A recording of Neil Young’s surprise performance at New York’s Bottom Line on May 16th, 1974 has circulated in fan circles for decades, but it’s finally coming out officially in early 2021 as part of Young’s new official Bootleg Series. He’s calling it The Bottom Line – “Citizen Kane Jr. Blues.”
“In my mind it’s a hazy memory,” Young wrote on the Neil Young Archives, where he announced the release, “but this moment really captures the essence of where I was in 1974. Two months later, the album On the Beach was released,...
“In my mind it’s a hazy memory,” Young wrote on the Neil Young Archives, where he announced the release, “but this moment really captures the essence of where I was in 1974. Two months later, the album On the Beach was released,...
- 10/7/2020
- by Andy Greene
- Rollingstone.com
The theme is simple here: four albums with guitars galore — solo and in tandem; loaded with effects and stripped to pure tone; in settings where you least expect them, but always in flight.
Circles Around the Sun, Let It Wander (Rhino)
This tripping-instrumental quartet was certified authentic psychedelia before they ever appeared on record — by no less than the surviving members of the Grateful Dead. Guitarist Neal Casal of the Chris Robinson Brotherhood started Circles Around the Sun with keyboard player Adam MacDougall (another member of the Brotherhood), bassist Dan...
Circles Around the Sun, Let It Wander (Rhino)
This tripping-instrumental quartet was certified authentic psychedelia before they ever appeared on record — by no less than the surviving members of the Grateful Dead. Guitarist Neal Casal of the Chris Robinson Brotherhood started Circles Around the Sun with keyboard player Adam MacDougall (another member of the Brotherhood), bassist Dan...
- 8/14/2018
- by David Fricke
- Rollingstone.com
Fury (David Ayer)
[via the BFI]
The programme for the 58th BFI London Film Festival launched today, with Festival Director Clare Stewart presenting this year’s rich and diverse selection of films and events. The lineup includes highly anticipated fall titles including David Ayer’s Fury, Bennett Miller’s Foxcatcher, the Sundance smash Whiplash, Jean-Luc Godard’s Goodbye to Language 3D, The Imitation Game starring Benedict Cumberbatch, Mike Leigh’s Mr. Turner, Jason Reitman’s Men, Women and Children and Jean-Marc Vallee’s Wild.
As Britain’s leading film event and one of the world’s oldest film festivals, it introduces the finest new British and international films to an expanding London and UK-wide audience, offering a compelling combination of red carpet glamour, engaged audiences and vibrant exchange. The Festival provides an essential profiling opportunity for films seeking global success at the start of the Awards season, promotes the careers of British and...
[via the BFI]
The programme for the 58th BFI London Film Festival launched today, with Festival Director Clare Stewart presenting this year’s rich and diverse selection of films and events. The lineup includes highly anticipated fall titles including David Ayer’s Fury, Bennett Miller’s Foxcatcher, the Sundance smash Whiplash, Jean-Luc Godard’s Goodbye to Language 3D, The Imitation Game starring Benedict Cumberbatch, Mike Leigh’s Mr. Turner, Jason Reitman’s Men, Women and Children and Jean-Marc Vallee’s Wild.
As Britain’s leading film event and one of the world’s oldest film festivals, it introduces the finest new British and international films to an expanding London and UK-wide audience, offering a compelling combination of red carpet glamour, engaged audiences and vibrant exchange. The Festival provides an essential profiling opportunity for films seeking global success at the start of the Awards season, promotes the careers of British and...
- 9/3/2014
- by John
- SoundOnSight
The Toronto International Film Festival is known for its Oscar bait prestige dramas, major Hollywood studio releases, a focus (appropriately) on Canadian film and, to a lesser extent, its Midnight Madness program. One thing it doesn't have a strong reputation for is documentaries. That's why it's no surprise that only six of the initial 15 documentaries announced for the 2014 festival this morning are world premieres. Even with a 25th anniversary screening of Michael Moore's "Roger & Me" on deck, this year's documentary slate appears weak. Joshua Oppenheimer will screen his Indonesian genocide doc "The Look of Silence," Ethan Hawke has his nonfiction directing debut "Seymour: An Introduction" and Cannes favorite "Red Army" will be on hand, but all of those films debuted or will debut somewhere else first. Intriguing new docs include "Tales of the Grim Sleeper," about a serial killer's 25-year run in Southern California; "Sunshine Superman," about Base jumping...
- 7/30/2014
- by Gregory Ellwood
- Hitfix
This world is indeed a dangerous place and according to Tiff Doc programmer Thom Powers’ it might just be the docu filmmakers and subjects who are truly the “rebels, resisters and risk-takers” of the festival. While there might be a couple of more docu items in store along with a look back at Michael Moore’s Roger & Me, both Toronto, and Telluride auds will be in for treats with the Cannes invited Gabe Polsky’s Red Army and Venice Film Festival competing The Look of Silence (see pic above) from Joshua Oppenheimer (which is easily our most anticipated doc of the year) and Robert Kenner’s Merchants of Doubt — about the greediest folk there are: the spinsters (prediction: look for Kenner to be invited on Real Time with Bill Maher). Other hot commodities include World Premiere status latest from the Laura Nix & The Yes Men (The Yes Men Are Revolting...
- 7/29/2014
- by Eric Lavallee
- IONCINEMA.com
In a major highlight at Cannes, the Quinzaine des Réalisateurs presented a new work by America's greatest living filmmaker, documentarian Frederick Wiseman. The subject is London's National Gallery, which the filmmaker reveals as a palace of paintings through which courses the evolution of storytelling, imagemaking, representation, and pathways from the human world to that of heaven. It is a palace that is a museum, an archive, a restoration house, a business, and an exhibition, a pre-cinema cinematheque. The building and Wiseman's beautiful film of it contain a great expanse encompassing the meeting of humanity and art, a meeting continually renewed through time.
National Gallery is not, as may be expected, an investigation into the workings of the museum; it would much rather discuss the wonders of art. Wiseman gives much of his film over to the talks, lectures, and briefings of the gallery's staff of docents, historians, guides, and restorationists.
National Gallery is not, as may be expected, an investigation into the workings of the museum; it would much rather discuss the wonders of art. Wiseman gives much of his film over to the talks, lectures, and briefings of the gallery's staff of docents, historians, guides, and restorationists.
- 5/22/2014
- by Daniel Kasman
- MUBI
Frederick Wiseman's immersive if uneven documentary about the University of California at Berkeley offers a strangely refreshing exploration of middle-class angst
• Interview: Frederick Wiseman
Frederick Wiseman's latest documentary is a study of the University of California at Berkeley, and the way its prosperous calm is being tested by budget cuts and California's financial crisis. The film demonstrates Wiseman's directorial signature: long, unbroken takes, no voiceovers, no interviews, no subtitles indicating exactly who or what we are looking at, nothing that overtly directs the viewer's attention.
Running at a little over four hours, At Berkeley is so immersive and encompassing that it almost ceases to function as a documentary in the normal sense. It becomes something nearer to an archive resource, or an audio-visual database, from which selections or edits could conceivably be made by interested parties. Or perhaps, as a cynic might put it, it is a film...
• Interview: Frederick Wiseman
Frederick Wiseman's latest documentary is a study of the University of California at Berkeley, and the way its prosperous calm is being tested by budget cuts and California's financial crisis. The film demonstrates Wiseman's directorial signature: long, unbroken takes, no voiceovers, no interviews, no subtitles indicating exactly who or what we are looking at, nothing that overtly directs the viewer's attention.
Running at a little over four hours, At Berkeley is so immersive and encompassing that it almost ceases to function as a documentary in the normal sense. It becomes something nearer to an archive resource, or an audio-visual database, from which selections or edits could conceivably be made by interested parties. Or perhaps, as a cynic might put it, it is a film...
- 10/11/2013
- by Peter Bradshaw
- The Guardian - Film News
51st New York Film Festival (Sep 27-Oct 14). Here's Glenn discussing At Berkeley and American Promise.
As an Australian living in America I have had to watch quite a few movies set in Us schools. Frivolous comedies or hard-hitting dramas and everything in between and I still find a lot of it entirely baffling. At this year’s Nyff I have been able to get a couple of very comprehensive looks at the system thanks to doco legend Frederick Wiseman’s At Berkeley and American Promise from husband and wife filmmaking team Joe Brewster and Michele Stephenson. Together they provide an illuminating look at the American education system from kindergarten right on through to college. As they should since together they total a gargantuan six hours!
The 83-year-old Wiseman isn’t exactly shy of long runtimes, but even compared to the recent 134-minute Crazy Horse and 159-minute La Danse his latest is quite an effort.
As an Australian living in America I have had to watch quite a few movies set in Us schools. Frivolous comedies or hard-hitting dramas and everything in between and I still find a lot of it entirely baffling. At this year’s Nyff I have been able to get a couple of very comprehensive looks at the system thanks to doco legend Frederick Wiseman’s At Berkeley and American Promise from husband and wife filmmaking team Joe Brewster and Michele Stephenson. Together they provide an illuminating look at the American education system from kindergarten right on through to college. As they should since together they total a gargantuan six hours!
The 83-year-old Wiseman isn’t exactly shy of long runtimes, but even compared to the recent 134-minute Crazy Horse and 159-minute La Danse his latest is quite an effort.
- 10/2/2013
- by Glenn Dunks
- FilmExperience
Photo courtesy of Zipporah Films.
Frederick Wiseman's broad canvas epic At Berkeley, a bipartite portrait of the complex, living organism that is a public university in California, is a characteristically wide-ranging yet pinpoint exploration of the dynamic between people and an organization. "Education" in 2010, when the documentary was filmed, is what unites the system with its participants, a large and abstract calling awkwardly defined in the film's first scene by a teacher trying to explain what makes the mission of the University of California Berkeley different from that of East Coast Ivy League school. The term is replete with meanings moral, ideal, practical, and theoretical, and is only further complicated by Wiseman splitting his story between the administrators meeting and discussing budgets, tuition, campus policing, tenure policies and teachers benefits, and classrooms where the students engage with a range of topics from poetry and political science leadership to institutional racism and advanced astronomy.
Frederick Wiseman's broad canvas epic At Berkeley, a bipartite portrait of the complex, living organism that is a public university in California, is a characteristically wide-ranging yet pinpoint exploration of the dynamic between people and an organization. "Education" in 2010, when the documentary was filmed, is what unites the system with its participants, a large and abstract calling awkwardly defined in the film's first scene by a teacher trying to explain what makes the mission of the University of California Berkeley different from that of East Coast Ivy League school. The term is replete with meanings moral, ideal, practical, and theoretical, and is only further complicated by Wiseman splitting his story between the administrators meeting and discussing budgets, tuition, campus policing, tenure policies and teachers benefits, and classrooms where the students engage with a range of topics from poetry and political science leadership to institutional racism and advanced astronomy.
- 9/28/2013
- by Daniel Kasman
- MUBI
#49. Frederick Wiseman’s At Berkeley
Gist: “For the past five weeks, with over 100 hours of film footage, famed documentarian Frederick Wiseman has been working to make Uc Berkeley the subject of his 39th film…[and he] expects to continue working for another five weeks, collecting a total of 200 to 250 hours worth of material.” – September, 2010. Originally drawn to Uc Berkeley’s academic reputation and complexity, Wiseman intends for this documentary – the first made about the campus – to place “particular emphasis” on the management of the university, his footage ranging from freshmen moving into dorms to football games to department meetings.
Prediction: Made to be aired on PBS, we wouldn’t be at all surprised to see the great documentarian return to the Fortnight, where his 2010 Boxing Gym had its premiere. Wiseman doesn’t seem to be very picky with his festival, unveiling his films pretty much wherever is most convenient (La Danse bowed in Venice,...
Gist: “For the past five weeks, with over 100 hours of film footage, famed documentarian Frederick Wiseman has been working to make Uc Berkeley the subject of his 39th film…[and he] expects to continue working for another five weeks, collecting a total of 200 to 250 hours worth of material.” – September, 2010. Originally drawn to Uc Berkeley’s academic reputation and complexity, Wiseman intends for this documentary – the first made about the campus – to place “particular emphasis” on the management of the university, his footage ranging from freshmen moving into dorms to football games to department meetings.
Prediction: Made to be aired on PBS, we wouldn’t be at all surprised to see the great documentarian return to the Fortnight, where his 2010 Boxing Gym had its premiere. Wiseman doesn’t seem to be very picky with his festival, unveiling his films pretty much wherever is most convenient (La Danse bowed in Venice,...
- 4/5/2013
- by Blake Williams
- IONCINEMA.com
After catching Frederick Wiseman's fascinating expose into the infamous Paris burlesque club on the festival circuit earlier this year, I had to admit that while Crazy Horse was a rivetting and revealing peek behind the velvet curtain, what I really wanted was more of the fantastic nude dance numbers. And not solely because I'm a dirty old perv, they were incredibly well lit, shot, scored and choreographed. If anybody else felt the same way, then fear not, as our prayers have been answered. Crazy Horse: Feu dispenses with the backstage documentary, and is instead 80 minutes of gorgeous, talented lovelies strutting their stuff in a series of fantastically worked routines. The performances are broken up by a lengthy interview with choreographer Christian Louboutin about his influences and...
- 12/3/2012
- Screen Anarchy
At least since the 1990s, Austria has commanded a central place within global cinema culture, certainly within that portion of it governed in a semi-official manner by film festivals and arthouses. Like many such European film scenes, many of its members have moved quite easily between fiction and documentary modes (Ulrich Seidl and Michael Glawogger, to cite the most obvious and prolific). Still, the documentary element remains too seldom remarked upon as a spiritual source for the unique, penetrating gaze that characterizes so many of key Austrian films. Generally speaking, fictional features by the likes of Michael Haneke, Jessica Hausner and Michael Schleinzer have drawn more attention from programmers and distributors than the documentaries of Nikolaus Geyrhalter. This is par for the course with nonfiction cinema. But it nevertheless seems worth mentioning here because, in terms of the tone, construction, and global attitude of Geyrhalter’s cinema, his work seems...
- 7/24/2012
- MUBI
Ten documentaries and 15 feature films have been announced as part of an early sneak peek at this year's Sydney Film Festival lineup.
The 2012 festival will be the first under the helm of new festival director Nashen Moodley, who replaces Clare Stewart.
"We wanted to present a diverse range of titles in terms of geography, in terms of the experience of the filmmakers and also different types of films to show that the festival will have something for everyone," says Moodley.
When asked to pick his favourites from this year's teaser, the festival director compares it to asking a parent which of their children is their favourite, but admits he is particularly looking forward to the audience response to Beasts of the Southern Wilds, Tabu and Neighbouring Sounds.
The winner of the Us Dramatic Grand Jury Prize at this year's Sundance Film Festival, Beasts of the Southern Wilds is set in...
The 2012 festival will be the first under the helm of new festival director Nashen Moodley, who replaces Clare Stewart.
"We wanted to present a diverse range of titles in terms of geography, in terms of the experience of the filmmakers and also different types of films to show that the festival will have something for everyone," says Moodley.
When asked to pick his favourites from this year's teaser, the festival director compares it to asking a parent which of their children is their favourite, but admits he is particularly looking forward to the audience response to Beasts of the Southern Wilds, Tabu and Neighbouring Sounds.
The winner of the Us Dramatic Grand Jury Prize at this year's Sundance Film Festival, Beasts of the Southern Wilds is set in...
- 4/2/2012
- by Amanda Diaz
- IF.com.au
There is a reason that the Crazy Horse nightclub is well-known throughout the world. Beautiful girls, elaborate dance numbers, and spectacular lighting have made this spot famous. Now, you can experience the glitz and glamour without traveling to Paris.
Directed by Frederick Wiseman, Crazy Horse offers a behind the scenes glimpse into one of the most famous nude dance shows in the world. Open since 1951, they strive to make their show the best that they can so that they can live up to their legendary reputation. Their choreography has to be perfect, their lighting has to be exquisite, and the girls have to be in top physical condition… not only for appearance, but to be able to withstand the vigorous practice sessions.
The first thing that is apparent when the behind the scenes footage starts to roll is that the Crazy Horse is all about preparation and practice! These girls go through long,...
Directed by Frederick Wiseman, Crazy Horse offers a behind the scenes glimpse into one of the most famous nude dance shows in the world. Open since 1951, they strive to make their show the best that they can so that they can live up to their legendary reputation. Their choreography has to be perfect, their lighting has to be exquisite, and the girls have to be in top physical condition… not only for appearance, but to be able to withstand the vigorous practice sessions.
The first thing that is apparent when the behind the scenes footage starts to roll is that the Crazy Horse is all about preparation and practice! These girls go through long,...
- 3/16/2012
- by Melissa Howland
- WeAreMovieGeeks.com
There's a place in France where the naked ladies dance. And they dance quite well, thank you very much. That place is the world famous Crazy Horse cabaret in Paris, and Frederick Wiseman's documentary is the hole in the wall where you can see it all. But don't get too excited - along with the oodles of nearly nude, tightly choreographed performances, there is an unwieldy amount of backstage meandering, heated creative meetings, and shots of any given mundane day-to-day aspects of running a high-end dinner cabaret....
- 3/16/2012
- Screen Anarchy
We've a week to go before SXSW starts and there's plenty to do in Austin right now. To start, there are two (!) Rolling Roadshows on Saturday, the first of which puts the rolling in roadshow, because to enjoy Pee Wee's Big Adventure you must cycle from Alamo Drafthouse on Slaughter Lane to the Veloway. The other, well, the Funky Chicken Coop Tour is bringing the doc Mad City Chickens to Callahan’s General Store in Bastrop. On Tuesday, the Klru co-sponsored Community Cinema Series at the Apl Windsor Park Branch is showing Revenge Of The Electric Car. This free series features light refreshments and post-film discussions with relevant organizations.
All this week, Violet Crown has added special screenings of Oscar-winning films to its schedule, including Beginners and Tree of Life; check their website for times. And as Alamo Drafthouse on Slaughter Lane prepares to officially open, it's training up all its staff,...
All this week, Violet Crown has added special screenings of Oscar-winning films to its schedule, including Beginners and Tree of Life; check their website for times. And as Alamo Drafthouse on Slaughter Lane prepares to officially open, it's training up all its staff,...
- 3/2/2012
- by Jenn Brown
- Slackerwood
When I was asked to check out Crazy Horse, I wasn't really sure what to expect -- except for the obvious nudity that would appear in a movie about a French burlesque. I hadn't seen any of director Frederick Wiseman's previous work, so his documentary style was very surprising and slightly jarring. Where were the talking heads to give me background on the subject? Or the narration to provide a hint of explanation? Not in this movie! Wiseman's trademark style is to thrust the viewer in the midst of a situation with no exposition or interviews. In this film, we spend a couple of hours at "the best nude dancing show in the world," Le Crazy Horse in Paris.
Throughout Crazy Horse various acts from the venue's new spectacle, "Désir," are interspersed with footage from behind-the-scenes. The show, choreographed by Philippe Decouffle, uses lights and dance to create an...
Throughout Crazy Horse various acts from the venue's new spectacle, "Désir," are interspersed with footage from behind-the-scenes. The show, choreographed by Philippe Decouffle, uses lights and dance to create an...
- 3/1/2012
- by Elizabeth Stoddard
- Slackerwood
Bérénice Bejo as Peppy Miller in Michel Hazanavicius' The Artist The Artist, Michel Hazanavicius, A Separation: César Winners Pt.1 Best Actor Sami Bouajila, Omar m'a tuer / Omar Killed Me François Cluzet, Intouchables / Untouchable Jean Dujardin, The Artist Olivier Gourmet, L'exercice de l'État / The Minister Denis Podalydes, La conquête / The Conquest * Omar Sy, Intouchables / Untouchable Philippe Torreton, Présumé coupable / Guilty Best Actress Ariane Asquaride, Les neiges du Kilimanjaro / The Snows of Kilimanjaro * Bérénice Bejo, The Artist Leila Bekhti, La Source des femmes / The Source Valérie Donzelli, La guerre est déclarée / Declaration of War Marina Foïs, Polisse Marie Gilain, Toutes nos envies / All Our Desires Karin Viard, Polisse Best Supporting Actor * Michel Blanc, L'exercice de l'État / The Minister Nicolas Duvauchelle, Polisse Joey Starr, Polisse Bernard Lecoq, La conquête / The Conquest Frédéric Pierrot, Polisse Best Supporting Actress Zabou Breitman, L'exercice de l'État / The Minister Anne Le Ny, Intouchables / Untouchable Noémie Lvovsky, L'Apollonide,...
- 2/25/2012
- by Andre Soares
- Alt Film Guide
Chicago – A simple glance at the premise of “Crazy Horse” may cause skeptical viewers to dismiss the film as a two-hour peep show. What could possibly be gleaned from endless footage of near-nude Parisian burlesque performers apart from diverting titillation? Yet under the lens of legendary filmmaker Frederick Wiseman, the footage becomes something else entirely.
Rating: 3.5/5.0
Though Wiseman (of “Titicut Follies” fame) detests the term “cinéma vérité,” he is inarguably one of the grand masters of the fly-on-the-wall documentary. His signature style forbids any use of narration, staged sequences or contrived talking heads. The one reason human subjects are interviewed in a Wiseman film is because someone else decided to interview them. Favoring intuition and observation over rigorous research, the director peers through his lens with his eyes wide open.
Read Matt Fagerholm’s full review of “Crazy Horse” in our reviews section.
There are moments when Wiseman appears as...
Rating: 3.5/5.0
Though Wiseman (of “Titicut Follies” fame) detests the term “cinéma vérité,” he is inarguably one of the grand masters of the fly-on-the-wall documentary. His signature style forbids any use of narration, staged sequences or contrived talking heads. The one reason human subjects are interviewed in a Wiseman film is because someone else decided to interview them. Favoring intuition and observation over rigorous research, the director peers through his lens with his eyes wide open.
Read Matt Fagerholm’s full review of “Crazy Horse” in our reviews section.
There are moments when Wiseman appears as...
- 2/23/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Chicago – Frederick Wiseman doesn’t pretend to be an expert on the locations that he explores in his documentaries. It’s his meticulous attention to detail during production that makes the audience feel as if they are truly immersed in the environment of Wiseman’s films. Only during the editing process does the director find the meaning within the images.
Wiseman’s approach to nonfiction cinema is utterly organic and often very revealing. His formidable filmography, comprised of 37 documentaries and two fiction works, began with 1967’s “Titticut Follies,” which took a brutally frank and vital look at the abuse inside the Massachusetts Correctional Institution Bridgewater. The director’s repeated study of disturbing subject matter led some of his peers, such as Errol Morris, to deem his work “misanthropic,” but Wiseman insists that’s not the case. His latest film, “Crazy Horse,” pays exuberant tribute to the dancers of the titular...
Wiseman’s approach to nonfiction cinema is utterly organic and often very revealing. His formidable filmography, comprised of 37 documentaries and two fiction works, began with 1967’s “Titticut Follies,” which took a brutally frank and vital look at the abuse inside the Massachusetts Correctional Institution Bridgewater. The director’s repeated study of disturbing subject matter led some of his peers, such as Errol Morris, to deem his work “misanthropic,” but Wiseman insists that’s not the case. His latest film, “Crazy Horse,” pays exuberant tribute to the dancers of the titular...
- 2/21/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Bérénice Bejo, Malcolm McDowell, The Artist The Artist, Polisse, Intouchables: César Nominations Pt.1 Best Actor Sami Bouajila, Omar m'a tuer / Omar Killed Me François Cluzet, Intouchables / Untouchable Jean Dujardin, The Artist Olivier Gourmet, L'exercice de l'État / The Minister Denis Podalydes, La conquête / The Conquest Omar Sy, Intouchables / Untouchable Philippe Torreton, Présumé coupable / Guilty Best Actress Ariane Asquaride, Les neiges du Kilimanjaro / The Snows of Kilimanjaro Bérénice Bejo, The Artist Leila Bekhti, La Source des femmes / The Source Valérie Donzelli, La guerre est déclarée / Declaration of War Marina Foïs, Polisse Marie Gilain, Toutes nos envies / All Our Desires Karin Viard, Polisse Best Supporting Actor Michel Blanc, L'exercice de l'État / The Minister Nicolas Duvauchelle, Polisse Joey Starr, Polisse Bernard Lecoq, La conquête / The Conquest Frédéric Pierrot, Polisse Best Supporting Actress Zabou Breitman, L'exercice de l'État / The Minister Anne Le Ny, Intouchables / Untouchable Noémie Lvovsky, L'Apollonide, souvenirs de la maison close / House of Tolerance Carmen Maura,...
- 2/21/2012
- by Steve Montgomery
- Alt Film Guide
There is a reason that the Crazy Horse nightclub is well-known throughout the world. Beautiful girls, elaborate dance numbers, and spectacular lighting have made this spot famous. Now, you can experience the glitz and glamour without traveling to Paris.
Directed by Frederick Wiseman, Crazy Horse offers a behind the scenes glimpse into one of the most famous nude dance shows in the world. Open since 1951, they strive to make their show the best that they can so that they can live up to their legendary reputation. Their choreography has to be perfect, their lighting has to be exquisite, and the girls have to be in top physical condition… not only for appearance, but to be able to withstand the vigorous practice sessions.
The first thing that is apparent when the behind the scenes footage starts to roll is that the Crazy Horse is all about preparation and practice! These girls go through long,...
Directed by Frederick Wiseman, Crazy Horse offers a behind the scenes glimpse into one of the most famous nude dance shows in the world. Open since 1951, they strive to make their show the best that they can so that they can live up to their legendary reputation. Their choreography has to be perfect, their lighting has to be exquisite, and the girls have to be in top physical condition… not only for appearance, but to be able to withstand the vigorous practice sessions.
The first thing that is apparent when the behind the scenes footage starts to roll is that the Crazy Horse is all about preparation and practice! These girls go through long,...
- 2/3/2012
- by Melissa Howland
- WeAreMovieGeeks.com
Roadside Attractions released its thrice-Oscar nominated "Albert Nobbs" on an ambitious 245 screens this weekend. Starring Glenn Close in an Oscar-nominated performance, "Nobbs" took in $772,730, averaging $3,154 and taking its cume to $822,981, when one includes Oscar qualifying numbers. Also opening was France's selection for the Oscars (though it didn't make the cut), "Declaration of War." On six screens the film grossed $14,400 for a weak $2,400 average. Among holdovers, Ralph Fiennes' "Coriolanus" continued to stumble. The film, which had an Oscar-qualifying run back in December, grossed only $50,000 from 12 screens for an average of $4,167. The film's total now stands at $142,251. Also in its second weekend was Frederick Wiseman's "Crazy Horse," which Zipporah Films expanded from one screen to two. The film grossed $10,860, averaging $5,480 and bringing its cume to $27,873. Lynne...
- 1/29/2012
- Indiewire
Some call Frederick Wiseman the greatest living American filmmaker, and if he's not, he's certainly one of our most essential. Since his 1967 controversial classic "Titicut Follies," which documented the mistreatment of mental health patients at Bridgewater State Hospital, he has examined institutions from a modeling agency to a New York City welfare office to Central Park, always with a focused, unobtrusive eye, weaving together dramatic sequences and raising vital questions. His new film, "Crazy Horse" (out in limited release now), documents Paris' legendary nude revue as it revs up to premiere a new show. It is his 40th film, and at 82, he shows no sign of slowing down. We spoke to him about his process, "Crazy Horse" and what he's working on next. How do you feel about the Crazy Horse today? What is its relevance in Paris today as compared to in the past? We've got porn everywhere and...
- 1/23/2012
- Indiewire
After three consecutive Oscar-hungry box-office hits in "The Artist," "My Week With Marilyn" and "The Iron Lady," The Weinstein Company's luck ran out this weekend as Ralph Fiennes' "Coriolanus" failed to attract a considerable audience. According to estimates provided by Rentrak earlier today, the film -- which had an Oscar-qualifying run back in December -- grossed only $60,000 from nine screens for a so-so average of $6,667. Also opening was Frederick Wiseman's "Crazy Horse," which Zipporah Films set on one screen at New York's Film Forum. The film grossed a respectable $10,000, bringing its cume to $14,375 since opening Wednesday. The film opens in Los Angeles February 3 after opening Boston January 27. It is already confirmed for over 25 markets nationwide as it rolls out across the country, with many more to come. Meanwhile, Tribeca Film opened the Halston documentary "Ultrasuede" at the IFC...
- 1/22/2012
- Indiewire
Well, I suppose it's not the worst crop of movies we've ever seen in the middle of January. The fourth Underworld film, Underworld Awakening, hits theatres today and is likely to dominate the box office thanks to the return of Kate Beckinsale, but she will have to go head to head with Gina Carano in Steven Soderbergh's Haywire. The George Lucas-produced WWII film Red Tails is also out this weekend but seems to be getting slammed by critics, along with the Oscar hopeful Extremely Loud and Incredibly Close starring Tom Hanks and Sandra Bullock. In select theatres we have Zhang Yimou's The Flowers of War starring Christian Bale, Dante Lam's The Viral Factor starring Jay Chou and Ralph Fiennes' Roman revenge flick Coriolanus, plus a handful of documentaries including Frederick Wiseman's Crazy Horse. What will you be watching this weekend? Underworld Awakening Haywire Red Tails...
- 1/20/2012
- by Sean
- FilmJunk
Serious dance filmmaking is under going something of a renaissance. While Wim Wenders’ "Pina" still kicks about arthouses, doc auteur Frederick Wiseman returns with one of his patented and lengthy direct cinema discourses on the civic, social or business institution of his choice. That it mostly involves naked ladies (the reason you probably can’t find its trailer anymore on YouTube) is truly beside the point for his biggest fans, but for many, it remains a sticking point. With "Crazy Horse," his thirty-ninth feature, Wiseman once again zeroes in on a large scale dance oriented performing arts endeavor, as he did a few years back with "La Danse," although this profile of Paris’ legendary Crazy Horse cabaret reveals a place that is in some ways a world apart from the Paris Opera Ballet across town. For some the distinctions between the two, despite their obvious companionship, will fall on deaf ears.
- 1/19/2012
- The Playlist
Part performance film, part backstage documentary, Crazy Horse is familiar in form, yet remarkable both for its subject and for who’s sitting in the director’s chair. The Crazy Horse cabaret in Paris has been staging sexy burlesque routines since 1951, with special emphasis on grand spectacle and erotic artistry ever since managing director Andrée Deissenberg and choreographer Philippe Decouflé took over in the ’00s. Unlike most documentaries about the grueling act of theatrical creation, Crazy Horse is nudity-riffic, featuring scene after scene of half-clad dancers rehearsing. And behind the camera for all this? None other than Frederick ...
- 1/19/2012
- avclub.com
Early on in “Crazy Horse,” we see two women engaging in elaborate gymnastics inside a spinning hoop, while ornate stained-glass patterns are projected onto their nearly-nude torsos. Midway through the act, the camera cuts to a computer screen and the lighting technician who’s keeping track of the mechanics of the act. And that’s what you get in this latest documentary from the legendary Frederick Wiseman (“Titicut Follies,” “Public Housing”) — glamorous, scantily-clad girls performing onstage and the behind-the-scenes toil that makes everything onstage look so sexy and effortless. Wiseman’s documentary style is...
- 1/18/2012
- by Alonso Duralde
- The Wrap
Early on in “Crazy Horse,” we see two women engaging in elaborate gymnastics inside a spinning hoop, while ornate stained-glass patterns are projected onto their nearly-nude torsos. Midway through the act, the camera cuts to a computer screen and the lighting technician who’s keeping track of the mechanics of the act. And that’s what you get in this latest documentary from the legendary Frederick Wiseman (“Titicut Follies,” “Public Housing”) — glamorous, scantily-clad girls performing onstage and the behind-the-scenes toil that makes everything onstage look so sexy and effortless. Wiseman’s documentary style is...
- 1/18/2012
- by Alonso Duralde
- The Wrap
Black box shadow play and dubbed orgasmic moaning—Frederick Wiseman's documentary on the Crazy Horse cabaret in Paris sets its world rules from the start: the presentation of stagecraft fantasy. Outside, like the B-roll opening to Woody Allen's Midnight in Paris, is a Paris-as-usual, and surprisingly dull. Plunge down the twinkling club stairs, though, and enter another space entirely. To face the stage is to see an entirely new world; yet sly reverse shots are either to lashishly tacky, empty red velvet booths or on-lookers made up not of perverts or sleezy high rollers but everyday people—an audience. The directors are there too, of course—the nude revue is surely directed, directed like a Maurice Binder 007 title sequence, impeccable female forms double-swathed in opulent costuming and stained-glass lighting schemes. The show is Crazy Horse's subject, while its creation through the choreography of the women, and backstage...
- 1/18/2012
- MUBI
The New Year can be as much a time to reflect as it can be to project into the future. Some see the act of looking back as an integral part of moving forward. But on a brisk afternoon in Cambridge the day before New Year’s Eve, Frederick Wiseman resists this notion. The legendary documentary filmmaker has been making roughly one film a year since 1967, only taking breaks when funding difficulties, or in this case critical recognition, require him to do so.
Tomorrow night Wiseman is receiving the Legacy Award at the annual Cinema Eye Honors for his debut film Titicut Follies, which observed the appalling conditions at the State Prison for the Criminally Insane at Bridgewater, Massachusetts. Though completed in 1967, the film was withheld from the general public until 1991 due to its alleged violation of the inmates’ privacy. More compromising for the prosecuting government of Massachusetts, however, was...
Tomorrow night Wiseman is receiving the Legacy Award at the annual Cinema Eye Honors for his debut film Titicut Follies, which observed the appalling conditions at the State Prison for the Criminally Insane at Bridgewater, Massachusetts. Though completed in 1967, the film was withheld from the general public until 1991 due to its alleged violation of the inmates’ privacy. More compromising for the prosecuting government of Massachusetts, however, was...
- 1/10/2012
- by Daniel James Scott
- Filmmaker Magazine - Blog
We’ve shared the best films of 2011 and now it is time to move on. 2012 has arrived and we’ll countdown our most-anticipated later this month, but first we have a taste of what to expect in January. Infamous for the dumping ground of the year, there is certainly a lot of crap left off (Contraband, One For the Money, Underworld 4, etc), but with a few limited releases and some promising big-budget films, this is actually shaping up to be a strong month.
As always, please look at our previous Films To See lists to be alerted of limited releases expanding in your area. And as the VOD market expands, look forward to titles like Kill List, The Innkeepers, and Tim & Eric’s Billion Dollar Movie hitting the format bu check back for their inclusion in future lists as they get theatrical bows.
See:
10. Declaration of War (Valérie Donzelli; Jan.
As always, please look at our previous Films To See lists to be alerted of limited releases expanding in your area. And as the VOD market expands, look forward to titles like Kill List, The Innkeepers, and Tim & Eric’s Billion Dollar Movie hitting the format bu check back for their inclusion in future lists as they get theatrical bows.
See:
10. Declaration of War (Valérie Donzelli; Jan.
- 1/3/2012
- by jpraup@gmail.com (thefilmstage.com)
- The Film Stage
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers? Keloid Trailer Give it up for Blr. Long after we've come to know the pentaverate as The Queen, The Vatican, The Gettes, The Rothchilds and...
- 12/19/2011
- by Christopher Stipp
- Slash Film
HA0004 - Zoo Kid - "Out Getting Ribs" from House Anxiety on Vimeo.
Both gorilla vs bear and Pitchfork have selected their videos of the year and, just for the fun of it, I've scattered a few up and down this Saturday Briefing.
Via Mike Everleth comes news that the National Film Preservation Foundation has begun production on Treasures 6: Next Wave Avant-Garde, "a 2-dvd set to be released in fall 2013. Envisioned as a sequel to the Nfpf's award-winning Treasures IV: American Avant-Garde Film, 1947-1986, the new anthology explores how avant-garde film took root and spread after the 1950s as the next generation embraced diversity and forged connections with conceptual and performance art." No titles have been announced yet, but we can look forward to 5½ hours of restorations from several archives.
212 featuring Lazy Jay from Azealia Banks on Vimeo.
"In this week's long review I take a look at the...
Both gorilla vs bear and Pitchfork have selected their videos of the year and, just for the fun of it, I've scattered a few up and down this Saturday Briefing.
Via Mike Everleth comes news that the National Film Preservation Foundation has begun production on Treasures 6: Next Wave Avant-Garde, "a 2-dvd set to be released in fall 2013. Envisioned as a sequel to the Nfpf's award-winning Treasures IV: American Avant-Garde Film, 1947-1986, the new anthology explores how avant-garde film took root and spread after the 1950s as the next generation embraced diversity and forged connections with conceptual and performance art." No titles have been announced yet, but we can look forward to 5½ hours of restorations from several archives.
212 featuring Lazy Jay from Azealia Banks on Vimeo.
"In this week's long review I take a look at the...
- 12/10/2011
- MUBI
Docmaker Frederick Wiseman is legendary for his epic verite studies of institutions and the people who create, inhabit and/or operate them. He and his Zipporah Films banner are not quite as well-known for scandalously marketing said studies. But that was all before he made Crazy Horse, his all-access, skin-baring glimpse behind the scenes of the world's most famous nude cabaret.
- 12/9/2011
- Movieline
Texas is known for some great film festivals. apart from SXSW and Fantastic Fest, both held in Austin – Houston also hosts some wonderful events. Among them is the Cinema Arts Festival. This year’s line-up is extremely strong, with titles that include Pina, David Cronenberg’s A Dangerous Method, The Artist and the World Premiere of Art Car: The Movie. Sadly we do not have any contributors over in Houston, but I did feel the need to quickly promote the festival. Here is the press release.
Houston – Now in its third year, Cinema Arts Festival Houston, which runs from November 9 to 13, 2011 will bring an ambitious program of films by and about artists to the vibrant Texas city known internationally for its dynamic art scene. From painting and dance to classical music and multimedia work, this edition will also include appearances by directors, actors, musicians, and special tributes to Ethan Hawke and documentary master Patricio Guzman.
Houston – Now in its third year, Cinema Arts Festival Houston, which runs from November 9 to 13, 2011 will bring an ambitious program of films by and about artists to the vibrant Texas city known internationally for its dynamic art scene. From painting and dance to classical music and multimedia work, this edition will also include appearances by directors, actors, musicians, and special tributes to Ethan Hawke and documentary master Patricio Guzman.
- 10/31/2011
- by Ricky
- SoundOnSight
The Dark Knight Rises shoot heads to New York later this month. Will Christopher Nolan use the anti-capitalist protests as a backdrop?
The big story
Whispers from the Dark Knight Rises set suggest that Christopher Nolan may shoot part of his third Batman film against the backdrop of the Occupy Wall Street protests. The production will rumble into New York on the 29th of October, bringing the caped crusader face to face with the thousands in Manhattan's Zuccotti Park now in their second month of protest against the capitalist system. You know - the one that gets movies like the Dark Knight Rises made.
Some would fear a clash of ideals. Director Christopher Nolan apparently sees an opportunity, with the Times suggesting that the demonstrations could be used as a setting for scenes from the film. Whether the arrival of the shoot will add another item to the protestors' list...
The big story
Whispers from the Dark Knight Rises set suggest that Christopher Nolan may shoot part of his third Batman film against the backdrop of the Occupy Wall Street protests. The production will rumble into New York on the 29th of October, bringing the caped crusader face to face with the thousands in Manhattan's Zuccotti Park now in their second month of protest against the capitalist system. You know - the one that gets movies like the Dark Knight Rises made.
Some would fear a clash of ideals. Director Christopher Nolan apparently sees an opportunity, with the Times suggesting that the demonstrations could be used as a setting for scenes from the film. Whether the arrival of the shoot will add another item to the protestors' list...
- 10/20/2011
- by Henry Barnes
- The Guardian - Film News
The director says his portrait of cabaret dancers at a Paris club is just another expression of his fascination with human experience
Frederick Wiseman is talking about the talents dancers need to make the grade at the Crazy Horse, the Paris strip club that is the subject of his new feature documentary. "At the risk of sounding crude, it has to do with whether they can stick their rear ends out in the right position," says the 81-year-old American director.
Strippers aren't a topic you'd expect to discuss with Wiseman. Since his 1967 film Titicut Follies, set inside a Massachusetts hospital for the "criminally insane", he has carved out a reputation as the supreme chronicler of public institutions. He has made films about high schools, public housing, domestic violence and the inner workings of the Paris Opera Ballet. Now, late in his career, he has turned to naked women.
Wiseman first...
Frederick Wiseman is talking about the talents dancers need to make the grade at the Crazy Horse, the Paris strip club that is the subject of his new feature documentary. "At the risk of sounding crude, it has to do with whether they can stick their rear ends out in the right position," says the 81-year-old American director.
Strippers aren't a topic you'd expect to discuss with Wiseman. Since his 1967 film Titicut Follies, set inside a Massachusetts hospital for the "criminally insane", he has carved out a reputation as the supreme chronicler of public institutions. He has made films about high schools, public housing, domestic violence and the inner workings of the Paris Opera Ballet. Now, late in his career, he has turned to naked women.
Wiseman first...
- 10/19/2011
- by Geoffrey Macnab
- The Guardian - Film News
This year's New York Film Festival seems to have fulfilled its brief so well you have to wonder what the programmers will come up with for its 50th anniversary edition next year. 2012 will also mark Richard Peña's 25th year as programming director of the Film Society of Lincoln Center and chairman of the Nyff selection committee — and, as he's just announced, his last. "It's been a terrific ride," he told the New York Times' Larry Rohter on Saturday, "but I've had other interests, and it got to the point where I got to thinking about what I want to do with the rest of my working life. It's a good thing for me personally, and also for the organization, because change is good, and it will be good for the organization to have fresh eyes and ideas and new ways of doing things."
For now, though, the 49th edition.
For now, though, the 49th edition.
- 10/17/2011
- MUBI
The 55th edition of the London Film Festival (Lff) starts tomorrow, October 12th, and runs until the 22nd. This year the festival will screen 204 features and 110 shorts from 55 different countries. A selection of films will compete for the festival’s 4 main prizes: the Best Film Award, The Grierson Award for Best Documentary, Best British Newcomer and The Sutherland Award (for most imaginative and original first feature). In addition, the British Film Institute will present its highest honour, BFI Fellowships, to actor Ralph Fiennes and director David Cronenberg, the first Canadian ever to receive the fellowship.
The festival comprises nine different sections, from big budget films by well-known directors, to first features, encompassing innovative new films from all over the world. There is a section devoted to European cinema, and special sections for British and French cinema. There are also separate sections devoted to shorts, experimental films, and classic films that have recently been restored.
The festival comprises nine different sections, from big budget films by well-known directors, to first features, encompassing innovative new films from all over the world. There is a section devoted to European cinema, and special sections for British and French cinema. There are also separate sections devoted to shorts, experimental films, and classic films that have recently been restored.
- 10/11/2011
- by Alison Frank
- The Moving Arts Journal
Mark down 2011 as the year when I got very excited about dance. At least on the big screen, in documentary form. I have seen and been transfixed by the following films: Sue Bourne's "Jig," a barely conventional competition documentary following boys and girls on their way to the 40th Irish Dancing World Championships (just released on DVD); Bess Kargman's "First Position," another terrific competition doc with kids, this one about a very prestigious ballet event, the Youth America Grand Prix (just acquired by Sundance Selects); Frederick Wiseman's "Crazy Horse," in which the legendary filmmaker shows us the eponymous Parisian…...
- 10/7/2011
- Spout
You'd think that Team Cinema Scope, having just covered Toronto 2011 more extensively — surely! — than any other single publication has ever covered a film festival in the histories of films and festivals combined, would take a month or two off to recover. But no, here's Issue 48, solid as any other.
Of Thom Andersen's 30 "Random Notes on a Projection of The Clock by Christian Marclay," here's the first: "The Clock is certainly dumb: a 24-hour movie made entirely from other movies in which the depicted screen time corresponds precisely to the actual time of the screening with plenty of clock inserts and shots in which clocks appear, sometimes incidentally. I'm sure I'm not the first to ask, why didn't I think of that? But is The Clock dumb enough?" Marclay, at any rate, is smart enough to have made not one, not two, but six editions of the piece, the last...
Of Thom Andersen's 30 "Random Notes on a Projection of The Clock by Christian Marclay," here's the first: "The Clock is certainly dumb: a 24-hour movie made entirely from other movies in which the depicted screen time corresponds precisely to the actual time of the screening with plenty of clock inserts and shots in which clocks appear, sometimes incidentally. I'm sure I'm not the first to ask, why didn't I think of that? But is The Clock dumb enough?" Marclay, at any rate, is smart enough to have made not one, not two, but six editions of the piece, the last...
- 10/4/2011
- MUBI
PR veteran Zach Rosenfield is returning to entertainment publicity, joining entertainment PR and marketing firm Prodigy Public Relations as Evp, Television and Sports Entertainment. This marks the PR firm’s expansion into those areas. He will work with Prodigy’s President & CEO Erik Bright, who Rosenfield previously served alongside as principal partner at Insignia PR. On the TV side, Rosenfield’s focus will be on expanding representation of scripted and non-scripted material, writer/executive producers, series showrunners, and physical production. In the past, he has represented Josh Schwartz and Shonda Rhimes, Endemol Entertainment, Big Brother, Fear Factor, Paula Abdul and Tom Green, among others. Over the past four years, Rosenfield oversaw the day-to-day website business of sports information company AccuScore while also serving as company spokesperson. Previously, he was Head of Entertainment at Fifteen Minutes Public Relations. Prodigy PR recently was at the Toronto Film Festival representing Hysteria, Frederick Wiseman’s Crazy Horse,...
- 9/21/2011
- by NELLIE ANDREEVA
- Deadline TV
In Julie Delpy's Skylab and Hirokazu Kore-eda's I Wish, the festival featured two sharply contrasting family dramas
Two of the best films at San Sebastián were family dramas — different kinds of family, different kinds of drama.
Julie Delpy's Skylab is her third feature film as a director, and it confirms her as a natural film-maker. This is a nostalgic period piece about a family party in 1979, inspired by Delpy's own memories: it was a time in which the French public became briefly convulsed by a spasm of anxiety over news reports that Nasa's Skylab research rocket, then descending to earth from its space orbit, was going to crash in western France.
Delpy also stars, in the unglamorous role of Anna, a harassed mother married to Jean (Eric Elmosnino). They are bringing the kids to their grandma's lovely ramshackle house in Brittany for a colossal family party. What...
Two of the best films at San Sebastián were family dramas — different kinds of family, different kinds of drama.
Julie Delpy's Skylab is her third feature film as a director, and it confirms her as a natural film-maker. This is a nostalgic period piece about a family party in 1979, inspired by Delpy's own memories: it was a time in which the French public became briefly convulsed by a spasm of anxiety over news reports that Nasa's Skylab research rocket, then descending to earth from its space orbit, was going to crash in western France.
Delpy also stars, in the unglamorous role of Anna, a harassed mother married to Jean (Eric Elmosnino). They are bringing the kids to their grandma's lovely ramshackle house in Brittany for a colossal family party. What...
- 9/21/2011
- by Peter Bradshaw
- The Guardian - Film News
The buzz word at this year’s Tiff is “doc.” For the first time in its 35-year history, the Toronto International Film Festival opened with a documentary: Davis Guggenheim‘s From The Sky Down, which profiles the world’s most popular rock band, U2. Filmgoers and critics are also buzzing over Crazy Horse, by verite legend Frederick Wiseman; Samsara (by Baraka‘s Ron Fricke); Tony Krawitz‘s The Tall Man,; and Girl Model by Ashley Sabin and David Redmon.
The doc vibe was in the air on Monday morning at a breakfast launch for Focus Foward. Sponsored by Cinelan and Ge, Focus Forward invites big-name documentarians such as Morgan Spurlock (Comic-Con: Episode IV: A Fan’s Hope), Nick Broomfield (Sarah Palin: You Betcha) and Jessica Yu (Last Call at the Oasis) to make three-minute socially conscious docs that A-list festivals like Sundance, Idfa and Tribeca will screen. It was a...
The doc vibe was in the air on Monday morning at a breakfast launch for Focus Foward. Sponsored by Cinelan and Ge, Focus Forward invites big-name documentarians such as Morgan Spurlock (Comic-Con: Episode IV: A Fan’s Hope), Nick Broomfield (Sarah Palin: You Betcha) and Jessica Yu (Last Call at the Oasis) to make three-minute socially conscious docs that A-list festivals like Sundance, Idfa and Tribeca will screen. It was a...
- 9/17/2011
- by Allan Tong
- Filmmaker Magazine - Blog
Eighty years old and some forty films deep, documentarian Frederick Wiseman remains at the top of his game. "Crazy Horse," his typically first-rate verité look at the famous Parisian cabaret club of the same name, applies his distinctive technique to familiar material. Ever since his 1967 directorial debut, "Titticut Follies," Wiseman has relied on the rhythms of sound and imagery within a contained environment to assemble his narrative backbone. The ...
- 9/15/2011
- Indiewire
In a slight but almost certainly self-explanatory change to previous festival index formats, clicking on the directors' names and film titles will take you to their respective pages, while clicking "Roundup" will take you to the coverage of the coverage. Names of our contributors (in this case, almost always Daniel Kasman) will take you to our original reviews.
The index will be updated, of course, as more roundups and reviews appear, for days and possibly even weeks after this year's Venice Film Festival wraps.
Competition
Tomas Alfredson's Tinker, Tailor, Soldier, Spy. Roundup.
Andrea Arnold's Wuthering Heights. Roundup.
George Clooney's The Ides of March. Roundup.
Emauele Crialese's Terraferma. Roundup.
David Cronenberg's A Dangerous Method. Roundup. Daniel Kasman.
Abel Ferrara's 4:44 Last Day on Earth. Daniel Kasman.
Philippe Garrel's That Summer. Roundup. Daniel Kasman.
Ann Hui's A Simple Life. Roundup. Daniel Kasman.
Giorgos Lanthimos's Alps.
The index will be updated, of course, as more roundups and reviews appear, for days and possibly even weeks after this year's Venice Film Festival wraps.
Competition
Tomas Alfredson's Tinker, Tailor, Soldier, Spy. Roundup.
Andrea Arnold's Wuthering Heights. Roundup.
George Clooney's The Ides of March. Roundup.
Emauele Crialese's Terraferma. Roundup.
David Cronenberg's A Dangerous Method. Roundup. Daniel Kasman.
Abel Ferrara's 4:44 Last Day on Earth. Daniel Kasman.
Philippe Garrel's That Summer. Roundup. Daniel Kasman.
Ann Hui's A Simple Life. Roundup. Daniel Kasman.
Giorgos Lanthimos's Alps.
- 9/10/2011
- MUBI
Legendary documentary filmmaker Frederick Wiseman heads to the Toronto International Film Festival with his latest film on dance, Crazy Horse. Highlighting the famous cabaret in Paris, Wiseman uses his patented verite style to give an unprecedented look inside the work and lives of the women who makes the Crazy Horse legendary.
Filmmaker: Tell us a little about what your film is about?
Weisman: I Followed the day to day activities involved in the rehearsing and staging of a new show at the crazy horse, a parisian cabaret famous for its beautiful dancers and erotic dances.
Filmmaker: Why a verite look at Paris’ cabaret club, The Crazy Horse?
Weisman: I am very interested in dance. This is the third film on dance I have made following ballet (The American Ballet Theatre) and La Danse-The Paris Opera Ballet. A documentary can try to convey the ephemeral beauty of the vareity of patterns...
Filmmaker: Tell us a little about what your film is about?
Weisman: I Followed the day to day activities involved in the rehearsing and staging of a new show at the crazy horse, a parisian cabaret famous for its beautiful dancers and erotic dances.
Filmmaker: Why a verite look at Paris’ cabaret club, The Crazy Horse?
Weisman: I am very interested in dance. This is the third film on dance I have made following ballet (The American Ballet Theatre) and La Danse-The Paris Opera Ballet. A documentary can try to convey the ephemeral beauty of the vareity of patterns...
- 9/9/2011
- by Jason Guerrasio
- Filmmaker Magazine - Blog
After last week's voyage to the Lido, Jason Solomons presents a second instalment of Film Weekly from the 68th Venice film festival.
Jason is joined by Xan Brooks and Variety critic Leslie Felperin to discuss the bobs and dips of this year's festival.
Along the journey there's interviews with Italian cinematic siren Monica Bellucci, who discusses her role in Philippe Garrel's Un été brûlant; screenwriter Abi Morgan talks about co-writing Steve McQueen's Shame; American film-maker Frederick Wiseman lets us peak at his new strip club documentary, Crazy Horse; director Todd Solondz explains his new film Dark Horse, and Italian director Emanuele Crialese takes us back to land with his island drama Terraferma.
Subscribe for free via iTunes to ensure every episode gets delivered. (Here is the non-iTunes URL feed).
Follow the podcast on our Film Weekly Twitter feed and receive updates on all guests and reveiws.
Film Weekly is on Facebook.
Jason is joined by Xan Brooks and Variety critic Leslie Felperin to discuss the bobs and dips of this year's festival.
Along the journey there's interviews with Italian cinematic siren Monica Bellucci, who discusses her role in Philippe Garrel's Un été brûlant; screenwriter Abi Morgan talks about co-writing Steve McQueen's Shame; American film-maker Frederick Wiseman lets us peak at his new strip club documentary, Crazy Horse; director Todd Solondz explains his new film Dark Horse, and Italian director Emanuele Crialese takes us back to land with his island drama Terraferma.
Subscribe for free via iTunes to ensure every episode gets delivered. (Here is the non-iTunes URL feed).
Follow the podcast on our Film Weekly Twitter feed and receive updates on all guests and reveiws.
Film Weekly is on Facebook.
- 9/8/2011
- by Jason Solomons, Xan Brooks, Leslie Felperin, Jason Phipps
- The Guardian - Film News
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