Werner Herzog has traveled to the ends of the earth for his art, rolling cameras in places rarely seen by human eyes — from rapids along the Amazon River for 1972’s “Aguirre, the Wrath of God” to the rim of an active volcano in Antarctica. But what’s inside Herzog’s head is what fascinates fans of the German director.
As revealed in a new memoir, “Every Man for Himself and God Against All” (the phrase served as the original title of his 1974 film “The Enigma of Kaspar Hauser”), Herzog’s far-ranging filmography represents only a fraction of the encounters and adventures that have shaped his worldview.
The book came easily, or so he insists as we huddle in a quiet corner of the Montrose airport in Colorado, following the Telluride Film Festival, where he’s been a fixture for nearly all of the last 50 years.
“It could have been five times as long,...
As revealed in a new memoir, “Every Man for Himself and God Against All” (the phrase served as the original title of his 1974 film “The Enigma of Kaspar Hauser”), Herzog’s far-ranging filmography represents only a fraction of the encounters and adventures that have shaped his worldview.
The book came easily, or so he insists as we huddle in a quiet corner of the Montrose airport in Colorado, following the Telluride Film Festival, where he’s been a fixture for nearly all of the last 50 years.
“It could have been five times as long,...
- 10/3/2023
- by Peter Debruge
- Variety Film + TV
Berlinale competition film “Music” opens with gray clouds racing across the face of a Greek mountain as a storm prepares to break. It is a suitably dramatic prelude to the tumultuous events that will unfold, albeit rendered in an understated manner by German director Angela Schanelec, who won the Berlinale best director award in 2019 for “I Was at Home, But.”
As the storm lifts, an abandoned baby boy is rescued a paramedic, who names him Jon. Years later, Jon, now a young man, kills another man, accidentally, and ends up in prison. Here, he is tended to by a female guard, Iro, as his eyesight begins to deteriorate. When he is released, the two get married and have a child. But several years later, his wife discovers a terrible secret.
In the film, the myth of Oedipus is reworked freely. The action mainly takes place in Greece, starting in the 1980s,...
As the storm lifts, an abandoned baby boy is rescued a paramedic, who names him Jon. Years later, Jon, now a young man, kills another man, accidentally, and ends up in prison. Here, he is tended to by a female guard, Iro, as his eyesight begins to deteriorate. When he is released, the two get married and have a child. But several years later, his wife discovers a terrible secret.
In the film, the myth of Oedipus is reworked freely. The action mainly takes place in Greece, starting in the 1980s,...
- 2/24/2023
- by Leo Barraclough
- Variety Film + TV
The director of Spencer, Pablo Larraín, discusses a few of his favorite movies with host Josh Olson.
Show Notes: Movies Referenced In This Episode
Spencer (2021)
Jackie (2016)
Tony Manero (2008)
Eyes of Laura Mars (1978) – David DeCoteau’s trailer commentary
Back To The Future (1985) – Tfh’s time-traveling quiz
Fitzcarraldo (1982) – Dennis Cozzalio’s Herzog guide
Burden of Dreams (1982)
Aguirre: The Wrath Of God (1972)
Paris, Texas (1984) – Karyn Kusama’s trailer commentary
Eyes Wide Shut (1999) – Dan Ireland’s trailer commentary
Barry Lyndon (1975) – Glenn Erickson’s Criterion Blu-ray review
The Shining (1980) – Adam Rifkin’s trailer commentary
Dr. Strangelove (1964) – Michael Lehman’s trailer commentary, Glenn Erickson’s Blu-ray review
Full Metal Jacket (1987)
A Woman Under The Influence (1974)
Salò, Or The 120 Days of Sodom (1975) – Larry Karaszewski’s trailer commentary
Theorem (1968)
Medea (1969)
Naked (1993)
Secrets And Lies (1996) – Glenn Erickson’s Blu-ray review
Vera Drake (2004)
Topsy-Turvy (1999)
Happy-Go-Lucky (2008)
A History Of Violence (2005)
There Will Be Blood (2007)
The Master (2012)
Phantom Thread (2017) – Dennis...
Show Notes: Movies Referenced In This Episode
Spencer (2021)
Jackie (2016)
Tony Manero (2008)
Eyes of Laura Mars (1978) – David DeCoteau’s trailer commentary
Back To The Future (1985) – Tfh’s time-traveling quiz
Fitzcarraldo (1982) – Dennis Cozzalio’s Herzog guide
Burden of Dreams (1982)
Aguirre: The Wrath Of God (1972)
Paris, Texas (1984) – Karyn Kusama’s trailer commentary
Eyes Wide Shut (1999) – Dan Ireland’s trailer commentary
Barry Lyndon (1975) – Glenn Erickson’s Criterion Blu-ray review
The Shining (1980) – Adam Rifkin’s trailer commentary
Dr. Strangelove (1964) – Michael Lehman’s trailer commentary, Glenn Erickson’s Blu-ray review
Full Metal Jacket (1987)
A Woman Under The Influence (1974)
Salò, Or The 120 Days of Sodom (1975) – Larry Karaszewski’s trailer commentary
Theorem (1968)
Medea (1969)
Naked (1993)
Secrets And Lies (1996) – Glenn Erickson’s Blu-ray review
Vera Drake (2004)
Topsy-Turvy (1999)
Happy-Go-Lucky (2008)
A History Of Violence (2005)
There Will Be Blood (2007)
The Master (2012)
Phantom Thread (2017) – Dennis...
- 11/2/2021
- by Kris Millsap
- Trailers from Hell
A Straub-Huillet Companion is a series of short essays on the films of Jean-Marie Straub and Danièle Huillet, subject of a Mubi retrospective. Straub-Huillet's The Death of Empedocles (1987) is showing on Mubi from September 10 – October 9, 2019."I am torn asunder by love and hate."—Friedrich Hölderlin in a 1794 letter to a friend"Yesterday I was up on Etna. I recalled the great Sicilian of old who, when he had had enough of ticking off the hours, having become intimate with the soul of the world, in his bold lust for life plunged into the terrific flames. It was because—a mocker afterwards said of him—the frigid poet had to warm himself in the fire."—Passage from Hyperion; or, The Hermit in Greece (1797-99)The three versions of Der Tod des Empedokles (The Death of Empedocles)—the first finished, the latter two left incomplete—were the product of a bleak, tumultuous period in Friedrich Hölderlin's life.
- 9/11/2019
- MUBI
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.
The Best of Blaxploitation
Funk. Soul. Ultra-hip. This month, FilmStruck is highlighting Blaxploitation cinema, a group of films made specifically for African American audiences in the 1970s just as black filmmakers were finally allowed to make Hollywood features. This collection features pivotal Black icons from unforgettable films such as Shaft, Sweet Sweetback’s Baadasssss Song, Cleopatra Jones and Super Fly, presented alongside a discussion of the history of the genre with Malcolm Mays,...
The Best of Blaxploitation
Funk. Soul. Ultra-hip. This month, FilmStruck is highlighting Blaxploitation cinema, a group of films made specifically for African American audiences in the 1970s just as black filmmakers were finally allowed to make Hollywood features. This collection features pivotal Black icons from unforgettable films such as Shaft, Sweet Sweetback’s Baadasssss Song, Cleopatra Jones and Super Fly, presented alongside a discussion of the history of the genre with Malcolm Mays,...
- 6/15/2018
- by Jordan Raup
- The Film Stage
“1st film watched in 1st freshman film class was ’72’s History Lessons. It was a great ‘Welcome to boot camp, motherfuckers’ moment.” – Nick Pinkerton
Parsing the embarrassment of riches amongst ’60s French cinema, the annals of Official Film History tends to split us into the New Wave (Godard, Rivette, Rohmer, etc.), the left-bank (Chris Marker, Alain Resnais, Agnès Varda), and the successive “ Second New Wave” (Maurice Pialat, Jean Eustache, Luc Moullet). Bouncing between realism and the avant-garde, these filmmakers, to varying degrees of mainstream acceptance, left an undeniable mark on post-war art cinema. Yet provided you’re hip enough to know, there’s two particular names that seem to instantly dwarf the aforementioned, at least in the terms of uncompromised Film Art: the husband-wife duo of Jean-Marie Straub & Danièle Huillet — or, if you prefer, the synthesized, punchier Straub/Huillet.
The mystique that has emerged around this duo is not...
Parsing the embarrassment of riches amongst ’60s French cinema, the annals of Official Film History tends to split us into the New Wave (Godard, Rivette, Rohmer, etc.), the left-bank (Chris Marker, Alain Resnais, Agnès Varda), and the successive “ Second New Wave” (Maurice Pialat, Jean Eustache, Luc Moullet). Bouncing between realism and the avant-garde, these filmmakers, to varying degrees of mainstream acceptance, left an undeniable mark on post-war art cinema. Yet provided you’re hip enough to know, there’s two particular names that seem to instantly dwarf the aforementioned, at least in the terms of uncompromised Film Art: the husband-wife duo of Jean-Marie Straub & Danièle Huillet — or, if you prefer, the synthesized, punchier Straub/Huillet.
The mystique that has emerged around this duo is not...
- 3/3/2017
- by Ethan Vestby
- The Film Stage
I'm drawn to Straub-Huillet’s usage of direct quotations rather than adapting or interpreting original material for a film. To me this is, among other things, a very straightforward and concrete way of highlighting that people are much less original than they are often assumed to be. (I think that Danièle Huillet once said this, but she was certainly not the first one.) It might be worth being reminded of this, especially today, in a time where we see and seek constant innovation and renewal everywhere while nothing really changes at the core. But for Straub-Huillet, quotation is also about something else. Every film of theirs is a documentation of their loving relationship to a preexisting text, artwork, or artist. The films are more genuinely about the work of the other and less about the couple's so-called vision. Quotation, to Straub-Huillet, is an act of respect, one...
- 2/7/2017
- MUBI
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