carroll, Frank Zappa, and Patti Smith at the Entermedia Nova Convention - Andy Warhol having Cities Of The Red Night inscribed by William Burroughs - clips from Robert Wilson and the Civil Wars - and a telling interview with Lindsay Law on Howard Brookner's film Bloodhounds Of Broadway, based on Damon Runyon stories, with Matt Dillon, Rutger Hauer, Randy Quaid, Jennifer Grey, Madonna, Anita Morris, Fisher Stevens, Richard Edson, and Steve Buscemi.
Sara Driver with Paul Bowles scholar Francis Poole and Richard Peña...
In Aaron Brookner's search in the making of Uncle Howard, with timely editing by Masahiro Hirakubo (Orlando von Einsiedel's Virunga), we see glimpses of John Cage, Merce Cunningham, Philip Glass, John Giorno, Laurie Anderson, Anne Waldman, Jim Carroll, Frank Zappa, and Patti Smith at the Entermedia Nova Convention - Andy Warhol having Cities Of The Red Night inscribed by William Burroughs - clips from Robert Wilson and the Civil Wars - and a telling interview with Lindsay Law on Howard Brookner's film Bloodhounds Of Broadway, based on Damon Runyon stories, with Matt Dillon, Rutger Hauer, Randy Quaid, Jennifer Grey, Madonna, Anita Morris, Fisher Stevens, Richard Edson, and Steve Buscemi.
Sara Driver with Paul Bowles scholar Francis Poole and Richard Peña...
- 10/2/2016
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Oliver LaxeTime seems to have inverted: last year saw the release of British artist Ben Rivers’ The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers, a feature film that appears to be a behind-the-scenes record of the production of Spanish director Oliver Laxe’s second film, Mimosas, in Morocco. But soon The Sky Trembles turns into something else, its patchwork-colored landscapes drawing Laxe off his own film set and on a stripped-down journey through the desert. Kidnapped and covered in tin armor, Laxe goes through an allegorical rite of passage inspired by the writing of Paul Bowles and reminiscent of how, in his feature debut, 2010’s marvelous You Are All Captains, the young director is also replaced from his own film and which seems to get along just fine without him.This year we finally see Mimosas, the film whose production we spied in The Sky Trembles.
- 9/13/2016
- MUBI
The Film Society of Lincoln Center today announced the lineup for Explorations, a new section featuring bold selections from the vanguard of contemporary cinema, and Main Slate shorts for the 54th New York Film Festival.
Read More: Nyff Reveals Main Slate of 2016 Titles, Including ‘Manchester By the Sea,’ ‘Paterson’ and ‘Personal Shopper’
Explorations is devoted to work from around the world, from filmmakers across the spectrum of experience and artistic sensibility. It kicks off with six features, including Albert Serra’s latest, “The Death of Louis Xiv,” featuring a tour de force performance by French cinema legend Jean-Pierre Léaud; Douglas Gordon’s portrait of avant-garde icon Jonas Mekas, “I Had Nowhere to Go”; João Pedro Rodrigues’s “The Ornithologist”, which won him the Best Director prize at Locarno; as well as Natalia Almada’s “Everything Else”, Gastón Solnicki’s “Kékszakállú,” and Oliver Laxe’s “Mimosas.”
New York Film Festival Director...
Read More: Nyff Reveals Main Slate of 2016 Titles, Including ‘Manchester By the Sea,’ ‘Paterson’ and ‘Personal Shopper’
Explorations is devoted to work from around the world, from filmmakers across the spectrum of experience and artistic sensibility. It kicks off with six features, including Albert Serra’s latest, “The Death of Louis Xiv,” featuring a tour de force performance by French cinema legend Jean-Pierre Léaud; Douglas Gordon’s portrait of avant-garde icon Jonas Mekas, “I Had Nowhere to Go”; João Pedro Rodrigues’s “The Ornithologist”, which won him the Best Director prize at Locarno; as well as Natalia Almada’s “Everything Else”, Gastón Solnicki’s “Kékszakállú,” and Oliver Laxe’s “Mimosas.”
New York Film Festival Director...
- 8/29/2016
- by Vikram Murthi
- Indiewire
Time seems to have inverted: last year saw the release of British artist Ben Rivers’ The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers, a feature film that appears to be a behind-the-scenes record of the production of Spanish director Oliver Laxe’s second film, Mimosas, in Morocco. But soon The Sky Trembles turns into something else, its patchwork-colored landscapes drawing Laxe off his own film set and on a stripped-down journey through the desert. Kidnapped and covered in tin armor, Laxe goes through an allegorical rite of passage inspired by the writing of Paul Bowles and reminiscent of how, in his feature debut, 2010’s marvelous You Are All Captains, the young director is also replaced from his own film and which seems to get along just fine without him.This year we finally see Mimosas, the film whose production we spied in The Sky Trembles.
- 5/16/2016
- MUBI
The International Film Festival of Cannes, May 11th to 22nd, is the largest media event in the world after the Olympics. The Red Carpet Gala Premieres of world renowned auteur films, movie stars plus their photos go to every newspaper, magazine and television station in the world.
This year we’ll see the stars (and directors with their entourages) in films by Woody Allen, Jim Jarmusch, Jodie Foster ♀, Stephen Spielberg, Jeff Nichols, Sean Penn, Nicolas Winding Refn, Pedro Almodóvar, Ashghar Farhadi, Andrea Arnold ♀, Olivier Assayas, Jean-Pierre and Luc Dardenne, Xavier Dolan, Bruno Dumont, Nicole Garcia ♀, Ken Loach, Paul Verhoeven, Hirokazu Kore-Eda, David Mackenzie, Matt Ross, Shane Black, Paul Schrader, Rithy Panh and others from almost 30 countries as they pose on the red carpet.
The Official Selection Competition shows films of bankable masters and Un Certain Regard spotlights original and young talent. The Official Selection also includes Out of Competition films, Special Screenings, Midnight Screenings, Cannes Classics, and the Cinéfondation Selection targeting film schools. The Cannes Short Film Corner offers a panorama of short film production worldwide.
There are more short films in the festival and three other “sidebar” festivals which have evolved since Cannes began in 1946. Directors banded together to create the Directors’ Fortnight, critics created the Critics Week and 20 years ago independent filmmakers created Acid.
And with all this hoopla, there are less than 95 feature films screening in all.
At the same time, there is an enormous film market called the Marché du Film. It is the most important event of the film industry, the meeting point for more than 10,000 professionals, including 3,200 producers, 1,500 international sales agents licensing almost 4,000 films and projects to 2,300 distributors from everywhere in the world (about 60 “territories” covering Europe, Latin America, Africa, Middle East, Asia and North America), and 790 festival organizers all there to discover the gems which will make them stand out.
There are gala parties, panel discussions hosted by many different organizations, and for the past three years there has been an increasingly bright spotlight on women and the need for parity in all areas of the film industry.
Traditional theatrical and movie channel buyers are looking for undiscovered jewels, whether in the festival or in the market, films which they judge will be most appealing to their audiences.
In the market itself, Cmg is selling directors Dorota Kobiela and Welchman’s “Loving Vincent”, an animated story of Vincent Van Gogh, still unfinished but which has “presold” in 17 territories. It features over 120 of Vincent Van Gogh’s greatest paintings with a plot drawn from the 800 letters written by the painter himself, leading us to the significant people and events in the time leading up to his unexpected death.
The other big issue today is the unequal number of women in the directors’ ranks…4% worldwide is not representative of the 51% population. Cannes is working to show its interest in improving the numbers. The need to find and show good films by women is important to everyone.
Cambodia and Singapore. Critics’ Week, devoted to first and second features, chose 10 films out of 1,100 feature-length submissions and is dominated by female film-makers, with Justine Triet’s “In Bed With Victoria”, a crime thriller, selected as the opening film. And totally unique, closing night will be three short films – including Chloë Sevigny’s adaptation of the Paul Bowles novel “Kitty”, “Smile” (“Bonne Figure”) by Sandrine Kiberlain of France and “En moi” by Laetitia Casta of France.
Other films from afar include the Opening Night film of Un Certain Regard, “Eshtebak” (“Clash”) by Egypt’s Mohamed Diab, Cambodia’s “Diamond island” by Davy Chou in Competition in Critics’ Week, a Cambodian-French-German coproduction. There are two films from Lebanon, “Fallen From Heaven” a first feature in Acid and “Tramontane” in Critics Week. From Tunisia comes Karim Dridi’s “Chouf” in the Official Selection Special Screenings.
Perhaps the most exotic film showing is the Afghanistan-Denmark- France-Sweden coproduction, “Wolf and Sheep” in Directors’ Fortnight. In her debut feature, the young Afghan filmmaker Shahrbanoo Sadat portrays the community in a small village in rural Afghanistan through shepherd children.
Although he is still confined in the Ecuadorian embassy in London, Julian Assange will make an appearance at the Cannes film festival – via Laura Poitras’s documentary “Risk”, which has been selected for the Directors’ Fortnight sidebar.
Iran’s famous Oscar-winning (“A Separation”) director, Asghar Farhadi is here with “Inversion”.
As always everyone will be running on adrenalin trying to accomplish everything in ten neverending days.
This year we’ll see the stars (and directors with their entourages) in films by Woody Allen, Jim Jarmusch, Jodie Foster ♀, Stephen Spielberg, Jeff Nichols, Sean Penn, Nicolas Winding Refn, Pedro Almodóvar, Ashghar Farhadi, Andrea Arnold ♀, Olivier Assayas, Jean-Pierre and Luc Dardenne, Xavier Dolan, Bruno Dumont, Nicole Garcia ♀, Ken Loach, Paul Verhoeven, Hirokazu Kore-Eda, David Mackenzie, Matt Ross, Shane Black, Paul Schrader, Rithy Panh and others from almost 30 countries as they pose on the red carpet.
The Official Selection Competition shows films of bankable masters and Un Certain Regard spotlights original and young talent. The Official Selection also includes Out of Competition films, Special Screenings, Midnight Screenings, Cannes Classics, and the Cinéfondation Selection targeting film schools. The Cannes Short Film Corner offers a panorama of short film production worldwide.
There are more short films in the festival and three other “sidebar” festivals which have evolved since Cannes began in 1946. Directors banded together to create the Directors’ Fortnight, critics created the Critics Week and 20 years ago independent filmmakers created Acid.
And with all this hoopla, there are less than 95 feature films screening in all.
At the same time, there is an enormous film market called the Marché du Film. It is the most important event of the film industry, the meeting point for more than 10,000 professionals, including 3,200 producers, 1,500 international sales agents licensing almost 4,000 films and projects to 2,300 distributors from everywhere in the world (about 60 “territories” covering Europe, Latin America, Africa, Middle East, Asia and North America), and 790 festival organizers all there to discover the gems which will make them stand out.
There are gala parties, panel discussions hosted by many different organizations, and for the past three years there has been an increasingly bright spotlight on women and the need for parity in all areas of the film industry.
Traditional theatrical and movie channel buyers are looking for undiscovered jewels, whether in the festival or in the market, films which they judge will be most appealing to their audiences.
In the market itself, Cmg is selling directors Dorota Kobiela and Welchman’s “Loving Vincent”, an animated story of Vincent Van Gogh, still unfinished but which has “presold” in 17 territories. It features over 120 of Vincent Van Gogh’s greatest paintings with a plot drawn from the 800 letters written by the painter himself, leading us to the significant people and events in the time leading up to his unexpected death.
The other big issue today is the unequal number of women in the directors’ ranks…4% worldwide is not representative of the 51% population. Cannes is working to show its interest in improving the numbers. The need to find and show good films by women is important to everyone.
Cambodia and Singapore. Critics’ Week, devoted to first and second features, chose 10 films out of 1,100 feature-length submissions and is dominated by female film-makers, with Justine Triet’s “In Bed With Victoria”, a crime thriller, selected as the opening film. And totally unique, closing night will be three short films – including Chloë Sevigny’s adaptation of the Paul Bowles novel “Kitty”, “Smile” (“Bonne Figure”) by Sandrine Kiberlain of France and “En moi” by Laetitia Casta of France.
Other films from afar include the Opening Night film of Un Certain Regard, “Eshtebak” (“Clash”) by Egypt’s Mohamed Diab, Cambodia’s “Diamond island” by Davy Chou in Competition in Critics’ Week, a Cambodian-French-German coproduction. There are two films from Lebanon, “Fallen From Heaven” a first feature in Acid and “Tramontane” in Critics Week. From Tunisia comes Karim Dridi’s “Chouf” in the Official Selection Special Screenings.
Perhaps the most exotic film showing is the Afghanistan-Denmark- France-Sweden coproduction, “Wolf and Sheep” in Directors’ Fortnight. In her debut feature, the young Afghan filmmaker Shahrbanoo Sadat portrays the community in a small village in rural Afghanistan through shepherd children.
Although he is still confined in the Ecuadorian embassy in London, Julian Assange will make an appearance at the Cannes film festival – via Laura Poitras’s documentary “Risk”, which has been selected for the Directors’ Fortnight sidebar.
Iran’s famous Oscar-winning (“A Separation”) director, Asghar Farhadi is here with “Inversion”.
As always everyone will be running on adrenalin trying to accomplish everything in ten neverending days.
- 5/11/2016
- by Sydney Levine
- Sydney's Buzz
Ben Rivers’s installation-cum-arthouse film demands a lot of viewer investment for its rewards
This experimental work from British artist and film-maker Ben Rivers belongs at the most arcane reaches of the arthouse spectrum. Created as part of an installation, it’s a piece which would sit just as comfortably in a gallery as it does in a cinema. Rivers blends documentary and fiction – the first 40 minutes is an account of film-maker Oliver Laxe shooting a feature in the High Atlas mountains in Morocco, before Laxe becomes the protagonist of Rivers’s own hallucinatory narrative. There is a savage beauty to this work, which is very loosely based on a short story by Paul Bowles, but it is a demanding, difficult viewing experience.
Continue reading...
This experimental work from British artist and film-maker Ben Rivers belongs at the most arcane reaches of the arthouse spectrum. Created as part of an installation, it’s a piece which would sit just as comfortably in a gallery as it does in a cinema. Rivers blends documentary and fiction – the first 40 minutes is an account of film-maker Oliver Laxe shooting a feature in the High Atlas mountains in Morocco, before Laxe becomes the protagonist of Rivers’s own hallucinatory narrative. There is a savage beauty to this work, which is very loosely based on a short story by Paul Bowles, but it is a demanding, difficult viewing experience.
Continue reading...
- 5/8/2016
- by Wendy Ide
- The Guardian - Film News
Ben Rivers’ challenging film adapts a Paul Bowles short story about a high-handed European in Morocco to chilling effect
Related: Ben Rivers: ‘You find abandoned sets from films like Lawrence of Arabia just standing there in the desert’
Here is a challenging, cerebral slow-burner from the artist and film-maker Ben Rivers. It unfolds calmly, blankly, then contorts into violence: part drama, part opaque essay film on the nature of orientalism. This is a free adaptation of Paul Bowles’s 1945 short story A Distant Episode; there are also echoes of Lawrence and Kipling. The title is the strange babble that Bowles once overheard on the lips of a stranger, and this occult outburst reportedly inspired the writer’s disturbing tale about a European professor of languages who comes to Morocco intent on studying dialect, behaves high-handedly with the locals and is treated with terrifying violence that is far from justified...
Related: Ben Rivers: ‘You find abandoned sets from films like Lawrence of Arabia just standing there in the desert’
Here is a challenging, cerebral slow-burner from the artist and film-maker Ben Rivers. It unfolds calmly, blankly, then contorts into violence: part drama, part opaque essay film on the nature of orientalism. This is a free adaptation of Paul Bowles’s 1945 short story A Distant Episode; there are also echoes of Lawrence and Kipling. The title is the strange babble that Bowles once overheard on the lips of a stranger, and this occult outburst reportedly inspired the writer’s disturbing tale about a European professor of languages who comes to Morocco intent on studying dialect, behaves high-handedly with the locals and is treated with terrifying violence that is far from justified...
- 5/5/2016
- by Peter Bradshaw
- The Guardian - Film News
★★★★☆ The unsettling skeleton of Paul Bowles' short story A Distant Episode gives a narrative framework to Ben Rivers latest odyssey into the ethereal unknown. The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not Brothers is a beguiling meditation on the nature of cinematic memory wrapped around the bones of Bowles' plot and it while it is unlikely to convert those previously resistant to the director's work, his many admirers will find much to admire. The feature element of a wider piece (there was an installation at Television Centre, London) it is an elusive blend of documentary and fiction, that makes fresh and unique footprints in much-trodden sand.
- 5/4/2016
- by CineVue UK
- CineVue
The lineup for the 2016 Cannes Critics' Week has been announced.Opening FilmIn Bed with Victoria (Justine Triet): Victoria Spick, a criminal lawyer in a total sentimental void, meets at a wedding her friend Vincent and Sam, a former drug dealer she got out business. The next day, Vincent is accused of attempted murder by his girlfriend. The victim's dog is the only witness. Reluctantly, Victoria accepts to defend Vincent, while she hires Sam as an au pair. This is just the beginning of troubled times for Victoria.CompetitionAlbüm (Mehmet Can Mertoğlu): A couple in their late 30’s sets out to prepare a fake photo album of a pseudo pregnancy period in order to prove their biological tie to the baby they’re planning adopt.Diamond Island (Davy Chou): Bora, an 18-year-old, leaves his village to work on the construction sites of Diamond Island, a project for an...
- 4/18/2016
- by Notebook
- MUBI
What’s in a name? Well, if you’re the latest film from director Ben Rivers, it could be a whole hell of a lot. Rivers returns with his latest epic-sounding piece of visual art entitled The Sky Trembles and The Earth is Afraid and the Two Eyes Are Not Brothers, or Tstateiaatteanb for short.
Despite sounding like the type of self important, pretentious piece of faux-avant garde filmmaking independent cinema has been charged with promoting, Rivers’ picture is one of cinema’s most beautiful achievements of the last handful of years, despite also being one of its most obtuse and frustratingly dense. Drawing the title from a short story from writer Paul Bowles, the film finds its narrative in the Sahara desert, specifically the segment of it found in Morocco. Starring fellow filmmaker Oliver Laxe, The Sky Trembles tells the story of Laxe as he begins shooting a new...
Despite sounding like the type of self important, pretentious piece of faux-avant garde filmmaking independent cinema has been charged with promoting, Rivers’ picture is one of cinema’s most beautiful achievements of the last handful of years, despite also being one of its most obtuse and frustratingly dense. Drawing the title from a short story from writer Paul Bowles, the film finds its narrative in the Sahara desert, specifically the segment of it found in Morocco. Starring fellow filmmaker Oliver Laxe, The Sky Trembles tells the story of Laxe as he begins shooting a new...
- 2/17/2016
- by Joshua Brunsting
- CriterionCast
Due to Events Written and directed by Jean Ann Douglass and Eric John Meyer Human Head Performance Group The Brick, Brooklyn, NY February 5-27, 2016
For much of Due to Events, the terrific and very funny new play by Jean Ann Douglass and Eric John Meyer, the conversational partners available to protagonist Hero (Anne Gridley) are one living animal and one dead one. Hero, a writer whose work concerns "the future," has been arrested and confined by order of the authorities to her one-room apartment while she awaits a trial with no set date, allowed to communicate with representatives of those authorities only by speaking into a taxidermies squirrel. Upon its arrival, this squirrel catches the interest of Hero's Cat (Laura Campbell), the only living thing that she has contact with aside from her dedicated if unconventional Lawyer (Ben Beckley).
Hero's house arrest and hypothetically pending court date call to mind...
For much of Due to Events, the terrific and very funny new play by Jean Ann Douglass and Eric John Meyer, the conversational partners available to protagonist Hero (Anne Gridley) are one living animal and one dead one. Hero, a writer whose work concerns "the future," has been arrested and confined by order of the authorities to her one-room apartment while she awaits a trial with no set date, allowed to communicate with representatives of those authorities only by speaking into a taxidermies squirrel. Upon its arrival, this squirrel catches the interest of Hero's Cat (Laura Campbell), the only living thing that she has contact with aside from her dedicated if unconventional Lawyer (Ben Beckley).
Hero's house arrest and hypothetically pending court date call to mind...
- 2/9/2016
- by Leah Richards
- www.culturecatch.com
Principal photography began in Los Angeles today on Kitty, a short film that will mark the directorial debut of actress Chloë Sevigny. She also wrote the adaptation of the Paul Bowles short story about a little girl who dreams of becoming a kitten and transforms into one. The veteran actress has compiled a strong cast and crew as she makes her foray behind the camera. Ione Skye, Lee Meriwether and Edie Yvonne star, and also in the mix are Dp Seamus McGarvey (Atonement, The…...
- 1/8/2016
- Deadline
One of the key aspects of the Toronto International Film Festival is the City to City Programme, which takes a look at a specific city every year, screening films that focus on the events of that specific city, as well as showcasing the latest projects by filmmakers from the city. The 2015 incarnation of the festival will focus on London, England, with eight films in the Tiff programme this year.
The films that will be part of the lineup have now been announced, alongside an additional set of films that will be part of the Tiff Wavelengths Programme, joining the previously announced entries in the programme. The complete list of films in both programmes, along with their official synopses, can be seen below.
City To City
Couple in a Hole, directed by Tom Geens, making its World Premiere
A middle class British couple end up living like feral creatures in a...
The films that will be part of the lineup have now been announced, alongside an additional set of films that will be part of the Tiff Wavelengths Programme, joining the previously announced entries in the programme. The complete list of films in both programmes, along with their official synopses, can be seen below.
City To City
Couple in a Hole, directed by Tom Geens, making its World Premiere
A middle class British couple end up living like feral creatures in a...
- 8/18/2015
- by Deepayan Sengupta
- SoundOnSight
In 2013 there was an open call for artists to share their most ambitious ideas with the commissioning body Artangel. Ben River’s application was chosen from amongst 1,500 submissions. The filmmaker—best known for Two Years At Sea (2011) and A Spell to Ward of the Darkness (2013, with Ben Russell)—saw an opportunity to combine a number of ongoing projects in a mutually enlivening fashion. A feature film The Earth Trembles And The Sky Is Afraid And The Two Eyes Are Not Brothers is scheduled for release later in the year. In the meantime, however, elements of its production and of several other productions besides, have been brought together in a singular installation free to view in London until the end of August.One of the most notable features of Ben Rivers’ filmmaking practice is that he hand-processes his own exposed film stock. The resulting images are effervescent with imperfections. His frames...
- 7/20/2015
- by Tom Stevenson
- MUBI
It’s been a surprisingly interesting month of moving and shaking in terms of doc development. Just a month after making his first public funding pitch at Toronto’s Hot Docs Forum, legendary doc filmmaker Frederick Wiseman took to Kickstarter to help cover the remaining expenses for his 40th feature film In Jackson Heights (see the film’s first trailer below). Unrelentingly rigorous in his determination to capture the American institutional landscape on film, his latest continues down this thematic rabbit hole, taking on the immensely diverse New York City neighborhood of Jackson Heights as his latest subject. According to the Kickstarter page, Wiseman is currently editing the 120 hours of rushes he shot with hopes of having the film ready for a fall festival premiere (my guess would be Tiff, where both National Gallery and At Berkeley made their North American debut), though he’s currently quite a ways away from his $75,000 goal.
- 7/6/2015
- by Jordan M. Smith
- IONCINEMA.com
Francesco Clemente: Inspired by India The Rubin Museum of Art Through February 2, 2015 Two Tents Mary Boone Gallery Through December 20, 2014
The original impulse in my life as an artist was to write and to break from writing into image.... Art is the last oral tradition alive in the West. - Francesco Clemente
Francesco Clemente, the nomadic Neo-Expressionist painter and sculptor, continues to pursue his travels and artistic investigations, and, fortunately for New Yorkers this Fall, has brought back the resulting documents to two concurrent shows: Francesco Clemente: Inspired by India, at the Rubin Museum and Two Tents at Mary Boone. Clemente follows somewhat in the traditions set by writers such as Paul Bowles and Christopher Isherwood, or musicians like The Beatles and David Bowie -- artists who used travel both as a metaphor and a seemingly endless reserve of creative energies from which to renew interest in their pursuits.
The original impulse in my life as an artist was to write and to break from writing into image.... Art is the last oral tradition alive in the West. - Francesco Clemente
Francesco Clemente, the nomadic Neo-Expressionist painter and sculptor, continues to pursue his travels and artistic investigations, and, fortunately for New Yorkers this Fall, has brought back the resulting documents to two concurrent shows: Francesco Clemente: Inspired by India, at the Rubin Museum and Two Tents at Mary Boone. Clemente follows somewhat in the traditions set by writers such as Paul Bowles and Christopher Isherwood, or musicians like The Beatles and David Bowie -- artists who used travel both as a metaphor and a seemingly endless reserve of creative energies from which to renew interest in their pursuits.
- 12/19/2014
- by bradleyrubenstein
- www.culturecatch.com
If the guy from the Dos Equis commericals is The Most Interesting Man In The World, it’s possible that Tilda Swinton is The Most Interesting Woman – though she has the advantage since she’s real, and so are her accomplishments. Taleted, thoughtful and endlessly idiosyncratic, Swinton has been crafting indelible characters on film since the late 1980s, when she worked with late director Derek Jarman, and slowly moved into more mainstream projects where her natural singularity created distinctive, memorable characters and performances. And since 2005, she has collaborated closely with equally unique filmmaker Jim Jarmusch, in whose latest project, Only Lovers Left Alive, she plays Eve, an anachonristic – and yet timeless – vampire in a long-term, and long-distance relationship with her equally immortal partner Adam (Tom Hiddleston).
Swinton recently spoke to press at the film’s Los Angeles press day, where she unpacked the film’s themes – and its impact on...
Swinton recently spoke to press at the film’s Los Angeles press day, where she unpacked the film’s themes – and its impact on...
- 4/10/2014
- by Todd Gilchrist
- DailyDead
Too Much Johnson – which was intended for inclusion in a theatre show – forms an 'intellectual bridge' between the director's theatrical and cinematic careers, says its restorer
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It's hugely exciting discovery – and a bizarre, unexpected one too. An early Orson Welles film, previously thought lost, has been found in a warehouse in northern Italy. Too Much Johnson, the second film Welles ever created, is a silent movie, a slapstick comedy that has never been shown and was thought to have been destroyed in a fire.
"We may never fully understand the mystery of why it was abandoned. What matters now is that it is safe, and that it will be seen," says Dr Paolo Cherchi Usai, senior curator of motion pictures at the George Eastman House in Rochester, New York, which restored the footage.
The film, says Cherchi Usai, is the "intellectual bridge" between Welles's theatrical and cinematic careers.
Reading this on mobile? Click to view
It's hugely exciting discovery – and a bizarre, unexpected one too. An early Orson Welles film, previously thought lost, has been found in a warehouse in northern Italy. Too Much Johnson, the second film Welles ever created, is a silent movie, a slapstick comedy that has never been shown and was thought to have been destroyed in a fire.
"We may never fully understand the mystery of why it was abandoned. What matters now is that it is safe, and that it will be seen," says Dr Paolo Cherchi Usai, senior curator of motion pictures at the George Eastman House in Rochester, New York, which restored the footage.
The film, says Cherchi Usai, is the "intellectual bridge" between Welles's theatrical and cinematic careers.
- 8/8/2013
- by Pamela Hutchinson
- The Guardian - Film News
Bernardo Bertolucci's first offering in a decade is a lightweight, disappointing affair
Between 1962, when he made his feature debut with The Grim Reaper, a Rashomon-style thriller scripted by Pasolini, up to 1990, when he directed an underrated adaptation of Paul Bowles's The Sheltering Sky, Bertolucci was responsible for some of the finest films of our time. The greatest perhaps was The Conformist, which brought together Marx and Freud in provocative and persuasive ways. Since then, however, his films have been woolly and lightweight, and Me and You, his first picture since illness confined him to a wheelchair 10 years ago, is equally disappointing.
His last movie, The Dreamers of 2003, was a reworking of Cocteau's Les enfants terribles in 1960s Paris. Me and You continues this hermetic, semi-incestuous theme with the 14-year-old Lorenzo living a clandestine life with his drug-addicted, 25-year-old half-sister, Olivia, in the basement of the Rome flat of his divorced mother.
Between 1962, when he made his feature debut with The Grim Reaper, a Rashomon-style thriller scripted by Pasolini, up to 1990, when he directed an underrated adaptation of Paul Bowles's The Sheltering Sky, Bertolucci was responsible for some of the finest films of our time. The greatest perhaps was The Conformist, which brought together Marx and Freud in provocative and persuasive ways. Since then, however, his films have been woolly and lightweight, and Me and You, his first picture since illness confined him to a wheelchair 10 years ago, is equally disappointing.
His last movie, The Dreamers of 2003, was a reworking of Cocteau's Les enfants terribles in 1960s Paris. Me and You continues this hermetic, semi-incestuous theme with the 14-year-old Lorenzo living a clandestine life with his drug-addicted, 25-year-old half-sister, Olivia, in the basement of the Rome flat of his divorced mother.
- 4/20/2013
- by Philip French
- The Guardian - Film News
Not sure if anyone has referred to him as the Stuart Sutcliffe of the Beat Gen, but Paul Bowles will receive some posthumous affection from Docu distributor First Run Features who picked up Daniel Young’s Paul Bowles: The Cage Door is Always Open fresh from its Berlin Film Festival showing. Look for a release sometime this year.
Gist: The fact that Paul Bowles is less well known than fellow writers like William S. Burroughs, Allen Ginsberg or Jack Kerouac may be because, after pursuing a nomadic lifestyle at the beginning of the 1950s, publicity-shy Bowles decided to settle in Tangiers. There, far away from the hurly-burly of the literary world, the town became a permanent home for this homosexual writer and composer and Jane, his lesbian wife. Bowles’ austere, almost Calvinistic view of humankind and the psyche, as well as his outright refusal to subscribe to the zeitgeist, distinguished...
Gist: The fact that Paul Bowles is less well known than fellow writers like William S. Burroughs, Allen Ginsberg or Jack Kerouac may be because, after pursuing a nomadic lifestyle at the beginning of the 1950s, publicity-shy Bowles decided to settle in Tangiers. There, far away from the hurly-burly of the literary world, the town became a permanent home for this homosexual writer and composer and Jane, his lesbian wife. Bowles’ austere, almost Calvinistic view of humankind and the psyche, as well as his outright refusal to subscribe to the zeitgeist, distinguished...
- 2/12/2013
- by Eric Lavallee
- IONCINEMA.com
First Run Features has acquired all Us rights to Submarine Entertainment's "Paul Bowles: The Cage Door is Always Open," from director Daniel Young. Canadian rights have gone to Films We Like. A release will be coordinated between them and First Run Features later this year. The film recently screened at the Berlin Film Festival. The film is based on interviews with Bowles done shortly before his death in 1999. The documentary takes a look at the pre-Beat writer who echewed the spotlight to live in North Africa with his wife Jane. The film also features Jane Bowles, Gore Vidal, John Waters, Bernardo Bertolucci, Ira Cohen, Edmund White, William Burroughs, Francis Bacon and others. More on Bowles below. First Run Features' Marc Mauceri states: "Paul Bowles has remained an enigmatic, esoteric figure decades after the publication of his greatest work, 'The Sheltering Sky.' Perhaps this explains our endless fascination with not only his.
- 2/11/2013
- by Sophia Savage
- Thompson on Hollywood
You Are Not I
"Showcasing a free-form approach to narrative that you'll wish wasn't all but extinct in American independent cinema," writes Benjamin Mercer in the L, "Sara Driver's long-unavailable (and too small) body of work constitutes a minor revelation. In her 1981 debut, You Are Not I — recently rediscovered and refurbished, providing the impetus for Anthology's retrospective — Driver laid the groundwork for her eerily dissonant overlay of enchantment, terror, and tedium: Adapting a Paul Bowles story with longtime collaborator (and partner) Jim Jarmusch, who also shot the film on black-and-white 16mm, You Are Not I is an outer-boundary study in the mind's capacity to project its disturbance." Suzanne Fletcher plays Ethel, "who has somehow escaped from a nearby mental hospital in the flaming aftermath of a several-car pileup. She travels through a derelict zone to her sister's house, where the 'inconvenient' Ethel winds up in an unnervingly clenched domestic showdown.
"Showcasing a free-form approach to narrative that you'll wish wasn't all but extinct in American independent cinema," writes Benjamin Mercer in the L, "Sara Driver's long-unavailable (and too small) body of work constitutes a minor revelation. In her 1981 debut, You Are Not I — recently rediscovered and refurbished, providing the impetus for Anthology's retrospective — Driver laid the groundwork for her eerily dissonant overlay of enchantment, terror, and tedium: Adapting a Paul Bowles story with longtime collaborator (and partner) Jim Jarmusch, who also shot the film on black-and-white 16mm, You Are Not I is an outer-boundary study in the mind's capacity to project its disturbance." Suzanne Fletcher plays Ethel, "who has somehow escaped from a nearby mental hospital in the flaming aftermath of a several-car pileup. She travels through a derelict zone to her sister's house, where the 'inconvenient' Ethel winds up in an unnervingly clenched domestic showdown.
- 3/24/2012
- MUBI
Tilda Swinton leads an excellent cast in a thoughtful and deeply disturbing adaptation of Lionel Shriver's novel
The general outline of Lionel Shriver's novel must be widely familiar by now. We Need to Talk About Kevin has been around for eight years, there's a brief synopsis of the plot on the cover of the paperback, and the film was widely discussed when it premiered in Cannes last May and to most people's surprise failed to win a major prize.
It is an astonishing, truly shocking book that connects unspoken terrors in the domestic world to social horrors exploding in public. It uses the epistolary method, which like the diary form was popular among early novelists as a way of giving fiction a documentary authenticity. In this case the letters are written by Eva Khatchadourian, an adventurous travel writer and tour organiser, to her absent husband. She's a classic unreliable narrator,...
The general outline of Lionel Shriver's novel must be widely familiar by now. We Need to Talk About Kevin has been around for eight years, there's a brief synopsis of the plot on the cover of the paperback, and the film was widely discussed when it premiered in Cannes last May and to most people's surprise failed to win a major prize.
It is an astonishing, truly shocking book that connects unspoken terrors in the domestic world to social horrors exploding in public. It uses the epistolary method, which like the diary form was popular among early novelists as a way of giving fiction a documentary authenticity. In this case the letters are written by Eva Khatchadourian, an adventurous travel writer and tour organiser, to her absent husband. She's a classic unreliable narrator,...
- 10/22/2011
- by Philip French
- The Guardian - Film News
The director's long-lost debut, described by Cahiers du Cinéma as one of the best made movies of the 1980s.
"You are not I. No one but me could possibly be. I know that and I know where I have been and what I have done ever since yesterday." The voiceover opening lines in Sara Driver's exquisite long-lost film You Are Not I, based on a Paul Bowles story, portend the journey of the film's rediscovery in Tangier, Morocco. After having her only negative destroyed by water damage in a storage facility in New Jersey, and no usable print to screen for years, it took the chance discovery of...
"You are not I. No one but me could possibly be. I know that and I know where I have been and what I have done ever since yesterday." The voiceover opening lines in Sara Driver's exquisite long-lost film You Are Not I, based on a Paul Bowles story, portend the journey of the film's rediscovery in Tangier, Morocco. After having her only negative destroyed by water damage in a storage facility in New Jersey, and no usable print to screen for years, it took the chance discovery of...
- 10/8/2011
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Not quite a short or a feature, Sara Driver's long-lost 1981 production "You Are Not I" exists on some alternate plane that renders the distinction irrelevant. It's more like a haunting cinematic journey that leads directly into its mentally disturbed protagonist's head. "You Are Not I" adapts the Paul Bowles short story of the same name and turns it into a disorienting psychological experience where nobody's sanity can be trusted, ...
- 10/8/2011
- Indiewire
"Sara Driver's long-lost No Wave adaptation of a Paul Bowles short story finally resurfaces," writes Alt Screen at the top of its roundup. "Co-written and shot by Jim Jarmusch (with Tom Dicillo as assistant) and featuring cameos by Nan Goldin and Luc Sante, You Are Not I [1981] has only screened at the Iceland Film Fest and the Portuguese Cinémathèque in Lisbon."
"A nervous mental patient (Suzanne Fletcher) escapes her hospital, and wanders past a horrific car crash en route to her sister's house," writes R Emmet Sweeney at Movie Morlocks. "She desperately wants to eject her frazzled sibling and replace her, to create space for the patient to live alone in her own head. Driver sets a mood that is dreamlike and elliptical — the crash is a pile-up of abstracted forms on grass, and the corpses are lined up like dominoes. We are witnessing the world through the patient's frazzled brain,...
"A nervous mental patient (Suzanne Fletcher) escapes her hospital, and wanders past a horrific car crash en route to her sister's house," writes R Emmet Sweeney at Movie Morlocks. "She desperately wants to eject her frazzled sibling and replace her, to create space for the patient to live alone in her own head. Driver sets a mood that is dreamlike and elliptical — the crash is a pile-up of abstracted forms on grass, and the corpses are lined up like dominoes. We are witnessing the world through the patient's frazzled brain,...
- 10/6/2011
- MUBI
Washington, Oct 4: Hollywood stars Samuel L. Jackson, Nicole Kidman, Kate Winslet and Anne Hathaway will all be lending their voices to Audible.com, a new series of audio books which will make listeners go to sleep.
While Dustin Hoffman will lend his voice for Jerzy Kosinski's 'Being There', Jennifer Connolly will read Paul Bowles' 'The Sheltering Sky', and Jackson for Chester Himes' 'A Rage in Harlem'.
This will not be Jackson's first attempt at reading a bedtime story, as he had narrated 'Go the F**k to Sleep', a book which pleads with children to fall asleep in calm but expletive-laden verses.
Other actors included for reading are Colin Firth, Meg Ryan, Susan Sarandon, Naomi Watts and Kim Basinger, Contactmusic.
While Dustin Hoffman will lend his voice for Jerzy Kosinski's 'Being There', Jennifer Connolly will read Paul Bowles' 'The Sheltering Sky', and Jackson for Chester Himes' 'A Rage in Harlem'.
This will not be Jackson's first attempt at reading a bedtime story, as he had narrated 'Go the F**k to Sleep', a book which pleads with children to fall asleep in calm but expletive-laden verses.
Other actors included for reading are Colin Firth, Meg Ryan, Susan Sarandon, Naomi Watts and Kim Basinger, Contactmusic.
- 10/4/2011
- by Lohit Reddy
- RealBollywood.com
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