The legendary filmmaker has passed away at the age of 87. Here is the Notebook's coverage of Jacques Rivette, over the years:David Phelps on Céline and Julie Go BoatingDaniel Kasman on Don't Touch the Axe, Around a Small Mountain, DuelleGlenn Kenny on Joan the Maid, La religieuseMiriam Bale on Le pont du NordIgnatiy Vishnevetsky on Paris Belongs to UsTed Fendt on Paris s'en vaCristina Álvarez López & Adrian Martin on Out 1 Jonathan Rosenbaum & Kevin B. Lee on Out 1Chris Luscri on Out 1Covadonga G. Lahera & Joel Bocko on Out 1Christopher Small on The Duchess of Langeais, Joan the Maid, Paris Belongs to Us, L'amour fou, Duelle, The Story of Mary and Julien, Céline and Julie Go BoatingAdrian Curry on the posters of Jacques RivetteCarlo Chatrian on (Three Reasons For) Remembering Jacques Rivette...
- 2/3/2016
- by Notebook
- MUBI
6. After Vanda? New DirectionsWeekend 6 - March 7 - 9The films explored over the course of the past five Harvard-Gulbenkian programs have boldly, brilliantly anticipated and defined new directions explored by 21st century world cinema. Aesthetically, politically and formally, the films of Reis-Cordeiro, Rocha, Dias, Viegas and Mozos have each in their own way pioneered new modes of narrative cinema, at times radically intermingling of fiction and non-fiction while always searching always for a new relationship between sound and image, between poetry and politics. In Tras-os-montes and Mudar de vida, we see clearly anticipated the brand of “docu-fiction” so important in world cinema today. In Dias 48, nuanced meta-cinema becomes a way to interrogate the political meaning of the image at its most profoundly level. In Viegas’ Gloria and Mozos Xavier, meanwhile, we discover a new kind of cinematic sensorium—an emotional tactility—as well as an alternate concept of film history told...
- 7/1/2015
- by Cinema Dialogues: Harvard at the Gulbenkian
- MUBI
You've got the presents wrapped, dinner in the oven, decorations just so - but oh no! What about the tunes? Not to fear, the Pentatonix are here. The oh-so-hot a cappella group - which won season 3 of The Sing-Off, and is out with a new album, That's Christmas to Me - picked their favorite holiday songs just for People, and put them in a ready-to-play Spotify playlist. Read on for the reasoning behind their faves: "Merry Christmas, Happy Holidays" by 'Nsync"That was one of the first Christmas songs that felt like a pop song to me, and it captivated me!
- 12/25/2014
- PEOPLE.com
You've got the presents wrapped, dinner in the oven, decorations just so - but oh no! What about the tunes? Not to fear, the Pentatonix are here. The oh-so-hot a cappella group - which won season 3 of The Sing-Off, and is out with a new album, That's Christmas to Me - picked their favorite holiday songs just for People, and put them in a ready-to-play Spotify playlist. Read on for the reasoning behind their faves: "Merry Christmas, Happy Holidays" by 'Nsync"That was one of the first Christmas songs that felt like a pop song to me, and it captivated me!
- 12/25/2014
- PEOPLE.com
L.M. Kit Carson, the Texan film legend best known for David Holzman's Diary, has passed away at the age of 73. For Filmmaker Magazine, Vadim Rizov gathers some valuable insight from Fabrice Aragno, the cinematographer of Jean-Luc Godard's Adieu au langage. Eric Hynes provides an excellent and authentic New Yorker take on Gangs of New York for Reverse Shot's Martin Scorsese Symposium. Above: we're disappointed to hear that Paul Schrader's latest film has been essentially taken out of his hands—in response the filmmaker has disowned the picture. For Film Comment, Violet Lucca interviews Ruben Östlund about his acclaimed film, Force majeure:
"Lucca: Like your previous work, Force Majeure is intended to foster a philosophical debate about what human behavior means or implies. Do you envision that being more of an internal process, or do you want people to talk it out?
ÖStlund: Yeah, in a group.
"Lucca: Like your previous work, Force Majeure is intended to foster a philosophical debate about what human behavior means or implies. Do you envision that being more of an internal process, or do you want people to talk it out?
ÖStlund: Yeah, in a group.
- 10/21/2014
- by Notebook
- MUBI
In today's roundup of news and views: David Phelps on Robert Beavers, Richard Kelly on Brad Bird and Ratatouille, Todd Haynes on his forthcoming Carol with Cate Blanchett and Rooney Mara, a new short story by Tom Hanks, Glenn Heath Jr. on David Mackenzie, an interview with Mike Hoolboom, more from Reverse Shot on Martin Scorsese, Glenn Kenny on Bill Morrison, Julianne Moore's interview with Sarah Paulson, Charles Isherwood on a play about Billy Wilder and Raymond Chandler writing Double Indemnity, Richard Brody on Alain Resnais's Muriel, remembering Oscar de la Renta, Misty Upham and more. » - David Hudson...
- 10/21/2014
- Fandor: Keyframe
In today's roundup of news and views: David Phelps on Robert Beavers, Richard Kelly on Brad Bird and Ratatouille, Todd Haynes on his forthcoming Carol with Cate Blanchett and Rooney Mara, a new short story by Tom Hanks, Glenn Heath Jr. on David Mackenzie, an interview with Mike Hoolboom, more from Reverse Shot on Martin Scorsese, Glenn Kenny on Bill Morrison, Julianne Moore's interview with Sarah Paulson, Charles Isherwood on a play about Billy Wilder and Raymond Chandler writing Double Indemnity, Richard Brody on Alain Resnais's Muriel, remembering Oscar de la Renta, Misty Upham and more. » - David Hudson...
- 10/21/2014
- Keyframe
Edited by Adam Cook
Above: there is no news this week more monumental than that of the return of Twin Peaks. In 2016, we'll have nine new episodes, all directed by David Lynch. The 72nd issue of Senses of Cinema is now online, and amidst a plethora of content, features an amazing dossier on "one of the true legends of Australian screen culture," John Flaus. Also included is a piece by Tony McKibbin on a new Alain Robbe-Grillet box set—and in Mubi Us, we're currently hosting a retrospective on the Robbe-Grillet featuring Trans-Europ-Express, L'immortelle, Eden and After, and Successive Slidings of Pleasure. Writing for Reverse Shot, Adam Nayman offers his two cents on Mia Hansen-Love's Eden:
"Time is a weapon in the movies of Mia Hansen-Løve. The gaping narrative holes in the middles of All Is Forgiven, The Father of My Children, and Goodbye First Love are exit wounds,...
Above: there is no news this week more monumental than that of the return of Twin Peaks. In 2016, we'll have nine new episodes, all directed by David Lynch. The 72nd issue of Senses of Cinema is now online, and amidst a plethora of content, features an amazing dossier on "one of the true legends of Australian screen culture," John Flaus. Also included is a piece by Tony McKibbin on a new Alain Robbe-Grillet box set—and in Mubi Us, we're currently hosting a retrospective on the Robbe-Grillet featuring Trans-Europ-Express, L'immortelle, Eden and After, and Successive Slidings of Pleasure. Writing for Reverse Shot, Adam Nayman offers his two cents on Mia Hansen-Love's Eden:
"Time is a weapon in the movies of Mia Hansen-Løve. The gaping narrative holes in the middles of All Is Forgiven, The Father of My Children, and Goodbye First Love are exit wounds,...
- 10/14/2014
- by Notebook
- MUBI
The full, 462 page English version of Allan Dwan: A Dossier, published by LUMIÈRE, edited by David Phelps and Gina Telaroli, and translated with Ted Fendt and Bill Krohn, is now online for free! Farran Nehme, the "Self-Styled Siren", has some lovely words on the recently departed Mickey Rooney:
"Few terms are crueler than has-been. A has-been is Norma Desmond rattling around an empty mansion. Avoiding strong light like a vampire, bitterly dishing old enemies to skeptical interviewers. So focused on looking back that you never move forward.
Mickey Rooney was never a true has-been in his life, not with 90 years of work. Shorts and features, A pictures and B pictures, star turns and character parts. Social dramas, musicals, an impressive run of noirs, comedies, Emmy awards, sitcoms, a hit Broadway show. The Siren spotted him in The Muppets in 2011 and heard a college-age woman whisper to her companion,...
"Few terms are crueler than has-been. A has-been is Norma Desmond rattling around an empty mansion. Avoiding strong light like a vampire, bitterly dishing old enemies to skeptical interviewers. So focused on looking back that you never move forward.
Mickey Rooney was never a true has-been in his life, not with 90 years of work. Shorts and features, A pictures and B pictures, star turns and character parts. Social dramas, musicals, an impressive run of noirs, comedies, Emmy awards, sitcoms, a hit Broadway show. The Siren spotted him in The Muppets in 2011 and heard a college-age woman whisper to her companion,...
- 4/9/2014
- by Adam Cook
- MUBI
Above: Swedish one sheet by Gösta Åberg for Broken Lullaby (Ernst Lubitsch, USA, 1932).
This rather unusual Swedish design, a mélange of various type and illustrative styles, is a poster for one of Ernst Lubitsch’s lesser known and most atypical films: Broken Lullaby (a.k.a. The Man I Killed). A dark film about a French soldier tormented by the memory of a German soldier—and fellow musician—whom he killed in Wwi, it screens this weekend and next in New York at Anthology Film Archives as part of "Auteurs Gone Wild," a tantalizing series programmed by Notebook contributor David Phelps.
The series includes nine refreshingly less-than-obvious works—all on 35mm—by such canonical figures as Hitchcock, Chaplin, Cukor, Capra, Lang and Von Sternberg. Phelps has chosen to shine a light on these authors’ least representative films: films that have been overlooked because they don’t fit the mold, because...
This rather unusual Swedish design, a mélange of various type and illustrative styles, is a poster for one of Ernst Lubitsch’s lesser known and most atypical films: Broken Lullaby (a.k.a. The Man I Killed). A dark film about a French soldier tormented by the memory of a German soldier—and fellow musician—whom he killed in Wwi, it screens this weekend and next in New York at Anthology Film Archives as part of "Auteurs Gone Wild," a tantalizing series programmed by Notebook contributor David Phelps.
The series includes nine refreshingly less-than-obvious works—all on 35mm—by such canonical figures as Hitchcock, Chaplin, Cukor, Capra, Lang and Von Sternberg. Phelps has chosen to shine a light on these authors’ least representative films: films that have been overlooked because they don’t fit the mold, because...
- 3/22/2014
- by Adrian Curry
- MUBI
For Bomb Magazine, Alan Licht talks to Michael Snow about his photography (thanks to Dave McDougall for the link!):
"Al: The films Side Seat Paintings Slides Sound Film (1970) and One Second in Montreal (1969) both feature still images. Were those in any way an outgrowth of the things you were doing in photography at the time?
Ms: I filmed Wavelength in ’66, finished it in ’67, and in the show is a piece called Atlantic which has photographs of waves. I took those photographs the same day I took the photograph that I used in Wavelength, so there’s a stretch in there. But One Second in Montreal is about controlling the durations that a still image is on the screen, which is a very obvious thing you can do with film. One Second in Montreal relates to Recombinant (1992), eighty 35 mm slides projected against a surface made for the images to be projected on,...
"Al: The films Side Seat Paintings Slides Sound Film (1970) and One Second in Montreal (1969) both feature still images. Were those in any way an outgrowth of the things you were doing in photography at the time?
Ms: I filmed Wavelength in ’66, finished it in ’67, and in the show is a piece called Atlantic which has photographs of waves. I took those photographs the same day I took the photograph that I used in Wavelength, so there’s a stretch in there. But One Second in Montreal is about controlling the durations that a still image is on the screen, which is a very obvious thing you can do with film. One Second in Montreal relates to Recombinant (1992), eighty 35 mm slides projected against a surface made for the images to be projected on,...
- 3/19/2014
- by Adam Cook
- MUBI
The legendary filmmaker has passed away at the age of 91.
Here is the Notebook's coverage of Alain Resnais, over the years:
Glenn Kenny on Muriel Alain Resnais on the set of Wild Grass Daniel Kasman on Wild Grass David Phelps on meeting Alain Resnais Adrian Curry on the poster for Wild Grass Miriam Bale's The Game Adrian Curry on the posters of films by Alain Resnais Daniel Kasman on You Ain't Seen Nothin' Yet Ehsan Khoshbakht's Ten Photographs by Alain Resnais: Mise en scène of Memory, Aesthetics of Silence David Phelps' Virtual Refractions 2.0: Notes on Alain Resnais' Vous n'avez encore rien vu Boris Nelepo on You Ain't Seen Nothin' Yet Alain Resnais on the set of Life of Riley Adrian Curry on the posters for Je T'aime, je t'aime...
Here is the Notebook's coverage of Alain Resnais, over the years:
Glenn Kenny on Muriel Alain Resnais on the set of Wild Grass Daniel Kasman on Wild Grass David Phelps on meeting Alain Resnais Adrian Curry on the poster for Wild Grass Miriam Bale's The Game Adrian Curry on the posters of films by Alain Resnais Daniel Kasman on You Ain't Seen Nothin' Yet Ehsan Khoshbakht's Ten Photographs by Alain Resnais: Mise en scène of Memory, Aesthetics of Silence David Phelps' Virtual Refractions 2.0: Notes on Alain Resnais' Vous n'avez encore rien vu Boris Nelepo on You Ain't Seen Nothin' Yet Alain Resnais on the set of Life of Riley Adrian Curry on the posters for Je T'aime, je t'aime...
- 3/2/2014
- by Notebook
- MUBI
Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2013—in theaters or at a festival—and creatively pair it with an old film they also saw in 2013 to create a unique double feature.
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
All the contributors were given the option to write some text explaining their 2013 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How...
- 1/13/2014
- by Notebook
- MUBI
Senses of Cinema has published their 2013 World Poll, with nearly 140 entries, many by Notebook contributors: Celluloid Liberation Front Ted Fendt Daniel Kasman Boris Nelepo Michael Pattison David Phelps & myself As part of a "Year in Review" piece, Various To Be (Cont'd) contributors offer their thoughts on what stood out to them in 2013. For the A.V. Club, Ignatiy Vishnevetsky pays tribute to Run Run Shaw. Louis C.K. is planning to release his 1998 directorial debut Tomorrow Night (C.K. and Steve Carell are pictured on set above) online. Cinephilia and Beyond has assembled various conversations with filmmakers from The Walker Art Center’s Regis Dialogue.
Above: Dp/30's outstanding interview with Martin Scorsese. More Marty, "A Letter to my Daughter" (I can't help but include the entire piece):
"Dearest Francesca,
I’m writing this letter to you about the future. I’m looking at it through the lens of my world.
Above: Dp/30's outstanding interview with Martin Scorsese. More Marty, "A Letter to my Daughter" (I can't help but include the entire piece):
"Dearest Francesca,
I’m writing this letter to you about the future. I’m looking at it through the lens of my world.
- 1/8/2014
- by Adam Cook
- MUBI
The following is an essay featured in the anthology George Cukor - On/Off Hollywood (Capricci, Paris, 2013), for sale at www.capricci.fr.
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
Above: The Chapman Report (1962), A Life of Her Own (1950)
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report...
The Film Society of Lincoln Center will be running a complete retrospective on the director, "The Discreet Charm of George Cukor," in New York December 13, 2013 - January 7, 2014. Many thanks to David Phelps, Fernando Ganzo, and Camille Pollas for their generous permission.
The Second-hand Illusion:
Notes on Cukor
Above: The Chapman Report (1962), A Life of Her Own (1950)
“There’s always something about them that you don’t know that you’d like to know. Spencer Tracy had that. In fact, they do all have that – all the big ones have it. You feel very close to them but there is the ultimate thing withheld from you – and you want to find out.” —George Cukor1
“Can you tell what a woman’s like by just looking at her?” —The Chapman Report...
- 12/10/2013
- by David Phelps
- MUBI
As has been previously reported, Traveling Light, the fantastic second feature by filmmaker, editor, critic and Notebook contributor Gina Telaroli, is seeing an unusual country-spanning roll out this month. Playing in theaters in New York (last weekend at Anthology Film Archives), the Cleveland Museum of Art, Madrid, Rio de Janeiro, the Cinemateca Portuguesa-Museu do Cinema (in a program also featuring films by David Phelps), and more, Traveling Light is also getting a simultaneous worldwide month-long run by our friends at the online Spanish cinema journal Lumière. Especially notable is the unconventional, grassroots nature of this exhibition process, which is being organized by the participating individuals after an online appeal calling for Diy screenings.
In other words: there's no way not to discover Telaroli's beautiful movie. If you want to see it in a theater, here are the theatrical dates and locations. If you want to turn your home or office...
In other words: there's no way not to discover Telaroli's beautiful movie. If you want to see it in a theater, here are the theatrical dates and locations. If you want to turn your home or office...
- 11/21/2013
- by Notebook
- MUBI
News.
The Cinemateca Portuguesa needs your help: the institution is under threat unless the state steps in. There's a petition online where you can sign and voice your support.
"The Cinemateca Portuguesa in Lisbon runs the risk of closing 'if there is no injection of money' soon by the Secretary of State for Culture, the Cinemateca director, Maria João Seixas, announced today.
'We need to have a decision by the end of the month,' the director warned, stressing that what's at stake is the conservation of the heritage of Portuguese cinema, the archives in Bucelas (Loures), the salaries of 71 workers, the programming, and the other operations of the Museu do Cinema." (translation by David Phelps).
Jumping to the top of our list of most anticipated films is Agnès Varda freshly announced five-part documentary From Here to Now, which will be released via VOD later this year. Here's a brief...
The Cinemateca Portuguesa needs your help: the institution is under threat unless the state steps in. There's a petition online where you can sign and voice your support.
"The Cinemateca Portuguesa in Lisbon runs the risk of closing 'if there is no injection of money' soon by the Secretary of State for Culture, the Cinemateca director, Maria João Seixas, announced today.
'We need to have a decision by the end of the month,' the director warned, stressing that what's at stake is the conservation of the heritage of Portuguese cinema, the archives in Bucelas (Loures), the salaries of 71 workers, the programming, and the other operations of the Museu do Cinema." (translation by David Phelps).
Jumping to the top of our list of most anticipated films is Agnès Varda freshly announced five-part documentary From Here to Now, which will be released via VOD later this year. Here's a brief...
- 8/29/2013
- by Adam Cook
- MUBI
The Noteworthy: Elmore Leonard (1925-2013), Wrapping Locarno, Herzog's "From One Second to the Next"
News.
Influential author and screenwriter Elmore Leonard has passed away at the age of 87. David Hudson has collected some remembrances for the Daily.
The 66th Locarno Film Festival may have come to a close, but we're still rolling out coverage. In case you missed the award announcements, click here. If you're looking for a concise summary of the fest, Dennis Lim has you covered over at The Los Angeles Times. Also, make sure to watch this video of Golden Leopard winner Albert Serra (pictured above) being interviewed by...Albert Serra.
Finds.
Above: just a sampling of the stunning close-ups that comprise this image-piece by Rainer Knepperges that works backward through Alfred Hitchcock's oeuvre. (Thanks to David Phelps for the link!). When asked about The Day the Clown Cried, Jerry Lewis usually gets grumpy and shrugs off the question, but Entertainment Weekly's Chris Nashawaty got a crack at ten questions...
Influential author and screenwriter Elmore Leonard has passed away at the age of 87. David Hudson has collected some remembrances for the Daily.
The 66th Locarno Film Festival may have come to a close, but we're still rolling out coverage. In case you missed the award announcements, click here. If you're looking for a concise summary of the fest, Dennis Lim has you covered over at The Los Angeles Times. Also, make sure to watch this video of Golden Leopard winner Albert Serra (pictured above) being interviewed by...Albert Serra.
Finds.
Above: just a sampling of the stunning close-ups that comprise this image-piece by Rainer Knepperges that works backward through Alfred Hitchcock's oeuvre. (Thanks to David Phelps for the link!). When asked about The Day the Clown Cried, Jerry Lewis usually gets grumpy and shrugs off the question, but Entertainment Weekly's Chris Nashawaty got a crack at ten questions...
- 8/21/2013
- by Adam Cook
- MUBI
News.
As reported yesterday, the Toronto International Film Festival has begun unveiling its 2013 lineup, beginning with Gala and Special Presentations. An exciting heads-up and major opportunity for young filmmakers: Tribeca Film Festival is collaborating with the Imagination Series: Film Competition for a filmmaking contest in which screenwriters and directors pitch their conceptual take on a short script by Geoffrey Fletcher (Precious). Five ideas will be produced, and the resulting films will be shown at the 2014 Tribeca Film Festival. With a chance to write and direct an instant-entry at Tribeca, the contest catch phrase makes it sound almost too easy: "No experience required. Just imagination." Lumière is soon to be releasing their 6th issue in print (check the Table of Contents here). Online you can find a piece on Gregory J. Markopoulos by our own David Phelps, as well as a conversation with Nathaniel Dorsky conducted by Francisco Algarín Navarro and...
As reported yesterday, the Toronto International Film Festival has begun unveiling its 2013 lineup, beginning with Gala and Special Presentations. An exciting heads-up and major opportunity for young filmmakers: Tribeca Film Festival is collaborating with the Imagination Series: Film Competition for a filmmaking contest in which screenwriters and directors pitch their conceptual take on a short script by Geoffrey Fletcher (Precious). Five ideas will be produced, and the resulting films will be shown at the 2014 Tribeca Film Festival. With a chance to write and direct an instant-entry at Tribeca, the contest catch phrase makes it sound almost too easy: "No experience required. Just imagination." Lumière is soon to be releasing their 6th issue in print (check the Table of Contents here). Online you can find a piece on Gregory J. Markopoulos by our own David Phelps, as well as a conversation with Nathaniel Dorsky conducted by Francisco Algarín Navarro and...
- 8/5/2013
- by Adam Cook
- MUBI
Film Forum's 2012 William Wellman retrospective brought new and much-needed critical attention to a director best remembered today for a small handful of the 80 or so films he made between 1920 and 1958, including Wings (1927), The Public Enemy (1931), A Star is Born (1937), Beau Geste (1939), and The Ox-Bow Incident (1943). Despite the relatively strong reputations of those films, Wellman has often been overlooked in critical discussions of Hollywood auteurs. In fact, a collection of essays that grew out of the retrospective, William A. Wellman: A Dossier, edited by Gina Telaroli and David Phelps, is the closest thing to a book-length study of Wellman currently available. After reading through much of the Dossier, I was encouraged to give Wellman a serious look myself, and this formal analysis is a small effort to continue the momentum of Telaroli's and Phelps's work.
Made just a few months apart and packaged conveniently on the same disc of TCM’s Forbidden Hollywood Collection,...
Made just a few months apart and packaged conveniently on the same disc of TCM’s Forbidden Hollywood Collection,...
- 7/29/2013
- by Darren Hughes
- MUBI
In conjunction with the LUMIÈRE publication of the free downloadable e-book "Allan Dwan: A Dossier," we present a new video series, An Allan Dwan Serial. The serial is a continuous selection of clips from the career of the one and only Allan Dwan, an engineering director whose broad filmography connects in beautiful and unexpected ways.
<- previous entry | next entry ->
Download "Allan Dwan: A Dossier" to read about One Mile From Heaven and more Dwan films.
See One Mile From Heaven on film at New York's Museum of Modern Art on June 12, 2013 at 4:30pm, or on June 13, 2013 at 8:00pm. There will be an introduction by myself and David Phelps for the screening on June 12th.
<- previous entry | next entry ->
Download "Allan Dwan: A Dossier" to read about One Mile From Heaven and more Dwan films.
See One Mile From Heaven on film at New York's Museum of Modern Art on June 12, 2013 at 4:30pm, or on June 13, 2013 at 8:00pm. There will be an introduction by myself and David Phelps for the screening on June 12th.
- 6/19/2013
- by gina telaroli
- MUBI
In conjunction with the LUMIÈRE publication of the free downloadable e-book "Allan Dwan: A Dossier," we present a new video series, An Allan Dwan Serial. The serial is a continuous selection of clips from the career of the one and only Allan Dwan, an engineering director whose broad filmography connects in beautiful and unexpected ways.
<- previous entry | next entry ->
Download "Allan Dwan: A Dossier" to read Ted Fendt's piece on Man to Man.
See Man to Man on film at New York's Museum of Modern Art on June 7, 2013 (tonight) at 8pm, or on June 8, 2013 at 2:00pm. There will be an introduction by myself and David Phelps for the screening on June 7th.
<- previous entry | next entry ->
Download "Allan Dwan: A Dossier" to read Ted Fendt's piece on Man to Man.
See Man to Man on film at New York's Museum of Modern Art on June 7, 2013 (tonight) at 8pm, or on June 8, 2013 at 2:00pm. There will be an introduction by myself and David Phelps for the screening on June 7th.
- 6/19/2013
- by gina telaroli
- MUBI
News.
Did you see David Lynch's teaser on Vine? The real announcement is here: he'll be dropping a new album, The Big Dream, on July 16th. Watch the album trailer above and listen to the new track, "I'm Waiting Here", below:
Lars von Trier will be taking a new approach to promoting his new (two part!) film, Nymphomaniac:
"Using a structure known from literature Nymphomaniac consists of chapters, encapsulating both Volume I and Volume II and during the next eight months, starting from June and like domino pieces counting down to the release, small bites of these chapters will be published exclusively by a community of selected newspapers around the world.
Each chapter teaser is defined by a headline, a still and a short narrative that playfully unveils the multilayered universe of Nymphomaniac with which Lars von Trier wants to introduce a new film genre: Digressionism."
We've said it once,...
Did you see David Lynch's teaser on Vine? The real announcement is here: he'll be dropping a new album, The Big Dream, on July 16th. Watch the album trailer above and listen to the new track, "I'm Waiting Here", below:
Lars von Trier will be taking a new approach to promoting his new (two part!) film, Nymphomaniac:
"Using a structure known from literature Nymphomaniac consists of chapters, encapsulating both Volume I and Volume II and during the next eight months, starting from June and like domino pieces counting down to the release, small bites of these chapters will be published exclusively by a community of selected newspapers around the world.
Each chapter teaser is defined by a headline, a still and a short narrative that playfully unveils the multilayered universe of Nymphomaniac with which Lars von Trier wants to introduce a new film genre: Digressionism."
We've said it once,...
- 6/5/2013
- by Adam Cook
- MUBI
Above: Calendar Girl (1947) / Pearl of the South Pacific (1955) / Frontier Marshal (1939)
Last October, my co-editor David Phelps and I released our first self-published e-book out into the world. It was entitled William A. Wellman: A Dossier, and after the somewhat life-changing experience we had discovering Wellman's films during his Film Forum retrospective, we were happy to have discovered a format that would allow us to curate, create, and share an anthology of criticism centered on Wellman's work.
After the release, David and I found ourselves contemplating what to do next, and our thoughts soon brought us back to a night when we screened Allan Dwan's Cattle Queen of Montana (1954), a Western unlike any Western we had seen. A movie that on paper is a simple genre exercise about a vengeful woman trying to regain her land and cattle but in practice is about how different people and events fill...
Last October, my co-editor David Phelps and I released our first self-published e-book out into the world. It was entitled William A. Wellman: A Dossier, and after the somewhat life-changing experience we had discovering Wellman's films during his Film Forum retrospective, we were happy to have discovered a format that would allow us to curate, create, and share an anthology of criticism centered on Wellman's work.
After the release, David and I found ourselves contemplating what to do next, and our thoughts soon brought us back to a night when we screened Allan Dwan's Cattle Queen of Montana (1954), a Western unlike any Western we had seen. A movie that on paper is a simple genre exercise about a vengeful woman trying to regain her land and cattle but in practice is about how different people and events fill...
- 6/4/2013
- by gina telaroli
- MUBI
News.
Above: documentary filmmaker Les Blank—perhaps best known for his two incredible Herzog-centric films Werner Herzog Eats His Shoe and Burden of Dreams—has passed away at the age of 77. It feels like the cinema is losing too many of its soldiers lately. In the past week, the sheer volume of impassioned remembrances of Roger Ebert has been overwhelming. David Hudson has done an admirable job of centralizing a great many of them, and rather than try to share them here I recommend heading over to Keyframe Daily and using it as a springboard (if you haven't already). Also of note: Roger Ebert's website has been lovingly redesigned in his memory. Now online from Lumière, an array of lists and writings on "Highlights" of 2012 from various contributors including Ken Jacobs, our own Daniel Kasman, David Phelps, Gina Telaroli, Boris Nelepo, and more. An amazing series begins next month...
Above: documentary filmmaker Les Blank—perhaps best known for his two incredible Herzog-centric films Werner Herzog Eats His Shoe and Burden of Dreams—has passed away at the age of 77. It feels like the cinema is losing too many of its soldiers lately. In the past week, the sheer volume of impassioned remembrances of Roger Ebert has been overwhelming. David Hudson has done an admirable job of centralizing a great many of them, and rather than try to share them here I recommend heading over to Keyframe Daily and using it as a springboard (if you haven't already). Also of note: Roger Ebert's website has been lovingly redesigned in his memory. Now online from Lumière, an array of lists and writings on "Highlights" of 2012 from various contributors including Ken Jacobs, our own Daniel Kasman, David Phelps, Gina Telaroli, Boris Nelepo, and more. An amazing series begins next month...
- 4/10/2013
- by Adam Cook
- MUBI
News.
Jesús "Jess" Franco has passed away at the age of 82. Cléo, "a journal of film and feminism" founded by Kiva Reardon, has just unveiled its debut issue online. For your reading pleasure: pieces on Holy Motors, Haywire, Harmony Korine and more. A new issue from desistfilm is now online, including a Q&A with David Gatten conducted by Notebook regular David Phelps.
Above: an interview with Thomas Vinterberg (The Hunt) from the newly released 12th issue of The Seventh Art. As part of the Bard SummerScape Festival held at Bard College, a Russian emigré cinema series will be running this July and August, featuring films by Jean-Luc Godard, Jean Epstein and others.
Finds.
Above: via Indiewire, a gorgeous exclusive new poster for Spring Breakers (featuring an image from what just may be the film's best scene). Chinese cinema expert Shelly Kraicer has a new piece up on Cinema Scope...
Jesús "Jess" Franco has passed away at the age of 82. Cléo, "a journal of film and feminism" founded by Kiva Reardon, has just unveiled its debut issue online. For your reading pleasure: pieces on Holy Motors, Haywire, Harmony Korine and more. A new issue from desistfilm is now online, including a Q&A with David Gatten conducted by Notebook regular David Phelps.
Above: an interview with Thomas Vinterberg (The Hunt) from the newly released 12th issue of The Seventh Art. As part of the Bard SummerScape Festival held at Bard College, a Russian emigré cinema series will be running this July and August, featuring films by Jean-Luc Godard, Jean Epstein and others.
Finds.
Above: via Indiewire, a gorgeous exclusive new poster for Spring Breakers (featuring an image from what just may be the film's best scene). Chinese cinema expert Shelly Kraicer has a new piece up on Cinema Scope...
- 4/4/2013
- by Adam Cook
- MUBI
FilmOn’s interview with Westboro Baptist Church member David Phelps went awry when a naked, obese man charged from the mobile studio’s bathroom and tackled Phelps, according to the Daily Mail. Phelps, the son of Westboro Baptist Church leader Fred Phelps was giving his comments about FilmOn’s upcoming Easter celebration, which will involve a “30 year-old sado-masochist from Florida” named Robert Garrison being hammered onto a huge wooden cross behind a glass window for the viewing public at Battlecam TV’s Los Angeles headquarters. During the interview, the man known as Billy The Fridge, interrupted the interview by storming the studio, attacking Phelps and yelling, “Who’s your daddy now, Davey?” The video [ Read More ]
The post Westboro Baptist Church Leader Attacked On FilmOn.com appeared first on Shockya.com.
The post Westboro Baptist Church Leader Attacked On FilmOn.com appeared first on Shockya.com.
- 3/29/2013
- by monique
- ShockYa
News.
The fight continues. Mark Rappaport is still struggling to regain possession of his work from Ray Carney. For an up to date take on the ordeal, check out Craig Hubert's piece in Artinfo. The team behind the 2011 film Bellflower have another project in the works and will be looking to crowdfunding.
Finds.
Above: the trailer for Denis Côté's new film, Vic+Flo Saw a Bear, set to premiere in Berlin later this week. Aaron Cutler reports on Rotterdam for Fandor:
"Each year, it seems, the retrospectives and sidebar programs of rare treasures merit the eagerness of Iffr attendees, many of whom share the open secret that the programming’s ostensible central sections—competitions between new films, many receiving their world premieres—contain several of the weakest films in town. While lightning sometimes strikes (such as last year’s Neighboring Sounds), it’s rare for a wonder to debut here.
The fight continues. Mark Rappaport is still struggling to regain possession of his work from Ray Carney. For an up to date take on the ordeal, check out Craig Hubert's piece in Artinfo. The team behind the 2011 film Bellflower have another project in the works and will be looking to crowdfunding.
Finds.
Above: the trailer for Denis Côté's new film, Vic+Flo Saw a Bear, set to premiere in Berlin later this week. Aaron Cutler reports on Rotterdam for Fandor:
"Each year, it seems, the retrospectives and sidebar programs of rare treasures merit the eagerness of Iffr attendees, many of whom share the open secret that the programming’s ostensible central sections—competitions between new films, many receiving their world premieres—contain several of the weakest films in town. While lightning sometimes strikes (such as last year’s Neighboring Sounds), it’s rare for a wonder to debut here.
- 2/6/2013
- by Adam Cook
- MUBI
News.
One of the greatest Japanese directors, Nagisa Oshima, has passed away at the age of 80. Criterion remembers him in words and images. The Berlin Film Festival has unveiled more details of its Panorama section and has announced some "Special" screenings. It looks like John McTiernan, one of our favorite Vulgar Auteurs, is, um, heading to jail. Senses of Cinema has published their massive 2012 World Poll in three parts (1, 2, 3). Our own Daniel Kasman, David Phelps, Gina Telaroli and Celluloid Liberation Front (who, if the Poll were a competition, would win—hands-down) are among the participants. Finds.
Above: David Bordwell on the "thirteen years that changed cinema": 1908-1920. For Cinema Scope, Michael Vass interviews Antoine Bourges about his documentary East Hastings Pharmacy.
The Los Angeles Film Critics Association awarded Holy Motors as the "Best Foreign-Language Film". Leos Carax wasn't present but provided them with a speech. Listen here, or read below:
"Hello,...
One of the greatest Japanese directors, Nagisa Oshima, has passed away at the age of 80. Criterion remembers him in words and images. The Berlin Film Festival has unveiled more details of its Panorama section and has announced some "Special" screenings. It looks like John McTiernan, one of our favorite Vulgar Auteurs, is, um, heading to jail. Senses of Cinema has published their massive 2012 World Poll in three parts (1, 2, 3). Our own Daniel Kasman, David Phelps, Gina Telaroli and Celluloid Liberation Front (who, if the Poll were a competition, would win—hands-down) are among the participants. Finds.
Above: David Bordwell on the "thirteen years that changed cinema": 1908-1920. For Cinema Scope, Michael Vass interviews Antoine Bourges about his documentary East Hastings Pharmacy.
The Los Angeles Film Critics Association awarded Holy Motors as the "Best Foreign-Language Film". Leos Carax wasn't present but provided them with a speech. Listen here, or read below:
"Hello,...
- 1/16/2013
- by Adam Cook
- MUBI
Looking back at 2012 on what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2012—in theaters or at a festival—and creatively pair it with an old film they also saw in 2012 to create a unique double feature.
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
All the contributors were asked to write a paragraph explaining their 2012 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch in that perfect world we know doesn't exist but can keep dreaming of every time we go to the movies.
How would you program some...
- 1/9/2013
- by Daniel Kasman
- MUBI
Above: A 35mm still image from We Can't Go Home Again.
Mubi is currently showing throughout most of the world two wonderful Nicholas Ray films. One is his final film, uncompleted but beautifully restored and reconstructed, We Can't Go Home Again (1973). The other is a new documentary by Susan Ray, the filmmaker's widow, Don't Expect Too Much, that is a companion piece to this wildly experimental, collaborative feature. We are showing these two features to celebrate Ray and bring attention to The Nicholas Ray Foundation's Kickstarter project funding a new documentary on the filmmaker, Action! Master Class with Nicholas Ray.
Update: After not making the previous project goal, a new Kickstarter projection for Action! can be found here. We highly encourage you to donate your support. From the project's description:
"In Action! you'll encounter Nick's charismatic presence as he shares his knowledge of what he called "the cathedral of the arts.
Mubi is currently showing throughout most of the world two wonderful Nicholas Ray films. One is his final film, uncompleted but beautifully restored and reconstructed, We Can't Go Home Again (1973). The other is a new documentary by Susan Ray, the filmmaker's widow, Don't Expect Too Much, that is a companion piece to this wildly experimental, collaborative feature. We are showing these two features to celebrate Ray and bring attention to The Nicholas Ray Foundation's Kickstarter project funding a new documentary on the filmmaker, Action! Master Class with Nicholas Ray.
Update: After not making the previous project goal, a new Kickstarter projection for Action! can be found here. We highly encourage you to donate your support. From the project's description:
"In Action! you'll encounter Nick's charismatic presence as he shares his knowledge of what he called "the cathedral of the arts.
- 1/8/2013
- by Notebook
- MUBI
Like a lot of late (oft-fetish) objects of cinephilia (cf. Django Unchained, Holy Motors, You Ain't Seen Nothin' Yet, the films of Gabriel Abrantes, even, or perhaps most of all, This Is Not a Film), Miguel Gomes' Tabu is a sutured fantasy, that is, with the seams showing: all calculating formal frameworks for cute fantasy only end up referring back to their production history (as documentary), as well as the same national history the self-contained storyline was supposed to shield against. Of course the point is simple: stories are cultural products, and as in the African documentaries of Salzar's chief propagandist, António Lopes Ribeiro, Gomes' stories end up revealing everything they're designed to evade. Until its late swerve into unremitting pastiche, the point when cultural history collapses into a Forrest Gump crime scene, Tabu, like so many Portuguese films with their cheap resources and love letter narrators, straddles the...
- 12/28/2012
- by David Phelps
- MUBI
News.
The National Film Registry has announced 25 additions including Otto Preminger's Anatomy of a Murder, Don Siegel's Dirty Harry, and Richard Linklater's Slacker.
Critic and filmmaker David Phelps has premiered a new short film, On Spec, via the online Spanish publication Lumière. For the Notebook, Gina Telaroli has interrogated the film and discussed its evolution with Phelps in images, text and audio; Daniel Kasman has also written on it. At Idiom Magazine, Phil Coldiron has interviewed Phelps. And the filmmaker himself has provided notes in English and Spanish.
Finds.
Above: we'd be lying if we said we weren't somewhat fascinated by the trailer for Michael Bay's new film, Pain & Gain, a foray into comedy. Ben Sachs revisits the ending of M. Night Shyamalan's The Village:
"Shyamalan described The Village as his "post-9/11 movie," and its plot twist becomes more provocative if read as an indirect...
The National Film Registry has announced 25 additions including Otto Preminger's Anatomy of a Murder, Don Siegel's Dirty Harry, and Richard Linklater's Slacker.
Critic and filmmaker David Phelps has premiered a new short film, On Spec, via the online Spanish publication Lumière. For the Notebook, Gina Telaroli has interrogated the film and discussed its evolution with Phelps in images, text and audio; Daniel Kasman has also written on it. At Idiom Magazine, Phil Coldiron has interviewed Phelps. And the filmmaker himself has provided notes in English and Spanish.
Finds.
Above: we'd be lying if we said we weren't somewhat fascinated by the trailer for Michael Bay's new film, Pain & Gain, a foray into comedy. Ben Sachs revisits the ending of M. Night Shyamalan's The Village:
"Shyamalan described The Village as his "post-9/11 movie," and its plot twist becomes more provocative if read as an indirect...
- 12/27/2012
- by Adam Cook
- MUBI
Above: Giotto, Meeting at the Golden Gate, 1305.
Pier Paolo Pasolini’s Salò (1975) was released by Criterion in 1998 and in 2004 they released Mamma Roma (1962). This past month they released a much belated box-set of his six-hour Trilogy of Life (1971-1974), in a beautiful restoration and accompanied with an awesome heap of great docs, essays and other goodies. On December 13 MoMA started a month-long retrospective dedicated to his work.
I. Defending Pasolini Against His Devotees
The prevailing view of Pier Paolo Pasolini has become subjugated to the misshapen reputation of his most infamous film, Salò (1975). The film’s unyielding serial descent into ever more severe cycles of mutilation, sodomy, coprophagia, and chronic rape of a group of 12-15 year olds has scandalized and influenced a culture that is frantic for any stimuli that can remind its constituents of their humanity. The film has furnished ample fodder for generations of filmmakers intent on...
Pier Paolo Pasolini’s Salò (1975) was released by Criterion in 1998 and in 2004 they released Mamma Roma (1962). This past month they released a much belated box-set of his six-hour Trilogy of Life (1971-1974), in a beautiful restoration and accompanied with an awesome heap of great docs, essays and other goodies. On December 13 MoMA started a month-long retrospective dedicated to his work.
I. Defending Pasolini Against His Devotees
The prevailing view of Pier Paolo Pasolini has become subjugated to the misshapen reputation of his most infamous film, Salò (1975). The film’s unyielding serial descent into ever more severe cycles of mutilation, sodomy, coprophagia, and chronic rape of a group of 12-15 year olds has scandalized and influenced a culture that is frantic for any stimuli that can remind its constituents of their humanity. The film has furnished ample fodder for generations of filmmakers intent on...
- 12/26/2012
- by Gabriel Abrantes
- MUBI
Christian Petzold's visual style is clean and rectilinear. Frames are roomy. Camera movements—mostly pans—are always motivated by character movements. Mise en scène never seems overstuffed. Lighting is naturalistically dim.
Petzold's style is practical, but it never comes off as overly utilitarian or understated, in part because every shot and cut feels invested with a sense of purpose. Like Kiyoshi Kurosawa, Petzold is a genre director whose work eschews conventional devices and techniques; his films, essentially thrillers, operate by never giving a viewer cues—visual, musical, or tonal—as to what sort of film they're watching. His plots read like pulp but play like natural, logical developments of the setting and characters.
Case in point: Petzold's newest—and arguably finest—film, Barbara. Set in East Germany during the summer of 1980, the film opens with the title character (Nina Hoss, Petzold's steely muse) arriving for her first day of work at a provincial hospital.
Petzold's style is practical, but it never comes off as overly utilitarian or understated, in part because every shot and cut feels invested with a sense of purpose. Like Kiyoshi Kurosawa, Petzold is a genre director whose work eschews conventional devices and techniques; his films, essentially thrillers, operate by never giving a viewer cues—visual, musical, or tonal—as to what sort of film they're watching. His plots read like pulp but play like natural, logical developments of the setting and characters.
Case in point: Petzold's newest—and arguably finest—film, Barbara. Set in East Germany during the summer of 1980, the film opens with the title character (Nina Hoss, Petzold's steely muse) arriving for her first day of work at a provincial hospital.
- 12/23/2012
- by Ignatiy Vishnevetsky
- MUBI
***
Now see (and hear) this: our long-time contributor and all around Notebook ally David Phelps has made a movie. Well, he’s been making movies for some time now, often for this very publication, sometimes for elsewhere, and always for the Internet Ether that is the online movie audience; but this goes beyond the critical video essays of his recent work. Gina Telaroli has interrogated the film and discussed its evolution with Phelps in images, text and audio here.
***
On Spec, his latest, longest, most ambitious, is a great Whatsit, and as much tapped into the pulp absurdity of its time as that Aldrich whose object of desire is a calamitous mystery. Spec Ops may be one, too—not containing the Box but is indeed what's in the Box itself. I’m not sure I understand, but I like what I see: a neo-bedroom cinema, no more filmmakers snipping reels...
Now see (and hear) this: our long-time contributor and all around Notebook ally David Phelps has made a movie. Well, he’s been making movies for some time now, often for this very publication, sometimes for elsewhere, and always for the Internet Ether that is the online movie audience; but this goes beyond the critical video essays of his recent work. Gina Telaroli has interrogated the film and discussed its evolution with Phelps in images, text and audio here.
***
On Spec, his latest, longest, most ambitious, is a great Whatsit, and as much tapped into the pulp absurdity of its time as that Aldrich whose object of desire is a calamitous mystery. Spec Ops may be one, too—not containing the Box but is indeed what's in the Box itself. I’m not sure I understand, but I like what I see: a neo-bedroom cinema, no more filmmakers snipping reels...
- 12/20/2012
- by Daniel Kasman
- MUBI
Watch On Spec (David Phelps, 2012, 23') online:
http://vimeo.com/55713368
Notes
Notas (traducidas)
On Spec is being distributed by Lumière and is available to watch online December 19, 2012 - January 2, 2012
______
All audio recorded 12/13/12 at approximately 1am
_____
***
***
Credits (approx 60-90 seconds)
Credits are written out by hand on a blank notepad. “Specters of the Age (Myths/Comedies): On Spec,” “August 17, 2011,” “Credit,” (with names) “Thank you,” (with names). Quote: “Owe a bank a thousand dollars, the bank owns you. Owe a bank one hundred million dollars, you own the bank.” — American proverb
—Outline for On Spec, 8/16/11
"...But, as my first (film) film, it’s a start, even if trying to extract some trace of something redeemingly real from this speculative world seems as dubious a venture, in 2012, as not trying at all. "
—Notes to On Spec, August 20, 2012
***
***
"Went to Ma today to color-correct [film], and good thing too: guy would have naturalized it all,...
http://vimeo.com/55713368
Notes
Notas (traducidas)
On Spec is being distributed by Lumière and is available to watch online December 19, 2012 - January 2, 2012
______
All audio recorded 12/13/12 at approximately 1am
_____
***
***
Credits (approx 60-90 seconds)
Credits are written out by hand on a blank notepad. “Specters of the Age (Myths/Comedies): On Spec,” “August 17, 2011,” “Credit,” (with names) “Thank you,” (with names). Quote: “Owe a bank a thousand dollars, the bank owns you. Owe a bank one hundred million dollars, you own the bank.” — American proverb
—Outline for On Spec, 8/16/11
"...But, as my first (film) film, it’s a start, even if trying to extract some trace of something redeemingly real from this speculative world seems as dubious a venture, in 2012, as not trying at all. "
—Notes to On Spec, August 20, 2012
***
***
"Went to Ma today to color-correct [film], and good thing too: guy would have naturalized it all,...
- 12/20/2012
- by gina telaroli
- MUBI
News.
Studio Ghibli has announced that both Hayao Miyazaki and Isao Takahata's new films will be released in Japan next summer.
Raya Martin and Mark Peranson are currently filming a project in Mexico titled La ultima pelicula starring Alex Ross Perry:
"The fiction-documentary hybrid takes place in the context of the pending Mayan Apocalypse, when a filmmaker and his guide traverse the Mexican countryside with the goal of making the last movie, a contemporary update of the acid Western. Alex Ross Perry, Gabino Rodriguez and Iazua Larios star in the project, which takes inspiration from the myths of the American West constructed by filmmakers Sam Peckinpah, Monte Hellman and Dennis Hopper."
Film Comment has announced its top 50 films of the year (topped by Holy Motors), as well as the top 50 undistributed films of the year, a list which includes Traveling Light by Notebook contributor Gina Telaroli. Indiewire has...
Studio Ghibli has announced that both Hayao Miyazaki and Isao Takahata's new films will be released in Japan next summer.
Raya Martin and Mark Peranson are currently filming a project in Mexico titled La ultima pelicula starring Alex Ross Perry:
"The fiction-documentary hybrid takes place in the context of the pending Mayan Apocalypse, when a filmmaker and his guide traverse the Mexican countryside with the goal of making the last movie, a contemporary update of the acid Western. Alex Ross Perry, Gabino Rodriguez and Iazua Larios star in the project, which takes inspiration from the myths of the American West constructed by filmmakers Sam Peckinpah, Monte Hellman and Dennis Hopper."
Film Comment has announced its top 50 films of the year (topped by Holy Motors), as well as the top 50 undistributed films of the year, a list which includes Traveling Light by Notebook contributor Gina Telaroli. Indiewire has...
- 12/19/2012
- by Adam Cook
- MUBI
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
***
"If this government ever became a tyranny, if a dictator ever took charge in this country, the technological capacity that the intelligence community has given the government could enable it to impose total tyranny, and there would be no way to fight back, because the most careful effort to combine together in resistance to the government, no matter how privately it was done, is within the reach of the government to know. Such is the capability of this technology. I don't want to see this country ever go across the bridge. I know the capability that is there to make tyranny total in America,...
<- the previous analysis | movement index | the next analysis ->
***
"If this government ever became a tyranny, if a dictator ever took charge in this country, the technological capacity that the intelligence community has given the government could enable it to impose total tyranny, and there would be no way to fight back, because the most careful effort to combine together in resistance to the government, no matter how privately it was done, is within the reach of the government to know. Such is the capability of this technology. I don't want to see this country ever go across the bridge. I know the capability that is there to make tyranny total in America,...
- 12/3/2012
- by David Phelps
- MUBI
For some time after Tony Scott tragically, mysteriously took his life earlier this year we tried to think of some way to honor his work and explore it on the Notebook. A proper response was found by filmmaker, editor and Notebook contributor Gina Telaroli, who suggested a kind of critical exquisite corpse, and in this manner forge a way—or an attempt—to fit the forms of Tony Scott's oeuvre to the content critics would contribute.
The project was simple in practice though a bit complicated in explanation: each participant would be restricted to a one week time limit in which he or she would pick a scene from a single Tony Scott film and write an analysis of it before passing that analysis anonymously to the next person in the project. The recipient would be tasked to "respond" to that analysis with a different scene from a different movie,...
The project was simple in practice though a bit complicated in explanation: each participant would be restricted to a one week time limit in which he or she would pick a scene from a single Tony Scott film and write an analysis of it before passing that analysis anonymously to the next person in the project. The recipient would be tasked to "respond" to that analysis with a different scene from a different movie,...
- 11/26/2012
- by Daniel Kasman
- MUBI
Today we are talking to a recording artist whose new release, Classic, virtually acts as an overview of his impressive career thus far, with its overall wide embrace of titanic vocals and big emotion while covering pop, opera, country, classical, religious themes, theatre music and more - celebrated crossover star David Phelps. In addition to all about Classic, outlining its origins and creation, plus song selection process, actual recording and producing and more, Phelps also casts a glance back at his idiosyncratic journey thus far, opening up about the impetus for pursuing a life of music as well as how he has now made it a family tradition thanks to the participation of his siblings and even his daughter in a special duet on the stirring new release. Also, as well as all about Classic and its current tour, Phelps cites his foremost influences, reflects on some of his favorite recordings to date,...
- 11/20/2012
- by Pat Cerasaro
- BroadwayWorld.com
Strippers and Satchmo and guys who sing gospel sounds like a bastardized Rodgers and Hart lyric, but it helps explain the variety of talent that showed up for Jim Caruso's Cast Party at Birdland on Monday evening. David Phelps, the award-winning tenor best known for his work with the Gaither Vocal Band absolutely thrilled the crowd with Youll Never Walk Alone and Nessun Dorma a Birdland first. Jeremy Giraud Abram is currently portraying jazz legend Louis Armstrong at Theater 3 in Manhattan, and impressed everyone with his Wonderful World. Jaymes and James, Chippendales dancers from Las Vegas currently heating up small screens on The Amazing Race, charmed the room and gained even more fans Adan Canto, starring in the new Fox thriller, The Following, is not just another good looking TV starhes a first-rate singer. Australian bff's Matthew Newton and Matt Baker performed a gorgeous standard together. Dawn Derow showed off her musical stuff,...
- 11/16/2012
- by BWW News Desk
- BroadwayWorld.com
It's the still in a process of refinement, but Indiewire has expanded their gateway to film criticism with Criticwire 2.0, which works as a catalog of critics and criticism that offers a much needed alternative to Rotten Tomatoes. It's less about looking for consensus than it is about offering a simple way of following the critics that interest you and discovering new ones along the way.
The Vienna Film Festival is underway, and while all of us who are not attending lament not being able to check out Mike Ott's DJ set, we have only the coverage of others to turn to for consolation. Turns out there isn't much of that available either, unless you can read German, so for now check out our coverage here in the Notebook, and hopefully there will be more to share next week. Ti West is prepping his next horror film, The Sacrament,...
The Vienna Film Festival is underway, and while all of us who are not attending lament not being able to check out Mike Ott's DJ set, we have only the coverage of others to turn to for consolation. Turns out there isn't much of that available either, unless you can read German, so for now check out our coverage here in the Notebook, and hopefully there will be more to share next week. Ti West is prepping his next horror film, The Sacrament,...
- 10/31/2012
- by Adam Cook
- MUBI
Above: Nina Hoss (far left) as the titular lead in Barbara, directed by Christian Petzold (right).
Christian Petzold's Barbara was one of the standout films at Toronto, where I wrote a brief note on it:
...set in East Germany in 1980, [Barbara] finds a female doctor recently released from incarceration having to doubly-navigate the world by both dodging the suspicions of all those around her in her new provincial assignment and at the same time turn her own suspicions on those who could be her neighbors, peers, friends or even lovers. In other words: living in a police state, you are as suspect to the state as others are to you, and you to them. This comes out nicely, if a bit too neatly, too schematically, in Barbara, where ostensibly conventions of the thriller and of the romance overlap: “Am I attracted to him?” becomes, or is, “Do I trust him?...
Christian Petzold's Barbara was one of the standout films at Toronto, where I wrote a brief note on it:
...set in East Germany in 1980, [Barbara] finds a female doctor recently released from incarceration having to doubly-navigate the world by both dodging the suspicions of all those around her in her new provincial assignment and at the same time turn her own suspicions on those who could be her neighbors, peers, friends or even lovers. In other words: living in a police state, you are as suspect to the state as others are to you, and you to them. This comes out nicely, if a bit too neatly, too schematically, in Barbara, where ostensibly conventions of the thriller and of the romance overlap: “Am I attracted to him?” becomes, or is, “Do I trust him?...
- 10/16/2012
- by Daniel Kasman
- MUBI
News.
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece,...
A new issue of one the most essential film publications, La Furia Umana, is now available online. As always, alongside a rich collection of disparate texts, the issue has separate dossiers devoted to specific filmmakers, including ones on René Vautier (edited by Nicole Brenez) and Ida Lupino with Claire Denis. The amount of must-read coverage is daunting: included, too, are homages to Chris Marker and Stephen Dwoskin, a new video by David Phelps, and much more to explore.
In this issue, our pride and joy is to be found in the monograph-length dossier on Hollywood auteur William A. Wellman, a dossier edited by Gina Telaroli and Phelps. Our editor Daniel Kasman has contributed anoverview to Wellman's filmography; Telaroli has an incredible image-based piece on Good-bye, My Lady (alongside "scraps" and "findings" pointing the way for even more coverage of this filmmaker's wide oeuvre), filmmaker Bertrand Tavernier has a new piece,...
- 10/8/2012
- by Notebook
- MUBI
News.
Marcel Hanoun, the great, underrated, French filmmaker has passed away at the age of 82. David Hudson has collected some words over at the Keyframe Daily.
La Furia Umana, one of our favorite publications, plans to publish a print version of their journal in the future. Editor Toni D'Angela is looking to see if there would be reader interest in subscriptions, so please contact him (la_furia_umana@lafuriaumana.it) and let him know you'd like to subscribe when Lfu goes to print.
Finds.
Heaven's Gate has been re-cut and restored thanks to Michael Cimino and The Criterion Collection. In The New York Times, Dennis Lim writes about the film's notoriety and resurgence, as well as Cimino's take on things after its recent screening in Manhattan:
"Onstage here Mr. Cimino was candid about the psychic toll of Heaven’s Gate. 'I’ve had enough rejection for 33 years,' he said.
Marcel Hanoun, the great, underrated, French filmmaker has passed away at the age of 82. David Hudson has collected some words over at the Keyframe Daily.
La Furia Umana, one of our favorite publications, plans to publish a print version of their journal in the future. Editor Toni D'Angela is looking to see if there would be reader interest in subscriptions, so please contact him (la_furia_umana@lafuriaumana.it) and let him know you'd like to subscribe when Lfu goes to print.
Finds.
Heaven's Gate has been re-cut and restored thanks to Michael Cimino and The Criterion Collection. In The New York Times, Dennis Lim writes about the film's notoriety and resurgence, as well as Cimino's take on things after its recent screening in Manhattan:
"Onstage here Mr. Cimino was candid about the psychic toll of Heaven’s Gate. 'I’ve had enough rejection for 33 years,' he said.
- 9/26/2012
- MUBI
Suffice to say we are very excited about Leviathan. The documentary is Castaing-Taylor's followup to Sweetgrass (2009) and Paravel's followup to Foreign Parts (2010):
in the very waters where melville’s pequod gave chase to moby dick, leviathan captures the collaborative clash of man, nature, and machine. shot on a dozen cameras — tossed and tethered, passed from fisherman to filmmaker — it is a cosmic portrait of one of mankind’s oldest endeavors.
The film looks to premiere at this year's Locarno Film Festival. More information can be found on the film's official site. Thanks to David Phelps for the tip.
in the very waters where melville’s pequod gave chase to moby dick, leviathan captures the collaborative clash of man, nature, and machine. shot on a dozen cameras — tossed and tethered, passed from fisherman to filmmaker — it is a cosmic portrait of one of mankind’s oldest endeavors.
The film looks to premiere at this year's Locarno Film Festival. More information can be found on the film's official site. Thanks to David Phelps for the tip.
- 7/8/2012
- MUBI
News.
Above: Cinetract 2: Revolution Is in the Eye of the Beholder, a video essay by David Phelps. The video is part of a new issue of one of our very favorite—and one of the best—film magazines in the world, La Furia Umana, which is now out. Each issue is focused on dossiers on particular directors, and this issue includes essential articles on Leo McCarey, Paul Vecchiali, Jean-Claude Rousseau and José Luis Guerín. In the McCarey dossier are pieces by our very own Daniel Kasman—on the Cary Grant & Ginger Rogers vs. the Nazis film, Once Upon a Honeymoon—and Ted Fendt on McCarey's Charley Chase comedy shorts. But don't ignore the depth and variety of articles outside this center, which include searing video pieces by Notebook regulars David Phelps—on Lang, Vertov and protest—and Gina Telaroli on Joan Bennett, Max Ophüls, The Reckless Moment and the reflections of American presidents.
Above: Cinetract 2: Revolution Is in the Eye of the Beholder, a video essay by David Phelps. The video is part of a new issue of one of our very favorite—and one of the best—film magazines in the world, La Furia Umana, which is now out. Each issue is focused on dossiers on particular directors, and this issue includes essential articles on Leo McCarey, Paul Vecchiali, Jean-Claude Rousseau and José Luis Guerín. In the McCarey dossier are pieces by our very own Daniel Kasman—on the Cary Grant & Ginger Rogers vs. the Nazis film, Once Upon a Honeymoon—and Ted Fendt on McCarey's Charley Chase comedy shorts. But don't ignore the depth and variety of articles outside this center, which include searing video pieces by Notebook regulars David Phelps—on Lang, Vertov and protest—and Gina Telaroli on Joan Bennett, Max Ophüls, The Reckless Moment and the reflections of American presidents.
- 7/4/2012
- MUBI
The centerpiece of the new issue of the multi-lingual film journal La Furia Umana is a walloping dossier on Jerry Lewis. Of the 24 pieces on Lewis, ten are in English: B Kite on the Little Clown in The Errand Boy (1961), Zach Campbell on Lewis's relation to his own image on screen, Murray Pomerance on that face, Peter Nellhaus on the extension of Lewis's auteurship into the films he didn't direct, David Phelps on Lewis's "Janus-faced comedy," R Emmet Sweeney on the September 18, 1955 broadcast of the Colgate Comedy Hour, Sudarshan Ramani on Scorsese's The King of Comedy (1982), John J Kern on The Day the Clown Cried (1972), Steven Shaviro on Smorgasbord (aka Cracking Up, 1983) — and Gina Telaroli's remarkable, extra-textual piece on Hardly Working (1979).
Also in this issue: Luc Moullet's "Le Spleen de Rockefeller" in the original French; Ted Fendt's translation into English was presented here yesterday; Lilly Papagianni on Sara Driver...
Also in this issue: Luc Moullet's "Le Spleen de Rockefeller" in the original French; Ted Fendt's translation into English was presented here yesterday; Lilly Papagianni on Sara Driver...
- 4/3/2012
- MUBI
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