With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
20th Century Women (Mike Mills)
That emotional profundity most directors try to build to across an entire film? Mike Mills achieves it in every scene of 20th Century Women. There’s such a debilitating warmness to both the vibrant aesthetic and construction of its dynamic characters as Mills quickly soothes one into his story that you’re all the more caught off-guard as the flurry of emotional wallops are presented.
20th Century Women (Mike Mills)
That emotional profundity most directors try to build to across an entire film? Mike Mills achieves it in every scene of 20th Century Women. There’s such a debilitating warmness to both the vibrant aesthetic and construction of its dynamic characters as Mills quickly soothes one into his story that you’re all the more caught off-guard as the flurry of emotional wallops are presented.
- 7/14/2017
- 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 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
Bénédicte de Montlaur with Chevalier of the Order of Arts and Letters honoree Dave Kehr Photo: Anne-Katrin Titze
On a beautiful late spring afternoon in New York, across the street from Central Park and a few blocks down from The Metropolitan Museum of Art on Fifth Avenue, Museum of Modern Art curator in the Film Department Dave Kehr was presented with the insignia of Chevalier of the Order of Arts and Letters by Cultural Counselor of the French Embassy Bénédicte de Montlaur (dressed in Diane von Furstenberg) at the Cultural Services of the French Embassy.
For Films on the Green, Isabella Rossellini has chosen Jean Renoir's Elena and Her Men, starring Ingrid Bergman Photo: Anne-Katrin Titze
Past American recipients include Robert Redford, Paul Auster, Uma Thurman, Ornette Coleman, Jim Jarmusch, Agnes Gund, Marilyn Horne, Richard Meier, Robert Paxton, and Meryl Streep.
The 10th anniversary of Films on the Green had guest curators Wes Anderson,...
On a beautiful late spring afternoon in New York, across the street from Central Park and a few blocks down from The Metropolitan Museum of Art on Fifth Avenue, Museum of Modern Art curator in the Film Department Dave Kehr was presented with the insignia of Chevalier of the Order of Arts and Letters by Cultural Counselor of the French Embassy Bénédicte de Montlaur (dressed in Diane von Furstenberg) at the Cultural Services of the French Embassy.
For Films on the Green, Isabella Rossellini has chosen Jean Renoir's Elena and Her Men, starring Ingrid Bergman Photo: Anne-Katrin Titze
Past American recipients include Robert Redford, Paul Auster, Uma Thurman, Ornette Coleman, Jim Jarmusch, Agnes Gund, Marilyn Horne, Richard Meier, Robert Paxton, and Meryl Streep.
The 10th anniversary of Films on the Green had guest curators Wes Anderson,...
- 6/17/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Ingrid Bergman’s oeuvre contains few performances that aren’t of note. Such is her power that, if a tear rolls down her cheek, you feel it. The release of Stig Björkman‘s new documentary Ingrid Bergman: In Her Own Words has prompted us to look back through the great actress’s filmography.
In our search for the essential Bergman roles, the performances which cemented her as a legend of cinema, there’s certainly a number of dazzling and iconic pictures to search through. Acclaimed examples such as Elena and Her Men, Joan of Arc, and Anastasia — the lattermost of which earned her a second Academy Award — narrowly and tragically found their way off the list.
Before checking out Ingrid Bergman: In Her Own Words, take a trip with us back through the career of one of the greatest talents to ever grace the silver screen. Enjoy the...
In our search for the essential Bergman roles, the performances which cemented her as a legend of cinema, there’s certainly a number of dazzling and iconic pictures to search through. Acclaimed examples such as Elena and Her Men, Joan of Arc, and Anastasia — the lattermost of which earned her a second Academy Award — narrowly and tragically found their way off the list.
Before checking out Ingrid Bergman: In Her Own Words, take a trip with us back through the career of one of the greatest talents to ever grace the silver screen. Enjoy the...
- 11/17/2015
- by Tony Hinds
- The Film Stage
Each week, the fine folks at Fandor add a number of films to their Criterion Picks area, which will then be available to subscribers for the following twelve days. This week, the Criterion Picks focus on eight delightful French films.
Three decades of exceptional French cinema in the service of that most intoxicating, unpredictable and stubborn of muscles, to which laws of convention and commitment prove no barrier: the heart.
Don’t have a Fandor subscription? They offer a free trial membership.
Children of Paradise by Marcel Carne
Poetic realism reached sublime heights with Children Of Paradise, widely considered one of the greatest French films of all time. This nimble depiction of nineteenth-century Paris’s theatrical demimonde, filmed during World War II, follows a mysterious woman loved by four different men (all based on historical figures): an actor, a criminal, a count, and, most poignantly, a mime (Jean-Louis Barrault,...
Three decades of exceptional French cinema in the service of that most intoxicating, unpredictable and stubborn of muscles, to which laws of convention and commitment prove no barrier: the heart.
Don’t have a Fandor subscription? They offer a free trial membership.
Children of Paradise by Marcel Carne
Poetic realism reached sublime heights with Children Of Paradise, widely considered one of the greatest French films of all time. This nimble depiction of nineteenth-century Paris’s theatrical demimonde, filmed during World War II, follows a mysterious woman loved by four different men (all based on historical figures): an actor, a criminal, a count, and, most poignantly, a mime (Jean-Louis Barrault,...
- 9/22/2015
- by Ryan Gallagher
- CriterionCast
Ingrid Bergman ca. early 1940s. Ingrid Bergman movies on TCM: From the artificial 'Gaslight' to the magisterial 'Autumn Sonata' Two days ago, Turner Classic Movies' “Summer Under the Stars” series highlighted the film career of Greta Garbo. Today, Aug. 28, '15, TCM is focusing on another Swedish actress, three-time Academy Award winner Ingrid Bergman, who would have turned 100 years old tomorrow. TCM has likely aired most of Bergman's Hollywood films, and at least some of her early Swedish work. As a result, today's only premiere is Fielder Cook's little-seen and little-remembered From the Mixed-Up Files of Mrs. Basil E. Frankweiler (1973), about two bored kids (Sally Prager, Johnny Doran) who run away from home and end up at New York City's Metropolitan Museum. Obviously, this is no A Night at the Museum – and that's a major plus. Bergman plays an elderly art lover who takes an interest in them; her...
- 8/28/2015
- by Andre Soares
- Alt Film Guide
The River
Written by Rumer Godden and Jean Renoir
Directed by Jean Renoir
France/India/USA, 1951
As the camera looks down upon an ornamental design created from rice powder and water, the narrator (voiced by June Hillman), who speaks throughout the film, welcomes us to the world of The River. This is Bengal, “where the story really happened,” and this is Harriet speaking, reflecting back on her life at a very confusing and significant time. For all intents and purposes, The River is primarily her story. And in this, the film is an intimately personal cinematic memoir. But The River is also something else. In its depiction of the “river people” who inhabit this region of India, the film also takes on an ethnographic appeal, capturing the “flavor” of the setting and its inhabitants.
Guiding this journey is the great French director Jean Renoir, fresh off a tumultuous sojourn in Hollywood,...
Written by Rumer Godden and Jean Renoir
Directed by Jean Renoir
France/India/USA, 1951
As the camera looks down upon an ornamental design created from rice powder and water, the narrator (voiced by June Hillman), who speaks throughout the film, welcomes us to the world of The River. This is Bengal, “where the story really happened,” and this is Harriet speaking, reflecting back on her life at a very confusing and significant time. For all intents and purposes, The River is primarily her story. And in this, the film is an intimately personal cinematic memoir. But The River is also something else. In its depiction of the “river people” who inhabit this region of India, the film also takes on an ethnographic appeal, capturing the “flavor” of the setting and its inhabitants.
Guiding this journey is the great French director Jean Renoir, fresh off a tumultuous sojourn in Hollywood,...
- 5/6/2015
- by Jeremy Carr
- SoundOnSight
Criterion repackages Jean Renoir’s 1951 classic The River for Blu-ray, one of the master filmmaker’s several titles in the collection (fans may recall that Renoir’s Grand Illusion was the very first Criterion title). A title significant in many respects, being the first Technicolor film in India and Renoir’s first color feature, it’s simplistic beauty has gone on to influence future generations of filmmakers, including its prominently vocal champion Martin Scorsese. It also served as a launching pad for Satyajit Ray, who worked as an assistant on the film, and who would go on to create his own stunning debut four years later with the first chapter of his Apu trilogy, Pather Panchali (1955).
We experience the childhood of Harriet (Patricia Walters) in retrospect, her off-screen adult voice recounting one particular stretch of time while growing up in India with her mother (Nora Swinburne) and father (Esmond Knight...
We experience the childhood of Harriet (Patricia Walters) in retrospect, her off-screen adult voice recounting one particular stretch of time while growing up in India with her mother (Nora Swinburne) and father (Esmond Knight...
- 4/21/2015
- by Nicholas Bell
- IONCINEMA.com
The Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the 1980s (with a particular focus on filmmakers from the New Wave), offering a comprehensive overview of French cinema. Elena And Her Men will screen as part of the festival at 1pm Sunday, June 22nd at the St. Louis Art Museum.
Set amid the military maneuvers and carnivals of turn-of-the-century France, Jean Renoir’s delirious romantic comedy “Elena and Her Men” stars a radiant Ingrid Bergman as a beautiful but impoverished Polish princess who drives men of all stations to fits of desperate love. Among her smitten admirers are handsome lover Henri (Mel Ferrer) and the wealthy boot manufacturer she’s supposed to wed. When Elena elicits the fascination of a famous general (Jean Marais), she finds herself at the center of romantic machinations and political scheming,...
Set amid the military maneuvers and carnivals of turn-of-the-century France, Jean Renoir’s delirious romantic comedy “Elena and Her Men” stars a radiant Ingrid Bergman as a beautiful but impoverished Polish princess who drives men of all stations to fits of desperate love. Among her smitten admirers are handsome lover Henri (Mel Ferrer) and the wealthy boot manufacturer she’s supposed to wed. When Elena elicits the fascination of a famous general (Jean Marais), she finds herself at the center of romantic machinations and political scheming,...
- 6/19/2014
- by Tom Stockman
- WeAreMovieGeeks.com
Dear Danny,
Funny you mention Casanova and Dracula, because that could easily be one way to describe the legitimately uncanny Under the Skin. Another would be Species directed by the Antonioni of Red Desert. From the opening shots—a staring retina emerges from a wandering dark orb, the cosmic unto the visceral—there’s a sense of ineffable dread making the images vibrate. It’s an otherworldly film, but the locations are scraggly, overcast, wintry, a Scotland very much like that of Ken Loach. Against this naturalism lies the most extreme stylization, patches of abstract blackness literally swallowing up young men as they march towards the beckoning heroine, a body-harvesting creature that happens to look exactly like Scarlett Johansson. Just as a human body can be evacuated of everything but its skin (one of several remarkable visions), so is an alien skin gradually filled with… what? Horror? Longing? Compassion? The...
Funny you mention Casanova and Dracula, because that could easily be one way to describe the legitimately uncanny Under the Skin. Another would be Species directed by the Antonioni of Red Desert. From the opening shots—a staring retina emerges from a wandering dark orb, the cosmic unto the visceral—there’s a sense of ineffable dread making the images vibrate. It’s an otherworldly film, but the locations are scraggly, overcast, wintry, a Scotland very much like that of Ken Loach. Against this naturalism lies the most extreme stylization, patches of abstract blackness literally swallowing up young men as they march towards the beckoning heroine, a body-harvesting creature that happens to look exactly like Scarlett Johansson. Just as a human body can be evacuated of everything but its skin (one of several remarkable visions), so is an alien skin gradually filled with… what? Horror? Longing? Compassion? The...
- 9/13/2013
- by Fernando F. Croce
- MUBI
"Funny Face" shouldn't have worked. It was a musical with a borrowed score, based on a stage play its author had failed to sell, with a leading man past his prime and a leading lady, 30 years younger, who had a thin singing voice. Indeed, the film, released 55 years ago today (on February 13, 1957), was not a hit. Yet today, it's regarded as a visually sumptuous classic, with Fred Astaire dancing with impossible grace at 58 and Audrey Hepburn in one of her most stylish, iconic performances. Still, as beloved as "Funny Face" is, many viewers may not know of the real-life love story that inspired the movie, or about the film's ties to such far-flung projects as the "Eloise" novels and the counterculture drama "Five Easy Pieces." Here, then, are 25 little-known facts about "Funny Face." 1. The movie's title and four of its songs came from George Gershwin's 1927 Broadway musical "Funny Face.
- 2/13/2012
- by Gary Susman
- Moviefone
Ingrid Bergman's pose suggests elegant decorum and shows little evidence of the furore which had recently enveloped her failed marriage to the Italian film director Roberto Rossellini. This photograph of the actress sitting in period costume was taken in 1956 on the set of Jean Renoir's Elena Et Les Hommes. It marks a rare peaceful moment at the centre of one of the era's biggest scandals.
- 4/5/2011
- The Independent - Film
No 33: Ingrid Bergman 1915-82
She was born in Stockholm 10 years after Greta Garbo. Both lost their fathers when they were in their early teens, but Bergman had a theatrical training her fellow Swede was denied. She came to international stardom in the early 1940s, when Garbo left Hollywood to live a reclusive life. Garbo had a luminous, androgynous beauty. Bergman had a fresh-faced, open-air radiance. Garbo's career was a brief European prologue, 15 years of MGM productions, and a 48-year, teasing retirement. Bergman's career unfolded in four chapters of energetic professional activity, from her mid-teens to her death.
In the first chapter she became a local star. The second chapter began with her being signed up by Hollywood tycoon David O Selznick, who brought her to the States for a remake of her big Swedish success, Intermezzo (1939). Over the next decade she played opposite Bogart, Tracy, Cooper, Boyer, Crosby,...
She was born in Stockholm 10 years after Greta Garbo. Both lost their fathers when they were in their early teens, but Bergman had a theatrical training her fellow Swede was denied. She came to international stardom in the early 1940s, when Garbo left Hollywood to live a reclusive life. Garbo had a luminous, androgynous beauty. Bergman had a fresh-faced, open-air radiance. Garbo's career was a brief European prologue, 15 years of MGM productions, and a 48-year, teasing retirement. Bergman's career unfolded in four chapters of energetic professional activity, from her mid-teens to her death.
In the first chapter she became a local star. The second chapter began with her being signed up by Hollywood tycoon David O Selznick, who brought her to the States for a remake of her big Swedish success, Intermezzo (1939). Over the next decade she played opposite Bogart, Tracy, Cooper, Boyer, Crosby,...
- 10/18/2008
- by Philip French
- The Guardian - Film News
Mel Ferrer, whose career as a performer, director, producer and writer spanned six decades, has died at age 90.
Ferrer died Monday at his ranch near Santa Barbara, family spokesman Mike Mena said.
"It's a sad occasion, but he did live a long and productive life," Mena said Tuesday.
He appeared in more than 100 films and made-for-television movies, directed nine films and produced nine more.
Ferrer's most impressive film role came in 1953 in "Lili." He played a disabled carnival puppeteer with whom a French orphan (played by Leslie Caron) falls in love.
On the big screen, Ferrer was most recognizable for his performance as Prince Andrei in "War and Peace" in 1956 with Audrey Hepburn and Henry Fonda. He was paid the then princely sum of $100,000. He appeared in "The Sun Also Rises" alongside Ava Gardner, Tyrone Power and Errol Flynn.
Ferrer was often cast in big pictures during the late '...
Ferrer died Monday at his ranch near Santa Barbara, family spokesman Mike Mena said.
"It's a sad occasion, but he did live a long and productive life," Mena said Tuesday.
He appeared in more than 100 films and made-for-television movies, directed nine films and produced nine more.
Ferrer's most impressive film role came in 1953 in "Lili." He played a disabled carnival puppeteer with whom a French orphan (played by Leslie Caron) falls in love.
On the big screen, Ferrer was most recognizable for his performance as Prince Andrei in "War and Peace" in 1956 with Audrey Hepburn and Henry Fonda. He was paid the then princely sum of $100,000. He appeared in "The Sun Also Rises" alongside Ava Gardner, Tyrone Power and Errol Flynn.
Ferrer was often cast in big pictures during the late '...
- 6/3/2008
- by By Duane Byrge
- The Hollywood Reporter - Movie News
Mel Ferrer, whose career as a performer, director, producer and writer spanned six decades, has died at age 90.
Ferrer died Monday at his ranch near Santa Barbara, family spokesman Mike Mena said.
"It's a sad occasion, but he did live a long and productive life," Mena said Tuesday.
He appeared in more than 100 films and made-for-television movies, directed nine films and produced nine more.
Ferrer's most impressive film role came in 1953 in Lili. He played a disabled carnival puppeteer with whom a French orphan (played by Leslie Caron) falls in love.
On the big screen, Ferrer was most recognizable for his performance as Prince Andrei in War and Peace in 1956 with Audrey Hepburn and Henry Fonda. He was paid the then princely sum of $100,000. He appeared in The Sun Also Rises alongside Ava Gardner, Tyrone Power and Errol Flynn.
Ferrer was often cast in big pictures during the late '50s and early '60s: The World, the Flesh and the Devil with Harry Belafonte and Inger Stevens; Sex and the Single Girl with Natalie Wood and Tony Curtis; Paris Does Strange Things with Ingrid Bergman; and The Longest Day with an all-star male cast.
Despite his aristocratic looks and versatility, Ferrer never hit stardom as a leading man. Later in his career, he starred primarily in TV movies and, living in Europe since 1954, he performed in a number of obscure European productions as well as intermittent U.S. exploitation fodder like Eaten Alive (1977).
Active in all forms of performance, Ferrer (with Gregory Peck, Dorothy McGuire and Joseph Cotton), founded the La Jolla Playhouse in 1947.
In film, Ferrer produced Wait Until Dark, with Hepburn, his then-wife, as the female lead. Previously, he directed Hepburn, whom he met while they starred together in Ondine on Broadway, in Green Mansions. Among his other noteworthy film accomplishments, Ferrer directed Claudette Colbert in the film The Secret Fury in 1950 and produced El Greco in 1966.
Ferrer died Monday at his ranch near Santa Barbara, family spokesman Mike Mena said.
"It's a sad occasion, but he did live a long and productive life," Mena said Tuesday.
He appeared in more than 100 films and made-for-television movies, directed nine films and produced nine more.
Ferrer's most impressive film role came in 1953 in Lili. He played a disabled carnival puppeteer with whom a French orphan (played by Leslie Caron) falls in love.
On the big screen, Ferrer was most recognizable for his performance as Prince Andrei in War and Peace in 1956 with Audrey Hepburn and Henry Fonda. He was paid the then princely sum of $100,000. He appeared in The Sun Also Rises alongside Ava Gardner, Tyrone Power and Errol Flynn.
Ferrer was often cast in big pictures during the late '50s and early '60s: The World, the Flesh and the Devil with Harry Belafonte and Inger Stevens; Sex and the Single Girl with Natalie Wood and Tony Curtis; Paris Does Strange Things with Ingrid Bergman; and The Longest Day with an all-star male cast.
Despite his aristocratic looks and versatility, Ferrer never hit stardom as a leading man. Later in his career, he starred primarily in TV movies and, living in Europe since 1954, he performed in a number of obscure European productions as well as intermittent U.S. exploitation fodder like Eaten Alive (1977).
Active in all forms of performance, Ferrer (with Gregory Peck, Dorothy McGuire and Joseph Cotton), founded the La Jolla Playhouse in 1947.
In film, Ferrer produced Wait Until Dark, with Hepburn, his then-wife, as the female lead. Previously, he directed Hepburn, whom he met while they starred together in Ondine on Broadway, in Green Mansions. Among his other noteworthy film accomplishments, Ferrer directed Claudette Colbert in the film The Secret Fury in 1950 and produced El Greco in 1966.
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